Her subsequent shorts were screened at New York Museum of Modern Art Cineprobe series when she was 25, and at the Spielberg theatre at the Egyptian in Los Angeles (2019).
It was the first retrospective program of her films in Los Angeles — a staggering fact given her monumental contributions to feminist diasporic cinema over the past quarter-century."
From Hyperallergic, Mashinka Firunts (2019) [6] "In a nod to Perec, Torossian’s An Inventory of Some Strictly Visible Things is a riveting account of the everyday in a small post-Soviet republic: a country obsessed with the catastrophic...
—BOMB (2017) "In a national culture seemingly obsessed with identity, the careening, intense, arresting works of Gariné Torossian are poetic cinematic searches for and expressions of those very elusive notions of belonging and identification that make her an idiosyncratic yet quintessentially Canadian artist.
Formally freewheeling and merging the visual languages of Super 8, 35mm, and video, her body of work is one of the most startling and original to have emerged in Canada over the last decade and a half.
"—from Image and Territory, Adam Gilders, edited by Monique Schofen (2006)[8] "In 2002, she won the Panorama short film prize at the Berlinale for "Babies on the Sun" (2001), five impressive minutes in which Torossian nostalgically traces memories of childhood."