All posts by Phil Hoffman

ending series (2020-2022)

ending series 1-4 (2020-2022)The 16mm film was shot and partly hand-processed with plants and flowers by Hoffman, and digitally edited by Isiah Medina.

` Trees, farm fields with animal livestock, ponds and plants, and natural artefacts disappear in the flicker effect of landscape compositions where sweeping branches carve moving structures into the viewer’s memory, and the transformations of living image threads remind us of the inexhaustible visual exuberance of meadows and grain.’

ending  2                                                                                                                                   HDV/Orig 16mm, sil.,3:51 min., 2020                                                                       (co-maker Isiah Medina)

Jihlava Documentary Film Festival, Facinations                                                Images Festival, Toronto                                                                                                  Crossroads, San Francisco Cinematheque

ending 1                                                                                                                       HDV/Orig 16mm, sound, 4:36 min., 2022                                                               (co-maker Isiah Medina)

ending 3                                                                                                                       HDV/Orig 16mm, sil., 3:28 min., 2022                                                                     (co-maker Isiah Medina)

ending 4                                                                                                                      HDV/Orig 16mm, sil.,2:33 min., 2022                                                                      (co-maker Isiah Medina)

endings                                                                                                                      HDV/Orig 16mm, sound,13:17 min., 2022                                                            (co-maker Isiah Medina)

ending 1 & ending

 

 

 

workshops, info, recipes, videos, photos…

Process Cinema Workshop EICTV 2023

Photos: Saugeen Takes on Film Workshops 2018 & 2019 here

Excerpts from Saugeen Takes On Film Workshop here

Filmmakers: Kelsey Diamond, Sharon Isaac, Natalka Pucan, Jennifer Kewageshig, Emily Kewageshig, Taylor Cameron

 

`Green’ Developing Process for 3378 film

Continue reading workshops, info, recipes, videos, photos…

Lux Workshop 2015

filmfarm_outdoorscreening

Philip Hoffman has been developing a hands-on, artisanal approach to filmmaking for more than 20 years in Canada at his summer workshop, the `Independent Imaging Retreat’ or `Film Farm’. Now this process-oriented workshop comes to the UK with a 2-day intensive project, ‘the Lux Film Farm’ hosted by Lux and the Double Negative Dark Room in proximity to the Hackney Marshes in East London.

Read more at LUX’s site for PROFESSIONAL PRACTICE: LUX FILM FARM A Hand Processing Film Workshop with Philip Hoffman, 20-21 June 2015

Mike Hoolboom reviews Phil Hoffman’s Aged (2014)

“Who has not marveled at the triumph of slow motion? At the end of every sporting event the decisive moments of the past hours float past in a dreamy montage, everything slowed to a crawl, as if it had occurred days, even years ago, part of a past that seems already out of reach, filled with bygone charms. The pages of Vimeo and YouTube have delivered us to a global tidal wave of slow motion magics, where heroines of time are caught in the full thrall of their secret erotic life, their faces filled with hand grenade smiles and arms stretch beyond the horizon with an inflated heroism. In his too familiar essay, Walter Benjamin wrote about slow motion as a way to defeat capitalism. He imagined that hidden within our everyday gestures were a cornucopia of unseen resistances, that our bodies performed a micro-politics of nay saying that the camera would at last reveal. But the digital revolution appears to have unveiled these once hidden intervals as another area of over exposure, bent beneath the first law of digital culture: that everything should be visible, bright, clear, tagged, identifiable. The surveillance state insists: there is no outside.”

Read the full article here.

link to film and reviews