cloud film, dir. Tristen Ives
2024 | US | 10 | 16mm | World premiere
In response to climate change and anxiety, cloud film meditates on the calming effects of clouds. As clouds float on screen, fluctuating between different frame rates, this film calls attention to its handmade form through the use of camera-less techniques such as rayogramming, optically printing, and hand processing.

Help Desk, dir. Edwin Rostron
2023 | UK | 3 | video | Manitoban premiere
A mysterious transmission revealing playful geometric possibilities. Help Desk is a hypnotic hand drawn animation, providing a meditative and contemplative space, oscillating between flatness and depth, control and instability.

I Would've Been Happy, dir. Jordan Wong
2023 | US/China | 9 | video | Canadian premiere
An attempt to map a fraught relationship through the use of intricately coded pictographs and schematic abstractions applied onto glazed ceramic tiles and quilted cyanotype fabric. The aesthetics of architectural language are used to reconstruct memories of my family's domestic spaces in the hope to uncover logic to a broken home.

Non te vexo (I Can't See You), dir. Xacio Baño
2023 | Spain | 14 | video | Canadian premiere
Film essay about the rejected image. The selection of the photographs creates a tale to narrate us. What snapshots do we consider imprecise, defective? What is the history that we remove from our life tale? What do we find in those discards?

Бабушка Галя и Дедушка Аркадий // Grandma Galya and Grandpa Arkadiy, dir. Anna Kipervaser
2023 | US/Ukraine | 5 | 16mm | Canadian premiere
A jovial and dreamy rumination on love. On time passing. On what we collect, what we hold on to, and how we maintain connection to homeplace, to ourselves.

WE DON'T TALK LIKE WE USED TO, dir. Joshua Gen Solondz
2023 | US | 36 | 35mm | Manitoban premiere
Palimpsestic and textured, Joshua Gen Solondz’s WE DON'T TALK LIKE WE USED TO is the result of six years of inward and outward reflection. Here the epoch-defining moments of a life (marriage, fatherhood) churn alongside similar reorientations— or disorientations—on the scale of the geopolitical, namely the never-more of a forever-altered Hong Kong. While unblinkered in its assessment of our most severe global woes, Solondz’s work suggests more than any sort of a before-and-after comparison, instead offering a liberatory space for connection and coexistence: between cultures, images, generations and individuals. (Jesse Cumming)