Extractions

TJ Cuthand

2019 | 00:15:13 | Canada | English | B&W and Color | Stereo | 16:9 | HD video

Collection: New Releases, Single Titles

Tags: Body, Environment, Family, Indigenous, Landscape, Nature, Technology

Extractions parallels resource extraction with the booming child apprehension industry. As the filmmaker reviews how these industries have affected her, she reflects on having her own eggs retrieved and frozen to make an Indigenous baby.

Pricing Information

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Prizes + Awards

ex:pan:ded shorts award, This Human World - International Human Rights Film Festival, 2021

Premiere

ReJoycing, Canadian Filmmakers Distribution Centre
Toronto, ON
2019

Exhibitions + Festivals

Berlinale, Germany, 2020

Montreal International Documentary Festival, Canada, 2020

New York Film Festival, 2020

Related Titles

Less Lethal Fetishes
Reclamation

Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001

 

Athens Int'l Film/Video Festival (OH), 2001

 

 

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung