An experimental look at the origin of the death myth of the Chinookan people in the Pacific Northwest, following two people as they navigate their own relationships to the spirit world and a place in between life and death.
The expansive mountainscapes of the Andes are the basis for this new, 35mm film by Daïchi Saïto. Once again propelled by the free, pulsating improvisation of saxophonist Jason Sharp, in which his heartbeat and breathing play a prominent role, the series of images slowly becomes more abstract. The...
KJE captures the grand finale of Emancipation Day, the annual Detroit River Fireworks, in 2014. Founded by Walter Perry, Emancipation Day was celebrated in Windsor, Ontario, Canada, every August 1 from 1932–1967 to mark the anniversary of British Parliment’s abolishment of slavery in 1834. Also...
The Newest Olds is the second installment in Argentinian filmmaker Pablo Mazzolo’s cinematic diptych exploring the natural and urban environment within and surrounding the border region of Windsor–Detroit. Completed seven years after the release of Fish Point (2015), Mazollo’s revelatory...
A single time-lapse shot of the abandoned Michigan Central Station in Detroit. Recording subtle changes in light as it pierces the hollow skeleton of the building, the film was made at a rate of one frame every ten seconds. Part of a series of 7 films completed by the artist in Windsor-Detroit.
It Seems to Hang On is based on the true story of the serial killers Alton Coleman and Debra Brown, a young Black couple who cut a violent path beginning in the summer of 1984 through the American Midwest (Ohio, Kentucky, Michigan, Indiana, Illinois and Wisconsin). The dialogue spoken in the film...
“Mermaids flip a tale of twin detriments, domiciles cradle morph invaders, crocodile trails swallow two-legged twigs in a fecund mash of nature's outlaws... down in the Everglades.” (Fern Silva)
Twin portraits: an immediate love between new friends considering motherhood under the roof of a fierce matriarch; and Cheru the dog, shortly after birthing five pups. A swim, a birth, a love, and a loss developed in hibiscus and lavender and saturated in deep blues.
Through softly textured 16mm photography and regional iconography, Silva offers a modernist reflection on two of upstate New York’s most storied 19th century touchstones—the landscape painters of the Hudson River School and the legend of Rip Van Winkle—nodding to a few musical heroes along...
A study in contrast, colour and moiré pattern in a public park in Windsor, Ontario, Canada. The film connects with a series of paintings by visual artist, Angela Allen.
Shot on 16mm, this wondrous silent film study from avant-garde master Peter Hutton (At Sea) observes human movement across three distinct landscapes: Detroit, along the Hudson River Valley and in the Dallol Depression in Ethiopia.
Shot in Detroit and Windsor, Fluid Frontiers is the culmination of Ephraim Asili's project exploring the artist's relationship with the African Diaspora, structured around unrehearsed readings of poems originally published by the Detroit-based Broadside Press.
Shot during a residency at Media City Film Festival and the Art Gallery of Windsor, "AGW 2nd Floor South" is part of a trilogy of works that use three distinct filmic procedures. Shot with a wide angle (10mm) lens at a rate of one frame every twenty seconds "AGW 2nd Floor South" compressed an...
Filmed along the border between Argentina and Chile, "Desert Series II – Payogasta" is the next chapter in Price's luscious landscape project, "Sea Series" (2008-2016). Price makes use of the optical and mechanical possibilities of analog cinema, and the incredible landscape of the Andean...
An artificial animation of the repetitively cycling GM logo sequence and naturally occurring movements, such as clouds reflected in the tower’s windows. This grid of flat planes breaks the reflections up into rectangular fragments that resemble film in both its appearance and manner of operation.
"Totem Pole '67" was shot frame by frame using extension tubes between the lens and camera body of a 16mm Bolex. The physical form of the subject comes directly to determine the outcome: it is both subject and camera support, that is, part of the technology of which it is also the subject. It is...
