Mommy’s Crystal Tears is a four channel video installation composed of two women’s faces isolated on a white background, separated by a slow moving close-up of a swaying chandelier. Winged babies [Putti] soar above our heads, projected on the ceiling. The women are an aging mother (left) and her daughter (right).… ⊕

Two Vivisectors from the Department of Truth discover the meaning in Art. A video that can be defined as part of The Third Cinema – neither consumer goods nor avant-garde, or an experiment. In the 1930s this kind of art form/film/cultural expression was seen as an instrument of revolutionary consciousness, whose products… ⊕

Specializing in performing New Music and works by contemporary composers, Eve Egoyan is a powerful and commanding performer. In E.V.E. Absolute Matrix, Josephson captures Egoyan's intensity as she performs a 5-hour epic for piano, the 12 part "Inner Cities" by composer Alvin Curran. The piano and the… ⊕

The bicycle under the tree at the beginning is the past. The house in the forest belongs to Chekhov, although he never lived there. The woman in the middle is not Trotsky, however, she might be a victim. The sound of the footsteps are those of a painter named Ronald K. The voices are everyone else. The second bicycle at the end… ⊕

On December 23, 2006 in Devon, UK I visited an abandoned crumbling stone house on the furthest cliff in the Atlantic Ocean. In it I found a room with nothing but a rope and a stool. This film is a retinal image of that room and what did not take place there.

The attempted abduction by Zeus of two rococo milk maids is interrupted by the artist’s dog. A pastoral fantasy after Titians’ Abduction of Europa.

The Blood-Red Heart of Johanna Darke is a provocative engagement with the city of Paris and with the image of La Resistance as a mythology of history and entertainment. In 1940, Johanna Darke, a novice from a convent in Quebec, arrives in Paris to study architecture, with the desire to design and build a church. Soon after the… ⊕

Swimming PoolCanoeing for women. The idea of the clean and private swimming pool is disrupted in a 'scary farce' with two Rococo women in an inflated dragon find their way through muddy water. Wall Flowers / PanelhönorHow to arrange two women in a bouquet of flowers. Two women are arranged in Dahlias by a droning bumble… ⊕

I was never welcome in my parents’ home.I was the uninvited guest at the banquet. They always wanted me to be a boy as a companion for my horrible sister. Their chandelier was more important than my happiness. When my father looks at the camera, I see the ghosts of the patriarchs of the ages. My beautiful mother hovers… ⊕

A 1:00 silent , black/white video alluding to androgyny or refuting heterosexuality and the stereotypes it engenders. Found footage and digital video technology is used to edit a perplexed face (Liv Ullman) caught between two archetypal images (Adam and Eve?) into one fast, frenzied, morphed image, that could be a Rorschack… ⊕

A necklace of apples travelling through the cities of Europe.

In a Parisian apartment, an apple, suffering from bourgeois ennui, to the sound of a bergmanesque sound track, wanders from piano to couch to window, contemplates the view of Paris, then jumps - or is pushed- from the balcony.

September 2001, raindrops falling on my balcony, military aircraft swooping low over the houses, newspaper headlines warning of war, each droplet of rain exploding like a bomb.

This video was created for Live-Wire Acts: About Performance. A Power Plant Presentation at The Rivoli, Toronto, 6 November 2001. Identity, particularly that of women, is seen as mutable, constructed, fluid, and potentially transformable – not least by women themselves.A woman, her face partially obscured behind a doll,… ⊕

Audio Component: 60:00, Collaboration between Eve Egoyan and Gunilla Josephson. Recorded in one session at Gibraltar Point, Toronto Islands, and 3 March 2001. Video component Made for a slanted wall projection 10 Feet up the gallery wall, extreme close-ups of facial features; ears, nose, eyes, lips, teeth, all shot in frog… ⊕

Using the conventional cliché of a woman alone in a room - A Room of One's Own - this video rapidly veers off into burlesque transgression and a psychological revelation of the creature called Hedda. Creature? Woman? Alter Ego of the filmmaker? The id or the little red fireman? In a reckless 18 minute installation… ⊕

An Axe, a Bench, a Basement, a Crash, a Bang, a Smash...

Awarded the 2001 Festival Prize at the International Short film Festival Oberhausen, Germany. In Hello Ingmar a woman who may or may not be Gunilla Josephson, plunders through the films of Ingmar Bergman, who may or may not be her father, in search of the moment when she appeared, or did not appear, in one of Bergman's… ⊕

Josephson has created a distillation of womanhood in Hedda, a character both guided by and at the mercy of her emotions. She uses emotion with naïve abandon, ‘as if riding a horse, a locomotive or an ocean wave.’ The Hedda videos are set in a house in Normandy, France, on or around an elegant, well-mannered… ⊕

Story: Three apples spin and dance on a table top.It is possible to watch this video simply as a lively still life, or, alternatively become involved in a mini drama between three entities trying to coexist on a limited horizontal surface in an endless menage a trois.

Installation: TV Monitor, vanity table, mirror.A scowl directed at the notion of the Nice Face. 2 women in Elizabethan costumes, grimace to the sound of medieval music, while watching themselves in mirror. This video speculates on the inherent narcissism of media technology, endlessly watching itself, and ultimately collapsing… ⊕

Three sections:1. Wild Raspberries: the delectable fruit of a shrub of the Rose family, consisting of dark reddish-purple juicy droplets forming a detachable cap around a convex receptacle./A vulgar spluttering noise made with the tongue protruding from the lips.2. Fête Champêtre: a feast in a rural setting./A… ⊕