Joyce Wieland Movies

Wavelength consists of almost no action, and what action does occur is largely elided. If the film could be said to have a conventional plot, this...

Zorns Lemma is a 1970 American structuralist film by Hollis Frampton. It is named after Zorn's lemma (also known as the Kuratowski–Zorn lemma),...

Joyce Wieland: “Hollis and I came back to Toronto on holiday in the summer of '67. We were staying at a friend's house. We worked our way...

Various unrelated vignettes, often juxtaposing sound and image.

In this "fourteen-part drill for the camera," Frampton created a portrait gallery of his art-world friends engaging in a variety of ordinary...

Home movies shot on Super 8mm by W+B Hein over 10 years.

A cat eats its methodical way through a polymorphous fish.

The movie takes a rather negative look at things despite the fact that it was shot in reversal film. It depicts the turbulent relationships of...

A cutout of a woman's silhouette is displayed in many locations while a free jazz soundtrack is heard. The jazz musicians later pose for the camera...

A young woman marries a wealthy man she isn't in love with, but finds romance instead with the couples' painter friend.

One of Joyce Wieland's earliest works, shot in 8mm and finally blown-up to 16mm, “Larry’s Recent Behaviour” has been described by...

A camera moves back and forth at an increasing pace. Back and forth, back and forth...

"The whole film are non-art portraits of people in which they do what they want with this hat – and therefore, act or stand in front of my...

A serendipitous encounter with a younger artist gives legendary Canadian art icon Michael Snow the opportunity to reflect on his life and career.

The film consists primarily of degraded footage of landscapes shot from vehicles moving across the country; meanwhile, 537 computer-generated...

First shown on January 30, 1967, FOR LIFE AGAINST THE WAR was an open-call, collective statement from American independent filmmakers disparate in...

“This film is against the corporate military industrial structure of global village.”

Filmed in Joyce Wieland and Michael Snow’s loft in New York, the film covers a day of friends visiting, writing and drawing from noon of one...

"I decided to make a film at my kitchen table, there is nothing like knowing my table. The high art of the housewife. You take prisms, glass, lights...

About a strike in which women are involved, but told in a very different way.