Atom Egoyan’s early films, from 1984’s Next of Kin to 1991’s The Adjuster, deal primarily with questions of identity and belonging mediated through different modes of technological archiving. The characters self-consciously record themselves and wade through family documents on Super 8mm and VHS. This is self-conscious on Egoyan’s part too: as informal family “home movies” were his primary way to access his own Armenian-ness as a first generation Canadian.