FILM AND VIDEO


Working on  Zerah's Gift , Cabot, Vermont, Summer 2013. Photo by Cameron Moneo.

Working on Zerah's Gift, Cabot, Vermont, Summer 2013. Photo by Cameron Moneo.

Filmography

Tondal's Vision (65 minutes, 16mm-on-digital, 2018)
Fountains of Paris (9 minutes, 16mm-on-digital, 2018)
Residence Inn (2.5 minutes, 16mm, 2017)
Potamkin (66 minutes, 16mm, 2017)
Carousel Study (5 minutes, digital, 2016)
The Bow and the Cloud (8 minutes, 16mm-on-digital, 2016)
Mills (3.5 minutes, 16mm-on-digital, 2016)
Gulls at Gibraltar (3.5 minutes, 16mm, 2015)
Bridge 1C (1 minute, 16mm, 2015)
Landform 1 (2.5 minutes, 16mm, 2015)
Bridge 1B (1.5 minutes, 16mm, 2015)
Bridge 1A (2 minutes, 16mm, 2015)
Wild Currents (6.5 minutes, 16mm, 2015)
Variations on a Theme by Michael Snow (7.5 minutes, digital, 2015)
The Season Word (5.5 minutes, digital, 2014)
Dominion (8 minutes, digital, 2014)
Hang Twelve (24 minutes, digital, 2014)
Jenny Haniver (15.5 minutes, 16mm, 2014)
Serena Gundy (3.5 minutes, 16mm, 2014)
Wastewater (1.5 minutes, 16mm, 2014)

Conservatory (3.5 minutes, 16mm, 2013)
Zerah's Gift (7.5 minutes, super 8, 2013)
The Shapes Book (7 minutes, super 8, 2013)
Spirits in Season (12.5 minutes, 16mm, 2013)
Ravine (4.5 minutes, 16mm-on-digital, 2013)
Championship (21.5 minutes, 16mm, 2013)
Pepper's Ghost (18.5 minutes, digital, 2013)
Blue Guitar (5 minutes, 16mm-on-digital, 2013)
Apis in Memphis (1 minute, digital, 2013)
Snakegrass (1 minute, 16mm, 2012)
The Order of Ideas at the Leslie Street Spit (3.5 minutes, 16mm, 2012)
Brébeuf (10.5 minutes, 16mm, 2012)
Queen's Quay (1 minute, 16mm, 2012)
Foolish Fire (2 minutes, super 8, 2011)
Memory Worked by Mirrors (2.5 minutes, 16mm, 2011)
Balinese Rebar (3.5 minutes, 16mm, 2011)
Christ Church - Saint James (6.5 minutes, 16mm, 2011)
Manor Road (3.5 minutes, 16mm, 2010)


Potamkin (67 minutes, 16mm, 2017)

Dovzhenko's Chorus,  Potamkin , 2017.

Dovzhenko's Chorus, Potamkin, 2017.

Kenneth Rexroth (Werner Krauss) wakes from a nightmare,  Potamkin , 2017.

Kenneth Rexroth (Werner Krauss) wakes from a nightmare, Potamkin, 2017.

"What happened to Potamkin?"

In 1933, at age 33, Harry Alan Potamkin died of complications related to starvation, at a time when he was one of the world's most respected film critics. In his writings, he advocated for a cinema that would simultaneously embrace the fractures and polyphony of modern life and the equitable social vision of left radical politics. This film-biography is assembled out of distorted fragments of films on which he had written, an impression of erupting consciousness.

At the Odessa steps, trampling gives breath to the child. The bullet miraculously reforms the face. The Cossacks march backwards, retreating unseen into their nothing, the unfired rounds of their rifles restored to their menacing potential. Feet tread backward up the steps as the steps themselves collapse in splintering emulsion. The carriage is set upright.

“One’s sight is inverse to one’s eyes;
The begger with empty sockets sees
The microscope lies;
But these
Who are truly blind are wise.”

 

Sound by Stuart Broomer. Processing by Stephen Broomer, Martha Cabral, Eva Kolcze, Emmalyne Laurin, Cameron Moneo. Titles by Cameron Moneo. Digital intermediate by Pablo Perez. Thanks to R. Bruce Elder, Christine Lucy Latimer, Mark Loeser, Suzanne Naughton.

Screenings:

01/17/18 - Monograph Cinema, Calgary, Alberta
12/12/17 - EXcinema, Grand Illusion Cinema, Seattle, Washington
12/06/17 - Open Eye, Northampton, Massachusetts
12/03/17 - Channels, Cinema Borealis, Chicago, Illinois
11/28/17 - Balagan Film Series, Harvard Art Museum, Cambridge, Massachusetts
11/26/17 - Moviate, Midtown Cinema, Harrisburg, Pennsylvania
11/03/17 - Cine Salon, Howe Library, Hanover, New Hampshire
10/24/17 - TIFF Bell Lightbox, Toronto, Ontario
10/17/17 - Cinematheque quebecoise, Montreal, Quebec
09/01/17 - MUTA - Muestra internacional de apropiación audiovisual, Tacna, Peru
08/19/17 - MUTA - Muestra internacional de apropiación audiovisual, Le Paz, Bolivia
07/14/17 - MUTA - Muestra internacional de apropiación audiovisual, Lima, Peru
06/02/17 - S8 Mostra de Cinema Periférico, A Coruña, Galicia, Spain

Trailer


Carousel Study (5 minutes, digital, 2016)

"While remaining true to the cinematic frame, Stephen Broomer’s Carousel uses both analogue and digital techniques to destabilize it. The work places smooth analogue and digital movement next to each other, with the camera panning around the room using a mechanical tripod head and with the image rotating around the centre of the screen using digital keyframing. In order to maintain the cinematic frame, the work distorts to reveal a frame anomaly hidden within the digital animation, further reinforcing the tension between analogue and digital animation. The work is a spatial study, reminiscent of Michael Snow’s La Région centrale (1971), only with a little toilet humour." Clint Enns, "The Frame is the Keyframe" (catalogue essay), 2016.

A continuous 360-degree pan is host to shadows and changing light. Some hesitation. Insulation, concrete, and a wooden netting of walls. After a time the pan reverses. In layers it crosses itself. The shadows move against these time values. A light turns off in reverse. A tighter composition, still panning, rotates 360-degrees. The mechanism emits a gentle hum, which assumes chordal structures as it is sped and reversed. The only way this can end is suddenly. Made in the basement of my childhood home, summer 2016.

