Film Format: Digital File

  • Heartbreak

    “Heartbreak” is a tribute to black mothers. It was written and produced in response to the constant threat of brutality they and their children (particularly boys) live under. Through poetry and the voice of a 5-year-old boy it relates the very real physical and psychological toll that violence has on black bodies and black souls.

  • Ripples/Derive

    On a summer day, 9 year-old Aissa accompanies her mother Yasmina to one of the houses where she works as a cleaning lady. When Aissa is bullied by Sarah, the daughter of Yasmina’s employer, there are tragic consequences for the victim.

  • In Between/Entre Deux

    On a cold fall evening, Leila is left alone to tend the family convenience store. A series of strange clients keep her in a constant state of apprehension. Language and cultural barriers also contribute to the making of a nerve-racking evening.

  • Mino-bimaadiziwin (The Good Life)

    Mino-bimaadiziwin (The Good Life) came out of the Artist for Film residency at Artscape Gibraltar Point. I was excited about First Story’s walking tour with Elder Carolyn King. I was only able to participate with the aid of a wheelchair and allow others to push me around, it was my first time in a wheelchair. I documented this walk from that perspective with this manual timelapse on Super 8. Reconciling myself as a mixed-race indigenous Colombian settler “walking the red road” while being a person who lives with physical disabilities. Learning to live mino-bimaadiziwin as a settler to Turtle Island…

  • Sum (Heart)

    Based on ideas of Zen Buddhism and rooted in the 7 Grandfather teachings, Sum (Heart) is a rumination on death, grief and letting go. Starting out as a visual mourning song to Wendy Babcock, Mr Toqui Wong and Jack, empty landscapes represent the yearning for the company of dead friends. Water becomes a metaphor for grief and mourning, the ebbs and flows of nature reminds us of the cycle of life which transforms into a stark ode to a new day and new beginnings. I put all my sadness, prayers and hope into this trilogy while still aching for their…

  • V

    Iceland, 2016. Mythical landscapes and moment capture. Nature as mirror of, or backdrop for the self.

  • Why Must The Sun Go Down?

    When a little nightingale wonders to herself why the sun must go down at night, she decides to embark upon a journey. She first meets the Sunkeeper, and asks him why he sets the sun at night. The Sunkeeper explains that it is so the Starmaker knows when it’s time to put stars in the sky. The Nightingale’s journey then leads her to the Starmaker, the Flowermaker, and other celestial creatures of our world… At last she discovers that the sun must go down so that it can rise again in the morning, and that, just like everything else in…

  • 165708

    Shot entirely in 16mm black-and-white film using single-frame photography, “165708” employs in-camera techniques and chemical manipulation of processed film to produce an eidetic study of temporal elasticity. Techniques include flicker, time-lapse, light painting, stop motion, tinting, and toning. Combined with cycles of alternating exposed frames, these methods imbue the work with a rhythmic magnetism, apparent both in the tempo and the aesthetic of the images. Exploring the capacity of the medium to express various notions of time, the film begins with a woman looking out from the shoreline. This acts as a point of departure to disparate yet interconnected sequences…

  • The Burning Desire in a Dollar Bill

    The Burning Desire in a Dollar Bill shows how the special interests of media conglomerates and their parent companies mould our latent desires at a young age, later leaving us confused as to whether we are lusting after the sexually charged imagery or the products being advertised. The film argues that the act of purchasing is the strongest aphrodisiac in a capitalist society, leaving open the possibility that a solution to toppling capitalism is to shift our sexual desires from consumerism to personal freedom from the state. The film was created during a residency at Signal Culture using a modified…

  • FOREIGN QUARTERS

    My mother’s lost Chinese heritage was a point of departure in this film which investigates the process by which an image is constructed in places foreign from that of my own. The condition of distance genetic to the ethnographic image traces the elusive qualities of her past and persona.