SCREENINGS/FESTIVALS

Official competition, Hamburg International Short Film Festival (Hamburg, Germany) - International premiere

Performance Proyecciones Taller, Antimatter Festival touring program (Mexico City, Cholula, and Oaxaca, Mexico)

Philip Hoffmann - Film Farm and Canadian Experimental Cinema, Curitiba International Experimental Film Festival (Curitiba, Brazil)                                                   

Euro in Film Festival (Novi Sad, Serbia). Curator: Nena Toth

Klub Katarakt Experimental Music Festival (Hamburg, Germany). Curator: Giuseppe Gagliano

Sunspot Cinema, University of Central Florida (Orlando, Florida)

Terrain (Chicago, Illinois)

Seeds, Blooms and Things that Grow, Broad Underground Film Series, Eli and Edythe Broad Art Museum, University of Michigan (East Lansing, Michigan) 

Film Farm: 25 Years of the Mount Forest Independent Imaging Retreat, TIFF Bell Lightbox & Canadian Film Institute (Toronto & Ottawa, Ont)

Festival International de Films sur l’Art (Montreal, Quebec). Curator: Nicole Gingras

Expeditions, Ottawa Art Gallery (Ottawa, Ontario)

Crossing Terrain, Art Gallery of Greater Victoria (Victoria, BC). Curators: Catlin Lewis + Michelle Jacques

Nature/culture (nouvelle experimentations), Cinémathèque Québécoise (Montreal, Quebec). Curator Guillaume Lafleur.

Cinéma au Palais, Nuit Blanche (Montreal, Quebec)

Emulsion in Motion, National Arts Centre’s Ontario Scene (Ottawa, Ont.)

Vidéos de femmes dans le parc, GIV (Montreal, Quebec)

150 Seconds of Ontario Film Festival: Part One, Factory Media Art Centre (Hamilton, Ont.) 

Antimatter Media Art Festival (Victoria, BC)

Dawson City International Short Film Festival (Dawson City, Yukon)

WNDX Film Festival (Winnipeg, Manitoba)

Windows Collective screening tour (Victoria, BC and North Bay, Ontario)

Vanier Independent Film Festival (Ottawa, Ontario)

Experimental Film and Photochemical Practices: Spotlight on Film Farm (online) 

Collections:

Ottawa Art Gallery

In the opening moments of the film, 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, Palgrave MacMillan, 2020