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The Best Lindsay McIntyre Directed Movies

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A satirical film featuring a housewife and her attempts at counterculture. A one minute film commissioned by the Images Festival in 2003 for their Minute Movies program. It was designed specifically for the experimental-film-lovin’ audience at the festival. It pokes a bit of fun at experimental filmmakers in general, and it actually demonstrates a valid but obscure technique. This technique took me almost two years to figure out, and I subsequently discovered that it was already known and was deliberately kept from me. It’s about sharing techniques instead of hoarding them, and having fun. It won Jury’s Choice and Audience Favorite at the CSIF $100 Film Festival, Best Film Overall at the Toronto One Minute Film and Video Festival and received Special Mention by the jury at The Festival International de Court Metrage in Lille.

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

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

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Filmed on the tundra of the Canadian Arctic, place and personal histories are explored through memories embedded in the land.

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Created with handmade and manufactured emulsions, Tuktuit explores the close and enduring connections between Inuit, caribou, lichen, and land use. Lichen developers help process the images of a caribou hide being fleshed down to rawhide to make gelatin for handmade emulsion that is subsequently used to shoot the film.

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Another chapter of the 16mm dreamwave micro-hallucinations in National Parks across Canada.

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Among the very few essential objects brought South from her home, Kumaa’naaq’s uluit manifest a dream in her great-granddaughter. One of five works in the Bloodline series.

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Maisie (14) and Kohe (6) talk about the work of their dad, Chad Baba, an artist, junk repurposer, local Edmonton treasure and awesome dad.

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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.

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A structural autotopographical study of lindsay's great-grandmother through what was left behind and what is missing. One of five works in the series Bloodline.

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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.

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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.

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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.

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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.

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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.

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

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

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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.

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