A young filmmaker uses his camera to transform the banality of his hometown into art. When a friend goes missing, however, his footage exposes a disturbing mystery . . . one he might be inventing.

The struggle of two individuals who are going through the same stage of life but in various circumstances is depicted in "Frames." The movie "Frames" depicts their daily decisions and the challenges they encounter.

A nearsighted young man finds his identity and true love through a pair of prescription glasses.

A smart city tracks and analyzes a woman walking through the city. Things she does are interpreted and logged by the city system, but are they drawing an accurate picture of the woman?

A short documentary on Hong Kong.

"Ghosts of Lost Futures" is a program of video works by 10 artists commissioned by the G. William Jones Film and Video Collection. Each artist was given access to the same cache of footage from the WFAA Newsfilm Collection shot in Dallas, Texas in the year 1970. The program was intended to celebrate the 50th Anniversary of the archive, but due to the COVID-19 lockdowns, the program was not completed until the Spring of 2021. The artists were given complete freedom in how they re-interpreted the footage and its historical context. The resulting works are profound meditations on mourning, melancholy, disaster, and various reinterpretations of the events of 2020 and 2021 through images of Dallas' past. "FRAMES" is Tramaine Townsend's submission.

James’s film provides us with a thoughtful history of photography and the moving image that both pays tribute to the past and celebrates how advancements in technology support the ever-evolving nature of cinema. His film elaborates on a history of storytelling through image and how we can use the iPhone and other new technologies to create, reflect and inspire in our day-to-day lives.

"The original was standard 8mm material that I'd shot in a village in Italy. The material had gone through a process of deterioration. I'd used it in performing and taken it through an old Russian slide projector. I took the lens out of this projector so I could pull the film strip through it, and that meant the image could be focused on different surfaces. Instead of the image falling onto a screen, I could direct it around the room with the lens in my hand. In the process it got very torn and scratched, and it was that material I eventually put in the contact printer and made into the 16mm film Frames." – Annabel Nicolson

A super 8 film conceived and shot by my friend Franklin Johnson around 1975 with additional footage shot by me. Features our longtime friend Marlis Spauchus ( Dunn ). Music by Terry Riley.

Frames like de Bruyn's other recent effort Cha-Hit (1986) is an overwhelming film constantly in motion, blitzing its audience with abstract visuals. The film is a mixture of flickery, Letraset, light, scratching and hand-drawn colours. So rapid is the movement that it makes you wonder at times if you are looking at an image or its afterimage. Could a film like Frames be damaging to your retina or neurological functions? If you sat in front of this type of film long enough, would it send you on a trip? Could it awaken a patient out of a coma? After a confronting seven minutes I felt exhausted and slightly frazzled, such is the power of the film. A Dirk de Bruyn retrospective would certainly kill me. -Glen Hannah

A super 8 film conceived and shot by my friend Franklin Johnson around 1975 with additional footage shot by me.

Alex Ritt, a music video director comes to Italy to direct a video for pop sensation Stefania Stella. He soon encounters a mysterious killer who videotapes his victims for the police. As the horrible murders continue, Ritt is unknowingly pushed into the killer's games and he soon becomes a target of the police. The video-killer is on the loose and Ritt must find out the truth before it's too late.

An educational physics film utilizing a fascinating set consisting of a rotating table and furniture occupying surprisingly unpredictable spots within the viewing area, Leacock’s Frames of Reference (1960), features fine cinematography by Abraham Morochnik, and funny narration by University of Toronto professors Donald Ivey and Patterson Hume, in a wonderful example of the fun a creative team of filmmakers can have with a subject other, less imaginative types might find pedestrian.

High contrast black and white photography, a subjective camera and a quirky sense of humour contribute to this extraordinary portrait of the filmmaker’s neighbour Sophia, a working class woman from Cape Breton with opinions she’s not unwilling to (loudly) share. Clarke’s highly personal film is at once familiar and dispassionate – an innovative documentary which moves as kinetically as any action film.

“Cinema devoured me” said Lyudmila Kusakova, one of the first women art directors at “Mosfilm”. In her hands the panoply of items found at municipal dumps mutated into magical film sets which became a part the golden fund of our cinema. in her work she enjoyed the support of her husband and mentor mikhail kartashov. he helped lyudmila to find beauty in everyday articles and be ahead of time with her ideas. but dissimilar world views inevitably told on their marriage. can love withstand the tribulations in the family of two creative people for whom art and cinema became the meaning of life?

Israel's most celebrated war photographer, Micha Bar-Am, unfolds his extraordinary archive of over half a million negatives. A life devoted to recording a conflict for the prestigious Magnum agency.

Godina was ordered to make a short film glorifying the army, but instead made a film about making love, not war. The censors hacked it up, but he managed to save one complete copy.