Genres: documentary

  • The Sweater

    Historian Carolyn Steedman, in writing about her own working-class childhood, describes how, for children of working-class families, it is often the mother and not the father who embodies power. The child experiences a father who is relatively powerless in the larger social world outside the home, so that even if he is physically powerful, as my father was, he can simultaneously be perceived as a weak man. “The Sweater” blends 16mm hand processed film with found footage and video to explore childhood memories triggered by finding the last thing my deceased father gave me. Using short vignettes, I tell several…

  • A Life on the Borderlands

    This is a film about my father, who immigrated to Montreal from Chile in the early 1970s after a hard-scrabble life on the streets of Santiago as a youth. Like my mother, who immigrated from Argentina around that time, his mobile life was characterised by neither chain migration nor lasting social ties with members of his ethnic group. His story is also a story about class, politics, and complicated histories of migration and exile.

  • A Parent’s Wishlist

    A short film about upward mobility and working class aspirations, A Parent’s Wishlist focuses on something that could be found in many North American homes between the mid-twentieth and early twenty-first centuries – a set of encyclopedias. Dragged from one city to another and across the country by my Chilean father, his Encyclopedia Britannica set came to symbolise his hope for a better life for both himself, and for me.

  • The Places We Lived

    The Places We Lived uses a large family archive of Super8 and digital home movies from the mid-1970s to late 1990s to grapple with the hopes, dreams, and disappointments of two South American immigrants who moved to Montreal in the wake of the excitement and optimism generated by Expo ’67. This story focuses on the father, Jose (“Pepe”), whose life in Canada followed four hardscrabble decades in Chile. A story about childhood and fatherhood, aging, capitalism, and obsolescence, The Places We Lived opens up new questions about class, memory, diasporic narratives, and the complicated histories of migration and exile.

  • K-SARAM I: Tale of the pig head

    Centered around the Koryo-saram community in Rostov-on-Don, Russia, the film displays a shamanistic memorial ancestral ritual „Jesa”, encompassing the collective memory of Korean diaspora, the wish of the Koryo-saram for a unification of South and North Korea, and showing the real appearance of the ghosts of migrants whose transformation to spirits was not succeeded. “Saram” means human in Korean. The title refers to the today very popular K-export- products like K-Drama, K-Pop, K-Beauty, etc. and to the name that the Soviet-Korean diaspora uses instead of the South-Korean term “Koryo-In”. Approximately 500,000 ethnic Koreans reside in the former Soviet Union. Most…

  • Bellydance Vogue

    “My birthday was on the 3rd of April 2020, and for the first time, I celebrated it all by myself. But even if I was alone, I decided to celebrate it as if it’s the last one” The film was made during quarantine, using archive films from the 80-90s and using VHS recorder app.

  • Pappy’s Garden

    A personal tribute to the filmmaker’s grandfather, a first-generation immigrant to Toronto, Canada from Jamaica in the 1950s. Through both digital and super 8mm found family footage, Mike’s past catches up with him as he struggles with difficult memories from his childhood in Jamaica, finding comfort in his spectacularly over-grown garden.

  • From Tanzania, With Love

    After appearing in a remake of the Macklemore & Ryan Lewis hit single “Same Love”, Dayon Monson is forced to flee her home in Tanzania. Facing extreme persecution for identifying as trans and promoting LGBTQ human rights, Dayon connects with Rainbow Railroad in hopes of seeking asylum in Canada. This is her story.

  • I’m a fag 4 U

    Inspired by the cinematography of “Truth or Dare” and “Paris is Burning,” this video is an homage to late 80s/early 90s gay culture and aesthetic. Shot in 16mm, it features co-director Vivek Shraya and two other queer dancers (Rodney Diverlus and Phil Villeneuve) reclaiming streets and sidewalks, common sites of homophobic violence, and the word “fag.” Also a creative response to the loss of queer spaces during the pandemic, we hope that this video will remind queer viewers that they aren’t alone, even when we can only connect virtually, and that our queerness–and faggotry–is beautiful and alive. Image description: A…

  • The Names of Things

    A bed-bound woman’s year passes as a day: her time is no longer measured by the increments of a clock but by the quality of weather outside her window. Objects emerge and merge in the gloom; the old woman dissolves and reforms. Her muteness, her glaucomas and her inactivity render things indeterminate. By naming objects, animal and phenomena we reduce and delineate them, and so separate ourselves from the world around us. Shot at ISO 409,000 the image is granulated by pixelation and noise and any discreteness an object or thing might possess is confused by the digital processes of…