An excerpt from an article in VUE Weekly on Lindsay: FAVA Profile: Lindsay McIntyre
(July 13, 2011)
It was an errantly placed pile of film, long forgotten by some unknown person, left basking in the open climate of a sidewalk, that inadvertently kicked off Lindsay McIntyre's fascination and eventual entanglement in the world of experimental film. It was 1998 or '99 when she found the coiled strands of film, a BFA degree in drawing and painting already to her name, she had the idea to put her find to some sort of artistic use.
"I decided to try and do some things with it, and that actually got me hooked," she explains, a decade and 18 short films later. "[I] started making loops of things, then I got a projector, and I started making little loops of film that were like six to 10 seconds long, and figuring out what I could do with them."
What McIntyre did do, both with that initial film and beyond runs the length of an unrestrained vein of creative edge; visually, her experimental film work is immediately reminscent of Guy Maddin with expressive blasts of textured (usually) black and white, though its lesser reliance on structure and traditional narrative offers a far less comparable and more individual perspective on the world around her. Her work exists mostly as 16mm films prints, and McIntyre does everything by hand: processing, negative cuts, hand prints. The results vary in style:from " the almost Lynch-ian portrait of a canine companion in "a b movie" to "Ada" a visual portrait of her great grandmother that's part of a larger, soul searching series on McIntyre's maternal heritage.
Her dabblings in Film eventually led her to Montréal, where she pursued an MFA in Film Production at Concordia University, though, she notes, it offered more questions than direction for her film work. She finished in six years, with a thesis focused on portraiture, but found the program influenced her work less than the community of like-minded people she met. where she stood in the first place.
from lindsay mcintyre
"What moving to Montréal and being part of an experimental film community did for me was, it brought me closer to like-minded individuals, it brought me closer to seeing real film work on film, which is something I had difficulty doing in Edmonton, there's a really, really strong experimental film community in Montreal, which i'm still a part of. "
McIntyre's only been back in Edmonton for six months, remaining a long-distance member of a group called Double Negative from Mont. She notes that, apart from her, I might actually be the only other person besides her to watch all of her shorts; The films are, she notes, sometimes made more for the expression, the motions of physically creating them, than for any kind of showcase. Nowadays, most get shown only when she gets a request ( though that seems to happen with relative regularity; one of her shorts screened in Toronto just the other week).