An abandoned farmhouse serves as a catalyst for the exploration of childhood, fabricated memory, and domestic architecture. As a girl moves from one decaying room to the next, anxiety induced by physical spaces is reflected, and ultimately destroyed.
Filter Films
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Inspired by a lesson from Erik Satie; a film in the form of a street – Castro Street running by the Standard Oil Refinery in Richmond, California … switch engines on one side and refinery tanks, stacks and buildings on the other – the street and film, ending at a red lumber company. All visual and sound elements from the street, progressing from the beginning to the end of the street, one side is black-and-white (secondary), and one side is colour – like male and female elements. The emergence of a long switch-engine shot (black-and-white solo) is to the filmmaker the essential of consciousness.
Castro Street
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“A Miracle” is the first-ever music video featuring Toronto-based “Gay Folk Church Music” ensemble The Hidden Cameras. “The Making of a Miracle”, shot simultaneously on video and Super 8, is a companion piece featuring behind-the-scenes hijinks during the production.
Miracle & The Making of a Miracle, A
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Told through a montage of personal photographs and video images, backed with dynamic, cutting-edge prose/poetics, “Her 13th Incarnation” is one Black, queer woman’s exploration of gender, sexuality, and the infinite fluidity of identity and desire.
Her 13th Incarnation
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A self-contained business woman is cruised by a sleazy man on a bike. Her response to this unwelcome attention comes as a complete surprise.
Encounter
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“This playful, all-girl black-and-white fantasy is indeed exploding with gorgeous, grainy Super 8 imagery. What begins as a cute send-up of old silent comedies morphs into a deliriously erotic, effects-filled dreamscape, a sapphic take on underground gay-boy filmmaker Kenneth Anger.” – Miami Lesbian & Gay Film Festival
Pretty Ladies: A Super 8 Explosion
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“My Mother at the Consulate” is a montage-based exploration of absence and presence and the passage of time. It is an addition to a series of personal pieces about the filmmaker’s mother.
My Mother at the Consulate
