The Free Screen

The Free Screen

The Free Screen

The Free Screen

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The Free Screen is committed to independent and avant-garde works—contemporary as well as historical—and to an exploration of numerous art forms and disciplines as they relate to works of art made for the cinema. A forum for the experimental, for hybrid documentaries, essay films and other personal expressions, The Free Screen emphasizes “free” in numerous guises and attempts to provide a critical context for film and video art.
The Free Screen is committed to independent and avant-garde works—contemporary as well as historical—and to an exploration of numerous art forms and disciplines as they relate to works of art made for the cinema. A forum for the experimental, for hybrid documentaries, essay films and other personal expressions, The Free Screen emphasizes “free” in numerous guises and attempts to provide a critical context for film and video art. All screenings in this series are FREE, unless otherwise indicated.

For submissions or curatorial proposals, please contact Andrea Picard: apicard@tiff.net.

We wish to thank the following for making this edition of The Free Screen possible: Kathy Geritz, Pacific Film Archive; Pablo de Ocampo and Kathryn MacKay, Images Festival; Adam Sekuler, Northwest Film Forum; Sharon Lockhart; Renee Martin, Blum & Poe; Bonnie Rubenstein, Scotiabank CONTACT Photography Festival; Jon Davies; Jenny Perlin.

The Free Screen is supported by the Canada Council for the Arts

Films in The Free Screen

    • Radical Light: Stories Untold

    • In conjunction with the publication of the Pacific Film Archive’s first book, Radical Light: Alternative Film and Video in the San Francisco Bay Area, 1945-2000, BAM/PFA is presenting a touring series exploring the themes, movements and rich historical chronology of alternative film and video in the Bay Area.

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    • Ne Change Rien

    • Ne change rien is an elusive and sensual essay on the ineffable intersections of labour and creation, as meticulous toil is suddenly transformed, via momentary and elusive inspiration, into alchemical acts of creation.

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    • Double Tide

    • Double Tide, like Lockhart’s Millet-inspired portrait of Japanese farmers NO (2003), uses a stationary camera to document movements of labour, observing clamdigger Jen Casad as she trudges through the mudflats of coastal Maine during the natural phenomenon in which low tide occurs twice during daylight hours, once at dawn and once at dusk.

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    • The Perlin Papers

    • The Perlin Papers by American artist Jenny Perlin is a cycle of eight short films that reveals stories of domestic espionage during the Cold War period in the United States.

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