Commissioned by Madi Piller, Clint Enns, and the Toronto Animated Image Society for their exhibition The Frame is the Keyframe: Frame Anomalies. Thanks to Madi Piller, Jenn Snider, Hugo Ares, Benjamin Edelberg.

Screenings:
11/10/16-12/16/16 - Installation, The Frame is the Keyframe: Frame Anomalies, Toronto Animated Image Society


The Bow and the Cloud (8 minutes, 16mm-on-digital, 2016)

A waterfall cuts through the land along the Bruce Trail; birdsongs and a distant cloud; I stand in the shadow of an electric cross; a bow set in the cloud, a token of the covenant between god and man. Made at the Devil's Punchbowl conservation area, Hamilton, Ontario, March 2016. Made with the assistance of Daniel McIntyre. Thanks to Emmalyne Laurin and Lesley Loksi Chan. Film processed by Sylvain Chaussée at Niagara Custom Lab; film scanned by Lianna Hillerup at Frame Discreet.

Francesca Rusalen wrote this essay in response to the film on October 18, 2016, for her website L'emergere del possibile.

Screenings:
03/14/17 - Fronteira Festival, Goiás, Brazil


Mills (3.5 minutes, 16mm-on-digital, 2016)

The ruins of a nineteenth century farm in the brush off Moatfield Drive in Toronto - a stone shack without a roof and, not much further, a well, long since abandoned as a sewer. We made a quick inventory: splintering branches; stars and asterisks; coded tags.

Made with Cameron Moneo, January 2016. Film processed by Mels Studios et Postproduction (Montreal) and scanned by Lianna Hillerup, Frame Discreet (Toronto).

Screenings:
07/20/17 - LIFT Round-Up, Toronto, Canada


Gulls at Gibraltar (3.5 minutes, 16mm, 2015)

"Manifestación de la propia presencia de autor y espectadores sobre el paisaje, adaptándonos al ritmo de sus cambios constantes. Quizá sea este trabajo el que delimita más la direccionalidad de la mirada sobre la pantalla. Exposición exacerbada y explosión lumínica. Simultaneidad de horizontes, imagen sobre imagen, en un solo plano. Lo mismo con el vuelo de las gaviotas. Las olas del mar salpicarán expresivamente empapando al cielo con manchas de pintura. Acción como resultado de la superposición de imágenes en movimiento. Gaviota que se separa de bandada, volando quizá hacia Inglaterra o quizá hacia España. En tierra de nadie y en cielo de todos."

Fernando Solla, "Stephen Broomer - Los nuevos impresionistas," CineDivergente, June 10, 2016.

Seagulls hover and dip on the rocky coastline of Gibraltar Point. Tilting and multiple horizons camouflage the birds, splintering and gathering the lone gull to the flock.

Made with the assistance of Eva Kolcze. Thanks to Emmalyne Laurin and Cameron Moneo.

Screenings:
12/14/17 - Visions, Montreal, QC, Canada
12/10/16 - Muestra de Cine Experimental, Habana, Cuba
10/14/16 - Pleasuredome, Toronto, Ontario, Canada
07/26/16 - FOL Cinema, Turkey
06/05/16 - Chicago Underground Film Festival, Chicago, Illinois, USA
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
04/03/16 - Crossroads, San Francisco, California, USA
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/29/15 - Sonic Circuits, Washington, DC, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA


Landform 1 (2.5 minutes, 16mm, 2015)

Studies in motion, made red, black, and blue by tone and tint. To be present in a landscape is to turn from vision to a menacing rhythm.

Made at the Film Farm, Mount Forest, Ontario, 2013. Post-production was completed at the Liaison of Independent Filmmakers of Toronto, 2015. Thanks to Philip Hoffman, Deirdre Logue, Scott Miller Berry, Christine Harrison, Rob Butterworth, Emmalyne Laurin, Karl Reinsalu, Eva Kolcze, and Clint Enns.

Screenings:
10/14/16 - Pleasure Dome, Toronto, Canada
09/15/16 - NSCAD, Halifax, NS, Canada
07/31/16 - Cellular Cinema, Minneapolis, MN, USA
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
04/22/16 - Open City Cinema, Winnipeg, MB, Canada
04/03/16 - Crossroads, San Francisco, California, USA
02/04/16 - Innis Town Hall, Toronto, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA


Wild Currents (6.5 minutes, 16mm, 2015)

"Stephen’s Broomer’s Wild Currents wrests uneasy tension from an unassuming domestic scene, piling on impositions and aural disjunctions."
Jordan Cronk, Brooklyn Magazine, April 11, 2016

Wild Currents  (2015)

Wild Currents (2015)

A tragic mistake jolts Teddy and Joanne into limbo. Their spirits bear witness to their past usage of household appliances, as if by electric charge they might uncoil their spectral presences from home and garden. A myth and a ghost story for Christine Lucy Latimer, on her birthday, 2015.

This film was processed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto.

Screenings:
12/08/16 - La lumiere, Montreal, QC, Canada
12/07/16 - Canadian Film Institute, Ottawa, ON, Canada
10/14/16 - Pleasure Dome, Toronto, Canada
09/15/16 - NSCAD, Halifax, NS, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
04/22/16 - Open City Cinema, Winnipeg, MB, Canada
04/03/16 - Crossroads, San Francisco, California, USA
04/01/16 - Big Ears Festival, Knoxville, TN, USA
02/04/16 - Innis Town Hall, Toronto, ON, Canada
01/10/16 - LIFT Round-Up 2015, Toronto, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA


Variations on a Theme by Michael Snow (7.5 minutes, digital, 2015)

Just / faintly / a corner / was / seen there / trying / to look / like an edge.
.--- ..- ... - / -..-. / ..-. .- .. -. - .-.. -.-- / -..-. / .- / -.-. --- .-. -. . .-. / -..-. / .-- .- ... / -..-. / ... . . -. / - .... . .-. . / -..-. / - .-. -.-- .. -. --. / -..-. / - --- / .-.. --- --- -.- / -..-. / .-.. .. -.- . / .- -. / . -.. --. . .-.-.-

Image: Stephen Broomer
.. -- .- --. . ---... / ... - . .--. .... . -. / -... .-. --- --- -- . .-.
Sound: Stuart Broomer
... --- ..- -. -.. ---... / ... - ..- .- .-. - / -... .-. --- --- -- . .-.

