Language: No dialogue

  • Decroux’s Garden

    A return after many years to the home of a beloved teacher. I am less than a trace returning to this garden, but I am here and my heart turns, hearing again, though differently, the songs that hang here still, in the breath of this place. –Baba Hillman

  • Fresh Fruit

    Fresh Fruit explores the inner yearnings of a bored hostess, as she tastes a cornucopia of sweet and juicy offerings.

  • Crashing Skies

    An ordinary rural landscape is transformed into an enigmatic dreamscape. A farmhouse stands in a copper field of scratched emulsion as solarized flares illuminate the sky. Split toned horses amble dreamlike across the frame into inky underexposed blackness. Copper thistles sway in the wind, looming and strangely monumental. The hand-processed 16mm imagery creates an elliptical inner world of memory and dreams. Filmed at the Independent Imaging Retreat in Mount Forest, Ontario. Atmospheric sound design by Edmund Eagan.

  • This Town of Toronto…

    This short film takes a rather unconventional approach to the city symphony genre, which often depicts the rhythms of the city from morning to night and relies on the symphonic composition of shots that, like in musical symphony, build through various movements until their final conclusion. This Town of Toronto… extends its temporal dimension past the span of one day to 108 years, by including some of the earliest motion picture documentations of Toronto: the Great Fire of 1904 and the traffic scene on Bay Street, including horse-drawn fire trucks and firemen rushing to extinguish the fire, all captured by…

  • Different as Night and Day

    “Different as Night and Day,” shot in the Port Lands of Toronto, Canada, examines the disconcerting coexistence of technology and nature. It cycles through three views of two power plants as light and climate transition (cf. Claude Monet’s series of Rouen Cathedral). The views are bridged by long dissolves of smoke streaming from one of the plants. The dissolves are often gorgeous and reminiscent of the Northern Lights, but are composed with images of airborne pollutants (cf. the pollutionenhanced sunsets painted by JMW Turner in the 19th century). “Different as Night and Day” is a dynamic painting.

  • Walking Away 2

    Scarborough Bluffs (1974): a woman walks away from us, through a field of grass. Approaching a treeline, she turns and crosses the frame. Instead of panning to accommodate her, the camera zooms wider – the woman continues to diminish as if still walking away and the landscape is fully revealed. The shot partially repeats: a wipe transition replaces the grass with water, and a ‘shipscape’ from Toronto’s Port Lands (2011) is revealed. Poetically, light reflected from downtown office towers catches the sail of a boat crossing the frame. Then amusingly, a split-screen sequence underlines the correspondence between woman and sailboat.

  • Gay Goth Scene

    For a young boy school is a living hell. He decided to put an end to it. “Gay Goth Scene“ is a mixture of short film & music video, that deals with a worldwide social disease: bullying.

  • Sources

    Sources originated from Thomas the Gardener’s wish to celebrate the 30th anniversary of his making vegetable pâté. Leaving urban life behind him in order to renew a relationship with the land, Thomas started up an organic garden in the beautiful area of hot and cold springs, lakes and rivers, in the upper Aude Valley. In the middle of making his pâté, the gardener is surrounded, as the water sources of the Aude river rush by, by one of the sources for his recipes, the flowers and spices from his garden. Sound by François Alexis Degrenier

  • Jardins du sel (Salt Garden)

    The production of sea salt flower is a process of concentration-saturation of seawater in order to form crystallization. The agriculture character of the activity is evoked by the term “salt garden.” Six poetic pictures, five based on the sun, the wind and the sea, while the last rests on a small park left fallow. Music by François Alexis Degrenier

  • Solar Sight III

    “In SOLAR SIGHT III I have continued the dream-like form of disparate animated scenes, each with its own ‘romantic-with-an-edge’ slightly surreal flavour. Scenes are sometimes run-on, sometimes separated by brief periods of darkness to relax, as in breathing, the viewing eye. There are no fancy superimpositions now, nor excessive visual trickery. Only comparatively straight forward presentation of the improbable images, which have formed themselves in my improbable mind.” — Lawrence Jordan