Film Format: 16mm

  • Disappearance of John Ashby, The

    Photographer John Ashby lived and worked on Cape Breton Island for ten years. Struggling to keep ahead, photography has to take a back seat to the day-to-day realities of survival. Then one day John Ashby disappeared. Rumours of his whereabouts began to filter amongst his friends and neighbours. This video searches out John Ashby through the words and images of the Cape Breton community he had become an integral part of. Meanwhile, we catch up to John Ashby on the streets of New York City, musing on life, his past and his future.

  • Fragments de Corps

    Isabelle is a thirty-three year old female boxer from the south shore of Montreal. As an athlete, she inevitably relies on her body. The body is like a mechanical engine. Her gym, a cold building made of steel and concrete, is located in the industrial area of an anonymous and typical suburban town. Her body, made of flesh and muscles, is continually pushed to its limits. French with English subtitles.

  • Tamalpais

    Shot on Mount Tamalpais, a spatial matrix replaces temporal causality with contiguous space. A view of landscape is taken apart, to be reconstituted through memory. The grid, a reference to the “veil of threads” invented by Albrecht Dürer as an aid for perspective drawing – to transfer vision to a sheet of paper – is used for an opposite effect – to disperse a landscape across time. The viewer is asked to remember the space as it passes and reconstitute it from memory, actively connecting the image across space and time.

  • Gladstone

    A portrait of a street corner in flux.

  • Discovery of Canada, The

    She constructs a symbolic tale of tenderness and violent tendencies to describe her uneasy relationship with the man, the land, the French and those who were there before her. “A disturbing allegory of invasion and conquest where the traps of simple binaries begin to loosen through an investigation of the invader.” – Susan Lord and Marian McMahon

  • Perceptual Subjectivity

    Ideas take shape in a cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. “PERCEPTUAL SUBJECTIVITY” is an essay on the structural formation of thoughts.

  • Do Not Bend

    Sometimes even a monster home in the suburbs isn’t big enough to contain the baggage of one complicated couple. Newlyweds Catye and Jason have it all: looks, excellent jobs, and a great big mortgage they can handle no sweat. There’s only one hitch: they haven’t consummated their marriage. “Do Not Bend” is the story of what happens when two people try to replace reality with a fantasy that is the opposite of their wildest dreams.

  • Limits of What We Know, The

    In 1993, Amy Bodman took a small crew to Zimbabwe to make a film about land as a living entity. Quietly told through the voice of Zimbabweans, THE LIMITS OF WHAT WE KNOW documents the changing landscape of Zimbabwe and its people’s relationship to it. Part travel log, part environmental study and part meditation on life itself, the film reveals nature’s mysterious tenacity in the face of great change. Although the film initially appears to be a portrait of Zimbabwe, THE LIMITS OF WHAT WE KNOW culminates as a heart-felt picture of our changing world as it struggles to compensate…

  • 510 meters above sea level

    A small airport in Switzerland. Simone must bury her father, but she misses her connecting flight. Natalie is waiting – for whom, she doesn’t know yet. Two strangers caught up in a night far away until time catches up with them. German/Swiss German with English subtitles

  • Displaced View, The

    “The Displaced View” traces a personal search for identity and pride, within the unique and suppressed history of the Japanese in Canada. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history are revealed. Utilizing an innovative combination of experimental, dramatic and documentary forms, the film emerges as a deeply moving and compassionate love letter. Just as the official history of the Japanese Canadians has been thrown into question, so does the film’s fictionalized narrative question doumentary as truth.