
XINEMA presents: Duties in the Domestic Cinema, a collection of short films that explore the impact the queer and diasporic experience have on temporal and bodily manipulation. Using the screen as a space to research and connect, these five artists return to the personalized domestic and familiar to better understand themselves and the world around them.
Screening:
Shouldering Intervals of Desire (2021), Danielle Mackenzie Long, 10 min
A human entity lives in an in-between world, where they rely on embodied movement and mundane space to process key decisions.
The Protagonists (2018), Gabi Dao, 8 min
A conflation of cinema, notions of conflict, time and labour, memory and representation.
xīn nī 廖芯妮 (2022), Jasmine Liaw, 7.5 min
A dancer’s body, made up of her family’s ancestral artifacts, responds to a recorded inter-generational conversation with her father.
alphabet/azbuka (2022), Alisa Tarabrina, 5 min
A reflection on childhood language-learning and bilingualism through alphabetical word association.
tendril love (2021), Maymoona Gaid and Wendel Vistan, 6.5 min
An exploration of analog film technologies in telling a story of Mim’s Farm.
Filmmakers in attendance. Q&A after the screening.
XINEMA is an ongoing series that showcases emerging and established filmmakers within and around “Vancouver”, BC to strengthen and preserve the local experimental film scene.
Various
2022
Book Tickets
Indigenous & Community Access
Indigenous Access Tickets Community Access Tickets Ticket Donation Requests
Also Playing
Frankenstein
Frankenstein and Guillermo del Toro might have been made for each other. The movie does not disappoint, a ripping yarn of grand adventure, spectacle, hubris, passion and XXL body parts, a tale of the fantastic that rings the imagination. Screening in 35mm.
Israel Palestine on Swedish TV 1958-1989
Drawing on 30 years of television archives, Göran Hugo Olsson relates the early history of the state of Israel, as reported by Swedish filmmakers, politicians and journalists. "An astonishing, invaluable document." William Mullally, The National