Film Categories: Work by Women

  • Buses don’t stop here anymore

    Buses don’t stop here anymore is a chronicle on Super 8 of the closure, abandonment, and demolition of the Greyhound bus station in Ottawa, Canada. Once an important site for coming and going, an emotive epicenter, the camera observes the building’s erasure, dismantled by machines that writhe in the dust of demolition. Optical printing translates the act of observation into a requiem for a building, once so present and vital, now a ghost of the past. Filmed on Ektachrome Super 8 over a three year period from the sudden closure of the Greyhound station in April 2020 to its demolition…

  • Resistance Meditation

    A meditation on crip time and resistance by a chronically ill filmmaker, shot on Super 8 and (mostly) eco-processed by hand.

  • Tarpaulins

    The point of departure for “Tarpaulins” was a colorful disturbance on the cityscape of Los Angeles: a home in the distance festooned with a giant striped tarp. These are termite fumigation tents and filmmaker Lisa Truttmann follows their story on a two-year long investigation as she hunts down the tents, the homes, the termites inside and their traces. As the film goes on, the termites soon become our allies, guiding us through Los Angeles’ neighborhoods on their own terms. Questions of life and death, profit and loss, home and un-home, macrocosm and microcosm are brought to the fore in pursuit…

  • Characters

    Hú Zhǎng Zū writes ancient Chinese poems with water on the ground in Fuxing Park, Shanghai. After a few minutes, the characters dry out and disappear. She comes to the park almost everyday and practices her handwriting with her friends and colleagues. Together they have lively discussions about the strokes and shapes – both amongst each other and with the many spectators. Hú Zhǎng Zū is the only woman within the bustling crowd of men, and due to her calligraphy skills she is respected and highly admired. I come back to see her often, in order to learn from her…

  • Landmarks of Memory

    A tattoo ritual and hookah session memorializes a pre-war flower shop. After seeing its storefront in archival footage of the Lebanese Civil War, a first-generation daughter seeks information and connection to place. Scenes of 1976 Beirut are paired with today’s developed landscape, while roses are etched and coconut coals burn in a snowy diasporic setting.

  • FIBERS

    This 15-minute hybrid non-fiction/experimental documentary essay blends Lida Mkrtchan’s voiceover testimony about her time in bomb shelters in Shushi (Artsakh/Nagorno-Karabakh) with a layered audiovisual landscape. The film moves between tactile close-ups of the narrator’s hands preparing zhengyalov bread and staged studio compositions in which objects, textures and performative gestures metaphorically reimagine the narrated events and inner states through dark video tableaux. The interplay of documentary and poetic imagery illustrates the resilience of the community under siege, the rhythm of daily life and the quiet actions that sustain hope. Moments of beauty, ritual and shared labour coexist alongside stark reflections on…

  • Both, Instrument & Sound

    Both, Instrument & Sound employs tension as an aesthetic strategy, to explore solidarity, collective struggle, and the transformation of these values under neoliberalism. The film follows the life of Tony over 3 years as he describes his process of political activism from the 1970s onwards, which cannot be disentangled from his friendships and his lovers. The film’s score – co-written with musicians, the film’s cast and crew – sonically explores different interpretations of tension—both in response to Tony’s narration and to the musicians’ existing approaches to tension as a musical, cinematic, scientific, and political experience. Everyone translates, performs and remixes…

  • spring rebirth / renaissance printanière à la source du Pêcher

    Window on the fleeing memory.

  • Rabid Beach

    This psychedelic and traditionally animated music video for hardcore band Pig Pen was created out of 600 hand painted animation frames.

  • Hitori

    The film is based on an early childhood memory of my natural mother. It is about the separation of a child from its roots – a child’s search for understanding of these roots. The roots beginning with the mother and the father. I am not sure if what I am remembering is a dream or a true memory. However, if it is memory, then it is my most greatest and most cherished memory. If it is a dream then – how great it is to dream. (EM)