Film Categories: Work about Women

  • Thorn on her side

    A human narrates the story of a bad dream after buying a gorgeous plant at the market. What starts as an innocent encounter to relieve loneliness from isolation becomes a nightmarish seduction scene between a plant and its human. Together they give birth to a new creature.

  • Negative / Positive Film

    Negative / Positive Film is a hand-made, camera-less collage film composed of layers of erotic 16mm films from the 1920s, 1940s, and 1970s, intermingled with nature documentaries and layers of organic materials. This visual abstraction merges together both positive black-and-white film and its negative black-and-white counterpart – on the same film base. This allows the film to exist in two versions, one positive and, the other negative. The film is an abstract remediation of female bodies dislodged from their original erotic context and ripped away from their male co-protagonists. The man is removed from the picture, while the female body…

  • Self-Portrait in Hell

    Self-Portrait in Hell is a hybrid film that combines analog and digital film manipulation techniques. Multiple layers of 8mm films and disparate fragments are amalgamated to create a self-portrait of the director. A singular self-portrait, since ironically the subject of the film is not the director but the image found in abandoned film archives, the image of another, unknown woman. The first layer is from a 1970s 8mm home movie titled Woman Dancing with Dog and was found in an antique shop. The second layer is an 8mm film belonging to an unknown archive, which the artist buried for a…

  • Hoa

    Before developing her memory disorders, my grandmother Trần Thị Tuyết Hoa wrote an autobiographical book about her life and its events. The book is titled “Hồi Ức Tuyết Hoa” (Memories of Tuyết Hoa), and subtitled “Khi Đất Nước Tôi Thanh Bình: Hồi ức của một nữ sinh viên Sài Gòn” (When My Country is Peaceful: Memoirs of a Saigon Female Student). She now reads this book everyday in her Hanoi home. In the form of a poetic letter, this short film is dedicated to her, from me, a grandchild.

  • Kiri and The Girl

    Based on the experiences of Tlingit artist Kiri Geen as she reconnected and reclaimed her Indigenous heritage after her adoption, “Kiri and The Girl” follows young Kiri as she navigates losing her mother and is guided to becoming her true self.

  • Greenhorn

    While at a dinner party with friends in the city, 20-something masculine presenting Logan receives a phone call that her estranged Father has been in a car accident. With encouragement from her Mother, Logan decides to travel back to her rural hometown to care for him. Logan spends the first few days clearing out the house, reconnecting with her childhood, and preparing for her Father’s return from the hospital. While organizing some of his things, she comes across an old Western movie and her Father’s old Western wear from his glory days as a ranch hand. Letting her curiosity get…

  • I’ve Heard a Siren Calling

    A Great Lake Surfer has recently began her transition as a Trans Woman. She now is having hesitations with putting her wetsuit back on, but something is calling her back. In the isolation of her cabin in a small fishing town, she seeks to find the courage to face her fears.

  • A Thousand Little Trees of Blood

    Stella and Guilio are on one of their many, stressful dates, when a small catalyst creates a huge issue.

  • Cod Story

    This is a case study of the Canadian cod fisheries collapse of 1992. It investigates what the future of natural resource management holds, and what we can learn from our past mistakes.

  • xīn nī 廖芯妮

    xīn nī 廖芯妮 (“understanding you”) is an intimate auto-ethnographic portrait expressed through dance and digital technologies. Liaw engages in intergenerational conversations with her family and community to transform the linguistic divide between her Chinese name and its Hakka translation into a space for healing. Drawing on themes of decolonizing queerness to emphasize self-love and self-curiosity, the work explores both physical and technological attachments. Bodies made up of 3D-rendered cultural objects hold space for the stories of Liaw’s elders, while expanding the growing web of her ancestral knowledge.