Lindsay McIntyre

An Inuit mother and daughter, Kumaa’naaq and Marguerite, must negotiate the pressures of assimilation after relocating to a new life in the South in the 1930s. Based on a true story.

A looping 16 mm performance exploring the framework of tree/human relationships on unceded Pacheedaht territory at Fairy Creek. A site of civil disobedience, it is also a place of recognition, passion and dedication for the more-than-human beings with whom we share the planet. High-contrast images are hand-processed, optically printed, contact printed and altered, creating a portrait of this landscape and its employ at the hands of humans.

1987: While the other students wonder if new kid Robin is a boy or a girl, Robin forges a complicated bond with the school bully, making increasingly dangerous choices to fit in.

그들이 밤을 헤매는 동안, 르네가 어둠에서 벗어났다는 소식이 도착한다. 모데스트는 누나와 어색하게 재회해야 하는 상황에 갑작스레 놓이게 된다. 몇 년간 실종 상태였던 르네의 귀환에, 르네의 딸 아텐과 가족들은 동요한다. 르네가 과거의 파편들을 모아 자신의 꿈을 만들어 나가기 시작하자, 불길한 예감이 땅을 뒤흔든다. 2년간 캐나다 원주민 메티스족의 중심지인 ‘1번 조약 지역(Treaty 1)´의 사적이고 상징적이며 역사적인 장소들을 촬영했다. "쌩땅느"는 이 땅을 이미지의 힘을 통해 복원하려 했다. (제22회 전주 영화제)

A close up look at director Lindsay McIntyre's great-grandmother’s amauti. But what is between what you can and cannot see?

Under the care of manned mechanical beings, we sit and wait in suspension. Held in abeyance, one cannot help but be captivated by these beautiful, hopeful, watchful creatures.

The studio workings behind door 11a in the Ortona Armoury. An ode to a practice and place that should not be forgotten.

The studio workings behind door 11a in the Ortona Armoury. An ode to a practice and place that should not be forgotten.

The studio workings behind door 11a in the Ortona Armoury. An ode to a practice and place that should not be forgotten.

Under the care of manned mechanical beings, we sit and wait in suspension. Held in abeyance, one cannot help but be captivated by these beautiful, hopeful, watchful creatures.

A close up look at director Lindsay McIntyre's great-grandmother’s amauti. But what is between what you can and cannot see?

A close up look at director Lindsay McIntyre's great-grandmother’s amauti. But what is between what you can and cannot see?

A young transgender Indigenous musician and his rock band bring mumble punk to the Interstellar Rodeo. A rock ‘n’ roll survival story of a different stripe.

A documentary looking at the impact of humor and the stage on Jimmy and Gregory, two disabled friends.

A filmmaker travels to South Korea to document the rising feminist movement responding to brutal patriarchal norms and a spy cam epidemic. Leading up to the protest of December 22, 2018 in Gwanghwamun Square in Seoul, the filmmaker journeys throughout rural and urban areas of the country, interviewing women of different generations and backgrounds: their private and public lives.

Cree director Alexandra Lazarowich riffs off classic verité cinema to craft a contemporary portrait of Métis women net fishing in Northern Alberta.

An in-camera visual exploration of a little girl, her garden, and all that pertains.

Rendered in a dream-like pink hue, bernard gaspé uses layered in-camera juxtapositions to present a journey through the neglected architecture of the train tracks in Montréal’s Mile End.

A single-subject portrait of a young Nunamiut athlete through the practice of his sport, which focuses on the materiality of film and its surface textures.

In 1936 an Inuk woman departs her homeland in the North forever. But why?

In 1936 an Inuk woman departs her homeland in the North forever. But why?

Barge Dirge is an experimental short that ponders death and industrial decay, a tense and mournful tone piece that imagines the rubble of humanity long forgotten. While Joyce Weiland’s iconic Sailboat bobbed freely on pale blue waters, McIntyre’s rusty barge rots trapped in frozen arctic permanence; heavy, unmoving, abandoned. As frozen mechanical flotsam flashes on screen we are left to wonder what, exactly, is being mourned? Perhaps community? A way of life? Our environment? Humanity itself? Barge Dirge challenges notions of legacy and memory by presenting us with only the ugliest remnants of humanity, preserved in a boundless frozen wasteland.

Situated at the geographic centre of Canada, Baker Lake, Nunavut is the only inland settlement in the Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre's haunting and sparse film uses hand-wrought black-and-white 16mm film in a meditation on place and personal histories.