An animation to a Peter Kastner song mocking the darker side of MAN.
Filter Films
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“The Doctor’s Daughter or The Secret and the Lie” is the docu-dramatization of the beginning and the end of a six-year relationship between two young women. The film moves back and forth between Trinidad in 1991 and Toronto in 1996. Nicki (Janine Fung) visits her friend Regan (Gillian Frise) in Trinidad. Nicki falls in love with Regan but Regan is engaged to Howard (Richard Bolai). Nicki and Regan sleep together anyway. Six years later Regan returns to Toronto and moves in with Nicki. That’s when it gets hard to tell whose life is a lie and who’s living the lie. Fung tells a story that begs the question: How (and why) do we hold on to our first love in spite of the inherent self-doubt, denial and inevitable heartbreak it brings? “The Doctor’s Daughter or The Secret and the Lie” is a quiet film that embraces the uneven everydayness of modern love.
Doctor’s Daughter or The Secret and the Lie, The
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Everyday movement, woven into a dance of memory and loss. Selected Screenings: International Film Festival Rotterdam, 2007; Seattle International Film Festival, 2007
I Remember Now, We Never Danced, I Miss You, Good-bye
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Two universes unfold from a coin toss in award-winning writer-director J.T. Tepnapa’s dramatic short about redemption and desperation. In the first scenario, a homeless teen (Brandon Michael) rejects the aid of a handsome jogger (Damon Preston) only to continue to live another day on the streets. In the second, the flip of a coin leads him into the arms of that same jogger. Will either path lead him home?
Begging for Change
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Louise, an old-school butch, falls in love with a pretend TV lesbian and in her desperate need to be with her she participates in a fictional make-over show, Inside Out: Deviant Dyke to Diva. Louise, reveals her new marriage approved look to her local dyke march when suddenly it all starts to go wrong, or, some would say, it all gets right.
Butch or Consequences
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“The Sex Life of the Chair” treats the chair as a domesticated animal and develops a theory of its reproductive life to represent in animated drawings. Proposing that the human backside functions much like the airborne insect in plant pollination, the film integrates drawn studies of adolescent chair rotation with a sequence representing a chair’s sexual fantasy of witnessing a dancing pair of pink buttocks. The graphic style eschews the standards for children’s animation in favor of a pseudo-scientific accuracy and precision.
Sex Life of the Chair, The
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They are preparing for the big one – the Coming Out Ball. And just how far will they go? This short is a turn-of-the-century crime story exploring the outer limits of the debutant psyche.
Crossing the Line
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“Relativism” is the second of two experiments in animation involving the transposition of conceptual material to visual form. The film continues an examination begun in an earlier animated film, “Truth” (1998), which introduced the correspondence theory of truth by relying strictly on motion and sound. Relativism addresses objections to this theory by utilizing the symbolic potential of color. Using an elaborate process of multiple-exposures, wherein the same black frames were reshot to introduce different visually-synchronized color elements into the image, the film manipulates the additive process of color production. Instead of relying on the reflective colors of objects beneath the camera, color is produced by adding light to the image by means of gels. In the voice-over dialogue, doubts are raised about the applicability of the philosophical theory to ethical dilemmas.
Relativism
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“Truth” is the first of two experiments in animation involving the transposition of conceptual material to visual form. The film explores what is in philosophical circles called the correspondence or representational theory of truth. Technically, the film demonstrates the power of simple stop-motion technique using cut-outs. The voice-over narration is intercut with cut-out maneuvers shot single-frame to rockabilly music. Precise synchronization to sound effects enhances the exploration of grace, expression through movement, and timing. The second of the two films, “Relativism” (1999), introduces the use of color.
Truth
