Bill Morrison’s new film is a history in still and moving images charting the transformation of the Tr’ondëk Hwëch’in fishing camp at the confluence of the Yukon and Klondike Rivers, into the epicenter of the Yukon gold rush at the turn of the last century. It is also a history of the 35mm film prints that were shipped to Dawson between the 1910s and 1920s, then hidden away and forgotten for 50 years until they were unearthed in the initial stages of a construction project. Images from those films play a key role in Morrison’s cinematic mosaic. Like all of Morrison’s work, Dawson City is a haunting experience that takes place in suspended, nonlinear time.