This supporting document explores ongoing trajectories in my research creation practice that are rooted in chance aesthetics and the ontologies of experimental filmmaking practices from the 1970s to today. Specifically, this research considers the recent material turn in artists’ experimental film practices, positioning this strong resurgence of interest in analogue materials and methods as an evolution of Structural / Materialist film theory and paracinema that responds to contemporary media ecology. Through a discussion of recent works in film, installation and projection performance – my own and those of my contemporaries – this paper situates my material filmmaking practice in the context of this art historical trajectory, and outlines the shifting values and the political and ethical stakes of making artworks on celluloid film today.