Film Format: 16mm

  • Process, The

    LIGHT was primary in my consideration. All senses of “process” are (to me) based primarily on “thought-process”; and “thought-process” is based primarily on “memory re-call”; and that, as any memory process (all process finally) is electrical (firing of nerve connection) and expresses itself most clearly as a “back-firing” of nerve endings in the eye which DO become visible to us (usually eyes closed) as “brain movies” – as Michael McClure calls them. When we are not re-constructing “ a scene” (recalling something once seen), then we are watching (on the “screen” of closed eye-lids) the very PROCESS itself. (SB)

  • Prologue: Infinite Obscure

    The film began with the idea of doing a “remake” of “Moby Dick” using the parts of the text that John Huston omitted from his version. A number of other issues began to take precedence however: the politics of the translation process; the relation of filmic to hieroglyphic writing; the possible intersections of (auto) biography and fiction; the articulation of (filmic) writing and (homo) sexuality. (MC)

  • Psychosynthesis

    The sub-personalities of me, my baby, athlete, witch, and artist are synthesized in this film of superimpositions, intensities, and colour layers coming quietly together through the healing powers of natural touchstone. (BH) “…I would gladly go out of my way to see it again and would travel some distance to a retrospective of its author’s work.” – Tom Dowling, Washington Star “Ms. Hammer, a feminist artist in a male-dominated industry, is clearly someone who has ideas which go beyond male-female roles into the very nature of the film experience. Her awards and prizes include the Louise Riskin Prize and her…

  • Puamana

    Aloha! This gentle portrait of Auntie Irmgard Farden Aluli, one of Hawaii’s best-loved composers, focuses on Hawaiian women’s contributions to family structure, art, music and dance. An intimate glimpse into the real culture of the islands.

  • Puits de Lumiere, Le / Light Shaft

    “Light Shaft” diagonally crosses the screen with a wedged light formation, usually on the diagonal. Its variations are rendered through arrangements of the tripod while panning the camera. Limiting the viewer’s attention to a smaller screen, a point in space, allows for a certain confusion as to whether the rest of the (dark) screen blends itself into the surrounding blackness or is just a window ino it. This is more apparent when the “wedged light” goes out of the frame. It can be felt as if crossing the room; and it reappears at the opposite end of the frame. Sometimes…

  • Pursuit / Flight

    Animator Marilyn Cherenko continues her exploration of the poetic and spiritual qualities of life. The most lyrical of her films, “Pursuit/Flight” explores a woman’s fascination with a bird and the consequences of trying to “capture” freedom.

  • Quatuor de l’exil, Le

    This film tells us the story of four francophones, aged 17 to 19, who have come from the war-torn and hunger-ravaged country of Somalia. Having just arrived in Canada, they are searching for cultural reference points that allow them to reconstruct their universe. But the way they live marginalizes them and they do not always recognize themselves in modernity. How can they reconcile old and new, past and present, myth and reality? It is this quest for remembrance, identity and freedom which the filmmaker seeks to capture.

  • Quiproquo

    Situated in an environment where nature and social-industrial technology meet, the film attempts a visual dialogue with (and critique of) mainstream society’s concerns. To the extent that it refers to the economy of means involved in relation to what is stated, the work is both a reflection on the possibilities of the medium and an inquiry concerning the implications of the reality filmed.

  • R34

    “Begun with a softly focused series of close-ups, London artist Greg Curnoe is unfurled in an impressionistic hue that gives way to a cataloguing of his Schwitters-like collages. Chambers proceeds with a strict attention to rhythm, chaining together recycled fragments in a round dance that swings in and out of closing doors, image winking out of darkness, the products of Curnoe’s labour intertwined with his own cooking, combing, taking out the garbage. His montage is not merely content to show an artist at work, but actively mimes the very work it is witness to. “A fragmentary confessional ensues, broken lines…

  • Rage Net

    A hand-painted film which deals with the mind’s visual absorption after the fact of blind rage. (Printed twice on the reel.)