June

The scouts

A hand-drawn stereoscopic elegy for Joyce Wieland could've been maudlin nostalgia, but Ferguson refuses the obvious arc—memory doesn't redeem, it fractures across two planes at once, formal experimentation doing the emotional work that sentiment won't.

Ferguson positions this within a rigorous lineage of artist portraiture and structural filmmaking, where the stereoscopic technique functions as both memorial device and formal argument about how we see loss; the two-movement architecture echoes classical lament while the medium itself becomes the substance.

The decision to render Wieland's decline and her creative apex simultaneously through split-screen stereoscopy—forcing the viewer's eyes to hold both timelines at once—is the entire film, a technical constraint that transforms biographical documentation into something genuinely disorienting and alive.