Film Categories: (De)colonization

  • ôtênaw

    “ôtênaw” is a film documenting the oral storytelling of Dwayne Donald, an educator from Treaty 6, Edmonton Canada. Drawing from nêhiyawak philosophies, he speaks about the multilayered histories of Indigenous peoples’ presence both within and around amiskwacîwâskahikan, or what has come to be known as the city of Edmonton.

  • Mount Misery

    Emotionally drained after learning of the death of her long estranged sister, an elderly woman spends the day lost somewhere between her past and present and her conscious and subconscious mind. In this state, she ponders the inevitabilities of life, death and the hereafter. “Mount Misery” won Best Film prize at the Black International Cinema, Berlin film festival, 2017.

  • Fluids

    6 years ago two artists attempted to make a queer, sci-fi porno: it failed. What emerged 6 years later out of its campy/tragic/melodramatic ashes is this erotic experimental documentary; a meditation on the intersections of failure and fetish as well the meticulous, accidental processes of constructing of cinema and identity

  • Mino-bimaadiziwin (The Good Life)

    Mino-bimaadiziwin (The Good Life) came out of the Artist for Film residency at Artscape Gibraltar Point. I was excited about First Story’s walking tour with Elder Carolyn King. I was only able to participate with the aid of a wheelchair and allow others to push me around, it was my first time in a wheelchair. I documented this walk from that perspective with this manual timelapse on Super 8. Reconciling myself as a mixed-race indigenous Colombian settler “walking the red road” while being a person who lives with physical disabilities. Learning to live mino-bimaadiziwin as a settler to Turtle Island…

  • Sum (Heart)

    Based on ideas of Zen Buddhism and rooted in the 7 Grandfather teachings, Sum (Heart) is a rumination on death, grief and letting go. Starting out as a visual mourning song to Wendy Babcock, Mr Toqui Wong and Jack, empty landscapes represent the yearning for the company of dead friends. Water becomes a metaphor for grief and mourning, the ebbs and flows of nature reminds us of the cycle of life which transforms into a stark ode to a new day and new beginnings. I put all my sadness, prayers and hope into this trilogy while still aching for their…

  • FOREIGN QUARTERS

    My mother’s lost Chinese heritage was a point of departure in this film which investigates the process by which an image is constructed in places foreign from that of my own. The condition of distance genetic to the ethnographic image traces the elusive qualities of her past and persona.

  • If I Were Any Further Away I’d Be Closer to Home

    A silent poem reflecting on the place of my mother’s birth and her first traces on earth. A generational portrait of South Asian “makers” becomes a perceptual voyage into memory, experience, and touch.

  • The Spectre Watches Over Her

    A reaction to the seminal text by Swiss anthropologist Paul Wirz entitled Exorcism and the Art of Healing in Ceylon, this high contrast hand processed film considers a history of colonialism and ethnographic practices in South Asia. At my mother’s village, I re-staged an exorcism once performed on her in the early 1960s when she was a little girl. Possessed by the lecherous entity known as the Kalu Kumara, the Sanni Yakuma healing ritual was performed over a 12-hour period.

  • More Love. Less Prepackaged Bullshit.

    Set to the soul beat of Assata Shakur, a trio of black transwoman, brown transmasc genderqueer person and a white queer cis man resist dystopia with a sweet bowl full of joy, intimacy and love.

  • Empire State

    As an Elder goes about preparing wild onions and corn, the outside world infiltrates through the TV: the fall of the Twin Towers, the hit on Baghdad, and the first death of a Native American soldier overseas. A subtly poignant film that simply told gives strength to the old man and to those who bear witness. Image description: An Indigenous Elder’s hands hold a paring knife, cutting the roots off a wild green onion stalk. More green onions lie on a cloth below.