Film Categories: (De)colonization

  • Pinhole Park

    “Pinhole Park” was created using a 35mm film tin modified into an outward-looking 59-pinhole camera that registers images on a single film loop mounted in the tin. Each loop is exposed in one moment with 59 pinhole “lenses” to create as many distinct images that, when presented in series, create a panning of the landscape in various directions. The work was exposed on outdated black-and-white 35mm print stock acquired from Archives Canada discards, and processed by hand in Caffenol chemistry, a less environmentally impactful developer made with coffee, vitamin C, and washing soda. The film and photographs document a city…

  • fuck

    A short solo film made in quarantine, “fuck” is part silent meditation, part protest, part magic spell for a better world.

  • Events in the Tunnel

    Drawn from Super 8 films in the artists’ personal archives as well as found amateur 8mm footage, “Events in the Tunnel” presents an absurdist abbreviated retelling of Canada’s colonial history as defined by that great colonial trope, the cross-country train trip. In the transitional void of a train tunnel, we witness familiar 19th and 20th century paradigms of white middle-class conformity as represented by images of travel, amusement, and domesticity, with Canadian culture embodied by a chimeric portrayal of the early 20th century painter Tom Thomson.

  • HK Uprising

    A tribute to the ongoing protests in Hong Kong that are taking place three decades after the Tiananmen Square uprising. Note: This film can be displayed as a multi-channel installation with May 35.

  • peugeot pulmonaire

    The east of France is dying, we see a half-empty factory and a mass of workers caught between precariousness and impotence. X-rays of their calcified lungs scroll by at the rhythm of a mechanical press under which one suffocates.

  • 13 Eggs

    Over four years I collected footage to talk about my experience trying to make a baby. I managed to freeze 13 eggs. I stopped halfway through making this work because I failed and had to figure out how to make a film about failing in this commonly shared life goal. Grieving people who never were is harder than it seems.

  • What Travelers Are Saying About Jornada del Muerto

    Visitors and residents of the Tularosa Basin, site of the first detonation of an atomic bomb, contribute to the production of public memory as they offer philosophical reckonings, logistical advice, and plaintive texts after making “the journey of the dead.” Between 1945 and 1992, the United States federal government exposed people to the radioactive fallout from over 200+ detonations of above-ground nuclear weapons. Made in remembrance of the 75th anniversary of the detonation of nuclear weapons in the US and Japan and the 340th anniversary of the 1680 Pueblo Revolt, which forced Spanish colonizers out of New Mexico and returned…

  • Savage / Future

    Editing to the soundscape of shaking Iroquois white corn and finger tapping, Seneca filmmaker Terry Jones uses personal and historic still images to link his family and the American Indian Residential Boarding School experience.

  • The Mars Effect

    The story starts in the middle then goes to the beginning and then ends. At the same time nuclear war erupted on earth rebels slits his wrists and creates a mars effect… and like magic and kids, Gen xers are made immortal and impervious to harm. So they travel the galaxy trying to die but when faced with the fact that they can do not want  to, all the while being attacked by zombies controlled by  comic book villain named Neville.

  • séance

    In this piece, I attempted to switch between the persona of a settler woman and myself speaking on postcolonialism. I do this by taking my costume on and off. “Occupying the bodies of notable female figures from Peterborough’s history, Calla Durose Moya stages a conversation with the past in order to come to terms with her identity in the present. With volunteer and employment experience in local heritage institutions, Durose Moya has observed first-hand the limits imposed by the colonial lens with regard to a routinely prejudiced and biased version of history. Appropriating the images of settler women for her…