The magnificence of the solar winds, the unseen emissions from the centre of the galaxy. In Woloshen’s first film of the 21st century, a new cameraless animation engraving technique seeks to capture a new spectrum of light from the centre of the solar system and the core of the projector’s lamp. Is the cinema’s screen a litmus paper of the projector’s activity?
Filter Films
-
“Get Happy”, as the title suggests, is a joyous carefree romp through the swinging world of Benny Goodman and his orchestra. This richly textured “cameraless” animation propels the audience through the highs, lows, and refrains of a big-band classic. With a new sound synchronization formula, “Get Happy” delivers an unabashed stream-of-consciousness, fluid with several well-delivered visual punches and crescendos. In Cinemascope.
Get Happy
-
A bedroom (and life) viewed from the horizontal, while wondering whether to join in the race or wake up to the illusion. The soundtrack quotes from Gertrude Stein’s “Making of Americans” on disillusionment.
Awake
-
“Using the drawings of Bruno Schulz, who must be numbered among the great writers of the 20th century for his two slim books of short stories, Torossian builds up a disturbing imagescape of sexual malice and voyeurism. Torossian’s films are characterized as much by her reuse of other artists’ work as they are by her trademark collage techniques.” – Chris Gehman, Images Festival of Independent Film & Video, 2001
Death to Everyone
-
The most awkward of hosts receive the strangest of guests tonight, and no one entertains quite like Kip and Viv do. An unexpected visit from strangers stirs up vengeance, and leaves a trail of crushed spirits – but all in good fun.
Sunshine
-
John T. Davis (pianist/organist/vocalist) and Jim Heineman (saxophonist) are two Canadian jazzmen who have had to wage the war between the compulsion and the passion that they feel towards their music and the struggle that is involved with trying to make a living in the field of jazz music in Canada. John T. Davis is a Black musician from a poor rural environment. Jim Heineman is a white musician from a white middle-class urban environment. “Brothers in Music” begins by exploring the personalities, experiences and inspirations of these two very talented and different musicians and then moves on to examine the heart warming, brotherly relationship shared by these two musicians who have played together for over two decades. Through the musicians’ words and original music “Brothers in Music” provides a rare and special look at the jazz scene in Canada.
Brothers in Music
-
Once upon a time in a hallway, there was a dead body. Through the lens of the surveillance camera mounted opposite the elevator, we observe the various reactions of people wandering in or out of the building who encounter Mr. Body. His origin is unknown, but based on the reaction of the last man to see him before the police arrive, we know he came to a dramatic and untimely demise.
Watching Mr.Body
-
5 am she rises. 7 am she is ready. This film observes one woman’s morning routine. We track this intimate ritual. She is mechanical and efficient. Her morning drill is done with precision, yet her look is vacant. Despite the clockwork, things are not as “together” as they seem. Disconnected editing and sound create an otherworldly space; her apartment is neverneverland. Time is manipulated and actions are exaggerated. Her person is fragmented. She could be a cartoon.
Daily
-
It’s Christmas day and festivities are underway in the Porkloin household. Mother’s holiday fever runs high, the ill-advised gifts have been opened, but the biggest gift still remains. . . In the spirit of demented fairy tale, this microfilm explores a darker side of the holidays.
Contretemps of Christmas
-
A dark and comic look at a tortured family and their frenetic daily rituals. The Whites’ existence centres around a mysterious library card catalog, which serves both as a source and repository for traces of family life. The catalog’s system of perfection intersects with the rigid hierarchy of this household. Manipulated voices replace dialogue, and although words are unintelligible, we understand the Whites very well. Highly sylized yet grounded in humanity, this film is a disturbingly funny tale of home and hearth.
Whites, The
