Joële Walinga

What do our cameras say about us? As a tapestry of footage collected from surveillance cameras over the last four years, Self-Portrait moves from moment to moment around the world, beginning with the frozen storminess of winter, to the melt of spring, the lush heat of summer, and finally the decay and cooling of autumn: the dawn of winter. The film shows a candid peek at humanity through what we've chosen to document – all of these cameras set up for primarily capitalistic, "property"-protecting purposes, but yielding a beauty and a truth – an incidental portrait.

What do our cameras say about us? As a tapestry of footage collected from surveillance cameras over the last four years, Self-Portrait moves from moment to moment around the world, beginning with the frozen storminess of winter, to the melt of spring, the lush heat of summer, and finally the decay and cooling of autumn: the dawn of winter. The film shows a candid peek at humanity through what we've chosen to document – all of these cameras set up for primarily capitalistic, "property"-protecting purposes, but yielding a beauty and a truth – an incidental portrait.

What do our cameras say about us? As a tapestry of footage collected from surveillance cameras over the last four years, Self-Portrait moves from moment to moment around the world, beginning with the frozen storminess of winter, to the melt of spring, the lush heat of summer, and finally the decay and cooling of autumn: the dawn of winter. The film shows a candid peek at humanity through what we've chosen to document – all of these cameras set up for primarily capitalistic, "property"-protecting purposes, but yielding a beauty and a truth – an incidental portrait.

What do our cameras say about us? As a tapestry of footage collected from surveillance cameras over the last four years, Self-Portrait moves from moment to moment around the world, beginning with the frozen storminess of winter, to the melt of spring, the lush heat of summer, and finally the decay and cooling of autumn: the dawn of winter. The film shows a candid peek at humanity through what we've chosen to document – all of these cameras set up for primarily capitalistic, "property"-protecting purposes, but yielding a beauty and a truth – an incidental portrait.

Using archival footage and the melodrama outlined in an email from a junk inbox, worlds of isolation and desperation collide in an ultra short film that brings to life a tale designed to scam someone.

Filmed in Coimbra during the COVID-19 pandemic, Reabertura captures the city in the process of reopening, as businesses sanitize and reorganize in preparation for the new "normal", pointing to an unsettlingly capitalistic adaptation of reality.

Filmmaker Joële Walinga documents a moment of faith and waiting in the life of her Christian mother, a French-Canadian living in the Bible Belt who has opted to forgo cancer treatment.

Filmmaker Joële Walinga documents a moment of faith and waiting in the life of her Christian mother, a French-Canadian living in the Bible Belt who has opted to forgo cancer treatment.

Filmmaker Joële Walinga documents a moment of faith and waiting in the life of her Christian mother, a French-Canadian living in the Bible Belt who has opted to forgo cancer treatment.

Cave Small Cave Big is a film written by five-year-olds Madeline Harker and Adelaide Schwartz. Made to respect the gravity of the material, the film jumps from character to character as they cope with the transience of ownership, capturing that moment in a young mind when new muscles are stretched to grapple with ideas about possession and loss.

Cave Small Cave Big is a film written by five-year-olds Madeline Harker and Adelaide Schwartz. Made to respect the gravity of the material, the film jumps from character to character as they cope with the transience of ownership, capturing that moment in a young mind when new muscles are stretched to grapple with ideas about possession and loss.