Mobile Frames commissions films made in Windsor/Detroit and internationally. There are many works still currently under development, including productions by artists Daïchï Saïto, John Price, Malena Szlam and others. Listed below are recent films made by Nicky Hamlyn, Saul Levine, Pablo Mazzolo, Julie Murray, Fern Silva, and Kevin Jerome Everson. 




It Seems to Hang On, Kevin Jerome Everson, 2015 

World Premiere Screening: Orizzonti Competition, Venice Film Festival

La Biennale di Venezia

Based on the true story of the serial killers Alton Coleman and Debra Brown, a young Black couple who cut a violent path beginning in the summer of 1984  through the American Midwest (Ohio, Kentucky, Michigan, Indiana, Illinois and Wisconsin). The dialogue spoken in the film is based on lyrics from the American soul duo (and couple) Ashford and Simpson’s 1979 hit song It Seems to Hang On.  The lyrics refer to a couple struggling to hang on or to be together thought adversity. Filmmaker Kevin Jerome Everson’s strategy was to make a film about a desperate, violent but loving couple on the run from the law. (HD, 19:50, color and B&w) 

Director’s Statement
I wanted to make a film about Black love and was thinking about couples. My strategy was to make a film about a desperate, violent but loving couple on the run from the law. I’ve always wanted to do a Black Bonnie and Clyde. I am increasingly interested in interrupting documentary scenes with abstract, formal scenes, those situations where necessity collides with coincidence. 



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Regal Unlimited, Kevin Jerome Everson, 2015

Screenings: International Film Festival Rotterdam & Ann Arbor Film Festival 

Three Pontiacs and a Buick Regal becoming something entirely different.




Grand Finale, Kevin Jerome Everson, 2015

Screenings: Media City Film Festival & SECCA  ++

The end of an evening. Shot at the annual Detroit River Fireworks in Windsor in June, 2014.

Originally form Mansfield, Ohio, Kevin Everson studied at the University of Akron and at Ohio University. He has made more than seventy short films and five longform films, exhibited at venues including the Whitechapel Gallery (London), the Centre Georges Pompidou (Paris), the Museum of Modern Art (New York) and the Whitney Museum of American Art (New York). Festival screenings include Sundance, Rotterdam, Oberhausen, Berlin and four previous editions of Media City. He is the recipient of a Guggenheim Fellowship and an American Academy Rome Prize. He lives in Charlottesville, Virginia where he is a Professor at the University of Virginia.






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Wayward Fronds, Fern Silva, 2015 (completed in Windsor)

Screenings: NYFF, Media City Film Festival, Berlinale ++

Mermaids flip a tale of twin detriments, domiciles cradle morph invaders, crocodile trails swallow two-legged twigs in a fecund mash of nature’s outlaws… down in the Everglades.

Wayward Fronds references a series of historical events that helped shape the Florida Everglades as they are today, while fictionalizing their geological future and their effects on both native and exotic inhabitants. Exploring this region was influenced by recent talks to finally disperse billions of dollars in restoration funds, giving way to ideas and possibilities of a future eco-flourished Everglades that engulfs civilization along the way. Events in this film imply that nature begins to take over, that the Everglades switch roles and tame civilization after centuries of attack, and even guide it into its mysterious aqueous depths, forcing humans to adapt and evolve to their surroundings. “Sound serves as a field of play for many … filmmakers, who call to viewers with it in ways that excite the imagination. Fern Silva’s Wayward Fronds … combines verdant landscape imagery with richly heightened natural sounds of chirping birds and insects, bubbling water and galloping horses, which together help give a sense of an expanding ecosystem.” (Aaron Cutler)

Fern Silva has made more than a dozen short films, experimenting with various documentary and narrative modes. His films have screened at festivals including Toronto, Berlin, Locarno, Rotterdam, New York, Edinburgh, Oberhausen, London and Media City and at other venues such as Anthology Film Archive, Gene Siskel Film Center, Wexner Center for the Arts, San Francisco Cinematheque, Museum of Art Lima, and the Museum of Modern Art P.S.1. He was listed as one of the Top 25 Filmmakers for the 21st Century in Film Comment Magazine’s Avant-Garde Filmmakers Poll and received the Gus Van Sant Award from the 49th Ann Arbor Film Festival. He holds a BFA from the Massachusetts College of Art and an MFA from Bard College.






