Documentary

This tape documents a cultural exchange between the Parakatêjê (Gavião) of Pará and their “relatives,” the Krahô of Tocantins. Kokrenum, the charismatic chief of the Parakatêjê, organizes a visit to the Krahô, who speak the same language and maintain their traditions. The 50 young Parakatêjê he brings along participate in a ceremony consisting of singing, body painting, and preparations for the long, strenuous relay race through the savannah. The following year, the Parakatêjê return the invitation and the Krahô travel to Kokrenum’s village.

It was 1990 and, although the iron curtain was falling, Soviet official control was still iron-fisted.  Camcorder reporter Skip Blumberg went along with a group of art aficionados on a tour of the Moscow studios of the unofficial artists, an underground community of talented, courageous and often wacky conceptual artists.  His report reveals an insider’s view of the art world and, at the same time, is a video about making a video.

Indians In Brazil is an educational series for Brazilian public schools that invites students to experience cultural diversity. Four teenagers are invited to discover a new world and participate in Indian daily life in two different communities. They show their emotions, curiosity and fears, and are surprised by their new friends. Part Two of the series, When God Visits the Village, sees the teenagers invited to visit the Kaiowá people in South Mato Grosso. Expecting something similar to the Krahô village they had earlier visited, they are at first shocked.

Indians In Brazil is an educational series for Brazilian public schools that invites students to experience cultural diversity. Four teenagers are invited to discover a new world and participate in Indian daily life in two different communities. They show their emotions, curiosity and fears, and are surprised by their new friends. Part Two of the series, When God Visits the Village, sees the teenagers invited to visit the Kaiowá people in South Mato Grosso. Expecting something similar to the Krahô village they had earlier visited, they are at first shocked.

Two video letters made to communicate the artists longing for her friends, and produced with the same images from her daily life in Israel. The first is addressed to Jacqueline, the artist’s Swiss friend in Zurich, and the second to Abla, her Palestinian friend in Nablus.

This title is only available on Radical Closure.

A four-part documentary, Yãkwá shows the most important ritual of the Enauênê-Nauê Indians (Brazil). For seven months every year, the spirits are venerated with offerings of food, song, and dance so that they will protect the community. In The World Outside the Rock, the Yaõkwá festivities open with the Enauênê-Nauê preparing for the big fish-catch by making salt, canoes, and fish traps. In Dataware’s Revenge, groups of men leave the villages for two months and build dams on forest waterways to catch fish as they return from spawning.

A four-part documentary, Yãkwá shows the most important ritual of the Enauênê-Nauê Indians (Brazil). For seven months every year, the spirits are venerated with offerings of food, song, and dance so that they will protect the community. In The World Outside the Rock, the Yaõkwá festivities open with the Enauênê-Nauê preparing for the big fish-catch by making salt, canoes, and fish traps. In Dataware’s Revenge, groups of men leave the villages for two months and build dams on forest waterways to catch fish as they return from spawning.

Based on the filmmaker's autobiography, You Are Here examines the search for home within our era of transnational displacement. As the son of Italian immigrants, the filmmaker examines notions of home and belonging within the context of his ethnic origins, but also extends this in relation to his identity as a gay man. The film chronicles his trajectory from his familial home in Italy, to his native Canada and beyond, and weaves a compelling portrait shaped by memory and the realities of the present.

Your Money or Your Life is a video essay on street crime, and on the role played by an atmosphere of pervasive (white) urban fear in structuring and renewing racial antagonism and inequality. At the center of the video is a young, white, middle-class woman caught in an ideological trap in which her genuine fear, whetted and animated by the media, becomes synonymous with racial suspicion and hostility. Her counterpart is a black mugger, who tells a story of unemployment, powerlessness, ambition and cynicism, unmasking an ethos not dissimilar to the ethos of American capitalism.