"Light Work Mood Disorder" (2007, dual 16mm, 26 min.)

LWMD mixes and subverts symbols of science, industry, medicine, and illness. Two screens and pulsating, layered music immerse the audience in colorful rhythmic molecular forms, morphing frequencies and textures. Reeves sewed together 20th century education films and affixed dissolved pharmaceuticals to the film. The projector is a microscope enlarging thread, crystallized antibiotics, heart, and mood medications, forming a concentrated fusion with Burr's composition of organ, sine waves, and multi-tonal bass clarinet. The animated abstractions rupture and echo the images of brain dendrites, synapses, human x-rays, scientific experiments and factory machine. The rhythmic and visceral imagery is reflected in the movement of Burr's austere and hypnotic soundtrack as it envelops the audience. Winner of the Toronto Images Film Festival Marion McMahon Memorial Award.

"interlude" (2006, Anthony Burr solo: electronics, bass clarinet, organ, 10.5 min., no image.)

"He Walked Away" (2003-2006, dual 16mm, 16.5 min.)

"...tactile, sensual and emotional, 'He Walked Away' recycles images from three of Reeves' previous films: 'Configuration 20', 'Fear of Blushing' and 'The Time We Killed.' Reeves created a rich, enigmatic texture of black and white and colour, superimposing images of landscapes -- a black bird flying over the woods in winter, ducks on the beach, flowers in close-up, a military cemetery, the grey streets of New York -- with each other and with abstract expressionist designs, opening up new spaces of vision, in which unspoken metaphors are lurking. Given the current political context, I kept seeing war explosions, interlaced with the smiling face of a young man advancing toward the camera before walking away into... Dante's dark forest? Moody and nostalgic, the film suggests the seductive mysteries of our internal landscapes, the elusiveness of memory, the irretrievability of loss: maybe the end of a romance, the sorrows of war, or the erosion of time." - Bérénice Reynaud, Senses of Cinema