Film Format: Super 8

  • Dress Code

    A humorous look at the stick-girl on the sign of a ladies’ bathroom door.

  • Talk Salo

    When Spencer urges his unsuspecting friend, Aaron, to watch “Salo”, Pasolini’s profoundly disturbing 1975 film, the horrifying experience rips into Aaron’s sense of security and morality. Confused, betrayed, and disgusted, Aaron asks of his friend, “Why did you show that to me?” But Spencer’s motives are much too complex for words.

  • Friend

    Relationships are never simple. Something as seemingly simple as “friend” is complex and layered. Through personal Super 8 footage, the filmmaker examines his relationship with someone who is more than “just a friend,” uncovering the things that held the two together and the things that drew them apart.

  • Tourbillon, Le

    Over and over I am mesmerized by Jeanne Moreau’s presence in cinema. Enigmatic, gutsy, provocative, she defines the true female avant-garde artist. (LB) English and French with subtitles.

  • Slickster Fixter

    A noodle-legged hero plucks distressed females out of otherwise boring predicaments.

  • Pink Eyed Pet

    Sometimes topical treatments aren’t enough to cure love’s infections.

  • Canada: Sperm Bank of Satan

    In 1999 a U.S. preacher called Canada ˜the sperm bank of Satan“ after the Supreme Court extended the definition of spouse to include same sex couples. This film is an oblique response. “Canada: Sperm Bank of Satan” comments on Canada-U.S. relations: if Canada is a “sperm bank,” who is on top? This queer road movie has fun exploring Canadian identity and the way it is shaped by Canada’s relationship with the United States.

  • Airs

    This film rises out of my struggle to photograph the ephemeral qualities of varied air (as many Greek philosophers experienced such) and to arrange the resultant textures/tones of film (in sharp conjunction with images hard-edged as words can be) so that it be true as breath itself to the necessities of music.

  • Thin Bleeding Walls

    Recounting the painful memory of a mother with a problem and a brother’s means of coping.

  • No You Cyant Touch It!

    Shot in black-and-white and sepia tones, “No You Cyant Touch It!” incorporates an understanding of race, ethnicity, gender and sexuality as it deals with Black women’s favourite obsession – hair – from an interesting perspective. The film’s creatrix and subject examines the link between her locks, her Black, queer identity, and other people’s understanding/assumptions of who she is and where she “belongs.” The stark tones and political subject matter are mediated by Rhizome Syndrigast Coelacanth Flourishing’s lyrical poetics.