Genres: experimental

  • Tamalpais

    Shot on Mount Tamalpais, a spatial matrix replaces temporal causality with contiguous space. A view of landscape is taken apart, to be reconstituted through memory. The grid, a reference to the “veil of threads” invented by Albrecht Dürer as an aid for perspective drawing – to transfer vision to a sheet of paper – is used for an opposite effect – to disperse a landscape across time. The viewer is asked to remember the space as it passes and reconstitute it from memory, actively connecting the image across space and time.

  • Gladstone

    A portrait of a street corner in flux.

  • Discovery of Canada, The

    She constructs a symbolic tale of tenderness and violent tendencies to describe her uneasy relationship with the man, the land, the French and those who were there before her. “A disturbing allegory of invasion and conquest where the traps of simple binaries begin to loosen through an investigation of the invader.” – Susan Lord and Marian McMahon

  • Puccini Conservato

    “Puccini Conservato” (Canada/Italy) was commissioned by the Lucca Film Festival for the 150th anniversary of the famous Italian composer’s birth. In this delightful video, the Canadian master offers a witty visual and sonic commentary to Puccini’s La Bohème.

  • Miss Edmonton Teenburger 1983 in It’s Party Time!

    Watch in awe as Miss Edmonton Teenburger 1983 graces the screen in her first featurette, IT’S PARTY TIME! A story as layered as her hair, as ethereal as her style. A pop explosion of Ukranian delight that will leave you bedazzled. Are you ready?

  • Miss Edmonton Teenburger 1983 in You’re Eternal…

    This featurette stars a young Miss Edmonton Teenburger 1983, who escapes into a world of fantasy, as she deals with the pressures of youth. Unicorn! Wizard! And ketchup chips!

  • Perceptual Subjectivity

    Ideas take shape in a cerebral magma where the referents are assigned to parcels of experience from which intelligible elements are formed. “PERCEPTUAL SUBJECTIVITY” is an essay on the structural formation of thoughts.

  • Limits of What We Know, The

    In 1993, Amy Bodman took a small crew to Zimbabwe to make a film about land as a living entity. Quietly told through the voice of Zimbabweans, THE LIMITS OF WHAT WE KNOW documents the changing landscape of Zimbabwe and its people’s relationship to it. Part travel log, part environmental study and part meditation on life itself, the film reveals nature’s mysterious tenacity in the face of great change. Although the film initially appears to be a portrait of Zimbabwe, THE LIMITS OF WHAT WE KNOW culminates as a heart-felt picture of our changing world as it struggles to compensate…

  • Blue Covers

    When the adult survivor of sexual abuse meets her lover, she struggles to remain present. She must remember that the hands of her lover are not the hands of her childhood abuser, and so, the separation between past and present begins to blur. Narrative and experimental, “Blue Covers” is an emotional, psychological and spiritual journey. A compelling look at the effects of sexual trauma, this short film is for survivors of abuse and those who care for them. “Blue Covers” was made possible through the generous support of San Francisco Women Against Rape and proj-ect PRO:JECT.

  • Displaced View, The

    “The Displaced View” traces a personal search for identity and pride, within the unique and suppressed history of the Japanese in Canada. Through an examination of the emotional and cultural links between the women of one family, the processes of the construction of memory and the re-construction of history are revealed. Utilizing an innovative combination of experimental, dramatic and documentary forms, the film emerges as a deeply moving and compassionate love letter. Just as the official history of the Japanese Canadians has been thrown into question, so does the film’s fictionalized narrative question doumentary as truth.