“Phos” equals light, but then I did also want that word within the title which would designate place, as within the nationalities of “the fabulous” – a specific country of the imagination with tangible shores, etc. The film adheres strictly to the ordinary form of the classic fable. (SB)
Filter Films
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The quote is Joseph Conrad answering a critic who found his books too long. Conrad replied that he could write a novel on the inside of a match-book cover, thus (as above), but that he “preferred to elaborate.” The “Life” of the film is scratched on black leader. The “elaboration” of colour tonalities is as the mind’s eye responds to hieroglyph. (SB)
He Was Born, He Suffered, He Died
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This film takes its cue from that ultimate situation of Sex/Med/masturbation – the loft-and-lonely hotel room. It is thus easily twice the length and complexity of any other in the series. (SB)
Sexual Meditations: Hotel
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This film evolves from several years’ observation of the sexual energy, which charges the world of business and the qualities of palatial environ which this energy often creates. It is one of the most perfect films that has been given to me to make. (SB)
Sexual Meditations: Office Suite
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Based on a tale from the work of Maritime folklorist Helen Creighton, “Helpless” is set in a fogbound world of superstition and magic. When a strange and terrifying illness befalls Walton Collins’ son Mortimer, the fisherman turns to a mysterious stranger with elemental powers to heal the helpless boy. An unsettling tale from the past, “Helpless” mines the dark realms of sorcery and desire. “Helpless” is conceived as both a cultural film work and an homage to Helen Creighton. The script for “Helpless” comes out of a collaboration with respected visual artist Eric Walker. A native Nova Scotian, Maritime history and culture is one of a range of subjects he applies to his visual artwork.
Helpless
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“A mini-presentation of consciousness dealing with cosmos. The world in a grain of sand. Connections between life, death, and the world are neither static nor symmetrical but flowing and intuitive. The movement of emulsion through which images are seen is like the mind trying to retrieve and put things together. “C’est la vie” is a positive muscular little thing.” – Rae Davis Sound by Rainer Wiens.
C’est la vie
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The “Babble on Palms” is a lush and vibrant cameraless animation, combining found footage, scratch and inking techniques with the universal language of music. Individuality, censorship, shared experiences, and unseen auras are just some of the topics examined in this short experimental animation by Canadian filmmaker, Steven Woloshen. Perhaps, when our ears cease to listen, the “Babble on” palms, speak. Made on September 12th, 2001 in response to the previous day’s event. Suitable for all ages and audiences.
Babble on Palms, The
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“Touch” is an uncompromising work about emotional scarring, the cycle of abuse, and the perverse nature of desire. In a poetic and highly stylized treatment, the film details the tragic journey of a physically and psychologically abused teenaged boy from early childhood trauma through to adolescent dysfunction. Composed in three articulate sections (Captivity, Liberation, Withdrawal), “Touch” is a disturbing tale of a young boy who is held captive for a period of years. When he is mysteriously set free after this long period of deprivation, he is found, hospitalized, psychoanalyzed and treated, but he is unable to adapt to the “normal” world of functional beings. Placed in a foster home and sent to a public school, he remains isolated and remote. While his body has been liberated, his soul is still captive. Ultimately, his only choice is to return in some way to the world that he knows, the world in which his history, his childhood and his perverse understanding of desire are still preserved.
Touch