Thanks to Emmalyne Laurin, Tim Laurin, Cameron Moneo, and Gerry Vandenberg.
- .... .- -. -.- ... - --- . -- -- .- .-.. -.-- -. . .-.. .- ..- .-. .. -. --..-- - .. -- .-.. .- ..- .-. .. -. --..-- -.-. .- -- . .-. --- -. -- --- -. . --- --..-- .- -. -.. --. . .-. .-. -.-- ...- .- -. -.. . -. -... . .-. --. .-.-.-

Screenings:
09/08/16 - Installation, SWARM Festival, Vancouver, BC, Canada
06/23/16-07/01/16 - Installation, Latitude 53 Gallery, Edmonton, AB, Canada
06/01/16-08/31/16 - Installation, Gallery of Alberta Media Art, Calgary, AB, Canada
12/09/15 - Alternative Film/Video, Belgrade, Serbia


The Season Word (5.5 minutes, digital, 2014)

Still but twisting eye
From fall’s wither to first snow
Where lives my wonder

Thanks to Cameron Moneo, Emmalyne Laurin, and Blake Williams.


Dominion (8 minutes, digital, 2014)

The thistle, shamrock, rose entwined, a vision in the longhouse, a dream in the wilderness. For Emmalyne Laurin, October 2014.

Thanks to Blake Williams and Cameron Moneo. Offered on the occasion of Hamilton Arts & Letters' themed issue on Northrop Frye's The Modern Century (1967). Made at Sainte-Marie-au-pays-des-Hurons, Midland, Ontario; and at Awenda Provincial Park, Tiny, Ontario.

Screenings:
10/21/15 - MassArt Film Society, Boston, MA, USA
06/25/15 - TRUCK Contemporary Art Gallery, Calgary, AB, Canada


Hang Twelve (24 minutes, digital, 2014)

Encores live yet
Slice every note, each notice sincere in secret
Lovers covet eyeliner to recite in vein or vesicle
Clever noise, silence or else

Performed by Stephen Broomer, Eva Kolcze, Emmalyne Laurin, Cameron Moneo and Blake Williams.

"Hang Twelve (2014), its title a fitting anagram of Wavelength, follows up on the premise set by Pepper’s Ghost with its isolated room and performing characters, yet reframes the rules of the game. Using a primary colour palette (and pattern) in its mise-en-scene (Mondrian, as much as Pierrot le fou!), Hang Twelve reaches, through perspectival play and constant activity, for a vanishing point. Complicating Wavelength’s mythic zoom (which we know to be discontinuous despite the illusion of unbroken linearity), the film lingers in thresholds and continuously reframes its distance through varying focal lengths. The grids may be quaint markers of Modernism (coloured tape on mirrors, echoed in Broomer’s plaid shirt, etc.), but they also allude to the boundary lines of the performance, in which obstructions (like the textured plastic acrylic sheets) are used to the players’ advantage as they wrestle with uncertainty to create form. The accompanying atmospheric soundtrack, with low whirring bass, creates tension in the image, upping the stakes, interrupting the evolving, serene velocity. An intermittent and repetitive cycling through of the colour spectrum provides a flicker (and a flooding) of coloured light that upends the perception of depth and flatness, while inducing the notion of randomness during this traversal of time and space."
Andréa Picard, "Rites of Passage amid 'flooding radiance'," from The Transformable Moment: The Films of Stephen Broomer (Ottawa: Canadian Film Institute, 2014), 53-54.


Jenny Haniver (15.5 minutes, 16mm, 2014)

A photographer steadies a Polaroid camera and composes a shot of the sky, flanked by tree branches. Later, a woman wakes from a nightmare. Jenny Haniver takes its title from a cryptid totem sold for centuries at the docks of Antwerp: a Jenny Haniver or jeune d’anvers (young girl of Antwerp) is a disfigured ray or skate carcass, carved to resemble an angel, a devil, a dragon. A series of ten filmed portraits are subject to all manner of alteration. By this they compose the hull of a ship wrecked on rocks sung by sirens. To mirror its namesake, the film’s plastic properties have been carved, lacerated, bleached, otherwise stressed, reshaped to transform reality into the fantastic and unknowable.

This film was produced with the support of the Liaison of Independent Filmmakers of Toronto as part of its 2012 Production Support granting program. Thanks to Emmalyne Laurin, Karl Reinsalu, Noé Rodriguez, Renata Mohamed, Ben Donoghue, Chris Kennedy, and Cameron Moneo.

Making this film was an informal education in the plastic alteration of the film plane. The strategies displayed here were gleaned from discussions, correspondences, readings, and workshops over the past several years, through which it bears the influence of R. Bruce Elder, Izabella Pruska-Oldenhof, Philip Hoffman, and Richard Tuohy; and is also the result of experimentation and improvisation with those processes.

My invaluable peer in this pursuit, Eva Kolcze, has mastered aspects of the artful deterioration and disfigurement of celluloid that I have only begun to learn, and throughout the development of this film, she was my advisor and collaborator, spending many hours working alongside me in the darkroom. Her good and wise company has made this film possible.

Screenings:
01/16/17 - Studio des Ursulines, Paris, France
01/26/17 - Cinematheque quebecois, Montreal, QC, Canada
02/17/16 - Brown University, Providence, RI, USA
11/02/15 - Independent Visions, Regina, SK, Canada
10/24/15 - Iris Collective, Vancouver, BC, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/17/15 - Surface Treatments workshop, Mono No Aware, Gowanus Darkroom, Brooklyn, NY, USA
08/29/15 - Altered States, Coastal Currents Film Festival, Hastings, UK
04/12/15 - Crossroads, San Francisco Cinematheque, San Francisco, California, USA

Jenny Haniver  (2014)

Jenny Haniver (2014)

"Like many of Broomer's singular kinetic works, Jenny Haniver stands as a bridge between traditions of both artistic thought and production. A lyrical reflection coming from within the film illuminated the conceptual ground and obliterates the borders between the analog and the digital realms to achieve a hybrid composition, a synthesis of Broomer's creative vision. It is precisely this interconnecting paradox - of film and video, artisanal and professional, reason and passion, form and content, old and new - that positions Jenny Haniver in the higher grounds of a contemporary territory, engaged in the regard of History as the driving force to keep pushing always a bit further into the unseen."

Pablo Márin, "Jenny Haniver: Long Live the New Flesh," in Closed Positions (Hamilton: CIRCA Project Gallery, 2015).


