Film Format: 35mm

  • The Birth of a Beautiful Butch

    “The Birth of a Beautiful Butch” is a story about Alex, a gay high school senior, caught between who she is and what she’s supposed to be. On the day of her school pictures, Alex feels struck with an appearance that doesn’t fit right with her body. When she retreats into her mind, she is able to imagine the person she wants to be. Ultimately, she transcends the judgement of others through fashion in an authentic expression of herself.

  • Handful of Dust

    Prussian blue can be used to render images and counteract radiation poisoning. This obituary is composed of sequences of cyanotypes, exposed in the sand using paper sensitized with handmade emulsion and negatives from a 1954 Hollywood film. Rates of cancer in the film’s cast and crew reflect that it was shot downwind during the period of above ground nuclear testing. Handful of Dust, produced in the Utah canyon where the 1954 film was shot, is designed as an antidote to recover the memory of the downwinders. IMAGE AR: 2.35:1 NOTE ON THE SOUND: The integrity of the original –a dirty…

  • Intersextion

    Two abstract energies fall in love, unite as one then disappear into a vanishing point. Cameraless handmade film with handmade optical soundtrack.

  • Brimming

    A fire burns. Water flushes out the chemical leak. Will a historical moment rise to the surface?

  • Bye Bye Now

    When people wave hello to the person behind the camera in home movies they seem aware of waving hello to a future viewer. Yet, upon viewing, the very gesture (re)presents a recurring good-bye to a fleeting moment. This film is an homage to the man behind the camera in these personal 8mm family archives, my father, who left me this heritage beyond mortality in the traces of past lives. — Louise Bourque Review : “BYE BYE NOW is cruel. A movie traumatized by time, which is the passing of time and all that inhabits it. Movies play into that, their…

  • Deep 1

    Filmed over 2 years (2020-2022), at home and away, Deep 1 is a diaristic meditation, flower/plant processed and decayed with hyacinth and lichen extract. Winged and four legged animals, both wild and domestic, traverse the frame marked by a hand-made practice. Filmed from 2020 – 2022, processed and decayed with hyacinth & lichen extract, the film is built on a sustainable practice: images and the imaging making process evolve out of “a complex material engagement with an eco-system that draws out the expressive possibilities of living things beyond conventional forms of representation”. Kim Knowles on Hoffman’s practice – Jury Award…

  • NE Corridor

    Accumulated over three years, Joshua Gen Solondz’s film is a crowded collage of gurgling paint, jagged splices, errant sprocket holes, and puzzling images that conjure the densely material frames of the late queer avant-garde filmmaker Luther Price. A messy assemblage in purples and oranges, NE Corridor is at once a visceral explosion of color and a tortured object.-Leo Goldsmith

  • The Big Film Series

    A collection of nine 35mm hand-processed film portraits, shot using an early motion picture hand-cranked camera. ​The Big Film Series was first exhibited as an expanded cinema series reminiscent of the dawn of cinema. In these performative film screenings, Leopoldo Bloom would create an intimate screening experience by operating a hand-cranked projector among the audience rather than anonymously from an isolated projection booth. While working as a lab technician at Colorlab, Bloom was able to produce restoration prints of the camera originals in this collection, enabling the portraits to be screened at 24 frames per second.

  • June

    June is a film diary shot on the west coast of the United States during the first few years of the twenty-first century. It is a silent visual accompaniment to my first book How to Transition on Sixty-Three Cents a Day. This hand-processed 35mm Ektachrome slide film was shot using still photographic cameras.

  • WE DON’T TALK LIKE WE USED TO

    “Shot between Hong Kong, Japan, and the US, this short is Joshua Gen Solondz’s most ambitious work to date, a portrait of the home and the world that is dense, textured, creepy, anxious, noisy, silly, and confounding, but always tender.”-TIFF “We Don’t Talk Like We Used To” continues Joshua Gen Solondz’s loose series of addled diary films with a film that is part travelogue, part affective almanac, and part cinematic noise show. With stops in Hong Kong, New Hampshire, Japan, and Brooklyn, the film alloys obscured faces, oozing on-screen text, throbbing abstractions, solarized superimpositions, and the occasional dad joke into…