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• An object is a slow event.

  In terms of my film work, it’s hard to separate from the object. There are films that try to be completely object-free, using a macro lens or something,...

• An object is a slow event.

  NW: But this is also an act of exercising your power over it too, right? Saying, ‘They can't exist on top of each other, but I'm going to...

• Every Movie is a Ghost Story: an interview with Gemma Files

  You can find Experimental Film, along with her other publications at ChiZine Publications: www.chizine.com[http://www.chizine.com]

• Black box, white cube, and something in the middle

  The jewel of the film series was Sergei Parajanov’s resplendent The Color of Pomegranates (1969), selected and introduced by Atom Egoyan. Through a sequence of episodic tableaux, Parajanov composes...

• Black box, white cube, and something in the middle

  In contrast to the isolating condition of the white cube, Egoyan took Auroras further in a modification of the installation outside Berlin’s Maxim Gorki Theater in 2015.  Here, double-sided...

• Black box, white cube, and something in the middle

  Steenbeckett lingers on the concluding ninth shot of Krapp’s Last Tape, a single takesome twenty minutes long. Offering viewers a close encounter normally contained within film production, the scene’s...

• thirstDays No.08: SO WIDE SO LOW SO HIGH

  The first piece to be introduced is the short film, The Last of the Nepinaks (2005) by Skownan First Nation artist Darryl Nepinak. The film follows a toddler...

• New Images Row

• thirstDays No.08: SO WIDE SO LOW SO HIGH

  Karaoke transition. It’s Elton John’s Benny and the Jets, sung by Brit Bachmann. The final contributors are introduced—I’ve been watching for about an hour and a half. First-time collaborators...

• New Images Row