Genres: queer

  • Snack Pack

    “Snack Pack” plays with the tensions between the director’s Mexican and Canadian identities.

  • Behind the Music: Destiny’s Neighbour

    A behind-the-scenes look into the smash sensation “Destiny’s Neighbour” – the dancing, the dreams and the donuts. “There just aren’t any sexy fat boys in girl drag on T.V.” – Behynde “Destiny’s Child is just a slimmed down version of us. They ripped off our moves, they ripped off our songs.” – Mass-Assey “We had to kick her out because she was eating all the donuts.” – K-Kremey

  • Make Me Smile

    Meet Daddy K, a dancin’ queen with a sparkling eye and a shaking booty. It would take a pretty tough guy to resist this charmer. Romeo might be just that strong – tune in and find out. Cruising has never looked this good.

  • Fallout Food

    “Fallout Food” is a collaboration between two working-class women, produced as a commissioned work for Trinity Square Video’s “Eat” themed program. With similar childhood histories – having both grown up with working-class, single mothers on a fixed budget – powdered milk and boxed mashed potatoes are just two of the memorable items from our “fallout food”-filled kitchen cupboards. As young adults leaving home, visits to local food banks and even shoplifting produce for dinner were regular fare. Today we have both become rather seasoned food geeks. Flavoured by the ideas of class, food access, nutrition and time, we interviewed ourselves…

  • Few Good Dykes, A

    “A Few Good Dykes” is an unconventional documentary about the Dyke Uniform Corps, a highly selective organization of women united by their common fetish for uniforms and dedicated to the principles of honour, integrity and discipline. What is behind the desire to make it into the Dyke Uniform Corps: the control? the comraderie? the shiny buttons? This documentary goes behind the scenes to show the surprising, endearing and sometimes troubling reasons why the women of the Corps want to wear the uniform and belong to this cult of masculinity. Special Audience Award, SXSW Festival

  • Kansas City Here I Come

    What secrets would you tell your mother if she’s had a stroke, is about to die, and cannot respond to you?

  • Time We Killed, The

    “The Time We Killed” is a lush B&W experimental narrative that portrays the life and imaginings of a writer unable to leave her New York City apartment. Robyn Taylor tries to comprehend and fight her growing agoraphobia by looking into her own past and confronting the world events of the present (from a murder-suicide next door to the U.S.-led invasion of Iraq). Robyn’s obsessive ruminations threaten to drive her deeper into the solitude of an illusory world, until a personal encounter with death prompts her to leave the safety of home once again. Documentary material, scripted and improvised scenes are…

  • Standing Up

    At a surreal Texas bus-stop we meet Kate, a young punk who is befriended by Dorothy, an eccentric older woman. In this unlikely pairing, expectations and identity are questioned.

  • Green

    “My first foray into collage animation uses low-fi techniques, such as a photocopier, to illustrate a story in limerick form. The limericks tell of a place where creativity is suppressed and all acts of resistance are covered over with white paint. It also illustrates a character who displays an open sexuality, both queer and polyamorous. The DIY aesthetic calls up notions of subversion of the dominant culture through its ues of low-tech and hand-made traces.” – Juliana Saragosa Selected screenings: Splice This! Super 8 Film Festival, Toronto, 2004

  • Amoré

    Regular 8 film goes through a camera once, then gets flipped and run through again. When processed, the film is split down the middle and spliced end-to-end. I performed (unrehearsed) for a regular 8 camera as a boy as the film ran through the first time, exposing the right side of the film. Then I flipped the reel around AND flipped the camera around as I performed as a girl (in reverse) on the left side. I processed the film by hand and did not split it, so that the performances happen side-by-side. There is no editing in this film…