Serena Gundy (3.5 minutes, 16mm, 2014)

Serena Gundy Park, in Toronto, so named for the late wife of Toronto businessman James Henry Gundy, who influenced the financial character of early twentieth-century Canada. Gundy had owned the parkland as a family estate, and upon his death in 1951, donated the land to the city in memory of his wife. In early spring, the trees remain bare from winter, on cusp of renewal. The film takes her name for its homophonic relation to the nursery rhyme Solomon Grundy (born on a Monday, christened on Tuesday, married on Wednesday...), which cycles through the days of the week that chart Grundy's life from birth to death, inevitably repeating, birth and death enclosed in a loop.

Screenings:
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
05/16/15 - Chicago Underground Film Festival, Chicago, IL, USA
02/02/15 - Gallery of Alberta Media Art (GAMA), Calgary, AB, Canada


Wastewater (1.5 minutes, 16mm, 2014)

...its frenziedly distorted visuals [provide] shattered glimpses of a processing-plant. [...] it’s the choice of soundtrack that compels and spellbinds, via a sepulchrally ponderous piece of music which carries echoes of the Bach compositions found at particularly transcendent junctures of Tarkovsky’s masterpieces." Neil Young, Tribune

The North Toronto Wastewater Treatment Plant lies in thick brush downhill from a hydroelectric corridor. The eye bounces, guided by the vertical forms coming up out of the valley, and a low flame bridges these movements.

This film was processed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto.

Screenings:
12/13/16 - Kino Tuskanac, Croatian Film Association, Zagreb
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
06/28/14 - Winnipeg Underground Film Festival, Winnipeg, Manitoba, Canada
04/19/14 - Images Festival Open Screening, Toronto, Ontario, Canada


Conservatory (3.5 minutes, 16mm, 2013)

Stamens and pistils are lit in rapid succession behind the dome of the Palm House at Allan Gardens in Toronto. The plants trade colour, making alien scenes in the conservatory. Solid forms, too near to the eye, become muddied and indistinct, in constant passage, but the dome and the grid are fixed.

This film was processed at Niagara Custom Lab in Toronto. Telecine was done at Frame Discreet. Thanks to Clint Enns, Emmalyne Laurin, Cameron Moneo, and Lianna Hillerup of Frame Discreet.

Screenings:
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
01/11/15 - LIFT Round-Up 2014, Bloor Cinema, Toronto, Canada
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, Canada
07/13/14 - The Picture Show, Greenpoint, Brooklyn, New York, USA
07/11/14 - Media City Film Festival, Windsor, Ontario, Canada
06/27/14 - Winnipeg Underground Film Festival, Winnipeg, Manitoba, Canada
05/24/14 - Edmonton Film Collective, "Coming of Consciousness: Lyrical Film on 16mm," Edmonton, Alberta, Canada.
04/19/14 - Images Festival Open Screening, Toronto, Ontario, Canada
04/04/14 - Chicago Underground Film Festival, Chicago, Illinois, USA
04/04/14 - Alchemy Film and Moving Image Festival, Hawick, Scotland
03/06/14 - $100 Film Festival, CSIF, Calgary, Alberta, Canada
11/07/13 - The Continuist Launch Party, Modern Literature and Culture Research Centre, Ryerson University, Toronto, Canada
09/27/13 - The Loop Collective: Recent Film & Video Works, Ryerson University, Toronto, Canada.


Zerah's Gift (7.5 minutes, super 8, 2013)

"La geografia civica di Broomer forse in Zerah’s Gift raggiunge il suo tono più lirico; si tratta di un archivio visivo girato durante l’estate del 2013 in Vermont (dove parallelamente girava sempre in super 8, The Shapes Book)immagini che sono paesaggi e paesaggi che erano corpi; il film si ispira al calcolatore umano Zerah Colburn la cui vita fu trasformata in attrazione. Quel che Broomer mostra è la campagna di Cabot attorno a cui Zerah visse per poi morirvi nel 1839. Si narra che, abbandonata la carriera universitaria per quella pastorale, Zerah perse gradualmente e totalmente le sue capacità di calcolo. Troviamo così una vivida frammentazioni di nature, una ricorrente natura che risponde, si corrisponde (dal terrigno al marino), e che ritorna morbida laddove cominciava (sarebbe a dire l’elemento artificiale di una luce, al crop su questa). Troviamo dunque tutto il paesaggio immaginario attorno a Zerah, e lo immaginiamo, spettrale, indifferente, in questa edilizia fatta di filamenti veloci e traballanti movimenti di camera. Troviamo tutto il reale possibile, tutto il pittorico di questa mano invisibile."

Valentina Dell'Aquila, "Stephen Broomer, Spirit in Landscape," La Furia Umana 29 (2016)

On Zerah Colburn, the early-nineteenth-century human calculator, made into a sideshow attraction by his father. He grew to be a deeply solipsistic man, convinced of his own greatness, trained by the example of his father to exploit his own gifts. Following his turn as an itinerant Methodist preacher, Colburn’s abilities at mental calculation vanished. This film is a record of the countryside that he grew up in and to which he later returned and died at age 35. The world as the work of a Great Calculator. 

Made in Cabot, Vermont, summer 2013. Super 8, 7.5 minutes, 18fps.

Screening history:
10/14/16 - Pleasure Dome, Toronto, Canada
01/23/16 - CIRCA Project Gallery, Hamilton, Canada

Zerah's Gift  (2013)

Zerah's Gift (2013)


The Shapes Book (7 minutes, super 8, 2013)

Shapes in a dollhouse betray the fatal competition of earthly things.

For Cameron Moneo.

Made in Cabot, Vermont, summer 2013. Super 8, 7 minutes, 18fps.


Spirits in Season (12.5 minutes, 16mm, 2013)

Lily Dale is a spiritualist community in Chautauqua County, New York. Pilgrims and tourists swarm the hamlet in summer, but in the fall, Lily Dale becomes a more intimate setting for spectral communions. This film explores the town's Leolyn Woods, pet cemetery, Inspiration Stump, and Fairy Trail. Music by Nate Wooley.

This film was processed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd.  Post-production was completed at the Liaison of Independent Filmmakers of Toronto.

