Film Format: 16mm

  • Wallflower

    A shy person, frightened at social settings, makes several attempts to communicate and then succeeds in a bizarre and unusual way. Deliberately focusing on the one who rarely gets much attention and recognition; the theory is that inside every introvert there is an extrovert and vice versa, and that there are myriad ways of expressing human experience, not always through conventional channels.

  • Warm

    Wrik Mead’s dreamy “Warm” suggests the comfort of an embrace as a pixillated naked body flailing against a crumbling ruin… is released from the anguish of containment by another man’s touch.

  • Watching

    “Watching” is a short ‘experimental documentary’ shot in super 8 format in Peru. The images reveal everyday life-people cooking, dancing in the street, young kids hanging out interspersed with the images of striking miners. This mix of anger, despair and joy are blended together to say that all of these are the ingredients of life here- one is not more important than the other. Together they reveal the power of ordinary people and culture. The‘ romantic’ music that accompanies the images and the use of ‘watching’ eyes serve to critique mainstream culture and its view of the ‘third world’.

  • Black Cat White Cat It’s a Good Cat if It Catches the Mouse

    “Taking its title from a quote from Deng Xiaoping, ‘Black cat white cat – it’s a good cat if it catches the mouse’, this film was shot during a visit to the People’s Republic of China. Rimmer’s impressionistic, experimental travelogue is a dizzying dialectical portrait of the enigma that is modern China: an ancient society of a billion souls rushing headlong into modernity. “The measured, quiet grace of the traditional art of T’ai Chi gives way in Rimmer’s film to increasingly rapid sound and image montages. Western movie posters, ‘Surfin’ USA,’ burger stands, pre-recorded English lessons, Scientology advertisements, and modern…

  • Watching for the Queen

    A mathematically ordered restructuring of two seconds (48 frames) of stock newsreel footage, primarily concerned with the frame as information unit and the change in formation between frames. “The first frame of the original shot is frozen for 1200 frames (approximately one minute), the next two for 600 frames, the next four for 300 frames, etc. The result is a slowly accelerating montage and a concretization of the ‘real’ event through time. It is as if a re-invention of the motion picture domain of ‘reality’ was being undertaken. The transformation of a ‘sea of anonymous faces’ into a ‘narrative of…

  • Water Power

    This film uses archival footage and still photographs to trace the history of water power and visits operating units of various small sizes. Manufacturers and consultants are interviewed. The filmmaker speaks from personal experience. We watch the development pf his own micro-hydro unit in rural Nova Scotia from conception to production of power. This is a warm, evocative film full of useful information that matches its subject matter beautifully. “An excellent overview of the history and urrent uses of hydropower.” – Southeast Small Scale Hydropower Bulletin “An interstesting film which makes a good argument for the development of alternate energy…

  • Water Sark

    I decided to make a film at my kitchen table, there is nothing like knowing my table. The high art of the housewife. You take prisms, glass, lights and myself to it. “The Housewife is High.” “Water Sark” is a film sculpture, being made while you wait. (JW)

  • Waterworx (A Clear Day and No Memories)

    The waterworks in the Beaches area of Toronto is the source of an eidetic-like image from early childhood. It was always an enigma to me, and after returning years later to shoot this film, I was still not satisfied it was merely a filtration plant. Its architecture functioned more significantly as some kind of temporal metaphor. Wallace Stevens’ ironic and equally enigmatic poem, “A Clear Day And No Memories,” was sought out to address this phenomenon, and to appear as interruptive graphic for the same reason the editing is interruptive – that is, to both work with the alluring nature…

  • Wavelength

    “The outstanding film of 1968… a very beautiful and important film.” – Jonas Mekas, Village Voice “‘Wavelength’ is without precedent in the purity of its confrontation with the essence of cinema: the relationships between illusion and fact, space and time, subject and object. It is the first post-Warhol, post-Minimal movie; one of the few films to engage those higher conceptual orders which occupy modern painting and sculpture. It has rightly been described as a ‘triumph of contemplative cinema.’” – Gene Youngblood, L.A. Free Press, 1968 “Michael Snow’s ‘Wavelength’, a pure, tough 45 minutes that may become ‘The Birth of a…

  • Waving

    “Waving” is a short film exploring the cyclical rituals of life, death and the family. A personal narrative chronicles the relationship between the author and her grandmother. Visual imagery works to create a strong metaphor, suggestive of the overwhelming, consuming power of grief.