Film Format: Digital File

  • the medium is the message

    An age of numerology communication : numbers digits : representation algorithms : codecs compression : bitrot : memory what message? THE FUTURE IS THE PRESENT

  • Expo Film (this film is my memory)

    Using anonymous home movie footage of Expo ’67 in Montreal, the artist sets out to recreate a memory that perhaps never existed. Celluloid manipulation and sound decay techniques coalesce to transform a mythic landscape into a sublime expanse of disintegrated memory. Image description: A Grainy and nostalgic image from an amusement park. A red gondola of a sky ride is in the foreground and crowds and a ferris wheel are in the background. 

  • My Gentrification

    “A voice tells us: “a friend of mine drew a circle on a map and said, ‘this is where you wanna live’.” The this refers to a subsection of Toronto between Bathurst and Dufferin streets, but it could just as easily refer to the city as a whole, an area bustling with life. Or, at least it did. Marcos Arriaga’s “My Gentrification,” explores the changes in the ever-gentrifying metropolis through the lens of archival footage they procured through decades of documentation. There’s a real Jonas Mekas vibe to Arriaga’s film, which is replete with voiceover narration and grainy celluloid archival…

  • Jatun LLaxta, Noh Kaah…

    A short experimental film that explores ancient native cities in America. Images of Machu Pichu, Sacsayhuaman, Uxmal, Chichen Itza, and Mesa Verde had been blow up from Super 8 to 16 mm, handheld developed and reticulated to create an evocative view of our past.

  • still

    A meditation on holding on in isolation, made with a personal cell phone and limited equipment at the beginning of the Coronavirus pandemic in Ottawa.

  • The Story of the Dancing Heart

    A poetic, flowing Heart dances with ease day and night. A busy, curious Mind sets off on a journey to learn to dance as rhythmically and as elegantly as Heart. But the more desperate he becomes, the harder it gets. Maybe Mind will never encapsulate Heart’s lightness and innate delight. Or maybe music will show Mind the ways of the Heart.

  • Ruines

    Sur l’autoroute 15, juste à l’extérieur de Montréal, se dresse un monument à la Révolution tranquille : les écrans en décomposition du Ciné Parc Laval, ouvert en 1971, l’année où les ciné-parcs ont marqué l’histoire du Québec. En 1947, sous la pression de l’Église catholique, les ciné-parcs sont interdits au Québec. C’était la tentative de l’Église de réglementer le sexe en dehors de la sphère domestique. À l’origine un drive-in à 2 salles de cinéma, le Ciné Parc Laval est rapidement devenu 4 écrans en raison de sa popularité. Ce film utilise des segments de Frissons (1975) de David Cronenberg…

  • A Kiki with Bobby Bowen

    This short documentary-style interview film takes a quick look at some key terms that originated within queer Black and POC communities (such as the ballroom scene), tracing their cultural significance to contemporary mainstream popular culture.

  • Anything is Everything

    Anything is Everything is composed of sequences of disparate footage, but with threads to follow, a web on interconnections: circular shapes from outer and terrestrial space; animals and humans; words and ideas. Stuttering, flickering, blinks and blanks set bits of time and space next to each other – seeing connections from the traces. As with most of Sternberg’s films, Anything is Everything considers the questions: what is life, how do we perceive it, how as humans are we a part of the world?

  • Drawn and Quartered

    Regular 8mm footage enlarged to 16mm (literally a “drawn and quartered image”). A male form and a female form exist in their own private domains, separated by a barrier. Only for a moment does the one intrude upon the pictorial space of the other. An experiment in form/content relationships that are peculiar to the medium. “Images of a male form (on the left) and a female form (right) exist in their own private domains, separated by a barrier. Only for a moment does the one intrude upon the pictorial space of the other.” – Albert Kilchesty, LA Filmforum San Francisco…