Screenings:
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
01/14/16 - Trinity Square Video, Toronto, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/20/15 - AgX Film Collective, Waltham, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
06/11/15 - Filmadrid, Madrid, Spain
05/28/15 - OFF Biennale, Budapest, Hungary
02/02/15 - Gallery of Alberta Media Art (GAMA), Calgary, AB, Canada
01/09/15 - The Factory Media Arts Centre, Hamilton, ON, Canada
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, ON, Canada
08/10/14 - Haxan Festival, Oakland, California, USA
08/03/14 - Um-Um Festival, Stara Lubovna, Slovakia
07/23/14 - Landscape Poetry, Limerick Avant-Garde Cinema, Limerick, Ireland
06/01/14 - Lima Independiente International Film Festival, Lima, Peru
05/31/14 - Haverhill Experimental Film Festival, Haverhill, Massachusetts, USA
01/14/14 - Open City Cinema, Winnipeg, Manitoba, Canada
10/26/13 - LaunchPad Gallery, Brooklyn, New York, USA
07/12/13 - Factory Media Arts Centre, Hamilton, Ontario, Canada

Spirits in Season  (2013)

Spirits in Season (2013)

"Sembra davvero che Spirit in Season (2013) - ultimo episodio della Spirits Trilogy dopo Christ Church-Saint James (2011) e Brébeuf (2012), sia costruito come ci si trovasse entro un dialogo, in un soliloquio delle cose Gli oggetti, queste nature, diventano segni, corrispondenzesimboli: senza l’umano, lo spazio si frantuma, si liberalizza, si libera rispetto alla sua funzione per relazionarsi con sé, tra sé e divenire anima, ogni anima della civiltà, la civiltà. Il film è ambientato nel villaggio psichico di Lily Dale, residenza e punto d’incontro dell’omonima comunità spirituale che durante il periodo estivo apre le sue “attività” paranormali a turisti e pellegrini. L’autunno invece si infesta di spiriti, deframmenta in connessioni. Certo, il cinema è dei fantasmi (essere è essere infestato da un altro), e qui ancor più lo si tenta nell’evocare l’evocazione. Nulla a che vedere con l’oscuro. Tutt’altro. Ci accorderemmo a Barthes, secondo cui l’immagine sarebbe molto più che un oggetto inanimato, essa è mezzo, comunicazione tra il vivo e il defunto.  C’è in questa hauntology quel sonno delle cose quando sono in ombra, (je crois que nous sommes à l'ombre), un rapporto visibile, dormiente, silenzioso, quasi una lingua inosservata. Ma prim’anche dello sguardo, c’è in Broomer un’urgenza al racconto, un’urgenza al mezzo, l’urgenza di abbandonare il soggetto per raggiungersi in velocità espressioniste, quasi a ricordarci una sorta di tachisme in live-action painting."

Valentina Dell'Aquila, "Stephen Broomer, Spirit in Landscape," La Furia Umana 29 (2016)


Ravine (4.5 minutes, UP8-on-digital, 2013)

In Toronto's Nordheimer Ravine, an environment of thick brush and dead wood flattens into fields of colour. Its paths lead to Winston Churchill Park, where the entrance to a city reservoir overlooks a green vale.

This film was made in the UltraPan8 format. It was composed using a 3.1:1 widescreen frame. The film was processed at Niagara Custom Lab. The resulting footage was digitized by John Gledhill of Bit Works Inc. The camera, modified by Jean-Louis Seguin, was provided by Nicholas Kovats. Post-production was completed at the Liaison of Independent Filmmakers of Toronto.

Screenings:
10/21/15 - MassArt Film Society, Boston, MA, USA
02/02/15 - Gallery of Alberta Media Art (GAMA), Calgary, AB, Canada
08/03/14 - Um-Um Festival, Stara Lubovna, Slovakia


Championship (21.5 minutes, 16mm, 2013)

At a wrestling tournament, a young competitor faces match upon match. Referees converge on the scene. The crowd’s attention wanes and focuses with the intensity of the bout. Sounds drift in: a psychic piano enters over fast and short breaths. This is a contest of past and future. It will be decided in the ring.

Screenings:
07/29/15 - MDFF, Toronto, Ontario, Canada
01/14/14 - Open City Cinema, Winnipeg, Manitoba, Canada
09/21/13 - First and Last Experimental International Film Festival, Sydney, Australia

 

"In Championship, Broomer has succeeded in constructing a universe from chance. His chance procedures have transformed amateur films of a sporting event into a multi-faceted piece with many layers of interpretation. It no longer documents the matches, but encompasses a wide spectrum of human experience."
Kate Russell, "Stephen Broomer's Championship," Hamilton Arts & Letters 6.2 (2013-14).


Pepper's Ghost (18.5 minutes, digital, 2013)

How we may see in a Chamber things that are not! Here, mutations of light, through fabric, glass, and colored gel, make bodies and objects transparent. Let there be a chamber wherein no other light comes but by the door or window. Let pictures be set over against this window. For what is without will seem to be within, and what is behind the spectator's back, he will think to be in the middle of the room, as far from the glass inward as they stand from it outwardly. Clearly and certainly, he will think he sees nothing but truth.

Performers: Stephen Broomer, Eva Kolcze, Cameron Moneo

Thanks to Emmalyne Laurin, Laura Berger, Karl Reinsalu, and Katie Russell.

"Pepper's Ghost, by Torontonian Stephen Broomer, transforms an office formerly used for observation studies into a tunnel of performative, transfixing illusionism, creating surprising images using filters, fabric and a combination of sunlight and fluorescents. ... Pepper's Ghost is a prolonged expression of demystified mystification, whose startling results are bolstered by a bold soundtrack." -- Andréa Picard, Wavelengths, Toronto Film Festival

"Shall I compare thee to Michael Snow?
(The series is “Wavelengths,” don’tcha know…)
Your film has an axis of recessed space
but no waves. Just the camera in their place.
And since you hail from the Great White North,
is it gauche or cliché to cite ?
The classroom transparencies, bodies of friends,
fragment the picture plane, play to the lens.
The filtering plastic forms internal frames
that transform the scene to a Diebenkorn plane.
Reflections refract and refractions reflect;
above all it’s whimsy that I can detect.
Roll out magenta! Pull down the shades!
It signifies rigour, remaining handmade.
A stained glass concerto with a keen sense of humour.
I like Pepper’s Ghost. Bravo, Mr. Broomer."
- Michael Sicinski, MUBI, mubi.com/notebook/posts/tiff-2013-wavelengths-experimental-films-the-shorts-and-the-mediums

"Broomer & co. attempt to open portals to new worlds. But not another world; rather, they burrow and burrow through this world, the specific mysticism of the glossy-flat digital image and what may lay deep, deep in those high-res pixels." - Danny Kasman, MUBI, mubi.com/notebook/posts/tiff-2013-correspondences-5

