Directing
Imelda Marcos, deposed Philippines tyrant, has moved to the corner of Bloor and Bathurst in Toronto. She remembers it all but regrets none of it. She had everything and now she has nothing. But she has no bitterness in her heart. A satire.
Marie Antoinette takes us on a walking tour of the Petit Trianon, a charming little farm on the grounds of Versailles. Her commentary includes reflections on life, God, and the peasants, providing valuable insights into the royal character of this important character.
The bitterness of an uncommunicative couple manifests itself over the course of an evening's television viewing. Unable to address the issues which threaten their relationship directly, the couple seethe and stew against a telling aural backdrop of television commercials and entertainment, directing cynical asides about each other's faults to the viewers. In the role of confidante, the viewer is given the uneasy task of bearing witness to their relationship's inevitable destruction.
The tape follows the participants in a carnival show performing their act called The Wall of Death. The riders operate motorcycles and go-carts on a vertical wall. The tape follows them through one complete show. It starts with the least knowledgeable and least skilled showmen and works up to the best. The star of the show is a woman. She out-performs everyone and stands alone in what is generally thought of as a man's game. Changing roles in a changing society.
A surreal look at the conformity that prevails within institutions. The videotape moves the viewer through the situations found in a mental health institution and conveys how our lives are molded by a particular structure that has almost no interest in individuality or personality.
An encounter at a zoo between people and gorillas. The video blurs the relationship between the observer and the observed; the bias that people place upon an animal that has such human characteristics; the institutionalization of animals for our cultivation and illumination.
