Genres: experimental

  • Still Light

    A pregnant moment from Hitchcock’s “Vertigo” triggers this haunting exploration of lineage, memory, and loss. Using a combination of 16mm and Super 8 film, “Still Light” journeys through a forest of old photographs, shadowed by the ethereal voice of Kim Novak.

  • Dying for the Pleasure

    “Dying for the Pleasure” is the result of a poem-as-script strategy. It is a darkly humorous, kaleidoscopic trip down Memory Lane, the audience witness to a woman’s anxiety surrounding the loss of our humanity after we “crawl inside,” to become enveloped, shielded, and cut off from others by a body of steel. Director: Katrin Bowen Writer, Producer: Heather Haley

  • Moving Images – The Film-Makers’ Cooperative Relocates

    The day the Film-Makers’ Cooperative was forced by loss of lease to move from their offices at Lexington Ave. and 31st Street in New York City, filmmaker and Coop member Joel Schlemowitz showed up with a camera to document the historic moment. On the soundtrack Jonas Mekas, one of the Coop’s founders, and MM Serra, the current executive director, describe the Coop’s beginnings, the organization’s recent struggles, and the difficulties of finding space for the arts.

  • States

    The deepest recesses of the human psyche. An interpretation of Freud’s theory of transference.

  • Butte

    Poetic and sensual, “Butte” unfolds over the course of a day, marking the progression of time at four key points – sunrise, mid-day, late afternoon, and sundown. Filmed on the Blood Reserve in the plains and ancestral grounds of Southern Alberta, the camera instinctively accentuates dancer-choreographer Byron Chief-Moon’s deep connection to the land. The film captures images of nature and the connectiveness with the land – undulating waves of wild grass, the slow passage of clouds, pastoral, woodland thicket, and streams. The body as landscape is the central image; where the flesh, bone and muscle become synonymous with the land.

  • Sophie’s Place

    A culmination of five years of work. Full hand-painted cut-out animation. Totally unplanned, unrehearsed development of scenes under the camera, yet with more ‘continuity’ than any of my previous animations, while meditating on some phase of my life. I call it an ‘alchemical autobiography.’ The film begins in a paradisiacal garden. It then proceeds to the interior of the Mosque of St. Sophia. More and more the film develops into episodes centering around one form or another of Sophia, an early Greek and Gnostic embodiment of spiritual wisdom. She is seen emanating light waves and symbolic objects. (But I must…

  • Dance, The

    “With an irresistible humour, Rimmer speculates in “The Dance” on the nature of the film loop. We see a (1920’s) couple whirling around a dance floor at a dizzying pace… Even after the technical building block of the film is evident, the vertiginous effect remains… Uncanny in its ability to evoke complexity of responses from a simplicity of means.” – Art and Cinema, #2

  • Hamfat Asar

    The strangeness of this film is laced with carefully molded apocalypses as the filmmaker explores a vision of life beyond death – the Elysian fields of Homer, Dante’s Purgatorio, de Chirico’s stitched plain. A moving single picture. Evolving the structure or script for the film involved a process of controlled hallucination, whereby I sat quietly without moving, looking at the background until the pieces began to move without my inventing things for them to do. I found that, given the chance, they really did have important business to attend to, and my job was to furnish them with the power…

  • Once Upon a Time

    In many ways a more searching, and certainly a more complex film than “Our Lady of the Sphere”. We are first presented a cobweb castle, filled with the haunting doubts of the young protagonist. Spirits appear on the screen and are heard on the soundtrack. Gradually a female guide emerges and escorts the young man into an antechamber to another (and possibly higher) world.

  • Chateau/Poyet

    The scene is set in front of a French chateau. The camera chases improbable incidents across the screen. Many are constructed out of one of Jordan’s favourite engravings illustrators: Poyet. Duels occur on a tight rope. Blow guns spear exploding spheres. The timing of the animation is exquisite, existing in an atmosphere balanced between frenzy and delight.