Trailer
Presented only in theatres.
This film is part of the FIFA Expérimental section program Toucher à distance.
Enter the End is a short 16 mm film created by the Montréal duo Technologies of Consciousness, composed of Sonya Stefan and Stephanie Castonguay. The artists ask the following question: “Where does the conscience reside in the body?” and propose that we are all connected to everything, even when we are dreaming.
Technically, Enter the End resorts to several contact printing processes (among others, plants for their photosensitive capacity and ability to generate phytograms) and alternative methods of film development (using various organic elements as developers for filmed images, within the photochemical process).
In presence of the directors Sonya Stefan and Stephanie Castonguay on March 15th in Montréal.
This film is part of the FIFA Expérimental section program Toucher à distance.
Enter the End is a short 16 mm film created by the Montréal duo Technologies of Consciousness, composed of Sonya Stefan and Stephanie Castonguay. The artists ask the following question: “Where does the conscience reside in the body?” and propose that we are all connected to everything, even when we are dreaming.
Technically, Enter the End resorts to several contact printing processes (among others, plants for their photosensitive capacity and ability to generate phytograms) and alternative methods of film development (using various organic elements as developers for filmed images, within the photochemical process).
In presence of the directors Sonya Stefan and Stephanie Castonguay on March 15th in Montréal.
| Director | Technologies Of Consciousness, Stephanie Castonguay |
| Production | Technologies Of Consciousness |
| Editing | Sonya Stefan |
| Sound | Stephanie Castonguay |
Session
• Université Concordia - J.A. de Sève, LB-125, Pavillon J. W. McConnell
Saturday, march 15, 2025, 05:30 p.m. — 06:20 p.m.
Production
Stephanie Castonguay
Fueled by an insatiable curiosity for experimentation, Castonguay explores sonic matter through sound installation, performance and experimental electronic instrument making. In an approach rooted in materiality and processuality, the artist transforms discarded machines into vessels of resonance, glitch and latent sonorities. By translating the nuances of the sensory world, their work seeks to reveal the hidden facets of our subtle environment, bridging the realms of perception and the imperceptible.
Biographical notes provided by the film production team and edited by Le FIFA’s team
Biographical notes provided by the film production team and edited by Le FIFA’s team
Numinous Machines (2024)
Sentient Beings (2022)
Broken LCD (2016)
Sentient Beings (2022)
Broken LCD (2016)
Sonya Stefan
Sonya Stefan blends analog methods, intertwining 16mm film with touch designer to craft her visual landscapes, while also employing contact printing techniques, DIY eco-processing, and macro nature image capture. Additionally, Stefan delves into the realm of dance documentaries, gaining acclaim for her film The Truss Arch, which earned her an IRIS nomination and the prestigious Best National Medium-Length Film award at both the Rencontres internationales du documentaire de Montréal (RIDM) in 2021 and the Rendez-vous Québec Cinéma in 2022. Her creative journey extends further through collaborations with the multimedia dance company Animals of Distinction, Petrikor Danse, and the Newton Moraes Dance Theatre.
Biographical notes provided by the film production team and edited by Le FIFA’s team
Biographical notes provided by the film production team and edited by Le FIFA’s team
Numinous Machines (2024)
Sentient Beings (2022)
Broken LCD (2016)
Sentient Beings (2022)
Broken LCD (2016)
In the same session
Université Concordia - J.A. de Sève, LB-125, Pavillon J. W. McConnell
Saturday, march 15, 2025, 05:30 p.m.
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