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Three adult children have returned to their parents' home to live. Future dreams, past failures, and the present struggles of daily life are captured in close-up over a nine-month period. Through conversations, anecdotes, arguments, and unpredictable emotional highs and lows, it sheds light on the myriad of issues triggered by adult children moving back in with their parents - a growing phenomenon in today's society. As the documentary unfolds, it becomes painfully clear that being a parent or a child is a lifelong calling that requires patience, compassion, and strength.

"This found-footage film is made with a censored 16mm copy of Belles of the South Seas (1944), a typical Castle travel film about the peoples of the South Pacific (I found it as is, with all the naked torsos scratched). The original "voice of god" style sound-track is recut to match the ridicule of the censored images, as well as to expose its own white colonial centricity and superiority. William Castle is introducing the film himself, and he concludes the piece with a reaction of the audience. Some special effects from the frame by frame transfer from film to video, are inserted as an extra reminder of the plasticity of media and their sometimes shady content (then and now)." - Gerda Cammaer

A woman who gets a haircut on lunch and gets more than she bargained for.

Cultures collide when a young man's desire to become a dancer conflicts with his parent's career dreams for him.

This short film borrows Dr. Seuss' famous villain, the Grinch, and transforms him from Whoville's mythical Christmas hating goblin into a modern-day ex-girlfriend who breaks Abigail's heart. Crushed by her loss, Abigail falls into a world of lovelorn misery, obsession, internet stalking and self-medicating. But finally, Abigail is struck by a sense of renewed self-worth, and triumphs over her love for the Grinch...or does she?

Shattering taboos about the politically correct and debunking dominant social constructions Ideology takes a sudden turn into the dichotomy and the contradictions of love beyond ideological commitment.

The dawn, a young woman and the end of the day in a three parts, unstable biography.

This is a story of a child who was taken repeatedly to the hospital for various tests, one of which was catheterization. Woven throughout are two other stories - one, a training video for nurses demonstrating the procedure and the other, looking through the child's now adult eyes, as she encounters women who echo reminders of the original event. These various echoes trigger post trauma squeamishness and sexual tension that is strange and complex. Both medical ethics and the labels that limit our view of sexual identity are being questioned here.

Nishnawbe Aski Police Service (NAPS) is the largest First Nation police force in North America. Police officers in this severely underfunded police force go above and beyond the call of duty when compared to other police officers. NAPS officer duties include, cutting firewood for the wood stove that heats the police detachment and emptying slop buckets with prisoners’ urine and excrement. "A Sacred Calling" shows the deplorable working conditions and the devastating personal consequences to NAPS officers as they heroically provide security and safety to First Nation communities in the remote north of Ontario.

"In Seeking Grace an elegant older woman (Gina) walks calmly with a flower pot on her head, her physical balance and confidence a metaphor for the grace I seek in my own life. Indeed, this footage was shot because Gina told me I had terrible posture and demonstrated for me her ability to walk straight while balancing a heavy object, something the nuns had forced her to do in school. In Seeking Grace, the idea of grace encompasses but also goes beyond the notion of the body, referring to a deeper ongoing metaphysical quest." - Sara Angelucci

No two adoptees are alike. Harold & Peter, Lynne & Lynn, Maureen & Stephen and Dana candidly share their stories and reveal how being adopted shapes an individual’s identity right into adulthood. Their stories underline the complexity of adoption as it relates to the human impulse to tell stories about ourselves in pursuit of figuring out where we fit in.

Imagine you have been imprisoned, subjected to torture, released and forced to leave your homeland as a refugee, imprisoned again, released again, and once more captured and sentenced to death. This was the reality for Ali Saeed, an Ethiopian imprisoned in his homeland and in Somalia for trying to spread freedom of speech and freedom of the mind. Ali and many other Ethiopians with similar experiences were able to escape to countries such as Canada, and they are now ready to speak about the period in Ethiopia's history known as the "Red Terror".

