Film Format: 16mm

  • Death of a Gentleman

    Playing tour guide, the director takes the audience through his own disintegration as an old man. Hints of his past loom about in the form of himself as a young boy and a beautiful woman who emanates a relinquished love – or love relinquished. All this, and eventually his own death, must play out in front of the dismissive narrator.

  • 16 Reasons Why I Hate Myself

    Matthew Lancit’s 16 Reasons Why I Hate Myself wryly plays with the concept of selfhood, traversing themes such as neuroticism, introspection and self-denigration. By allowing us an intimate look at sixteen of his supposed personal flaws from the physical to the psychological, Lancit posits the idea that we do not determine our identities but rather they determine us. (Sullivan+Strumpf Gallery)

  • Senescent Vivarium

    Bordering on the fantastic, “Senescent Vivarium” represents four distinct seasons created by plants and insects selected to imitate authentic biospheres. These macro worlds are architectural masters of their own domain yet defy traditional still life representations. Transient narratives of familiar ecological cycles are pushed further into supernatural territory by the effects of hand processed 16mm black-and-white film, and a deeply atmospheric sound score.

  • At Midnight Plays a Dance Tune

    During his mother’s illness and after her death, Roy went through an intense period in his life, in which he felt attracted to the fringes of society. He raced in his car, roamed the streets at night and indulged in sex and drugs. He always had music playing in his appartment, no matter what time it was. During this period of extremities, the memory of his former neighbour Antoine suddenly came back. As a child Roy had been fascinated by the man and looking back now it seemed like Roy’s current life mirrored that of his former neighbour. Even though…

  • On the Line

    “On the Line” is inspired by Isa Shimoda, a butch gender nonconforming immigrant who served meals to Japanese American tuna cannery workers in her restaurant on the docks of San Diego in the 1930s. She was known for her masculine attire as well as her skills at naginata, a sword-based martial art practiced by Japanese women. Her restaurant was a refuge for the women who endured gruesome hours cleaning fish and lived in meager housing shelters known as “fish camp.” Shimoda has two sets of wartime records from the incarceration camps—one identifying her as female, the other as male. “On the Line” uses…

  • Wayward Emulsions

    Fleeting cinematic impressions of a wayward woman are captured in the oblique wanderings of emulsion lifted from stray reels of 35mm film. Winner, Experimental Short Grand Jury Prize, Slamdance Festival 2019

  • Sworded Love

    Fleeting cinematic impressions of star-crossed swordsmen are captured in the oblique wanderings of emulsion lifted from a stray reel of a 35mm kung fu action film.

  • Lift Little Tokyo

    Maps and memories of Little Tokyo’s historical district of Los Angeles are uplifted via scotch tape transfers.

  • Between Two Cinemas Part 1

    For the past thirty years filmmaker/archivist Ross Lipman has cut a winding path between classic international cinema and the American avant-garde. In this riveting but completely unclassifiable work, he looks back at a life in the cinema and an indescribable divide at the heart of it. Part biography, part clip essay, part abstract painting, “Between Two Cinemas” integrates 4K restorations of his old films inside a new documentary/essay linking them. It uncovers previously unseen archival material on Stan Brakhage and Andrei Tarkovsky, and adds new collaborations with artists including visionary experimentalist Bruce Baillie, Jeanne Dielman cinematographer Babette Mangolte, Bela Tarr…

  • Ocean III

    Ocean III is part of a series of films loosely connected by a similar process of cinematography that sees the operation of the camera as a kind of intuitive performance; specifically the way lenses, filters, and camera are manoeuvred in a single long take to create an impression of a space, while also frequently abstracting it.