Location: San Francisco, CA
Medium: Experimental film, performance
Website: lindaizcaliscobie.com
Linda Izcali Scobie is a San Francisco-based filmmaker, programmer, and projectionist working in experimental and avant-garde cinema. She creates 16mm films that have been exhibited across the United States and internationally at film festivals and cinematheques in Canada, Mexico, Spain, Scotland, and beyond. Her practice sits at the intersection of filmmaking and institutional stewardship: she has spent years sustaining the infrastructures that keep experimental film alive, from distributors to archives to theaters.
Scobie previously served as Assistant Director of Canyon Cinema, one of the world’s oldest co-operative distributors of experimental and avant-garde film, and sat on the Board of Directors of Artists’ Television Access (ATA) in San Francisco. She currently works as a Senior Projectionist at the Pacific Film Archive in Berkeley (BAMPFA), and has also projected at the Roxie Theater and Yerba Buena Center for the Arts. She co-founded CERTAIN WOMEN, a monthly screening series at The Orinda Theater dedicated to works by women filmmakers.
Her films are distributed by Canyon Cinema. In 2026, her film Crystal Palace (2024)—a collaboration with musician John Davis made in conjunction with his LP Landlines—received the Susan Dise Best Experimental Film Award at the 64th Ann Arbor Film Festival. In 2018, she completed a solo exhibition at Temescal Art Center in Oakland and was Artist in Residence at White Leaves in El Rito, New Mexico.
Scobie works primarily in 16mm film, often in color and with sound, creating short works that blend lyrical observation with close attention to the film strip as a physical object. Her films range from intimate cosmic reveries (Skydogs, 2012) to meditations on suspended motion (The Pendulum, 2021) to collaborative expanded projections (Crystal Palace, 2024, projected as two simultaneous 16mm prints). Her practice extends into expanded cinema performance, where she works live with sound artists to combine electroacoustic composition with projected film imagery. Her 2014 solo screening in Mexico City bore the title Luz Perdida (“Lost Light”), pointing to an abiding interest in light, loss, and cinema’s material ephemerality.
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