"In its mesmerizing progression, the film delivers gems of primary colors then diminishes them into a thin beam of light among the darkness, only to explode again in vivid brilliance. Transforming the eye into a kaleidoscopic cave, the camera in front of you turns into a tiny transparent skeleton as people become fuller, fleshier in view. They look out or look into its body. It’s a jarring effect, almost scary to contemplate, but nonetheless it’s a visceral delight to see it manifest." - Jacqueline Valencia, The Next Projection, more at nextprojection.com/2013/09/06/tiff-2013-review-peppers-ghost-2013-np-approved/

Jacqueline Valencia also interviewed me for the Next Projection. That interview is located here: nextprojection.com/2013/09/07/tiff-2013-interview-stephen-broomer-peppers-ghost-world-premieres-september-7th/

"“Pepper’s Ghost” creates a layered experience of spectatorship. On one level, the film shows the process of experimentation as the creators move around on screen, opening blinds and hanging sheets, inviting the inclusion of the viewer. But the creators also perform as the film's subjects, their bodies made translucent and spectral through various lighting effects; their inclusion pushes the viewer back into the traditional spectator role. The viewer also sees the creators checking the screen on the back of their DSLR camera, essentially watching themselves watching themselves, affecting both a private and exclusive experience. Broomer describes this latter aspect as creating a “closed circuit." But he sees the loop as an access point. “I like to think that we’re inviting the viewers into experiencing the same kind of joy that we’re feeling when we’re transforming the space through light,” he says." - Mark Mann, Blouin Art Info. More at ca.blouinartinfo.com/node/955238/home/performing-arts/Experimental-Filmmaker-Stephen-Broomer-Haunts-TIFF-in--Pepper-s-Ghost-

Screenings:
14/11/15 - Squeaky Wheel Film & Media Art Center, Buffalo, NY
02/02/15 - Gallery of Alberta Media Art (GAMA), Calgary, AB, Canada
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
12/12/14 - Alternative Film/Video, Belgrade, Serbia
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, Canada
09/26/14 - Arquiteturas Film Festival Lisboa 2014, Lisbon, Portugal
08/03/14 - Um-Um Festival, Stara Lubovna, Slovakia
02/15/14 - Berlin Directors Lounge, Berlin, Germany
01/14/14 - Open City Cinema, Winnipeg, Manitoba, Canada
12/15/13 - Migrating Forms, Brooklyn Academy of Music, New York, USA
09/07/13 - Toronto International Film Festival

Trailer


Blue Guitar (5 minutes, UP8-on-digital, 2013)

Things as they are are changed upon the blue guitar.

This film was made in the UltraPan8 format. It was composed using a 2.8:1 widescreen frame. The film was processed at Niagara Custom Lab. The resulting footage was digitized by John Gledhill of Bit Works Inc. The camera, modified by Jean-Louis Seguin, was provided by Nicholas Kovats. Post-production was completed at the Liaison of Independent Filmmakers of Toronto.

Screenings:
10/21/15 - MassArt Film Society, Boston, MA, USA
09/27/13 - The Loop Collective: Recent Film & Video Works, Ryerson University, Toronto, Canada


Snakegrass (1 minutes, 16mm, 2012)

"Snakegrass is a reverie of haunting simplicity: via multiple exposures, the camera meanders along a verdant path bordered by the eponymous plant, accompanied by ethereal American guitarist John Fahey plucking out ‘St Patrick’s Hymn’. The arrangement dates back to 1869, but the hymn itself is centuries older; Snakegrass likewise feels something beamed in from the pre-industrial epoch of Wat Tyler and company." - Neil Young, Tribune

Snake grass lines a forest path. The camera passes toward the entrance to the woods. It staggers and repeats as the scene is saturated in colour.

This film was processed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet. Thanks to Emmalyne Laurin, Karl Reinsalu, and Lianna Hillerup.

Screenings:
12/13/16 - Kino Tuskanac, Croatian Film Association, Zagreb
10/14/16 - Pleasure Dome, Toronto, ON, Canada
07/04/16 - MIRE, Nantes, France
06/03/16 - Palexico, (S8) Mostra de Cinema Periférico, A Coruña, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
02/27/15 - $100 Film Festival, Calgary, Alberta, Canada
06/14/13 - Winnipeg Underground Film Festival, Winnipeg, Manitoba, Canada
10/27/12 - Alchemy Film and Moving Image Festival, Hawick, Scottish Borders


The Order of Ideas at the Leslie Street Spit (3.5 minutes, 16mm, 2012)

The Order of Ideas at the Leslie Street Spit  (2012)

The Order of Ideas at the Leslie Street Spit (2012)

On the paths that cut through Toronto's Tommy Thompson Park, at the foot of Leslie Street, an assortment of terrains collide: thicket, pebbled shorelines, muddy vistas, and fertile earth with beds of wildflowers. A giant duck crosses the horizon. A radio transmission of Shooby Taylor, the human horn, travels with us.

This film was processed and printed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet. Thanks to Emmalyne Laurin, Cameron Moneo, Karl Reinsalu and Lianna Hillerup.

Screenings:

10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
05/04/15 - Ontario Scene / IFCO, Mercury Lounge, Ottawa, Ontario, Canada
02/26/15 - $100 Film Festival, Calgary, Alberta, Canada
05/28/14 - Experimental Film Festival Portland, Portland, Oregon, USA
12/01/13 - Paradise Found, Electric Palace, Hastings, East Sussex, UK
08/03/13 - The Fabulous Festival of Fringe Film, Durham, Ontario, Canada
04/20/13 - Images Festival, CineCycle, Toronto, Ontario, Canada


Brébeuf (10.5 minutes, 16mm, 2012)

Brébeuf is a study of St. Ignace II, in Huronia, where the ethnographers and Jesuit missionaries, later saints, Jean de Brébeuf and Gabriel Lalemant, were killed in 1649. The images in this film arise from a reading of that story - the joining of the sumac and the cross, the blessing gestures, struggles in the field, elliptical scans of stones, and the shimmering of water to summon a glimpse of the flesh boiled from the skin, in fables of the killing. Brébeuf draws from the dark and storied history of early Western conquest, rediscovering in the harsh, untamed landscape of the North resonances of the violent conflicts between the Jesuits, the Huron, and the Iroquois.

Made with the assistance of Emmalyne Laurin. This film was processed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet. Thanks to Lianna Hillerup and Karl Reinsalu.

