As our Spring 2025 season comes to a close, we want to thank everyone who tuned in, shared work, and helped grow Bridge Video into a vital platform for experimental and artist-made moving image work.

This season brought together powerful voices across disciplines—spanning performance, poetry, visual art, and film—and we’re deeply grateful to the artists, curators, and viewers who continue to shape this evolving community.

We’re now on our regularly scheduled summer break and will return with our Fall 2025 season launching August 29, featuring new works, live screenings, and expanded coverage of our unique, under-represented categories of film and practices from across the region and around the world.

Not only will this include a 2026 edition of our celebrated, ever-evolving experiment that is A Festival of Holes, but also our first new forays into original DVD feature film publishing--work only available through Bridge Video. Expect more details later this fall.

As always, thank you for supporting artist-run media. We’re honored to help make space for the kind of risk-taking, independent vision that defines Bridge—and we’re just getting started.

Stay tuned--and subscribe for updates.

Using Stacy Hardy and Daniel Borzutzky’s collaborative long-form poem The Breathers as a point of departure, the cinepoem of the same name will discuss breath as a form of resistance, asphyxiation in Africa and the Americas, and collaborating with musicians as a form of writing. 

In a post-apocalyptic future, an intergalactic explorer lands at an abandoned museum on a quest to find traces of his long-lost ancestors, and ends up being teleported to the dance floor of a Brazilian queer nightclub in the 1990s.

KINKY AND LOVING IT delves into the world of Black Rope play and BDSM impact play, examining the profound impact of these practices within the kink community and addressing the role of race within this context.

A visual poem examining notions of exile, intergenerational migration, and memory between Cairo, New York and Kuwait.

(water is life, and wet is motivation)

REVERSAL combines images and sounds from movies released or broadcast in 1973, the year the Supreme Court decided Roe v Wade. In the strange new reality ushered in by the Dobbs decision, the slogan "We won't go back" is recalled with bitter irony. This collage piece evokes the spectre of regression and repression that has followed the Court's decision.

Amidst a world of constraints and challenges, a woman's unwavering pursuit of liberation becomes a beacon of resilience and hope.

To apply for an accessible or Crip parking placard, a doctor within the state must approve the application. As part of the application, there are six medical conditions which qualify a person for a placard. These conditions include: (1) cannot walk two hundred feet without stopping to rest; (2) cannot walk without the use of an assistance device; (3) is restricted by lung disease; (4) uses portable oxygen; (5) has a cardiac condition; (6) is severely limited in their ability to walk due to an arthritic, neurological, or orthopedic conditions. Many people with disabilities are included in these categories, and many are not. This film is a record of my introduction to healthcare in the state of Utah. My processing of the appointment and consequential aftermath as a video object serves as a reclamation and assertion for understanding disability and the physical world otherwise.

A short Sci-Fi. A Meteorite hits earth and chaos is upon us.

We're all just admins of thought! Amid a small-town war, a mediocre call center contractor gets a suitcase for her fatuous small talk.

This rough-edged sketch mixing performance art living and film is a study of the phone call, American doofiness, and blank minds under the reign of the corporate call script. Everyone is impotent in the institutional setting.

A letterbox searches for the meaning of life.

An experimental cinepoem, Eve’s Ribs Lilith’s Lungs viscerally offers a woman’s journey from traumatized entrapment in the patriarchal ribcage of Eve’s assigned image, to release, rebirth and rediscovery of her own image in the joy of Lilith’s lungs.

Fumble (2024) is a series of lighthearted performative vignettes that explore the duality of immigrant and queer life—the longing to return to the familiar geographic, cultural, and bodily coordinates of one’s past, alongside an equally compelling desire to assimilate into a new culture and identity. Through a collection of absurd scenes depicting both the attempts and failures to fit in, the film illustrates the felt incongruities of this experience in a hybrid form.

A diary piece reflecting on the time, community, love, and anxiety...oh and also Dominican food.

A humorous look into one of the largest adult sex boutique stores in the Midwest.

In the early 1900’s, Soviet filmmaker Lev Kuleshov made a short film showing an expressionless man intercut with three other shots: a bowl of soup, a child in a coffin and a woman laid out on a sofa. When an audience was shown the film, they believed the expression on the man’s face was different each time, looking hungry, grief-stricken and lustful. It was the exact same shot of the man every time. I created a film that uses the same simple trick to expose our own perceptions about race, class and gender in these tumultuous times.

"Young Ali: those were the days" offers a rare glimpse into first-generation Iranian American family life. The film is an intimate portrait of a middle-aged Persian man who, after losing his job and divorcing his wife during Covid, moves back home to confront his emotional afflictions and shed his past. There is an internal expectation that Ali's set for himself that he's failed to meet and that's where our story begins - with Ali confronting this and reinventing himself.

Laura La France and Lizzie Derksen have collaborated on several small projects together, most often surrounding one of Lizzie's poems and/or utilizing Laura's skill with Super 8 film. They are currently working on a CBC Gem documentary about women's friendship, directed by Lizzie.

Low Rent spans the year I spent secretly living in a hut I built on my allotment in Edinburgh back in 2005. It follows the full cycle of the seasons and captures moments such as early dawn from the hut doorway, a fox running with a scavenged egg in her mouth and trees bending with fruit. In its course I explore questions that continue to preoccupy me about land ownership in Scotland, class, poverty, colonialism and how the violence of capitalism and the joy of life meet in our bodies.