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Doors: 6.45PM
Screening starts at 7PM
Duration: 55 Minutes
Post Q&A with the artists in attendance.
FREE! RSVP here.
When telling a story, there are only seven basic plots. Or maybe three. Or maybe five. It depends on who you ask. But you need conflict. And you need a protagonist. Or maybe you don’t. Maybe you don’t need any characters at all?
Drawn from our annual call for submissions, Video Out has brought together a collection of exciting new works for our first screening of 2025. Ranging from the haunting to the humorous, from the autobiographical to the mystical, these videos investigate the very art of storytelling, in any form.
The screening will take place at 7pm, and will run for 55 minutes before a brief intermission. After, we invite everyone for a Q&A session with the artists in attendance.
All ages event, popcorn and drinks at the bar!
A meditation on crip time and resistance by a chronically ill filmmaker, shot on Super 8 and (mostly) eco-processed by hand. The work addresses conventional narratives around the nature of illness and instead posits disability and crip time as natural sites of resistance against capitalism.
a truth that cannot be told (remembering 50 years) is an offering from a daughter to her father. It is a film made in honor of the 50th anniversary of the Chilean military coup in which the filmmaker reflects on exile, home, and intergenerational remembering.
I live to leave, I leave to live. A confrontation with both cultural unfamiliarity and personal introspection– what lies beyond those doors? Are they just symbols of transition, curiosity, and the constant negotiation between leaving and staying? Why do we constantly seek for more? Of stepping into others' safe spaces and leaving something behind, of human connection and freedom across linguistic barriers and unfamiliar territories. On embracing yet questioning the in-between, the shift in physical and lyrical perspectives, while trusting every move/mistake made.
An unplanned exploration, a concept of "how not to make a film," produced as part of Apichatpong Creators' Lab 2023 and shot in Yucatán, Mexico.
Tethering falconry and motherhood, Freya weaves together themes of death and magic, where seasons re-arrange, just as myth and memory are re-cast through a childhood spell.
Freya grew out of a personal and collaborative place rooted in a set of relationships between falconer and bird, mother and child – relationships sometimes paradoxical and tenuous; restrained and joyous. The film explores the complexities of these relationships and their connection to the natural world enveloping them. Within the intimate framework of making this film, the viewer also considers larger themes pointing to the inequitable spaces nature occupies, at times both personal and political; charged spaces experienced in measures both wild and privileged.
"During a farewell visit to a special spot on the territories of Sc'ianew (Beecher Bay) First Nations, Lee recalls memories of rest and solitude with the land...and meets a familiar forest being along the way".
This film is about my connection to Coast Salish lands and waters, specifically where is colonially known as Vancouver Island. It follows a dialogue between myself and the spirits that I met in the forests and ocean...what I see, feel, and hear are just extensions of myself, and in this way, the "self" becomes nothing.
The necessity of a quiet, listening solitude. A unification of human and nature.
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Sara Wylie (she/they) is a filmmaker, producer and researcher from the unceded traditional territories of the Musqueam, Squamish and Tsleil-Waututh First Nations (aka Vancouver, BC). Her work focuses on archives and counter-archives, radical histories, embodied methodologies, disabled ecologies and crip intimacies.As a director/producer, Sara’s award-winning short documentary and experimental films have screened at film festivals around the world. She graduated with distinction from Toronto Metropolitan University’s Documentary Media MFA Program in 2019, and her projects have been supported by Field of Vision’s IF/THEN Shorts, Canada Council for the Arts, Ontario Arts Council, Toronto Arts Council and SSHRC.
marcela oñate-trules is a lens-based artist, dreamer, daughter/sister/friend, and storyteller dedicated to filling the gaps in archives by creating (audio)visual records that tell the stories of people and territories close to her heart. She sees her practice as one of ‘embodied archiving’, where she practices deep listening and bears witness with her body/mind/heart/spirit and camera. Originally from the Bay Area in Northern California, Marcela is currently pursuing her Master in Fine Arts in Interdisciplinary Arts at Simon Fraser University in Vancouver. Her work has been showcased at Film Diary NYC (USA), Coyaiqhue Cultural Center (Chile), and FECISO – Festival de Cine Social y Antisocial (Chile).
Lim Yen is a Singapore-based storyteller with more than 10 years of experience in editing long and short-form fiction, non-fiction, reality, commercial, branded content, music videos, and more. An alumnus of Cinemovement Lab VII Tokyo 2024 and the Apichatpong Creators Lab 2023 in Mexico, she believes in always finding new and alternative ways of telling stories and not conforming to the norm.
Her short “exits/entrances” is her regaining autonomy in moving images. No scripts, shot lists, planning were involved. This labour of love was born amongst a different culture, space and time in Yucatan, Mexico. A cathartic observation on life while finding beauty in the brokenness, by making mistakes, and knowing that these mistakes aren't necessarily mistakes, but just non-conventions. She snagged the Special Mention award at Singapore Youth Film Festival 2024, and the Honorable Mention at Cine Pobre Film Festival 2024. Her other latest works include a WIP feature documentary edit with Akanga Film Asia titled "E La Nave Va (And The Ship Sails On)" chronicling artist Milenko Prvacki’s life, and her first feature narrative edit “Orang Ikan”, which premiered at Tokyo Intl. Film Festival, Singapore Intl. Film Festival and Trieste Science Fiction Festival.
When she is not film marathoning, you can find her boxing all her problems away in the gym, or running away from them in nature.
Elisa González is an artist, filmmaker and educator rooted in the fine arts. Centred within creative nonfiction, her work explores the interconnected stories between our cultural and personal relationships with the natural environment and the non-human world. Elisa’s work has exhibited internationally and is a recipient of funding awards from Canada Council for the Arts and the National Film Board of Canada among others. She holds an MFA in Documentary Media from Toronto Metropolitan University and a BFA in Photography from Emily Carr Institute of Art & Design. Her work is distributed by the Canadian Filmmakers Distribution Center. She lives and works on the traditional territory of the Sḵwx̱ wú7mesh Úxwumixw.
Lee Ingram (lee/she/they) is a primarily self-taught, multi/interdisciplinary artist and movement facilitator concerned with forms of storytelling that relate to isolation, solitude, connection, memory/myth, spirituality, and healing. With a sensitivity to rhythm and patterns, Lee is concerned about the relationships people have to their body and the spaces that they move through. Their creative process uses the material of everyday gestures, sounds, feelings, and sensations. Lee has experience creating solo work that combine dance, percussion, theatre, poetry, and film/video. She has worked as a collaborator in sound/score design, live music performance, performance art, and installation work. They emphasize community, collaboration, and audience engagement in all their work. Lee is currently curious about the subtleties of movement and sound within the body’s city/urban environments/spaces, and the ghosts that haunt these spaces. She is attuned to how these manifest in the sociopolitical realm, where we navigate (willingly or without knowing) our desires and fears, about the past, present, and future.
Genki Ferguson was born in New Brunswick to a family of writers and grew up in Calgary. He spent much of his childhood in the subtropical island of Kyushu, Japan, where his mother's family still resides. Fluent in Japanese and capable of making a decent sushi roll, Genki was the recipient of the 2017 Helen Pitt Award for visual arts, and recently completed a degree in Film Production.
