Genres: short

  • 5 cité de la Roquette

    When I returned to 5 cité de la roquette, I found a sign on the gate announcing the reconstruction of the building. In the days that followed, I came back in early morning or evening, when crews were not working, to film the stairwells, the stones, the doors, to stand on the landings, to listen to the sounds of the empty building, to watch the light at the windows, to hear again the songs of this place.

  • Four Vignettes

    Four everyday scenes presented as sequential images with generative sound. A home made optical Theremin transmutes the visual to the audible twenty-four times per second. This film was created during TR:AFICC, a residency in TRUCK Gallery’s CAMPER, and was a prototype and proof-of concept for the expanded cinema work Circles of Confusion.

  • Folded River

    An empty canoe floats down a river. A landscape turns inward: time and place are enfolded. Two images converge producing a third, unseen image; a vanishing memory.

  • The Canoe

    A woman finds refuge in an empty summer home when her camping trip is interrupted by a storm.

  • The Curse

    Jesse is meeting up with an OkCupid date, Sarah. They’re meeting Sarah at her office after work. Jesse arrives at the office building, but they’ve got to change their diva cup before meeting Sarah. Every step along the way, they experience more and more frustration because they just can’t get the privacy they need. Eventually it all ends in a bloody mess.

  • Class Order Family Tribe

    “Class Order Family Tribe” is a 26-minute experimental documentary about my my Native American [Ute, Apache, Pueblo] family’s shifting strategies for survival after leaving the reservation and moving to Central California in the 1950s. Moreover it is a look at heterosexuality, machismo and binary gender roles as strategies for survival and how in my new native generation queerness and gender fluidity are new forms of survival. This silent film is told exclusively through 8mm film shot by my native family in the 1950s, 60s and 70s. I insert myself into the film as a textual narrator creating a link between…

  • Heartbreak

    “Heartbreak” is a tribute to black mothers. It was written and produced in response to the constant threat of brutality they and their children (particularly boys) live under. Through poetry and the voice of a 5-year-old boy it relates the very real physical and psychological toll that violence has on black bodies and black souls.

  • Ripples/Derive

    On a summer day, 9 year-old Aissa accompanies her mother Yasmina to one of the houses where she works as a cleaning lady. When Aissa is bullied by Sarah, the daughter of Yasmina’s employer, there are tragic consequences for the victim.

  • In Between/Entre Deux

    On a cold fall evening, Leila is left alone to tend the family convenience store. A series of strange clients keep her in a constant state of apprehension. Language and cultural barriers also contribute to the making of a nerve-racking evening.

  • Mino-bimaadiziwin (The Good Life)

    Mino-bimaadiziwin (The Good Life) came out of the Artist for Film residency at Artscape Gibraltar Point. I was excited about First Story’s walking tour with Elder Carolyn King. I was only able to participate with the aid of a wheelchair and allow others to push me around, it was my first time in a wheelchair. I documented this walk from that perspective with this manual timelapse on Super 8. Reconciling myself as a mixed-race indigenous Colombian settler “walking the red road” while being a person who lives with physical disabilities. Learning to live mino-bimaadiziwin as a settler to Turtle Island…