An electrifying night of experimental cinema, live performance, and shadow-soaked sound. Across film screenings, exclusive audiovisual encounters, and cutting-edge sets, Altered Images blurs the lines between moving image, performance, and music.
A BIENNIAL FILM SERIES Light Cone presents Scratch Collection's fourth edition, a biennial series that proposes a journey through its catalog of over 7000 films, with the goal of establishing an atlas of experimental cinema from around the world while rediscovering a collection that aims to stay open and vibrant.
Between 1958 and his death in 1987, Will Hindle (b. Shreveport, LA, 1929) created ten defiantly personal and formally rigorous 16mm films that challenge the limits of cinematic form and gesture towards what writer Gene Youngblood, borrowing from Freud, termed “Oceanic Consciousness” in his landmark text Expanded Cinema:
These microfilms have nothing to do with the size of the images, but with the recurring "character" of this series: the microphone. An essential instrument for capturing sound, we never see it (unless we're mistaken): it's outside the image, confined to the off-screen.
Air, Fire, Water, Earth: The Films of Jaimz Asmundson Curated by Cecilia Araneda, for the WNDX Festival of Moving Image Wed Oct 1 at 7 PM at the Gas Station Theatre (Winnipeg, Canada) Tickets $15
Screening followed by a Q&A with Karen Asmundson and C. Graham Asmundson
AD HOC #80: SEEING, BASICALLY: NEW AND OLD FILMS BY BARBARA STERNBERG With the Filmmaker, in person! October 7, 2025, 7PM Innis College, 2 Sussex Avenue, room 222
AD HOC presents two films by Barbara Sternberg.
Note: this is a free, unticketed event. Seating will be on a first-come first-served basis.
Por dentro somos color, by Elena Pardo Mexico, 2024, 16mm projected on video, 13' In Santa María Tlahuitoltepec, in the state of Oaxaca, the women's organization Poj Kaa manages a community herbarium. Plant-searching expeditions are a way to share knowledge with midwives, healers, and xëmaapyë. In Teotitlán del Valle, the Ruiz family searches for colors they find in plants and insects, which they use to dye the wool they use to weave rugs. Both practices involve traveling the land, recognizing it, naming it, and connecting with everything it contains.
“(...) The artist must be given more rope than necessary. He often hangs himself to experience, although this creature has a stiff neck. Give him time! Perhaps he is more aware of time than any type of individual. He is an explorer of his own dualities.(...)” Stan Brakhage. Make room for the artist.
