Film Format: Digital File

  • when the smog-filled wind began to howl

    We know now that in the early years of the twenty-first century this world was being watched closely by intelligences greater than man. [adapted from Orson Welles’ adaptation of HG Wells’ War of the Worlds (Orson Welles And Mercury Theatre On The Air, Columbia Broadcasting System, 8:00 To 9:00 P.M., Sunday, October 30, 1938)]

  • where she stood in the first place.

    Situated at the geographic centre of Canada, Baker Lake, Nunavut is the only inland settlement in the Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre’s haunting and sparse film uses hand-wrought black-and-white 16mm film in a meditation on place and personal histories.

  • ada

    An observational video portrait of an Inuk elder, patiently knitting. A study of the passage of time. FAVA Award for Outstanding Documentary, 2012

  • on the day it started there wasn’t a cloud in sight

    it was about 10 minutes to five o’clock when it descended upon the city.

  • Maverick

    “Maverick” is a meta-film. Part lucid dream, part manifesto and part autobiography; the film is an affirmation of the power of film flicker. Embracing the potential of an indeterminate process this Super 8 film has been entirely hand-processed, experimenting with alternative chemical process to achieve unique and unpredictable images. The films visual dialogue implies that these are not “special effects” but rather the mediums main mode of expression. Less about interpreting images and more about capturing them, Maverick traverses time in the medium of light to construct a particularly analog view of the world mediated by the mechanical eye.

  • Dynamique de la pénombre (Half light dynamics)

    An encounter in dark places, movements in chiaroscuro and the breath of a rising wind illuminate the darkness of the frame. An intimate dynamic is setting up. It will bring out, in all its magnitude, the light of day. “Half light dynamics” captures the nuances of an encounter, the apprehensions and desires that are forged in the depth and darkness of the frame. Glimpsed movements and possible outbursts offer to the eye and ear all the dynamism of an emerging world. Focusing on details of the gestures and on the presence of the body crossing the darkness, “Half light dynamics”…

  • Waiting Room

    The pulsating rhythms of fluorescent lighting not quite in synch with those of the video image, create a singular array of drifting yellows. Camera handler and son waiting for a pediatric doctor’s appointment, while playful taunts mingle with the curious decor, the focused patients, slow blurs and daily life unfurl. Chance encounters, accidental time, in spite of everything, small miracles of cinema and being.

  • Lecciones en Proceso (Lessons in Process)

    “Lessons in Process” is a poetic documentary about a film making workshop given by Canadian filmmaker Philip Hoffman at the famed Escuela Internacional de Cine y Televisión de San Antonio de los Baños in Cuba. Founded in 1986 by Argentinean poet and filmmaker Fernando Birri, Colombian writer Gabriel García Marquez and Cuban filmmakers Julio Garcia Espinosa, and Thomas Gutirres Alea, “the school of the three worlds” was established to give students from developing countries in Latin America and the Carribean, Africa and Asia, an opportunity to participate in the democracy of the image. Hoffman collaborates with the students to produce…

  • Parallèle Nord (Parallel North)

    “Dans un monde réellement renversé, le vrai est un moment du faux.” – Guy Debord, La société du spectacle Qu’en est-il de la forêt boréale? “In a world that has really been turned upside down, the true is a moment of the false.” – Guy Debord, The Society of the Spectacle What about the boreal forest?

  • Just Passing Through

    Told through the perspective of a landscape, “Just Passing Through” tells the story of evolution as one image gives rise to the next. The film explores the relationship between permanence and impermanence where familiar subjects are fleeting and we are left to contemplate unfamiliar landscapes.