Current and Upcoming

Home Made Visible now in distribution with Vtape

Home Made Visible now in distribution with Vtape

Vtape is thrilled to announce in partnership with the Regent Park Film Festival the ‘Home Made Visible‘ program is available for rent and purchase through Vtape distribution.

BIPOC communities are disproportionately underrepresented in all media. How do past images unearthed from personal and institutional archives come to shape new stories? This collection of six short films examine how archival material can complicate our understandings of Canada’s many histories and identities.
Funded by the Canada Council for the Arts under Canada 150, commissioned by and premiering at the 2018 Annual Regent Park Film Festival, these works traveled across Canada and were accompanied with public workshops on personal archiving. Program Director: Ananya Ohri, Program Manager: Elizabeth Mudenyo.
A mixed-media installation Reunion; self-determination of the Black American South, by artist Melisse Watson also accompanied these six video pieces as part of this commission. More on this installation can be found in RPFF 2018 program book, which can be downloaded in the festival archive section of the RPFF website.

image: Lisa Jodoin, Anishkutapeu, 2018

1. Anishkutapeu
Anishkutapeu is a short documentary that explores the connection between land and archives in the Innu community of Uashat in Sept-Îles, Quebec. A source of well-being, traditional knowledge, and identity, land, and familial territories are an essential part of what it means to be Innu.

Lisa Jodoin is a writer/filmmaker working out of Fredericton, New Brunswick. Her short films include Tracing Blood, a video poem about Indigenous identity, and In Search of Laura Fearn. She recently completed a feature-length documentary for the New Brunswick Aboriginal People’s Council and the Urban Aboriginal Knowledge Network Atlantic.

image: Maya Bastian, Arrival Archives, 2018

2. Arrival Archives
Two families, similar identities. Fleeing violence, they sought refuge in Canada and began a new life. This is the experience of thousands of people in our great country and yet these stories go mostly untold. Arrival Archives is an artful exploration of newcomer arrival stories, told through a multi-generational viewpoint. The stories intertwine as one, illustrating that Canada’s cultural landscape is a communal experience shared by many different faces.

Content Warning: This program makes mention of sexual assault.

Maya Bastian is a writer, filmmaker, and artist most interested in exploring themes of community and culture. Her recent film Air Show received press and widespread attention for its look at refugee reactions to the National Air Show. She is a 2017 recipient of the Al Magee Screenwriter Mentorship and participated in Reelworld Film Festival’s Emerging 20 for 2017.

image: Jennifer Dysart, Caribou in the Archive, 2018

3. Caribou in the Archive
In Caribou in the Archive​, rustic VHS home video of a woman hunting caribou in the 1990s is combined with NFB archival film footage of northern Manitoba from the 1940s. In this experimental film, the difference between homemade video and official historical record is made obvious, and yet at the same time, their boundaries are reduced. Northern Indigenous women hunting is at the heart of this personal found footage in which the filmmaker describes the enigmatic events that led to saving an important piece of family history from being lost forever.

Jennifer Dysart is a director of short films and works as a set dresser/decorator in projects of all scales. She is a Board Member at the Factory Media Center in Hamilton, Ontario. Jennifer was born in Alberta, raised in BC and has Cree roots from South Indian Lake, Manitoba. She is an archives enthusiast with a deep love of found footage and experimental films.

image: Aeyliya, Landscape of Desire, 2018

4. Landscape of Desire
Landscape of Desire is a short experimental documentary film that combines locational filming, archival footage and photographs with narration, to tell the story of what home means and how the land defines the person. As the land changes around him, the one thing that remains constant for Mahfuzur is his home.

Aeyliya Husain is a documentary filmmaker whose work focuses on issues of representation, war, women and photography. She has exhibited at festivals both nationally and internationally. She started her career with the NFB.

image: Parastoo Anoushahpour and Faraz Anoushahpour, Pictures of Departure, 2018

5. Pictures of Departure
In winter of 1986 our mother writes in her diary: “To scratch the surface of a subject does not penetrate deep into the subject”. Almost three decades later, Pictures of Departure takes this entry and sets off to explore the surfaces and the scratches that linger across generations.

Parastoo Anoushahpour and Faraz Anoushahpour have worked in collaboration since 2013. Using various performative structures, their projects explore collaboration as a way to upset the authority of a singular narrator or position. Recent work has been shown at New York Film Festival, TIFF, Gallery 44 and Trinity Square Video in Toronto.


6. Portrait of a Zamboni Driver
Growing up in Colombia, Luis España dreamed of a different life. When he married a Cree woman from Canada and returned to her small town, Luis found a sense of place driving the Zamboni at the local ice-rink where hockey is King.

Nadine Arpin is a Two-Spirited Métis filmmaker based in Sioux Lookout, Ontario where her film production company Cedar Water Films is located. Since 2014 she has been producing and directing independent short films which have screened both nationally and internationally.

 

 

YANIYA LEE. fractured horizon: An Overview of Black Aesthetics in the Vtape archive

YANIYA LEE. fractured horizon: An Overview of Black Aesthetics in the Vtape archive

“Our rights to desire, to freely inhabit our bodies, to exist without discrimination based on our (access to) assets or where we come from, have all been hard won, and often alongside the visual and aesthetic expressions of artists. With the knowledge that artists reflect their time in the ways they record, perceive and create, I have been watching artists’ film and video and reading texts in the critical writing index to study the ethics and political struggles of the past. This archival project research considers the decades of collected film, video and critical writing that has been gathered at Vtape. I propose to trace the changes in our art and activism in the 70s, 80s and 90s until today, with particular attention to the development of black film and video practices, in order to see where headway has been made and where our struggles may have become stagnant. I ask: what are the concerns of a new generation of emerging racialized artists? In what ways do their questions parallel those of the 70s, 80s and 90s?

“This project will undertake these larger questions through close reads of several bodies of work and pieces of critical writing. I look at identity politics and various cultural legacies considering race and sexuality and health and gender and class. In my initial search I have reviewed the works of Buseje Bailey, Richard Fung, John Greyson, Sylvia Hamilton, Claire Prieto, Carole Condé & Karl Beveridge, Deanna Bowen and Donna James. My critical writing touchstones are a 2007 FUSE roundtable between Andrea Fatona, Aruna Srivastava and Rinaldo Walcott on “Ethno Politics of Identity,” a 1993 Cineaction survey article by Gabrielle Hezekiah about black Canadian women filmmakers and video artists, as well as a missive written by the incubator participants of the 2019 Images Festival, in which these racialized emerging artists, art workers and curators express their vexation and disappointment with the organization’s efforts towards diversity and inclusion. I will consider the work and politics of the generations past through the lens of this callout. Their ethical expectations will be the signposts I use to get a sense of what has changed or stayed the same. The research will include several interviews with filmmakers and activists whose testimonials and histories will be important context for my considerations of the works. The research will end in a single substantial essay, a short screening program and a public conversation with one of the video artists.”   Yaniya Lee, 2019

image: Maigre Dog, Donna James, 1990.