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  • Blue Moses

    “A manifesto of film epistemology in the form of an actor in conflict with the camera eye.” – Brussels International Film Festival, 1964 “A meat enigma spoken in eternal language of director, con man, and magician.” – Michael McClure

    Blue Moses

  • Air Cries – Le Mistral

    The story is the closure, the film is how pain and anxiety are carried by the wind. There is no use trying to exert control, it only causes the pain/anxiety to linger. It must run its natural course. The Mistral can be beautiful and terrible, if it catches onto you/your soul becomes wrapped in its temper. It dances over the water changing its course to make your light unpredictable, terrible but beautiful … solo or in tandem. The story is the jazz by which these events take place. To exert any force over the film would not be the story. I am consumed by the flame.

    Air Cries – Le Mistral

  • You

    “You” is inspired from a story that emerged in an interview with Lisa Black, the main character in the film. A situation with many angles; the telling, the filming, the final projection event….“You” is an imaginary fictionalized you in a whimsical space. It is the still live residue of the broken relationship Lisa is confronting in this film. A parallel actor, the film is in the business of reinterpreting. As a result the film is closer to a psychic space, an ironic place where distance is also intimate and a measure of insight. Part of the TALKING PORTRAITS series.

    You

  • Yonge Street

    In this film, Anderson walks down Yonge Street from Bloor Street to the waterfront, recording the shifting intensities of the cityscape. “It’s as if you had flowed down Yonge Street along with the pollution of life and in the terror of the tunnel met death, and finally felt your body emptied with the rest of the waste into the lake. As the camera peacefully scans the water there is a feeling that everything is being cleansed…” – Rick Hancox, Cinema Canada

    Yonge Street

  • Yggdrasill Whose Roots Are Stars in the Human Mind

    This film, a combination of hand painting and photography, is a fulsome exposition of the themes of “Dog Star Man.” In that early epic I had envisioned The World Tree as dead, fit only for firewood; and at the end “Dog Star Man” I had chopped it up amidst a flurry of stars (finally Cassiopeia’s Chair): now, these many years later, I am compelled to comprehend Yggdrasill as rooted in the complex electrical synapses of thought process, to sense it being alive today as when Nordic legend hatched it. I share this compulsion with Andrei Tarkovsky, whose last film “The Sacrifice” struggles to revive The World Tree narratively, whereas I simply present (one might almost say “document”) a moving graph to approximate my thought process, whereby The Tree roots itself as the stars we, reflectively, are. (SB)

    Yggdrasill Whose Roots Are Stars in the Human Mind

  • Yelling Fire

    “‘Freedom of Speech’ does not include the right to yell ‘Fire!’ in a crowded theatre” (U.S. Supreme Court Justice O. W. Holmes). All existence as displacement: Violence. The rhythming of simple existence.

    Yelling Fire

  • Yeelen

    A young woman looking at herself presents troubling, touching episodes of stark self-reflection. “Yeelan” is an introspective, short, high contrast black-and-white film.

    Yeelen

  • Yearbook

    The length of a pop song, because it’s about the insidious way pop music begins to describe the moments of four lives. Romping through high school in four kilts and kisses, these girls truncate a feature film into the length of a pop song. Starring Janine Fung, Louise Liliefeldt, Nicole Pena and Christina Zeidler.

    Yearbook

  • X

    A profound and powerful experimental, personal film of one woman’s despair, rage and exhibitionism; a baroque fugue of identity chanting growing from women’s pain to a holistic, self-healing naming ritual.

    X

  • World in Focus

    In “World in Focus”, the screen becomes the two-dimensional support of an amazingly versatile three-dimensional object (an atlas) which contains in turn two-dimensional pictures of other three-dimensional objects. The uniform use of a close-up lens creates often ambiguous or nearly unidentifiable images (from the atlas), emphasizing the rhythms, volumes, angles and movements obtained from the handling of the book.

    World in Focus