“I conceive of film as a modern art form particularly interesting to the sense of sight. Painting has its own peculiar problems and specific sensations, and so has film. But there are also problems in which the dividing line is obliterated, or where the two infringe upon each other. More especially, cinema can fulfill certain promises made by the ancient arts, in the realization of which painting and film become close neighbors and work together.”

“A walk through the proscenium wings. You close your eyes and suddenly it is dark.”

A wonderful witty work about nostalgia and desperation. Ann McGuire portrays a Kennedy-era singer performing in a space where theatre meets television. McGuire’s Garlandesque gestures provide both a sense of tragedy and humour. I am Crazy and You’re Not Wrong weaves narrative, performance, memory and history into a ironic and haunting work of unique proportions.

“Leading Light uses the camera-eye to reveal the irregular beauty of a familiar space. When we inhabit a room we are only unevenly aware of the space held in it and the possible forms of vision which reside there. The camera-eye documents and returns our apprehension. Vertov imagined a ’single room’ made up of a montage of many different rooms. Smith reverses this aspect of ‘creative geography’ by showing how many rooms the camera can create from just one.” (A.L. Rees)

“Based on the true story of the wallpaper in my bedroom.”

“Scraps of text gathered from molding filmstrips and peeling chalkboards are photographed and intercut with pinhole shots from a schoolhouse. “

“… a delicious slow pulling of focus over four minutes in which snowflakes, streaming like intercepted chalk marks, fall in front of what seems to be a field, then a pond, and finally is recognized as a brick wall.” (P. Adams Sitney)

“An impossible film project: Buster Keaton stars in the outtakes from Jean Cocteau’s Orpheus, made by me for the cutting room floor.”

“Anne took the written diary form and extended it to include documentary, experimental and animated filmmaking techniques. She did not shy away from exposing any parts of her physical situation or emotional life. She became a pioneer of personal documentary and bravely shared experiences and observations on being a vegetarian, her cats, organic gardening, food, and her struggles with weight, her smoking and alcohol addictions, and depression (she was diagnosed with bipolar disorder). Romance (or lack thereof) and obsession are long-running themes in her films, as is the cycle of life.” (Harvard Film Archive)

“A film filled with clues and stray transmissions built on the bad geometry of point-of-view shots.”

“Blue water and blue sky meet on emulsion.”

“Dream Story is about a dream I had of Marjorie Keller.”