Screenings:
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
02/18/16 - Video Jam, Bury Art Gallery, Greater Manchester, England
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
01/14/16 - Trinity Square Video, Toronto, ON, Canada
11/12/15 - Video Jam, Manchester Jewish Museum, Manchester, England
10/21/15 - MassArt Film Society, Boston, MA, USA
10/20/15 - AgX Film Collective, Waltham, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
02/28/15 - $100 Film Festival, Calgary, Alberta, Canada
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, Canada
10/26/13 - LaunchPad Gallery, Brooklyn, New York, USA
10/05/13 - Views from the Avant-Garde, New York City, New York, USA


Queen's Quay (1 minutes, 16mm, 2012)

"In Queen’s Quay, a spectrum of saturated colour oods the hard geometries of downtown Toronto. The film’s combination of colour and architecture brings to mind Shirley Clarke’s Bridges Go Round (1958); there is also a suggestion of cathedral stained glass. (I think Stephen once indicated to me a desire to work in stained glass. I could swear there are remnants of a droll joke in Queen’s Quay’s conferral of holy radiance onto the windows of Toronto’s condominium towers.)"

Cameron Moneo, "The Answering Act," in The Transformable Moment: The Films of Stephen Broomer.

Queen's Quay  (2012)

Queen's Quay (2012)

Queen's Quay  (2012)

Queen's Quay (2012)

Red, green, blue, and yellow grids track the horizon, left and right. The colours collide and mix.

This film was processed and printed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet. Thanks to Karl Reinsalu and Lianna Hillerup.

Screenings:
10/14/16 - Pleasure Dome, Toronto, ON, Canada
10/08/16 - Curta 8 Festival Internacional de Cinema Super 8, Curitiba, Brazil
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
10/22/15 - Duo Strangloscope, Mostra Internacional de Audio, Video/Filme & Performance Experimental, Museu da Imagem e do som, São Paulo, Brazil
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, Canada
11/20/14 - AS220, Providence, Rhode Island, USA
11/05/14 - Exploded View, Tucson, Arizona, USA
10/26/14 - Filmkollektiv Frankfurt, Francfort-sur-le-Main, Allemagne, Germany
10/25/14 - Experimental Response Cinema, Austin, Texas, USA
08/28/14 - The Nightingale, Chicago, Illinois, USA
08/21/14 - Microlights, Milwaukee, Wisconsin, USA
08/15/14 - Regional Support Network, The Drake Hotel, Toronto, Ontario, Canada
08/05/14 - Open City Cinema, Edge Gallery, Winnipeg, Manitoba, Canada
08/03/14 - Um-Um Festival, Stara Lubovna, Slovakia
07/22/14 - Mobius, Boston, Massachusetts, USA
07/11/14 - Sight Unseen, Baltimore, Maryland, USA
06/21/14 - Basement Media Festival, The Spectacle, Brooklyn, New York, USA
06/05/14 - Basement Media Festival, The Spectacle, Brooklyn, New York, USA
04/19/14 - Images Festival Open Screening, Toronto, Ontario, Canada
03/28/14 - L'Association du Tati Roulant, La Madeleine, France
03/08/14 - $100 Film Festival, Calgary, Alberta, Canada
02/02/14 - Punto y Raya Festival, Reykjavic Center for Visual Music, Reykjavik, Iceland
01/14/14 - Open City Cinema, Winnipeg, Manitoba, Canada
11/18/13 - Gute Nacht!, Le 102, Grenoble, France
11/12/13 - Université Lyon 2, Bron, France
10/26/13 - LaunchPad Gallery, Brooklyn, New York, USA
09/28/13 - Electric Visions Symposium, Ryerson University, Toronto, Ontario, Canada
06/14/13 - Winnipeg Underground Film Festival, Winnipeg, Manitoba, Canada
05/10/13 - Sweet Magic London, London, Ontario, Canada
02/08/13 - the8fest, Toronto, Ontario, Canada


Foolish Fire (2 minutes, super 8, 2012)

Foolish Fire (2 minutes, super 8, 2012)

Foolish Fire (2 minutes, super 8, 2012)

The friar’s lantern, ignis fatuus, or Will-o’-the-wisp, a phosphorescence caused by decomposing organic matter, is an atmospheric phenomenon long overshadowed by its mystic and macabre significance. Here, the occurrence is rendered as a skipping, ghostly flame that holds the power to seduce and mislead travellers

Commissioned by the8fest and the Toronto Animated Image Society. Thanks to Madi Piller and Andrew James Paterson.

Withdrawn from circulation.

Screening history:
01/27/2012 - the8fest, Trash Palace, Toronto, Ontario, Canada


Memory Worked by Mirrors (2.5 minutes, 16mm, 2011)

Memory Worked by Mirrors  (2011)

Memory Worked by Mirrors (2011)

A mirror in the filmmaker's backyard reflects his childhood home. The black frame of the watermarked mirror becomes a mysterious portal, distorting brick, branch, and flesh into an amorphous hodgepodge. A self-portrait.

This film was processed and printed at Niagara Custom Lab in Toronto. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet.

Screenings:
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
02/24/16 - Musée d’Art moderne André Malraux, Le Havre, France
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, Canada
05/03/14 - Synesthesia III, FAWN Opera, Brockton Studio, Toronto, Ontario, Canada
08/23/13 - The 8 Fest: August Blackout, Cameron House, Toronto, Ontario, Canada
06/01/13 - 06/22/13 - Modern Edinburgh Film School Videotheque, MAKE SHIFT Exhibition, Talbot Rice Gallery, University of Edinburgh, Scotland
05/10/13 - Sweet Magic London, London, Ontario, Canada
05/05/13 - Internationale Kurzfilmtage Oberhausen, Oberhausen, Germany
04/29/13 - Estela del Luz, Mexico City, Mexico
04/05/13 - Center for Performance Research, sponsored in part by Mono No Aware, New York, USA
03/28/13 - Milton Keynes Gallery, Milton Keynes, UK
01/22/13 - University of Northampton, UK
09/28/12 - Lo & Behold Gallery, London, England
08/17/12 - Fylkingen, Stockholm, Sweden
08/16/12 - Nomadic Academy of Experimental Arts, Harakka Island, Helsinki, Finland
07/28/12 - Erata Contemporary Art Museum, St. Petersburg, Russia
07/19/12 - Bíó Paradís, Reykjavík, Iceland
07/15/12 - Latitude Festival, Suffolk, United Kingdom
07/03/12 - Balagan Film Series, Brattle Theatre, Boston, Massachussetts, USA
03/30/12 - New Toronto Works, Pleasure Dome, Toronto, Ontario, Canada
01/27/12 - the8fest, Trash Palace, Toronto, Ontario, Canada


Balinese Rebar (3.5 minutes, 16mm, 2011)

Balinese Rebar  (2011)

Balinese Rebar (2011)

Balinese Rebar  (2011)

Balinese Rebar (2011)

Birds in flight break through rusted clouds and translucent buildings. Rebar at a construction site seems to snake through sunlit puddles.

