Film Format: Digital File

  • CHRISTEENE “FUK V29”

    Welcome to “FUK V29”, the 8th installment of the CHRISTEENE Video Collection. Sit back. Open your mouths. Spread your legs. Don’t hide nuthin’.

  • Soak

    Soak is a short experimental student film shot and edited on digital formats, produced at Simon Fraser University’s School for the Contemporary Arts. This film explores the physical and emotional sensations of self-care. In this film a woman attempts to pull herself out of her sinking mood by taking a bath.

  • Kino Crvena zvijezda (The Red Star Cinema)

    “During the Homeland War I worked as a war reporter in Vinkovci, the town I grew up in. One of the air raids destroyed the Red Star Cinema, the cinema of my childhood. There, as a kid, I dreamt of a great film career. Among the debris I found pieces of damaged filmstrip with clips from different film titles produced in the former state. A Filmstrip’s function is cinema screening. Splicing the pieces together could not restore the strip’s initial purpose. Destruction and damage changed the strip’s content and gave it a new quality. Even the Old Bridge in Mostar,…

  • STILLE STADT

    STILLE STADT (trans. Silent City) depicts the state of contemporary urbanity through an Everyman on the verge of a mid-life crisis, who goes through his life of routine both stricken and sustained by opera arias, that stand in for his thoughts and emotions that only he (and the audience) can hear. STILLE STADT in an allegory of modern existence that blends the real with surreal to explore how urban dwellers lose their connection with the environment, people, and praxis; and the suppression and containment of those lost connections by consumerism, distraction, and interiorization. STILLE STADT is an update and inversion…

  • Adrift in Sunset

    Dao is ready to go on her date but she also has to spend time with her mom who has Alzheimer’s—bringing her gallivanting ways to a halt. Is it really a good idea to combine the two?

  • Head Cleaner

    Hand-drawn and digital animation, analog video effects, re-photography and video feedback transform images issuing from an apparently malfunctioning machine. Materials and objects, in varying physical or mediated transfigurations, pervade each scene, as relics from one moment in a transformation from girlhood to womanhood. Tongue-in-cheek commentary on entertainment technology’s fraught relationship to individual agency and identity, and its role in the standardization of expression and behaviour, underlies a loosely suggested coming-of-age narrative.

  • The Well

    When Anna arrives at Jane’s house for a date, she finds a quick high and kinky sex. But their sexual chemistry can’t quite overcome the class and race differences between them, and the encounter leaves Anna wanting more.

  • Overpass

    Beginning with an afternoon drive down a Los Angeles highway, Overpass weaves together intimate stories of histories of racial and domestic violence against the backdrop of the infamous OJ Simpson car chase in 1994. In this lyrical, experimental short, filmmaker Kami Chisholm draws from television news reports, archival footage, and her own family history to explore the gaps between celebrity spectacle and the mundane realities of interpersonal violence endemic to US society.

  • Femme Haiku

    A young femme contemplates love and loss in the heart of winter in “Femme Haiku.” The film explores the mystical ways in which memory, imagination, and desire haunt our lived realities, as well as specific sites in the world through which we move.

  • Le Phare

    Unlike the Eiffel Tower or the Empire State Building, Montreal’s iconic urban landmark is horizontal and spectral, not vertical and solid. Le Phare is a filmic portrait of the Montreal’s nocturnal marker, a spinning beacon that has been raking four long beams of light across the city’s environs since 1972. The nightly presence of these intense, rotating rays is reassuring for many, and yet also oddly perplexing: the illuminating machine does not provide reconnoitering for aviation; it is not synched to act as a time-keeping device; nor does it commemorate a specific historic moment or personage. Indeed, the lights serve…