Mike McKinlay

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).

A short, expressionist documentary, exploring the relationship between Cedar and three Indigenous women who work with it, weave with it, and live with it.

A choreography to cracked linear textural sound. Elements of classical and neoclassical ballet used to choreograph a dancer's movements to jagged lines of sound.

For thousands of years, Indigenous peoples have governed their territories according to their own laws – safeguarding land, air, water and communities to sustain their cultures and economies. Drawing on the lessons learned over two decades of work with Indigenous peoples on Indigenous law-based approaches to land use planning, impact assessment and other aspects of environmental governance, in 2016 West Coast launched the RELAW program (Revitalizing Indigenous Law for Land, Air and Water).

In a unique and defiant blend, the film tells the story of six generations of Indigenous activism through song and story.

Larry Grant and Sonny McHalsie share their stories of the River.

Director Kamala Todd reflects on the land she is occupying and notions of livability.

Cedar and Bamboo is a thought-provoking documentary about the unique relationships shared by early Chinese immigrants and Aboriginal peoples on Canada’s west coast. The documentary recounts the life experiences of four descendants of mixed heritage. Set in BC, their stories reveal the difficult circumstances of Aboriginal peoples and early Chinese immigrants.