A meditation on the image and the bullet. Entrance Wounds considers the modern challenge of trying to unsee an image. The film sifts through moments of the everyday, imagining a world where afterimages of disaster drift in near-transparency over the present. —Calum Walter

"Entrance Wounds conveys a global freeze, a narrative trapped in ice, as we waver between horror and numbness. It generates a feeling of logic suspended, as tragedy ceases to register as an event. Grief is amoebic. It fills the space around us like a deadly gas." —Michael Sicinski

A painter stages a heist to steal his paintings back from the vault of a museum. A filmmaker happens to be at the museum on the same day. —Isiah Medina

Having been invited by Ontario’s Agnes Etherington Arts Centre to produce a film in their archives while the museum was closed for renovations, Isiah Medina emerged from the vaults with 'He Thought He Died'. As with 'Inventing the Future' (sci-fi) and 'Night is Limpid' (the comedy of manners), a loose generic structure (the heist film) supports an intricate intellectual composition, as a painter (Medina) steals back his work from the museum’s collection. The anti-drama of this scenario—it largely provides an opportunity for extended visual exploration of the multifaceted idea of the frame—runs in parallel to a talkier strand involving a filmmaker (Kelley Dong) visiting the archives to conduct their own research. These conversational passages play out in fast and dense language and montage, each line delivered with a precision that might be confused for blankness, each cut opening new angles both within and beyond a given scene. It’s not quite a spoiler to say that artist and filmmaker do finally converge on a counterpoint of value-forms.
—Phil Coldiron