Morrison releases primordial film material destined for decomposition and darkness: in his hands, it transforms to become film as experience once more. Not interested in restoring images to a pristine state, Morrison is nonetheless invested in restoring images, in various conditions of collapse, to movement and to people.

“A film like Beyond Zero: 1914-1918, mainly made up of archival documentary footage from the First World War, presented without any captions or commentary, without the authority of a historian, gives viewers a harrowing sensory experience of the conflict. The monstrous drama stems from the very nature of photo-filmic celluloid, which is both indexical and material: the bodies of the soldiers, of the wounded and of the nurses are deformed, they shake under the filmic damage which looks like bombs raining down, they are riddled with holes, they disappear in decomposing celluloid. This is, quite literally, the last trace they will leave in this world, printed on celluloid, disappearing before our very eyes.” – Anne-Violaine Houcke

+ 44-page bilingual FR/EN booklet with texts by Anne-Violaine Houcke, Laura Staab and Steve Dollar

FILM TITLES:

FOOTPRINTS
1992 / color/b&w / sound / 6′ 00
THE FILM OF HER
1996 / b&w / sound / 13′ 00
GHOST TRIP
2000 / 23′ 00
THE HIGHWATER TRILOGY
2006 / 31′ 00
PORCH
2007 / 9′ 00
WHO BY WATER
2007 / b&w / sound / 17′ 00
RELEASE
2010 / 13′ 00
JUST ANCIENT LOOPS
2012 / 26′ 00RE:AWAKENING
2013 / 18′ 00
BEYOND ZERO: 1914-1918
2014 / 40′ 00
THE DOCKWORKER’S DREAM
2015 / 17′ 00
THE LETTER
2018 / 13′ 00
WILD GIRL
2021 / 6′ 00
LET ME COME IN
2021 / 11′ 00
HER VIOLET KISS
2021 / 5′ 00