In this collection of recent work by North Carolina artists Sabine Gruffat and Bill Brown, celluloid film serves as both a material register and a critical resource for interrogating the documentary image. Whether using discontinuous montage, handmade techniques, digital processing, or dramatic re-enactments, these experimental films aim to extend the formal possibilities of non-fiction filmmaking, while depicting such iconic subject matter as Confederate monuments, Earthworks, and the great American road trip.

Vancouver artist Judy Radul presents Michael Snow’s Standard Time (1967) and La région centrale (1971), along with a recorded discussion between her and Snow, as part of the launch of the new location of Catriona Jeffries Gallery. Its inaugural exhibition on Cordova Street is structured as an Unexplained Parade, with each gallery artist inviting a companion artist to exhibit work. Radul’s invitation was to Snow, who has worked for decades at the leading edge of experimental film and visual art.

Although best known in the last century for his rule-breaking street photography — he’s been called “the poet of the epoch of McCarthy and the Bomb” (Max Kozloff) — William Klein became a prophet of this century through his filmmaking. Klein’s iconoclastic fiction films and expressionist documentaries had transported “the apocalyptic dreams and demagogic humours of the 1950s into the [mediascape] of the three subsequent decades” (Jonathan Rosenbaum). Who better, then, to usher in the millennium?

Before Wim Wenders’s Pina, there was Chantal Akerman’s — shot on tour with Pina Bausch’s legendary dance company in 1982.