In the opening moments of [Crashing Skies], solarisation and copper toning activate the surface of the celluloid, inviting us into a vibrant and constantly shifting relationship with the landscape. The ground seems to light up and trees pulsate in the background. The split-toned bodies of grazing horses in shimmering blue stimulate a renewed perceptive attentiveness, drawing the curious eye of the spectator into colours and textures that depart so dramatically from ‘realistic’ representations of the landscape that the experience could be described as learning to see again.  

                                                                                                                                                    - Kim Knowles, Experimental Film and Photochemical Practices

McCann intervenes with our sense of the familiar with her use of hand-crafted analogue filmmaking approaches … purposefully setting it back into a kind of suspension that we immediately associate with the dream state of processing memories.  

                         - Cecilia Araneda, from her essay Penny McCann: Within the Unsaid, A Response to​​ Land Lines (of time and place) in no particular order

McCann’s experimental work often takes the form of a kind of indefinite journey, where landscapes of memory and dream track across the frame in flashes of light and colour.  The horizon is a central visual and conceptual trope, suggesting at once the projection of  a sublime destination and an impossible experience of time and memory fulfilled.    -  Scott Birdwise, Canadian Film Institute

The Expo Film situates memory between the past and future, embodied by a voice which grows fainter on decaying soundtrack, as Penny McCann shines a personal light on documentary images.    – Jury members, International Found Footage Competition, Dresdner Schmalfilmtage