Film Format: 16mm

  • Lesson, The

    A close look at the hilarious representation of language inspired by the absurd, existentialist writings of Eugene Ionesco.

  • Deutschland

    “Bowen returns with a multi-screen fairytale about a Haunted Girl and her Cousin. ‘Deutschland’, like her previous ‘sadomasochism,’ strains cinema through language, asking that we read along with a woman recalling her German roots while a four-play of home movies flicker by underneath her grave. The English text in the present is both summary and benediction (‘The war is over’), understanding that memory turns the people of our lives into characters, and all the characters are us.” – Mike Hoolboom, Images Festival of Independent Film & Video, 2000

  • Promised Land

    “Promised Land” is an experimental documentary film that mixes the personal and the political. It follows the story of my family in Peru, from the middle of the last century through to the present day. It is told from a personal point of view and also in relation to the political developments taking place throughout the Latin American continent. This film waves together these various viewpoints, forming a unique perspective on memory, history and identity. (MA)

  • Exquisite Corpse

    The “Exquisite Corpse” is a drawing method in which three individuals draw part of a body without knowing what the other parts looks like. The results are often bizarre accumulations of characteristics and variations on themes. Here, three curators interpret this method in the form of a rich complex programme of short films on the queer body. Our bodies have often been the site of obsession, whether through our expression of love, sex, and sexuality or hatred of the abject, the ill and the repudiated. The beauty of the Exquisite Corpse is the conceptual interpretive shifts that take place mimicking…

  • Cannot Not Exist

    In this non-orange negative of a hand-painted film, a series of luminously pastel shapes – often patches of colour against a stark white background – are interspersed with nearly black intermittent smudges punctuating white. These visual themes develop gradually into a series of multi-coloured vertical lines which weave contrapuntally in relation to theflickering (single-frame) paint shapes. Twice, a solid (as if photographed) shape is seen receding from the amalgam of paint. Masses of tiny dots and “curlicue” shapes sometimes interrupt the thematic progression from irregular paint-shape flickerings to fluidity of vertical lines: this theme eventually resolves itself through the intervention…

  • Manipulator

    A master brings out his slave and attempts to control him. Things go terribly wrong. Every touch of the slave produces a distortion that encompasses the master. Who exactly is the manipulator? The slave, the master, or the filmmaker?

  • grotesque

    A devil makes a violent attempt to change himself into a heavenly creature. His evil process backfires when he is confronted with the creatures from within.

  • Puppets & Demons

    Here’s a peek at some early cinematic works by Patrick McGuinn. These ten award-winning short films use a blend of folkloric icons and modern dilemmas to tell their humorous, fresh and unique stories. See the oddities, mysticisms and boldness that would typify later works like “Desert Spirits” and “Suroh: Alien Hitchhiker,” films which have stuck chords in the hearts of millions.

  • Begin (Toxic 1)

    “Begin” uses hand-processing and collaged sound as an overture to life. The first in Saul’s “Toxic” film series, this chapter explores the way birth and death, life and decay interweave.

  • Partisan

    “Partisan” is a dialogue-free stop-motion animation that explores the problems inherent in a partisan political system via a cast of characters created out of small scale found objects. A look at the challenges of having one’s voice heard from outside a political party, as well as the muzzling of the individual which takes place from within one.