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End Reel, Julie Murray, 2014 (completed in Windsor)

“What is in motion moves neither in the place it is nor in one in which it is not.” —Zeno
“The last reel of the 35mm Hong Kong action film The Green Hornet, examined over a lightbox on an editing bench with hand-crank rewinds and recorded using a low-res pocket-camera. End Reel convolves the aberrations found within two image-making technologies; film and video, which here combine to produce a heap of dichotomies and forensic textures of process, like human imprints in sand.” —Julie Murray

Julie Murray studied Fine Art in Dublin, Ireland and moved to the US in 1985. She has made more than twenty-five films and digital artworks since 1986 which have been exhibited at numerous international events including the New York Film Festival, the Hong Kong International Film Festival, the International Film Festival Rotterdam, The Centre George Pompidou (Paris), and Redcat (Los Angeles). Her work has been featured in two editions of the Whitney Biennial and is in the permanent collection of the Museum of Modern Art. Murray has had numerous solo screenings at venues around the world including Media City Film Festival, Pacific Film Archives, the San Francisco Cinematheque and Cinematheque Ontario (Toronto).







Fish Point, Pablo Mazzolo, 2015

Fish Point is located on the southeastern tip of Pelee Island in Essex County, Ontario. A film shot in 2013 while the artist took up temporary residence in Windsor following his visit to Media City Film Festival. 

Pablo Mazzolo (1976, Argentina) studied film and music at the University of Buenos Aires. His short films are research-based with a focus on the study of different celluloid formats. In 2011, he made the feature film AM1019 and participated in the Oaxaca Screenwriter Lab. His Conjectures (2013) was awarded first prize at the Canadian Media City Film Festival. Mazzolo constructs formal paradigms, in which the kinetic image and sound constitute a single perceptive unit. His films move around the space between reality, dream and intuitive vision, coming together in an associative, sensorial experience that is different each time.







Light Lick: Pardes: Drowned Hat Rescue Media City Motown Jump, Saul Levine, 2014

Shot in Windsor in 2013, when the filmmaker attended Media City for a retrospective screening and served on the competition jury. Dedicated to his fellow jurors, Christy LeMaster and Marcos Ortega Miranda.

Saul Levine is the foremost dissenting filmmaker in America. With about 35 years of consistent production behind him, and no signs of fatigue, he can show us the shape of a life passionately and uncompromisingly devoted to filmmaking. His works are high-energy messages of friendship, records of sexual love and political activism, radiated by humor, prophetic anger, loneliness and even though rarely, representing repose. His incessant, chaotic outpouring of political energy seems less geared to a naïve notion of bettering the world than to a perpetual pressure to keep it from getting worse.” — P. Adams Sitney.





Seven Windsor Films, Nicky Hamlyn, 2012

A suite of seven short films made during a residency hosted jointly by the Art Gallery of Windsor and Media City Film Festival in Windsor, Ontario, Canada. The five black and white sections were hand-processed and printed with negative and positive imagery appearing equally. Most of the films involve objects and spaces in the gallery itself, shot in a manner that makes for high-contrast kinetic patterns.


Renaissance Center / GM Tower, Nicky Hamlyn, 2012


AGW South Time Lapse positive

AGW Second Floor South, Nicky Hamlyn, 2012


Totem Pole sculpture 3 frame

Totem Pole ’67, Nicky Hamlyn, 2012


cover back test

Parking Garage / Chatham Street West,Nicky Hamlyn, 2012


Red - Green

Red Green, Nicky Hamlyn, 2012


Meshes three frames

Meshes, Nicky Hamlyn, 2012


Michigan Central Station early

Michigan Central Station, Nicky Hamlyn, 2012.

Hamlyn also completed several video works in Windsor during his residency.

Nicky Hamlyn studied Fine Art at the University of Reading. From 1979-1981 he was workshop organizer at the London Filmmaker’s Cooperative, where he co-founded the magazine Undercut. He is currently professor of Experimental Film at the University for the Creative Arts, Maidstone, Kent and visiting lecturer at the Royal College of Art. His work has been exhibited at venues and festivals worldwide, including at seven previous editions of Media City and in recent solo screenings at the Pacific Film Archive (Berkeley), the Ann Arbor Film Festival and ExIS (Seoul). His book Film Art Phenomena was published by the British Film Institute in 2003. Hamlyn has also published widely on aspects of artist’s film and video, most recently on the expanded projector films of Lis Rhodes, Steve Farrer and Guy Sherwin in the book Expanded Cinema (Tate, 2011) and on medium specificity in Public journal, issue 44 (York University Press, 2011). He is currently co-editing a monograph on the Austrian filmmaker Kurt Kren (Intellect Books, 2014). He has completed over fifty films, videos and installations since 1974.

“Nicky Hamlyn’s films are a direct engagement with the terms of filmic representation. They assay the relationship between film space and film frame, flicker and movement, light and the material image. Sometimes improvisational, always rigorously conceived, each of Hamlyn’s films arise from an encounter between a situation, location or subject and a specific camera strategy. Within this precise formal play is the appearance of unanticipated phenomena. Depictions of domestic interiors and landscapes wring uncanny incidents from quotidian, even abject images, while simultaneously probing at the capacities and limitations of the film medium.” — Media City Film Festival

Ren Cen (NEW)

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