Pantomime movements of a woman’s silhouette: Her hands and fingers move across the surfaces of a geometrical urban architecture, almost as if they wanted to remeasure the buildings. She weaves an irregular network of lines into the rectangular, rigid structure and the documentary image, animating the wasteland with a glowing spray of sparks produced by drawing scratches on photographs.

Found private photo albums: The connections between the pictures remain as abstract as that which the photographs show is concrete. In this film, grandparents, aunts and children do not look out of the past at the viewer in the now but into the mysterious depths of a corridor or the vastness of a bay. Poetic spaces of interpretation open up.

Hands grasp emptiness. Sometimes they get hold of bundles of lines. Their everyday movements are turned into a ghostlike play of gestures, because the objects they handle and the devices they operate are erased from the frames. The sense of touch takes centre stage – in the actions themselves, but no less in the scratches on the material which dance to creaky, grating sounds.

Abstract organic drawings, wandering flocks of clouds and the surging sea give the “Impromptu opus 70” piano piece a visual body which refuses to take on a fixed form or pause. “Remous” embraces the undulations of Jacques Hétu’s erratic composition, twists perspectives and makes individual notes shimmer as brief reflections of light on the surfaces of deep darkness.

A film projection shows a woman sitting by the water. In “her back” is the shadow of a female figure who conjures radiant golden clouds of dots and balls of lines into the frame with her hands and is even able to blot it out. The magical trailer for the “Tricky Women” festival was made by manually editing the image and sound sequences recorded by Moïa Jobin-Paré when she was artist-in-residence in Vienna.