This film was processed and printed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet.

Screenings:
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
12/16/15 - Musée d’Art moderne André Malraux, Le Havre, France
10/21/15 - MassArt Film Society, Boston, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, Canada
10/23/14 - Antimatter, Victoria, British Columbia
08/03/14 - Um-Um Festival, Stara Lubovna, Slovakia
07/31/14 - Balagan Film Series, Brattle Theatre, Boston, Massachusetts, USA
04/04/14 - What the Festival, Alfred, New York
01/14/14 - Open City Cinema, Winnipeg, Manitoba, Canada
11/12/13 - Université Lyon 2, Bron, France
07/03/13 - Film Farm, Mount Forest, Ontario, Canada
05/10/13 - Sweet Magic London, London, Ontario, Canada


Christ Church - Saint James (7 minutes, 16mm, 2011)

In the spring of 1998, Christ Church - Saint James, an historic black church in Toronto's Little Italy, was destroyed by arson. All that remained were walls and a pit, and over subsequent years, the site was overtaken with graffiti. This film has taken on the layered form of the site itself, the space and its surfaces becoming tangled and multiple, the grid of a stone-filled window giving geometric form to simultaneously occurring images of concrete, nature, waste, paint, and sky. Music by John Butcher.

An accompanying statement, written on the sixteenth anniversary of the fire: stephenbroomer.tumblr.com/post/82928527255/the-chance-of-resurrection

This film was processed at Niagara Custom Lab in Toronto. The optical soundtrack was made by Ray Cook and Dean Allen at Skylight Studios Ltd. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet. Thanks to Karl Reinsalu, Gareth Jasper, Ben Donoghue, Sebastjan Henrickson, Lianna Hillerup, Adam Jackson, and Izabella Pruska-Oldenhof.

"Broomer layers and filters images of the church’s ruins, trying to bring to the screen the feel of the intricate graffiti that now adorns its walls and the rubble strewn about. “Christ Church - St. James” is in the mode of many avant-garde films that work as a weird kind of travelogue, conveying not just what a place looks like, but how it feels to visit." Noel Murray, The Dissolve

Screenings:
02/25/17 - Honest Ed's, Toronto, ON, Canada
10/14/16 - Pleasure Dome, Toronto, ON, Canada
06/03/16 - S8 Mostra de Cinema Periferico, Coruna, Spain
01/23/16 - CIRCA Project Gallery, Hamilton, ON, Canada
01/14/16 - Trinity Square Video, Toronto, Ontario, Canada
10/21/15 - MassArt Film Society, Boston, MA, USA
10/20/15 - AgX Film Collective, Waltham, MA, USA
10/18/15 - Mono No Aware, Brooklyn, NY, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
07/03/15 - Syros International Film Festival, Syros, Greece
01/09/15 - The Factory Media Arts Centre, Hamilton, Ontario, Canada
12/04/14 - Canadian Film Institute, Café Ex / Club Saw, Ottawa, Canada
10/02/14 - Nuit Blanche, Toronto, Canada
04/17/14 - Balagan Film Series, Brattle Theatre, Boston, Massachusetts, USA
01/30/14 - Sight Unseen, EMP Collective, Baltimore, Maryland, USA
01/14/14 - Open City Cinema, Winnipeg, Manitoba, Canada
10/26/13 - LaunchPad Gallery, Brooklyn, New York, USA
08/26/13 - Portland Underground Film Festival, Portland, Oregon, USA
07/12/13 - 07/27/13 - Light & Time: 15 Years of the Loop Collective, exhibition, The Factory Media Arts Centre, Hamilton, Ontario, Canada
06/01/13 - 06/22/13 - Modern Edinburgh Film School Videotheque, MAKE SHIFT Exhibition, Talbot Rice Gallery, University of Edinburgh, Scotland
05/06/13 - Internationale Kurzfilmtage Oberhausen, Oberhausen, Germany
04/23/13 - Cinéma Action Christine, Paris, France
04/13/13 - Images Festival, Jackman Hall, Toronto, Ontario, Canada
02/01/13 - Kunstwerke, Köln, Germany
01/17/13 - IMA Gallery, Toronto, Ontario, Canada
09/27/12 - WNDX Festival of the Moving Image, Winnipeg, Manitoba, Canada
09/14/12 - LightCone Scratch Expanded/Preview Show, Paris, France
07/20/12 - Imagem-Contato Festival, CineSESC, São Paulo, Brazil
05/31/12 - Chicago Underground Film Festival, Gene Siskel Film Center, Chicago, lllinois, USA
04/18/12 - Athens International Film + Video Festival, Athena Cinema, Athens, Ohio, USA
11/30/11 - “The Loop Collective,” TIFF Cinematheque, Toronto, Ontario, Canada
09/28/10 - EXIS Film Festival, Diagonal Film Archive, Seoul, South Korea (rough cut screening)


Manor Road (3.5 minutes, 16mm, 2010)

Trains travel to and from a fixed point in space beneath a variable coloured horizon.

This film was processed at Niagara Custom Lab in Toronto. Post-production was completed at the Liaison of Independent Filmmakers of Toronto. Telecine was done at Frame Discreet. Thanks to Karl Reinsalu, Gareth Jasper, Sebastjan Henrickson, and Lianna Hillerup.

Screenings:
10/21/15 - MassArt Film Society, Boston, MA, USA
08/25/15 - Buffalo Public Library, Buffalo, NY, USA
09/07/14 - Star and Shadow Cinema, Battlefield, Newcastle Upon Tyne, UK
01/07/14 - Jerwood Gallery, Hastings, UK
05/03/14 - FAWN Opera, Synesthesia III, Brockton Studio, Toronto, Ontario, Canada
04/03/14 - Lo & Behold Gallery, London, England
01/14/14 - Open City Cinema, Winnipeg, Manitoba, Canada
11/14/13 - Milton Keynes Gallery, Buckinghamshire, United Kingdom
09/17/13 - Athens School of Fine Arts, Athens, Greece
07/20/13 - Latitude Festival, Suffolk, United Kingdom
01/26/13 - Sonic Circuits Festival, Washington DC
09/14/12 - LightCone Scratch Expanded/Preview Show, Paris, France
05/30/10 - “The Loop Collective,” Factory Media Arts Centre, Hamilton, Ontario, Canada