Film Format: 16mm

  • Cartouche

    A nameplate on a funery monument; a container for explosive powder (cartridge); an inscription of the filmmaker’s name; a touch. “Cartouche” is an attempted elegy, a mnemotechic for a friend who died. Still obsessed with naming and attendant concerns.

  • Consolations (Love Is an Art of Time) Part 3: The Body and the World

    Very much inspired by the statement I consider belongs among the greatest expressions of contemporary religious faith, Simone Weil’s “Faith is the experience that the intelligence is enlightened by love.” (RBE)

  • Book of All the Dead, Exultations (In Light of the Great of Giving), The

    The Third Region of “The Book of All the Dead, Exultations (In Light of the Great of Giving),” 1976-1994. “Exultations (In Light of the Great Giving)” comprises the following films: “Flesh Angels,” “Barbara Is a Vision of Loveliness,” “Newton and Me,” “Azure Serene,” “Look! We Have Come Through!,” “Exultations: In Light of the Great Giving,” “Sweet Love Remembered,” “Burying the Dead: Into the Light, Trace, Et Resurrectus Est.” For further information, see entries under the individual film titles.

  • Contact

    Following the accidental death of his long-time lover Paul, a young gay man, returns to his childhood home to spend time with his extended family. They are in denial about his sexuality, and unaware of his relationship and recent loss. In a world of memories, and where most things are left unsaid, Paul must establish contact with his own tribe.

  • My Mother at the Consulate

    “My Mother at the Consulate” is a montage-based exploration of absence and presence and the passage of time. It is an addition to a series of personal pieces about the filmmaker’s mother.

  • InsideOut

    The film frame is a metaphor for the body and a Woman feeling like it is a boundary.

  • Castro Street

    Inspired by a lesson from Erik Satie; a film in the form of a street – Castro Street running by the Standard Oil Refinery in Richmond, California … switch engines on one side and refinery tanks, stacks and buildings on the other – the street and film, ending at a red lumber company. All visual and sound elements from the street, progressing from the beginning to the end of the street, one side is black-and-white (secondary), and one side is colour – like male and female elements. The emergence of a long switch-engine shot (black-and-white solo) is to the filmmaker…

  • Untitled

    An abandoned farmhouse serves as a catalyst for the exploration of childhood, fabricated memory, and domestic architecture. As a girl moves from one decaying room to the next, anxiety induced by physical spaces is reflected, and ultimately destroyed.

  • Garden in Khorkhom

    “Garden in Khorkhom” is an impressionistic documentary inspired by the works of Armenian-American painter Arshile Gorky. The film is a tapestry of footage provided by Atom Egoyan’s “Ararat” and footage shot by Torossian. It is an homage to Arshile Gorky, focusing on his relationship to Armenian art and his mother.

  • One Fine Morning

    It’s back-to-school in the fall of 1988. In this bittersweet comedy, Goth high school senior Adam gears up to face Matt, the boy of his fantasies. Through a series of surreal asides, Adam reveals that he penned Matt a song the previous school year. Now, after a summer of wondering, the morning has come that Adam will find out if Matt understood the song’s hidden meaning.