The very first collection celebrating her work, Exovede in the Darkroom is a series of responses, critical and poetic, to Métis experimental filmmaker Rhayne Vermette’s visually explosive and materially intimate practice. It was while studying architecture that Vermette, primarily self-taught, fell into image making and storytelling. Her films are opulent collages of fiction, animation, documentary, reenactments, and divine interruption. Invoking Vermette’s two central influences—Louis Riel’s “exovede” as outsider, and Carlo Mollino’s “darkroom” as the psychic site of secluded experiment—the collection explores Vermette’s powerful shorts that engage a number of 16mm collage practices, as well as her astounding feature film Ste. Anne, a work that mesmerized the film world internationally with the visually resplendent story of a return. Contributors include Irene Bindi, Lawrence Bird, Janet Blatter, Stephen Broomer, Gwynne Fulton, José Sarmiento Hinojosa, Sky Hopinka, Joshua Minsoo Kim, Suzanne Morrissette, , Claudia Sicondolfo, Jennifer Smith.

Stephen Broomer is a filmmaker and film historian. He teaches at the Cinema Studies Institute at the University of Toronto and is the host of the video essay series Art & Trash, on cult and underground cinema. He has been a Fulbright visiting scholar at the University of California Santa Cruz and the Prelinger Library, and is a past recipient of the Chalmers Art Fellowship. As a filmmaker, he has been the subject of retrospectives at the Canadian Film Institute and Anthology Film Archives.

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Irene Bindi is an artist and editor based in Winnipeg on Treaty 1 territory and the homeland of the Métis nation. She has a master’s degree in Film & Video from York University, an undergraduate degree in Film Studies from Western University, and has programmed and exhibited in galleries, cinemas, and other venues across Canada, and shown her work in the US, Northern Ireland, and Italy. Her writing on art and film have appeared in publications including Blackflash, bordercrossings, and Canadian Art. She uses 16mm and 35mm film as base matter for her sound and visual art practice. Bindi edits for ARP Books and is engaged in ongoing research on the political films of Lino Del Fra and Cecilia Mangini.

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