A collage of Super 8mm 70’s porn that is bigger than life in 35mm. A sexy and fun smorgasbord – all you can eat in five minutes.
Filter Films
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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 – it captures an immediacy that rarely occurs in film, but more often in video and live performance. This immediacy translates to the film as bodily gestures are enacted. The characters kiss in the middle, but because of the nature of the parallax view of the camera, their bodies do not line up. And because of the nature of regular 8 film, the frame line obscures their meeting. They can never meet. This film can be exhibited as a single-channel film or as a loop. In the looped version, the characters replay their same gestures endlessly, meeting but never meeting. The large cinematic soundtrack, so melodramatic, references Hollywood and contrasts against the miniature format of the film.
Amoré
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“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
Green
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“Tangly wood” is the story of Loupe, a young puppet artist who spends her days collecting found objects to create her art. One day, she finds something that brings back a memory and drives her into a frenzy of painting and creation.
tangly wood
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“mary/me” is a handmade cameraless film which uses collage techniques to sculpt the images and sound. The visual composition was made by meticulously cutting, shaping and collaging pages from “Cosmopolitan” magazine onto the film strip, combined with handpainting on the film. The sound treatment is created by pasting the words of an article from “Cosmo” titled “Why Men Marry Some Women and Not Others” directly onto the film’s optical soundtrack, with the letters themselves forming the audio as their graphic shape is translated into sound. “‘mary/me’ is a stunning experimental collage film that explores the prevalence of the virgin-whore dichotomy in popular media. Composed entirely of figures and text from ‘Cosmopolitan,’ the images lose their legibility in a play of colour and light.” – Liz Czach, Programmer, Toronto International Film Festival
mary/me
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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.
Standing Up
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A lyrical video-poem which depicts the transformation of an African-Canadian woman’s identity as she goes in search of her roots. In order to find herself she must travel past skin into bone – to the root, the secret inside identity. Almost forgot my bones In this home without no mirrors Almost forgot my bones In this home without no mirrors Of myself, my skin, my kin, my hidden Of myself, my skin, my kin, my hidden
Almost Forgot My Bones
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“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 interwoven to create a hybrid of true fiction in this subjective and poetic film. As Robyn gets lost in reveries of another time and place, an intricate film montage flashes before the eyes: abstracted impression of people, places and animals once-loved. The “talking cure” of psychoanalysis is evoked as Robyn’s history and unconscious struggles unfold in a free-associative voice-over of her thoughts and writings. As Robyn becomes increasingly disconnected from people she once knew, flashbacks of her childhood come to visit her for the first time. Robyn’s shock at U.S. military aggressions remind her that she is a citizen of the world and ultimately shake her out of her self-imposed isolation. “A stellar example of personal filmmaking operating on multiple levels: psychological, sociological, political, and even technological.” – Mark Peranson, Cinemascope, Spring 2004 Awards: FIPRESCI Critics Prize, Berlin International Film Festival, 2004; Best NY, NY Narrative Feature, Tribeca Film Festival, 2004; Outstanding Artistic Achievement, Outfest Los Angeles, 2004
Time We Killed, The
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A mysterious man (Sebastian Spence) arrives at a B&B managed by Natasha (Babz Chula) and her beautiful daughter Alvy (Jane McGregor), who find themselves vying for his attention. Alvy is ready to assume her womanhood, her mother is not yet ready to relinquish her waning sexual power. This is a coming-of-age battle between delicious youth and delectable experience. Awards: Audience Award, Best Short Film, NY International Film & Video Festival, 2003; Best Director of a Short Film, NY International Film & Video Festival, 2003; Best Supporting Actress in a Short Film – Babz Chula, NY International Film & Video Festival, 2003; Women in Film Award, Best Actress – Jane MGregor, Vancouver International Film Festival, 2002
Bitten
