Congratulations to my dear friend Peter Mettler, whose new film While the Green Grass Grows: A Diary in Seven Parts received its world premiere at this year’s TIFF this month.

I’m pleased to share some new and recent works as part of a solo screening presented by Ad Hoc. From the program notes: “Lines of Force encompasses a selection of Dan Browne’s moving image work, spanning 2015 to 2020. […] The most substantive markers of Browne’s activity in this period keep company with unique miniatures, each of them exploring and elaborating on Browne’s experiences of landscape, light, and parenthood.”

In which I attempt to explain what I’ve been doing in the past year working with generative AI image tools.

In which I build the website that you are currently visiting.

This month, Found Footage Magazine's Special Issue #5 was released, featuring an interview I did with the Hungarian filmmakers Péter Litcher and Bori Máté, their first in English. Also: festival screenings of Midway and Reflections II.

Live performance at Arrayspace and screenings of memento mori at Dok Leipzig, Palmerston Blvd. at Nomadica Festival (Italy) and Antimashup Festival (France), Lines of Force at L'Alternativa Festival (Spain), andTaylor Creek at Ultracinema Festival (Mexico).

New film premieres at Festival du nouveau cinema and Planet in Focus.

Fall festival screenings of memento mori, Palmerston Blvd., and other recent works.

Palmerston Blvd. screenings in Hamilton and San Diego, Generation premieres in NYC, several films screen in Denver, including the world premiere of Lines of Force, and memento mori in Leipzig and Cincinnati.

My video installation An Island Is Land premieres at Campbell River Art Gallery in a show entitled "Horizon Felt," curated by Vicky Chainey Gagnon.

I’m happy to share a newly published conversation with José Sarmiento Hinojosa of Desistfilm, where we discussed a wide range of topics about my filmmaking practices.

Looking forward to heading to NYC on May 8th to present Palmerston Blvd. at Anthology Film Archives for the launch of Millennium Film Journal's Issue #67! The programme is curated by Rachel Stevens & Grahame Weinbren and also features works by Lorna Mills, Naeem Nohaiemen, Alee Peoples, and Anita Thacher.

Generation will receive its Canadian Premiere at the Images Festival in Toronto, in "Redacted Bodies," a selection of recent Toronto works curated by Alexandra Gelis. Passage and Field will be presented at "From A to Z: Transfigurations Between Black Box and White Cube," curated by Madi Piller and Clint Enns, in Vienna, Austria on April 20th. 

This month, Field is presented at the Artifact Small Format Film Festival in Calgary on March 10th. I will be also presenting a paper entitled "Diasporic sights: Place, Memory and Decay," at the annual Society for Cinema & Media Studies conference. 

This month, Palmerston Blvd. and Generation will be presented at Stuttgarter Filmwinter in Stuttgart, Germany, which runs from February 8-11th. Generation will also be presented at Les Inattendus Festival in Lyon, France, on February 10th. 

Happy 2018! I'm pleased to report my work has been featured on several year-end "best of" lists: Palmerston Blvd. was included by Michael Sicinski in his list of the twenty-five best avant-garde films of 2017, and was also listed on Desistfilm's 2017 film round up by José Sarmiento Hinjosa and Aaron Cutler. Toronto Film Review's best of 2017 also included Palmerston Blvd.on lists by Clint Enns and Claudia Sicondolfo, and Generation was included on Stephen Broomer's list. I contributed my own lists of favourite works from last year to both these sites, focusing on international work for Desistfilm and Canadian work for Toronto Film Review. Jim Shedden also included Alberta (2014) on his list of 100 Greatest Canadian Films, an ongoing series at Toronto Film Review to celebrate Canada 150. I also contributed my own list to this series.

Sharing some recent critical responses to Palmerston Blvd. This month I also published an essay, "Cinema for the Inner Eye: On the films of Paul Clipson," for San Francisco Cinematheque's blog. I was surprised to recently discover there has been no sustained critical assessment of Clipson's films, despite the fact that he has made over fifty in the past decade, some of which I consider to be among the finest poetic cinema of recent years. I tried to fill this gap (thanks to a generous invite from Steve Polta), and while this short essay is by no means exhaustive of Clipson's oeuvre, I hope it goes some distance towards explaining what I feel is significant in his work, and provides a point of entry for new viewers.

This month I will be performing live at Luminous Gestures 2.0, an evening of composed and improvised new music inspired by light with Bill McBirnie (flute), David Story (percussion & piano), Bill Gilliam (piano), Cheryl O (cello), and Eugene Martynec (electoacoustics).

Upcoming screenings of Palmerston Blvd. at Festival du nouveau cinéma, Antimatter [Media Art] Festival, Transient Visions: Festival of the Moving Image, L'Age D'Or Festival, Houston Cinema Arts Festival, and Glimmerglass Film Days.

This month you can find me at the Toronto International Festival, for the world premiere of Palmerston Blvd. in the Wavelengths section. The screening takes place on Monday September 11th at 4:00pm at the TIFF Bell Lightbox, in Wavelengths #4: "As Above, So Below".