Film Categories: Work by Women

  • 5 cité de la Roquette

    When I returned to 5 cité de la roquette, I found a sign on the gate announcing the reconstruction of the building. In the days that followed, I came back in early morning or evening, when crews were not working, to film the stairwells, the stones, the doors, to stand on the landings, to listen to the sounds of the empty building, to watch the light at the windows, to hear again the songs of this place.

  • The Curse

    Jesse is meeting up with an OkCupid date, Sarah. They’re meeting Sarah at her office after work. Jesse arrives at the office building, but they’ve got to change their diva cup before meeting Sarah. Every step along the way, they experience more and more frustration because they just can’t get the privacy they need. Eventually it all ends in a bloody mess.

  • Ripples/Derive

    On a summer day, 9 year-old Aissa accompanies her mother Yasmina to one of the houses where she works as a cleaning lady. When Aissa is bullied by Sarah, the daughter of Yasmina’s employer, there are tragic consequences for the victim.

  • In Between/Entre Deux

    On a cold fall evening, Leila is left alone to tend the family convenience store. A series of strange clients keep her in a constant state of apprehension. Language and cultural barriers also contribute to the making of a nerve-racking evening.

  • 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…

  • Why Must The Sun Go Down?

    When a little nightingale wonders to herself why the sun must go down at night, she decides to embark upon a journey. She first meets the Sunkeeper, and asks him why he sets the sun at night. The Sunkeeper explains that it is so the Starmaker knows when it’s time to put stars in the sky. The Nightingale’s journey then leads her to the Starmaker, the Flowermaker, and other celestial creatures of our world… At last she discovers that the sun must go down so that it can rise again in the morning, and that, just like everything else in…

  • 165708

    Shot entirely in 16mm black-and-white film using single-frame photography, “165708” employs in-camera techniques and chemical manipulation of processed film to produce an eidetic study of temporal elasticity. Techniques include flicker, time-lapse, light painting, stop motion, tinting, and toning. Combined with cycles of alternating exposed frames, these methods imbue the work with a rhythmic magnetism, apparent both in the tempo and the aesthetic of the images. Exploring the capacity of the medium to express various notions of time, the film begins with a woman looking out from the shoreline. This acts as a point of departure to disparate yet interconnected sequences…

  • Film About a Woman Who

    “Film About a Woman Who” is a multi-layered composite of images, texts, music, and speech that deals with oppositions of emotional life set off against the appearances of everyday behaviour. The story of a passage across an unspecified length and order of time is sustained by the intermittent narration of two off-screen voices (a man’s and a woman’s, never clearly identified with the on-screen characters) that reads, in the present tense, discrete paragraphs about the experiences of someone referred to only as “she.” On screen two men and two women and, occasionally, a child “play out” the valences of their…

  • Lunch Time

    In this film we drive through downtown Cairo. While exploring the urban life and daily routine of the streets near Tahrir square, we sink into a labyrinth where our path keeps on being cut. During the 2011 revolution it was often said that “the people took back the streets”, but since then the police and military have returned to power and show their supremacy by controlling the public spaces, leaving many to adapt to a system where they have no voice and must work around the obstacles that are left behind.