“Hindle’s works are especially notable for their ability to generate overwhelming emotional impact almost exclusively from cinematic technique, not thematic content. Hindle has an uncanny talent for transforming spontaneous unstylized reality into unearthly poetic visions; as in Billabong, a wordless impresionistic ‘documentary’ about a boys’ camp.” (Gene Youngblood)

“... almost like the Earth itself - the green ice-covered rocks, the slicing feeling, the compressive feeling of the glaciers. The whole time I was watching I kept thinking that you were a master of the North, the arctic landscape - the dark red flowers in the dusky light, the deep blue light, the tall trees with the running mists, and Jane looking ... the ice, the water, the moss, the golden light. A visual symphony ....” (Hollis Melton)

“A meditation on memory, burial and decay ... a belated kaddish for my father”. “It is the 19th century ‘tissue of lies’ about childhood which Solomon rips open: his visual beauty, a biological beauty, is an encouragement to embrace this transformative mulch, this aesthetic compost, and to give up all commas ‘,’, of hesitation - to accept suffering even (as does most of the animal kingdom most stoically) and revel in the ‘fire of waters’ (as poet Robert Kelley put it) that we all are ....” (Stan Brakhage)

“Like any worthwhile piece of art, Left-Handed Memories can be read several ways. Images of frames and framed materials recur. Pages of a dictionary flip by, and it is here that the viewer can see a reference to Will Hindle. Entry words echo his film titles - Billabong, Chinese Firedrill etc. A soft-focus female nude, reminiscent of an Edward Weston photograph, becomes increasingly scratched as the footage runs, a memento mori of the plastic material itself. Much, the film tells us, is beautiful, and much will be forgotten.” (Tom Whiteside)

“In Gloria! Frampton juxtaposes nineteenth-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material. These two formal components (the film and the texts) in turn relate to a nineteenth-century figure, Frampton’s maternal grandmother, and to a twentieth- century one, her grandson (filmmaker Frampton himself). In attempting to recapture their relationship, Gloria! becomes a somewhat comic, often touching meditation on death, on memory and on the power of image, music and text to resurrect the past.” (Bruce Jenkins)