Charlie, content coasting through life in small town Canada, wastes his days drinking with friends that he has little in common with. He dreams of being a successful musician, but his complete lack of drive prevents any progress. When he meets Sarah, who recently moved to town from the city, she opens his eyes to a world of possibilities. Reluctant to change, Charlie is forced to address the roadblocks in his life as the worlds of his past failures and his newly blossoming relationship collide.

An elderly Dene widower kills his abusive grandson in self-defence. Anticipating the worst, and weary of his dismal life, he summons an old friend to help him prepare for a journey to the spirit world. Meanwhile, a young Dene police officer, disillusioned by the current justice system and badgered by dreams of cultural genocide and the role of law, is caught between two worlds when he realizes the widower is guilty of the murder.

PATCHING is the metaphoric intermingling of a journey, a flat tire, a break-up and tips for getting back on the road. PATCHING is the second tape in a series known as BICYCLE DIARIES.

A harrowing haircut.

In The Reason Why, the subjects of growing up queer, fat and lonely are recounted in rebuttal letters to ex-boyfriends who all share the same name. Using a mix of 8mm and experimental video, the piece weaves together pornography, new “Gay Hollywood” movies and memories to explore how to find one’s place while being a minority within a minority community, and how to say all the things that were never said in significant relationships.

In Dawson City, you can find mittens in the bag.

Adapted from a work by The Holy Body Tattoo, this stunning performance-film, featuring Noam Gagnon, suggests a struggle with the past as we are taken away from it.

In his alter ego as Miss Cookie LaWhore, Canadian novelist Michael V. Smith gives up his hetero-virginity to performance artist and sex worker Amber Dawn. Shot on mini-DV, Girl on Girl is a candid documentary that humanizes sex as it battles the social stigma of being sexual. Touching on hot buttons such as the exploitation of women in the mainstream porn industry, shame and body image, sex phobia, and gender ambiguity, Girl on Girl lays bare our shared fear of being sexual and being seen.

An experimental film involving ice cubes melting in a trough at a leather bar.

The year 2004 marks the 35th anniversary of the 1969 New York riots at Stonewall Inn.

In a dramatized narrative written and told by Canadian poet Elizabeth Bachinsky, a young woman speaks of her ordeal at Wolf Lake. The Coast Mountains of British Columbia make a lush backdrop to her harrowing story of violence and betrayal.

Dragonfly unveils the vulnerable position of mankind in the uncertain environment we have helped create.

Alex Mah’s film Checkpoint is a video which explores the impact of ID on the lives of trans men of colour.

Setareh Mohammadi investigates issues of displacement, immigration, gender and status in the lives of two individuals, Quvi and Froogh.

The NuWest Steambath is a historical short-documentary, first screened at Vancouver’s Queer Film Festival, which investigates the life of The NuWest Steambath, the Vancouver region’s first suburban gay sauna, through the account of its owner, Dennis.

It’s deconstruction time again!

The caustic I Love You is about falling in love, getting dumped and those three little words.

Diamond’s grainy experimental film is the first in a series that tackles issues of sexuality with a fearless approach. Navigating the psychological manifestations of a hybrid gender identity, Diamond explores issues of body and mind capturing the complex nature of his topic.

This mixed media video piece explores the healing process of recovery from childhood sexual abuse through the interwoven mediums of story, poetry, dance and visual art. For survivors and their supporters.

Rancour is about abuse in a queer relationship. With a punk sensibility and soundtrack, the artist conveys being trapped in an emotionally abusive relationship while living in a culture bent on celebration and positive images. Mainstream queer culture and queer media are loathe to discuss any dirty little secrets under the rainbow. Rancour dares to explore the interrelations between fear, shame, complicity, rage, silence, hatred, and romantic love.

An in depth look at both the artistic and technical achievements brought to bear to make The Virtual Haydn more than merely virtual.

In 1977, San Franciscan Gilbert Baker designed and made the first gay pride rainbow flag. This is a profile of the flag's creation and its history since then.

Created with the ‘anamorphic Boyétizeur’, built in 1974, this experimental video offers an alternative representation of the human face as an anthropological source of story-telling, imagination, and emotion. Set to profound music, it offers a hyper-sensitive vision of the living.

