“BRU HA HA!” An overexcited and noisy response. A Commotion. A hubbub or an uproar. “BRU HA HA!” A short hand-scratched film by Steven Woloshen! A film about relationships of the human kind. Homage to painter Joan Miro.
Filter Films
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A devil makes a violent attempt to change himself into a heavenly creature. His evil process backfires when he is confronted with the creatures from within.
grotesque
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A master brings out his slave and attempts to control him. Things go terribly wrong. Every touch of the slave produces a distortion that encompasses the master. Who exactly is the manipulator? The slave, the master, or the filmmaker?
Manipulator
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“Song of the Firefly” is a visual poem which utilizes the camera-less photogram technique that was introduced in Pruska-Oldenhof’s 2001 film “Light Magic.” “Song of the Firefly” transports the viewer to an open field on a warm summer night, where the luminous dance of the fireflies can be experienced. The exhuberant display of light, as each flash illuminates different portions of the field, reveals fragments of the space in which we are contained, leaving us always waiting in anticipation to see more.
Song of the Firefly
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In 1999 a U.S. preacher called Canada ˜the sperm bank of Satan“ after the Supreme Court extended the definition of spouse to include same sex couples. This film is an oblique response. “Canada: Sperm Bank of Satan” comments on Canada-U.S. relations: if Canada is a “sperm bank,” who is on top? This queer road movie has fun exploring Canadian identity and the way it is shaped by Canada’s relationship with the United States.
Canada: Sperm Bank of Satan
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In this non-orange negative of a hand-painted film, a series of luminously pastel shapes – often patches of colour against a stark white background – are interspersed with nearly black intermittent smudges punctuating white. These visual themes develop gradually into a series of multi-coloured vertical lines which weave contrapuntally in relation to theflickering (single-frame) paint shapes. Twice, a solid (as if photographed) shape is seen receding from the amalgam of paint. Masses of tiny dots and “curlicue” shapes sometimes interrupt the thematic progression from irregular paint-shape flickerings to fluidity of vertical lines: this theme eventually resolves itself through the intervention of globular shapes (most notably, brilliant orange-yellow “globs”) which spread themselves over several frames and prompt the eventual amalgamation of all themes.
Cannot Not Exist
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The “Exquisite Corpse” is a drawing method in which three individuals draw part of a body without knowing what the other parts looks like. The results are often bizarre accumulations of characteristics and variations on themes. Here, three curators interpret this method in the form of a rich complex programme of short films on the queer body. Our bodies have often been the site of obsession, whether through our expression of love, sex, and sexuality or hatred of the abject, the ill and the repudiated. The beauty of the Exquisite Corpse is the conceptual interpretive shifts that take place mimicking how life continues to present itself to us. The HEAD: Conformity, anarchy, love and language. These are the musings of the films at the beginning of “Exquisite Corpse.” The face, the most visibly expressive part of the body, is the focus; rebellion, loss, pleasure and pain the subjects. (Jeff Crawford) ALL YOU CAN EAT – Michael Brynntrup BANGS – Carolynne Hew KELTIE’S BEARD, A WOMAN’S STORY – Sarah Halprin MOUTHPIECE – Gerard Betts The TORSO: The queer body attempts to rise from its abject position and does so triumphantly in these works. But not far from its pleasures are its pains, its tragic and rejected self, exposed for all of us to gaze upon. In the torso, the body annnounces its opposition to dominant culture, asking us to embrace the abject. (Ellen Flanders) THE LIGHT LIZARD IN OUR BELLIES – Sarah Abbott THE BABBLE ON PALMS – Steven Woloshen ACHTUNG – Michael Brynntrup HAND JOB – Wrik Mead The TAIL: From foot fetish to pussy power, the films in the later half of “Exquisite Corpse” reflect on the physicality of seduction and the mechanics of motion. (Deirdre Logue) MY CUNT – Deb Strutt and Liz Baulch MAKBUL – Huseyin Karagoz ANIMALS IN MOTION – John Straiton
Exquisite Corpse
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Eight Canadians vividly recall their childhood and youth growing up in Toronto’s Jewish, Italian and black communities during the ‘20s, ‘30s and ‘40s. They captivate us with engaging and poignant stories on the immigrant experience, growing up poor and ethnic in the city, enduring discrimination, and keeping the spirit alive with music, friends and family. Their reminiscences on the joy and hardships of growing up in Toronto’s Little Italy paint a portrait of a time, a place and a generation. Featuring Johnny Lombardi, the Sherman Brothers, Sam (The Record man) Sniderman, Rose Grieco, Fanny Brass and Stanley G. Grizzle.
Portrait of a Street: The Soul and Spirit of College
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“Promised Land” is an experimental documentary film that mixes the personal and the political. It follows the story of my family in Peru, from the middle of the last century through to the present day. It is told from a personal point of view and also in relation to the political developments taking place throughout the Latin American continent. This film waves together these various viewpoints, forming a unique perspective on memory, history and identity. (MA)
Promised Land
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“Bowen returns with a multi-screen fairytale about a Haunted Girl and her Cousin. ‘Deutschland’, like her previous ‘sadomasochism,’ strains cinema through language, asking that we read along with a woman recalling her German roots while a four-play of home movies flicker by underneath her grave. The English text in the present is both summary and benediction (‘The war is over’), understanding that memory turns the people of our lives into characters, and all the characters are us.” – Mike Hoolboom, Images Festival of Independent Film & Video, 2000
Deutschland
