Elizabeth is a girl with a secret… she sees fairies. Needless to say, this makes her something of a pariah with the neighbourhood kids. To make matters worse, every fairy she “rescues” turns up dead. Where do these mythological creatures come from? And why, despite Lizzy’s careful and loving ministrations, do they keep dying? Only her spinster Auntie Ann knows for sure.
Filter Films
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“sIgh” is a film about the memory of love, or so-called love, and the search for what is expected and what is to be. In essence it is a film about the fairytale myth; it is a search for the truth in relationships.
sIgh
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A personal reflection on sisterhood, “Sisters” is a passage of time filled with memories and reflections, giving sense to the bond that sisters have.
Sisters
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It all begins with a kiss… “An extremely sensitive, intimate, female’s view on an exciting moment.” – Special Award, Splitski Filmski Festival, Split Croatia 2000 Golden Sheaf Award, Best of Saskatchewan, Yorkton International Film Festival 2000
Daisy
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A cathartic journey into self-identity and nostalgia, expressing an inner conflict with the perpetual turmoil of mortality.
Srassha
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“Chulas Fronteras” is a magnificent introduction to the most exciting Nortena musicians working today: Los Alegres de Teran, Lydia Mendoza, Flaco Jimenez and others. Theirs is the music of the Northern Texas-Mexico border. It reflects the spirit of the people in their strong family life and sheer enjoyment of domestic rituals- preparing food and eating, celebrating a 50th wedding anniversary, gathering in the backyard with friends. Blank does not overlook the hardships of the Chicano migrating from state to state for seasonal work in the fields. He makes clear the role that music has in redeeming their lives by giving utterance to collective pain. Music, politics and life are integrated in this film in a way that is both enchanting and unsettling.
Chulas Fronteras
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A claustrophobic examination of constraint and the pressurized atmosphere of imminent resolution.
decisions
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Bleached, painted and optically printed, “Fear of Blushing” combines alternating textures, irrepressible colour and corroded figures with menacing sound bites, effects and rhythm. Fleeting visions and voices emerge in unusual juxtapositions, suggesting a psycho-cinematic free-association. As individual frames are never projected for more than 1/8 of a second, this film discourages reflection and is best experienced in the immediate present. Only after the onslaught can you wonder what horrible thing was buried there.
Fear of Blushing
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In a dark room holding a flashlight in my hand, I paint with light. Each stroke of light unveils an image and permits it to spill over to the adjacent film frames, thus breaking out of its rectangular prison while at the same time being woven into the fluidity of moving body, the whiteness of light, and the redness of flesh. Using the photogram technique and my body as a tool and a means to inscribe myself into this film, “Scintillating Flesh” is a self-inscription, where the filmmaker is not so much its subject but becomes its form.
Scintillating Flesh
