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A dual-projection film where each director made 30 minutes of film without knowledge of what the other was making. Snow's side is a visual encyclopedia of natural and man-made objects. Brown's side transforms footage of a San Francisco cable car.
A loop of two parts of a film, superimposed on top of one another, that concern a man who has arrived at the house of his lover and her husband to hang a painting on their wall.
In a Lower Manhattan industrial loft, a camera very slowly zooms into a photograph on a wall while various people occasionally enter and exit.
Commissioned by the Toronto International Film Festival to mark the event's 25th anniversary in September 2000, the "Preludes" program consisted of ten short films by Canadian directors which were inspired in some way by the festival. Each film screened as a prelude to a feature film in the 2000 Toronto International Film Festival program. The full "Preludes" anthology was screened on the web in November 2000, and was given theatrical retrospectives at the TIFF Lightbox in the subsequent years.
Various unrelated vignettes, often juxtaposing sound and image.
A camera moves back and forth at an increasing pace. Back and forth, back and forth...
First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in style and sensibility but united by their opposition to the Vietnam War. Part of the protest festival Week of the Angry Arts, the epic compilation film incorporated minute-long segments which were sent from many corners of the country, spliced together and projected. The original presentation of the works was more of an open forum with no curation or selection, and in 2000 Anthology Film Archives preserved a print featuring around 40 films from over 60 submissions.
Panning shot of a room while a group of people discusses film while eating at a table.
Experimental short in which a camera pans quickly in a small apartment space; Disembodied voices speak of audience engagement.
Puccini Conservato uses a CD, a sound recording of some Puccini music (from La Bohème). The source of the sound (the loudspeakers) in a continuous hand-held panning (guided by the music), is intercut with shots of flowers or wood-fire, exemplifying the lyricism in Puccini’s music. By being a recording of a recording, the work proclaims the artificiality of the sound. However the beauty and humanity of the music comes through too.