Film Categories: (De)colonization

  • The Quoddy Fold

    “The Quoddy Fold” is an intimate interaction between a woman and a derelict coastal house. In this one-hour film Phillips dismantles and studies the movement from wood to dust, damp paper to mold, and ponders the house folding back into the land and sea. Phillips’ performance constantly seeks evidence of dissolving boundaries, thingness, history and intersubjectivity of space, place and species. Through the poetics of the ruin “The Quoddy Fold” is an interrogation of dwelling and landscape giving space to entertain the ecological, cultural and societal anxieties surrounding impermanence.

  • The Shouting Flower

    A work about collaboration and process, “The Shouting Flower” approaches political resistance from multiple subject positions–plant, child, filmmaker–in an attempt to model what Anna Lowenhaupt Tsing calls “work across difference.” Using images processed in plant material that was gathered at key locations throughout the city, as well as direct animation and audio recorded on a child’s toy, the film documents its own creation within a landscape of hostility and neglect. A collaboration against cooperation, it becomes as it refuses. Refusing, dispersing, it shouts, “No!”

  • Pariah, my brother, I follow you show me the route to the springs

    The holiday season is fast approaching in Tijuana, Mexico where Saül and his father-in-law, Mathieu are getting ready for a busy day at the street market selling recycled tennis shoes. In the darkness of Dawn, the deserted road to the Market swells up with memories of their migration journey. After a long trek from Haiti, Brazil and nine other South and Central-American countries, they have been here two years, waiting for a chance to claim asylum in the US. We too shall wait for the sunrise, haunted by the words of Davertige, he too, a passer-by on The Route to…

  • Activate NDN Consciousness

    Activate NDN Consciousness combines found footage of harmful Indigenous portrayals with contemporary NDN protest and revolt.

  • What Happens to a Dream Deferred

    It’s New Year’s Eve in Tijuana, Mexico. Wood and Colonel are busy making Soup Joumou to celebrate Haitian Independence Day with their friends at the “Trap House”. As their cooking progresses, memories of the perilous journey that brought them to the US/Mexico border two years ago resurface. From Haiti to Brasil and through nine other South and Central-American countries, here they are, sandwiched between their dream of a musical career in the US and a US president who calls Haiti a shit hole and believes all Haitians have AIDS.

  • Una Sola Sangre

    “I have two homelands, but one blood,” says Silvia Galdes in Una Sola Sangre, the latest film by the Haitian-born, Toronto-based filmmaker Esery Mondesir. Silvia, along with her siblings Silverio and Estella, is a first-generation Haitian-Cuban, the daughter of Sylvain Galdes, one of an estimated 500.000 Haitians who migrated to Cuba for work in the early 20th century. Despite not seeing their father’s homeland until their sixth decades (and after the shooting of the film), the Galdes family and their social position in Cuba has long been marked by their Haitianness – an identity they and their children negotiate in…

  • Sammy

    Toronto, July 27, 2013, shortly after midnight. Sammy Yatim is standing inside an empty streetcar, a small knife in his right hand. A Toronto Police officer will shoot him dead. From a mixture of gunpowder, blood and acrimony: the portrait of a boy who didn’t have to die.

  • On A Clear Day You Can See The Revolution From Here

    An expansive journey through the Kazakh steppe, On A Clear Day You Can See the Revolution From Here excavates layers of myth, history and geology to reveal the shifting fault lines between a government, its people and their land. The film brings into focus Kazakhstan’s search for a post-Soviet identity and a state-sponsored programme of cultural production that on the one hand connects back to the ancient folklore and belief systems of the Silk Road, while on the other, seeks to embrace the values of Western capitalism. Taking an experimental documentary form, On A Clear Day provides a meditative faux…

  • TAKE

    TAKE (te reo Maori: issue, promise, challenge) weaves mana wahine (female knowledge), dance and archival materials to retell the story of the removal of the ancestral Maori meetinghouse, Hinemihi o te Ao Tawhito, from Aotearoa, New Zealand to England in 1892. It is a call to return Hinemihi, embodied by Australian born Maori dancer and performance artist, Victoria Hunt. Set in the liminal spaces between history and emotion TAKE unfolds a story of origins, of traumatic events and colonial violence.

  • War Game

    In an imagined battle between the United States and the fictional Latin American country of Cubuchilia, an American soldier has control over water resources and news media on both sides of the war. This depressed white soldier profits monetarily by the continuation of the war, and therefore ensures the battle endures through his power over the water and news. Inadvertently, he causes all the soldiers on both sides to perish, and thus the war ends. He then, through his media control, presents himself as the hero of the conflict and the savior of the United States.