all-around junior male
7 min / 16mm / 2013
A hand-crafted experimental portrait of a young Nunamiut athlete, Sean Uquqtuq through his performance of a challenging traditional Inuit game – the one-foot high kick.
Handmade Emulsion Examples
examples of textures, effects and mishaps from various handmade emulsions made between 2011-2015 (first shot is contact printed onto handmade emulsion as positive), second shot is camera footage on unwashed emulsion as negative, the rest is shot frame by frame on handmade emulsion with a pinhole lens and printed onto more handmade emulsion.
where we stand (excerpt)
Where We Stand
5 min / handmade B+W 16mm / 2014
A discussion on the death of film. Where We Stand is a haunting portrait of theaters shot on handmade 16mm iodo-bromide emulsion. With a strong commitment to retaining the language of film, Where We Stand takes a good hard look at the fragile future of films made on film in this digital age.
her silent life.
her silent life.
31 min / S8, 16mm, DV to HD / 2012
Three generations of women are revealed in this intuitive journey into one family’s past. Crafting together analogue film techniques with personal interview, director Lindsay McIntyre creates an impressionistic exploration of her mixed Inuit heritage and the controversies surrounding her ancestry. (imagineNATIVE)
darg : construction
darg : construction
3:33 min/ 16mm/ 2013
[dahrg] –noun
- Scot. and North England. A day’s work.
- Australian. a fixed or definite amount of work; a work quota.
Origin: 1375–1425; late ME dawerk, daiwerk, OE dægweorc, equiv. to dæg day + weorc work
darg : construction is part of a series in which each film amounts to the cumulative effort of one day; the document of one day’s hard work, both in form and content. Darg is an old English word that has mostly fallen out of use. It denotes “a specific quantity of work; usually, the product of a day’s work”. The word itself reflects the brevity and intensity of the production process, in which the film was produced entirely within one day – the film a darg unto itself. This aspect of the project calls into question and challenges the idea and general practice of film production, which is most commonly a process that is very long and drawn out, taking months or more often years to complete. In this instance, the film was conceptualized, planned, shot on 16mm, hand-processed, printed, edited and sound designed in one day.
il carro, il carro arrugginito, e il mucchio di spazzatura. (the wagon, the rusty cart, and the junk pile.)
il carro, il carro arrugginito, e il mucchio di spazzatura. (the wagon, the rusty cart, and the junk pile.)
3:00/ 35mm/ 2016
65 shots, a mathematical pattern, and three glorious minutes in exploration of form.
Please contact me for the password.
where no one knew her name.
where no one knew her name.
3:10 / DV / 2011
Remnants of a life left behind.
One of 5 parts of the Bloodline series.
Not Waving But Drowning
Not Waving But Drowning
6:14 min,/16mm and S8/ 2005
A film construction. A man reflects on a poem he once read, and wonders if he, too, was too far out all his life, and not waving but drowning.
Part of a series of films exploring the fictional revival of orphaned home movies.
distance between objects; time between events
Akuni: distance between objects; time between events
Expanded cinema performance / 16mm /14:30 mins
An interweaving of time and distance and the people who maintain then. A 16mm expanded cinema performance created live on six 16mm projectors.
email me for the password if you would like to watch it.
Film’s Final Curtain (excerpt)
Film’s Final Curtain
23:14 min /16mm, digital / 2018
Celluloid running through a projector has been a window into our lives for over a century. In this digital age, where cheaper and faster is perceived to be better, film is in grave danger. If the death or extreme marginalization of film is upon us, it’s worth mourning.