Maureen Bradley

When Adam helps his nutty ex-girlfriend Miriam artificially inseminate, it turns into a one-night stand-- and they both wind up pregnant. You see, Adam has been transitioning to living as a man. Now torn between his feelings for Miriam and his need for a masculine identity, Adam must figure out whether he's going to settle down and have a baby, or just try to be one of the guys.

When Adam helps his nutty ex-girlfriend Miriam artificially inseminate, it turns into a one-night stand-- and they both wind up pregnant. You see, Adam has been transitioning to living as a man. Now torn between his feelings for Miriam and his need for a masculine identity, Adam must figure out whether he's going to settle down and have a baby, or just try to be one of the guys.

'Sisyphus' is a silent 16mm film shot on a Bolex exploring a journey that never ends. I made this film at renowned experimental filmmaker Phil Hoffman's Film Farm workshop in Mount Forest, Ontario. Originally, I wanted to create a simple statement about overcoming depression. The ultra short narrative in 'Sisyphus' uses heartbreak as a metaphor for depression, since depression is just that - being heartbroken about life. The creative process and the practice of handmaking films speaks to treating life as a work in progress, thereby positively embracing the permanence of Sisyphus in my life. The lush, organic imagery in 'Sisyphus' was created by hand-processing 16mm black and white footage in a bucket and hand-tinting and toning individual pieces of film.

What do real women do in bed? After a bad one-night stand, Morgan looks for solace from her best friend only to be confronted with self-righteousness. Their disagreement results in a high-stakes bet to find out how many dykes fake it.

Interviews of a young woman and her various ex-girlfriends are interspersed throughout this astute and comic depiction of a lesbian’s return home for a family wedding.

Jazz Slave Ships was a site-specific performance collaboration between Vancouver artist Jan Wade and London-based performer Vanessa Richards that involved the creation of an ancestral altar. It took place in two U.K. ports in October 1996: on the West Coast in Whitehaven, Cumbria (the last English slaving port), in an 18th century bonded warehouse used to store liquor and guns used in the slave trade; and on the East Coast in Hull, Yorkshire in Wilberforce House, the birthplace of the anti-slavery pioneer William Wilberforce and now a museum of anti-slavery. The production took place over a 3-week period that began Sept. 30, 1996.

Go Dyke! Go! is a humorous commentary on lesbian relationships in the context of children’s literature. Taking off from the popular children’s book Go Dog! Go! (by P.D. Eastman), this animation paints a sarcastic, pointed and comic picture of queer life in the 90s. Familiar pop imagery and everyday signifiers are a point of entry for a discussion of the patterns of serial monogamy and lesbian representation. Go Dyke! Go! plays with the genre of animation and poses a game of semiotics to deconstruct the tropes of children's books and heterosexism.

With humour and intelligence, this beautifully shot short offers a multitude of reasons for solo living.

With humour and intelligence, this beautifully shot short offers a multitude of reasons for solo living.

With humour and intelligence, this beautifully shot short offers a multitude of reasons for solo living.

"It was a night of passion, a passion so intense it makes you miserable..."

"It was a night of passion, a passion so intense it makes you miserable..."

"It was a night of passion, a passion so intense it makes you miserable..."

What I Remember is a melancholy recollection of two stories of first love. The narrator relates two anecdotes from her youth, seemingly unrelated, but linked by both their sweetness and tragedy. What does she remember about first love? Awkwardness, embarrassment, secrecy, and abandon. The moral of the story? Once you fall hard, you better duck.

In a 1993 art exhibit at the University of Saskatchewan, Christopher Lefler allegedly outed the Lieutenant Governor of Saskatchewan, Sylvia Fedoruk. Lefler's show was closed down, his art seized, his scholarship revoked, and he was expelled from the University of Saskatchewan. Mainstream media and the queer community framed this issue as one of outing, when it was also used to attack the funding of the arts. This film attempts to chart some of the reactions to Lefler's controversial and much maligned work.

A short film about lesbians’ obsession with love and marriage. Using colourful imagery and an ironic voice-over, Bradley creates a playful and hilarious look at this popular cliché within the lesbian community.

In 1995 when Thirza Cuthand was 16 she felt like the only lesbian at her Saskatoon high school. This turned out to be untrue, but the lack of visibility in her high school coupled with the lack of representation of queer teenagers in the 90's made her make her first video, a comedic short about teenage lesbian loneliness and trying to bribe classmates to come out with the promise of candy.

"I know you want me". Eyes wander across bodies dancing in the bar, hinting at the surface, not touching. Forbidden desires become playful streetwise sex, exploring the dynamics of watching and being watched. Originally produced as part of the two channel video installation "Girllie Movies" in "Fantasmagoria: Sexing the Lesbian Imaginary", first exhibited at the New Gallery in Calgary in 1993 by the lesbian art collective Lock Up Your Daughters.

The heady pleasures of new lust and love allow the artist to escape her head momentarily - before trepidation creeps back in. With her usual sensual blend of grainy slow motion imagery and in-your-face sex-talk, Bradley continues her passionate exploration into the nuances and contradictions of lesbian desire.

Bradley explores her own phobia of being identified as a butch in this diaristic examination of internalized lesbophobia.

Marilyn Frye says lesbian sex is inarticulate. Maureen Bradley says, "Marilyn Frye should have been at my house on New Year's Eve." Sexy black and white images are mixed with frank talk about sex, love, and girls, capturing that gritty space between what is politically correct and what takes your breath away.

Queer in Vancouver, lesbian in Calgary, gay in Whitehorse and dyke in… Is identity attached to location and community? Maureen Bradley, on the road with CBC’s Road Movies saw her identity being manipulated by the mainstream media.

A voice-over soundtrack repeats some common heterosexist lines: If only they didn’t flaunt it… It’s nothing personal but… A simple image, consisting of two women embracing, contradicts the soundtrack. This video examines the resilience of lesbian desire in the face of relentless homophobia.

Nobody gets turned on by lists of do’s and don’ts. We need different strategies to help change sexual behaviour in the age of AIDS. This tapes attempts to eroticize safer sex practices and latex use. Rather than using explicit porn, the signifiers become gestural and facial to create an aura of eroticism. The address is pluri-sexual, the audience, everyone.

"Montreal's Stonewall! In July 1989, riot police broke up a predominantly gay and lesbian party, assaulting party-goers and arresting eight people. Two days later, club-wielding police brutally attacked a mass demonstration in broad daylight, leaving dozens injured and 48 arrested. We're Here tells the story of communities coming together in the face of police brutality to organize, demonstrate and demand their rights as citizens."