The footage was already in the family: my grandfather David's Super 8 reels from the 1960s, a VHS interview with my great-grandmother. I worked it over: rotoscoping, scratching the film surface, digital collage, present-day footage cut in. I filmed an 8mm projection thrown against a living-room wall, and the VHS off a portable TV, so the surface itself carries the wear.

Four generations sit in the same frame. My great-grandmother speaking, my grandfather behind the camera, my mother as a child on screen, me handling all of it now. It refuses chronology — 1967 bumps into 2026 with no transition.

Screened in Animating Resistance, spring 2026. The method is worked out in an accompanying paper, The Body Keeps the Footage.