2005 · ★ 0.0 (0)
If only it were as easy to undo mistakes in real-life as it is on a computer.
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2012 · ★ 0.0 (0)
Roubaix, a city with an industrial past, is today one of France’s most destitute areas. During six months of shooting in public places, the filmmaker asked the townspeople to think of one or more things they had been told in the past and that had somehow changed them. Through thirteen sequence shots and microscopic images, she then constructed a sort of cartography of micro-transformations of human trajectories, a poetical study of the dynamism of individuals. In between the extraneousness of the images and the intimate closeness of the voices, the ambiguous space of the singular/plural identity is offered to the experience of the public.
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2010 · ★ 0.0 (0)
“Marie-Claude Treilhou (Ateliers Varan) proposed that we make a collective film composed of various shorts that all deal with rage. Even though the project hasn’t yet been completed, right from the start I felt very close to this subject. I’m not talking about the emotional aspect of rage, nor its interpretation in a revolutionary key. Instead, I’m referring to a silent and constitutive rage. Los justos by Jorge Luis Borges was a poem which guided me as I wrote the short, like a serene expression of a radical state of rebellion, composed of the renunciation of power and violence.”
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1994 · ★ 0.0 (0)
Suburban survivor, urban lesbian, recovered alcoholic: how to negotiate the street? This is a startling and evocative work about deviance, addiction, and the body intercut with humour and poetry.
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1993 · ★ 6.2 (4)
In this music video, which operates as a meditation on contemporary Chinese history, Yau Ching combines found images and text to negotiate between idealism and propaganda and the hopes and disillusionment that they bring.
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1993 · ★ 0.0 (0)
Loosely based on a case study by Havelock Ellis of a lesbian who murders her lover, Parolé is an experimental film which examines the construction of sexuality through the discourses of medicine and psychology. These institutions have historically linked sexual identity to criminal and pathological behaviour while naturalizing this construct through "scientific" studies.
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1994 · ★ 0.0 (0)
A short drag video about becoming a businessman in public for a day.
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1993 · ★ 1.0 (2)
A child's rendering of the human form appears genderless until the signifiers of clothing, hair, and other objects are added.
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1995 · ★ 0.0 (0)
"I know you want me". Eyes wander across bodies dancing in the bar, hinting at the surface, not touching. Forbidden desires become playful streetwise sex, exploring the dynamics of watching and being watched. Originally produced as part of the two channel video installation "Girllie Movies" in "Fantasmagoria: Sexing the Lesbian Imaginary", first exhibited at the New Gallery in Calgary in 1993 by the lesbian art collective Lock Up Your Daughters.
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1991 · ★ 0.0 (0)
Nobody gets turned on by lists of do’s and don’ts. We need different strategies to help change sexual behaviour in the age of AIDS. This tapes attempts to eroticize safer sex practices and latex use. Rather than using explicit porn, the signifiers become gestural and facial to create an aura of eroticism. The address is pluri-sexual, the audience, everyone.
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2021 · ★ 6.7 (3)
Every flirtation is an audition and every hookup a dress rehearsal in this new collection of stylized vignettes from Deeper.
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2020 · ★ 0.0 (0)
"Insect decalogue" is an audiovisual animated test based on neural networks and through RunwayML software, using a database of 200 images of insects of 5 species, from the entomology collection of the Pontifical Xavierian University, MPUJ-PUJ.
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2018 · ★ 0.0 (0)
This animated video is based on my analysis of the filmography of the Canadian director David Cronenberg, and how his philosophy of the correlation between the everyday and the taboo, and where he maintains that this invisible limit does not really exist; it can also disappear between the cinema as a monster, and the spectator as human. How we not only let ourselves be affected by the "forbidden", but where we find a space for ourselves, in what is not said out loud, but it exists.
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2018 · ★ 0.0 (0)
The portrait and the matter: the monster.
From Avidemux software, "hybrids" mix different portrait fractions, emphasizing the notion of human identity, post-portrait and post-human; creating an hybrid (or several) that can be perceived through each pixel.
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2020 · ★ 9.5 (1)
Sketches of natural plants and flowers in a voyage.
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2007 · ★ 0.0 (0)
This performance plunges us into a universe of strange poetry haunted by shadows whose movements play with the silhouette of a dancer in a trance. The black and white aesthetic of shadow play and the light takes us back to the origins of cinema, until the magic of its lanterns. The film is being made, in front of the viewer. The haunting music suspends time. Kami Hitoé is a tensioning of the body and the imagination.
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2004 · ★ 0.0 (0)
Multidisciplinary artist Coco Fusco chronicles public obsession with and depictions of Angela Davis. In 1970, after the state of California issued a warrant for Davis’s arrest and she was subsequently placed on the FBI’s most-wanted list, she went into hiding. In her public absence, her image was endlessly reproduced and disseminated as she was stalked by the State. Using archival imagery and fictionalized first-person accounts of the FBI agent who pursued her, Fusco’s formally inventive, sardonic, and fantastical short is a send-up of the surveillance state and weaponized imagery.
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2019 · ★ 0.0 (0)
Four sensual tales. In "The Thing", Cherie swings by to borrow a necklace from Monica, and Quinton is there...all alone. As effortlessly sexy as ever. In "This is It", Adria is faced with the reality that monogamy was never for her. In "One Last Chance", we realzie that nothing about Scarlit and Damons relationship worked, with the exception of the sex. When they finally decide they cant keep doing this- Scarlit kicks Damon out- just as soon as he fucks her one last time. In "Welcome Back", Emily and Charles are magnetically attracted to each other from the get-go, but they spent the entire spring holding back . . . until Emily's last day working for him, when they both gave in.
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