Seashore

"David Rimmer's film is at once a somber and celebratory meditation on time and place. Its title, 'Local Knowledge', is marine terminology for what a skipper must know when navigating dangerous waters. Rimmer is an experienced sailor and the film's spiritual and geographical center is aptly named Storm Bay, where he spends his summers. But it's a troubled site. The camera, moving with tide and swell, seems to strain anxiously at its anchor and it becomes clear from here on in nothing will ever be at rest. Local Knowledge won't save anyone anymore. Preserved by the Academy Film Archive in 2015.

"The lateral movement of the title "Along the Road to Altamira" signals that we are about to embark on a journey through Spain. Our final destination is Altamira, where the first forms of representation by Paleolithic man still remain. These images, a narrator tells us in German, would have remained undiscovered if not for the childish curiosity and unconditioned vision of the young girl who noticed the ancient paintings of bison on the cave ceiling.

A TV movie sequence is repeated in slow motion: the sound gradually gets out of sync with the image. The point moves on the soundtrack while the viewer anticipates the meeting of the image and sound.

Watching for the Queen continued Rimmer's investigations of minimal narrative and the anonymous/autonomous shot. Pattern recognition, saccadic eye movement and feature rings are well known phenomena in the behavioral sciences. However, in Watching for the Queen, Rimmer has succeeded in employing these mechanisms in the telling of a story, by employing mathematical ordering in an aesthetic manner. Preserved by the Academy Film Archive in 2014.

"Whereas SQUARE INCH FIELD was composed largely in the camera, Rimmer's next film, MIGRATION, made full use of rear-projection rephotography, stop-framing, and slow motion. The migration of the title is interpreted as the flight of a ghost bird through aeons of space/time, through the micro-macro universe, through a myriad of complex realities. A seagull is seen flying gracefully in slow motion against a grainy green sky; suddenly the frame stops, warps and burns, as though caught in the gate of the projector. Now begins an alternation of fast and slow sequences in which the bird flies through time-lapse clouds and fog and, in a stroboscopic crescendo, hurtles into the sun's corona. Successive movements of the film develop rhythmic, organic counterpoints in which cosmic transformations send jelly fish into the sky and ocean waves into the sun." - Gene Youngblood. Preserved by the Academy Film Archive in 2014.

Starting with a boat swaying on its anchor at the head of an inlet, a landscape of pilings, shore, and forest is slowly revealed by time-lapse photography as the morning fog lifts. While the deep space of the landscape evolves out of the fog-enshrouded flatness of early morning, the camera skips from fixed point to fixed point - suggesting the motion of the human eye while reading.

"Treefall" was originally made for a dance performance at the Vancouver Art Gallery, April, 1970. Structured in the form of two loops of high-contrast images of trees falling, reprinted and overlapped. Preserved by the Academy Film Archive in 2014.

The structure of the film alternates between looped, processed stock TV imagery and a blank, static blue screen. This formal motif - a blank frame or screen onto which the artist projects imagery which expresses inner emotions and anxieties - is a motif which recurs throughout Rimmer's filmic oeuvre. As Seen on TV is a moving film which conveys a deep-seated human experience.

Variously relaxed, apprehensive, or relieved, the fractured gestures of a woman and a baby are played backward and forward, frame by frame, like a musical phrase. Preserved by the Academy Film Archive in 2014.

An experimental film by David Rimmer (2003) which was influenced by or done to be performed at 'Rave' concerts which Rimmer was fond of attending in the 2000's. The relationship / resemblance of this film to 'light shows' (live projections) of the 1960's is unmistakable as an influence." -Al Razutis

Blue Movie was made for the international Dome Show where it was projected down onto the muslin surface of David Rimmer's geodesic dome. The audience lay on the floor looking up at it, the inside of each eye finishing the globe. Preserved by the Academy Film Archive in 2013.

Canadian Pacific I is made up of a series of slowly dissolved shots done from the same framing over several months. The camera frames a window with a railway yard in the foreground, a bay in the space behind it, and misty mountains in the extreme distance. Trains occasionally pass by in the foreground. Huge ships move across the bay. Blue mists hover over the mountain heads.

With an irresistible humour, Rimmer speculates in The Dance on the nature of the film loop. We see a (1920s) couple whilring around a dance floor at a dizzying pace... Uncanny in its ability to evoke complexity of responses from a simplicity of means. Preserved by the Academy Film Archive in 2015.

A hauntingly beautiful film about the world's flight into chaos. Rimmer has taken McLaren's camera-less technique to new heights. He paints directly on clear 35mm leader, using odd materials such as household cleaners, varnish, inks and sometimes fish scales and ferns. He feeds the loops through a film editing machine, overlays them with music and records the result with a mini DV camera. A production of the National Film Board of Canada.

Short documentary on the alternative, open education of 'Know Place', seemingly some kind of rural arts school retreat.

Animated music video featuring montage of various performers overlaid by psychedelic/trance visuals.