An early student collaboration and shot on 16mm in Sicily, this cycle of kinetic assemblages is accompanied by a soundtrack composed of improvised sounds recorded on location and then in Vancouver.

M is a film of assemblage, juxtaposition and manipulation of animated structures. Small architectures appear and overlap. Brief nebulas arise, the most complex structures sometimes recalling constellations and other stellar clusters. This abstract film shows the results of a year of visual and technical researches. Hand-drawn animations were scanned, manipulated and combined. The resulting images were printed on paper and reworked, then put in relation according to their level of complexity and the movements which constitute them.

A satire about environmentalism and going green on the set of a movie production.

A young man, who loses the love of his life, falls into his lover's fantasy world.

A man dismembers a woman in a bathtub.

Filmed in Fingal’s Cave, a dramatic sea cave almost an hour’s journey by sea from the Island of Mull, over the course of seven separate visits. The towering sculpted columnar walls and roof were long held to be man-made, or created by giants, or held up as proof of a divine creator. One myth suggested that the cave was the abode of a nine-headed sea monster, another that the Devil himself were buried beneath the island. The last inhabitants of Staffa, around 1790, left the island after the pot on their stove shook so violently during a storm one night, that they believed “nothing but the devil could have shook it that way.” It can be a wild, moody and inhospitable place.

A man becomes consumed by curiosity over the mystery of his co-worker's eye patch.

Images flutter and flicker in orgasmic rhythms. Visual references to Bataille’s “solar anus”, to romantic coupling, to monkeys and man are held together within the sustaining dichotomy of beginnings and endings.

Awash in sumptuous colour, a herd of buffalo desperately try to hold on as they struggle to cross the film frame.

F.I.R.T 119 is a tribute to the Earth's Southmost railway in Argentina. The austere image, under the strong impulse of the piano score, captures the intensity of sooty coal trains.

From the starting point of the alphabet as a series of abstract symbols, a visual representation of the spoken word, this film explores the acoustic and visual rhythm of type. Working directly onto the surface of 16 mm and 35 mm film stock using letterpress, Poirier utilises an aleatoric approach to animation, generating intuitive compositions governed by elements of chance and surprise. The typographic forms, once translated as a soundtrack, vary from the harmonious to the discordant.

A short visual study of repeating layers, dissolving forms reemerge and return.

Experimental short film by Jean-Claude Bustros

A hand-processed/colour-manipulated portrait of the last member of a Jewish farming colony in Central Canada who guards over the precious relics of an idealistic past.

A hazardous mix of waste is flushed into the sewer every day. The billions of litres of water - combined with unknown quantities of chemicals, solvents, heavy metals, human waste and food - where does it all go? And what does it do to us? Filmed in Italy, India, Sweden, the United States and Canada, this bold documentary questions our fundamental attitudes to waste. Does our need to dispose of waste take precedence over public safety? What are the alternatives?

A brief adventure tale set in a one dimensional world.

“her carnal longings” is an audiovisual meditation on the human body and the film medium at a time when the futures of both are in question. Using the “emulsion lift” technique on 16mm film, sections of emulsion were lifted off, torn up or smudged, and then re-adhered. In combination with digital video technology, Pruska-Oldenhof creates an intricate analogue-digital weave that explores both the body’s and the film’s surface. The film emulsion wrinkles, rips and dissolves - reminding us that it, like human flesh, is fragile and perishable.

Rip in Pieces America is an uncensored proclamation from an invisible USA. Dominic Gagnon turns no blind eye in his ultra-intense collage film which consists entirely of more or less anonymous webcam clips that due to their controversial or explicit nature have been flagged and meanwhile removed from video sites such as YouTube. Well-formulated conspiracy theorists, bad-tempered grass-roots activists and religious arms fanatics, who use the webcam as both a means to preach and to confess, have all been filtered by the censor, but stored by Gagnon, who neither comments nor embarks on any finger-pointing. For who decides what can be thought and said? And what is paranoia, if you know that you’re right? RIP is an uncensored, in-your-face assault on political correctness and on most American institutions. But it also has a bizarre performative element that develop in pure Hollywood fashion.