“The tensions between containment and expansion, inner and outer, surface and depth, reflections and projections, implicit in any window, are felt as rhythmic movements of colour and light within the projected frame.” – M.J.
Filter Films
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A photograph. Two blondes with a past on a train from Washington DC. Their destination is an abandoned train station, with body bags and kids running for their lives. At the station dead bodies are pulled from the basement and piled in the foyer for disposal. Mr. One, the consummate loner, waits. He feels bad about past deeds. He will even the score his way… At the station everyone is obsessed with a photograph titled “Gun Control” that defines the collective consciousness of the times. If everything is a clue, what’s the mystery? When the two blondes arrive at the station questions will be asked. They may even get some answers. Certainly things will change.
willing voyeur … , the
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As the Carter Family sings “Wildwood Flower” an elaborate embroidered border is created around an image of a nude woman riding slowly toward the camera, producing a kind of cameo in motion.
Wildwood Flower
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A comic and revealing exploration of Art Cars, personally customized automobiles which reflect the individualistic spirit of their drivers. Traveling across the country in his own wildly decorate VW bug, Blank discovers a memorable cast of real-life characters who are obsessed with transforming their cars into mobile works of art.
Wild Wheels
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A combination Christmas home movie/instructional film on how to make lip-sync sound films with only a wind-up camera and wild tape recorder. Inspired by V. I. Pudovkin’s 1929 statement, “One must never show on the screen a man and reproduce his words exactly synchronized with the movements of his lips. This is cheap imitation, an ingenious trick that is useless to anyone.” “The flamenco dance sequence, wth Hancox yelling out his ‘wild sync’ technique, is the most absurd piece of cinema I’ve ever participated in.” – Lorne Marin “…after Hancox announces near the end that the main action here is lip sync, there is no technical connection between the visuals and the soundtrack: a piano is heard, for instance, but its player is up and dancing. It is technique.” – Michael Wade, Ontario Film Series, Cinema Parallel “…enthusiasts will find the instructional part of this film very helpful… (but) be less entranced with the.. buffoonery that is used as illustration.” – Chris Wornop, A Newletter Called Fred, January, 1980
Wild Sync
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“Wild About Ari” concerns Sophie, a young Greek woman, who rejects her family through an academic appreciation of Aristotle, while Tom, a young white romantic, pursues his desire to become black. The Toronto Festival of Festival programmers described the film as a “bent, witty drama… that answers all the big questions” on ethnic identity and cultural appropriation. “Scripted with the style and directed with precision”… “Wild about Ari” hopes to win audiences with its fresh insight, humour and eccentric characters. NOW Magazine cites: “Demas’ deft dialogue, which tweaks cultural stereotypes, makes this movie a treat.”
Wild About Ari
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“‘Wide Angle Saxon’ provides the occasion for Land to demonstrate, albeit ironically, his view of the status of cinematic imagery in a Christian vision that acknowledges a rational historical order… The film obliquely describes the conversion of a television work only to be convinced by it, suddenly, while politely clapping for an avant-garde film that has bored him.” – P. Adams Sitney, Visionary Film
Wide Angle Saxon
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Late afternoon on a hot summer’s day. Two women lie together in a post-coital languor, talking and laughing. Then one makes a phone call – a call which reveals that everything is not as it seems. “One of the very best films of the festival; it straddles conventional narrative and experimental lyricism with much grace and sensuality.” – Jerry White, Point of View Magazine
Why I’ll Never Trust You (In 200 Words or Less)
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WHY I HATE BEES is a comedic journey into a young girl’s memories of near death, based on the short story by Canadian writer Nancy Jo Cullen. Awards: Best Canadian Lesbian Short, Inside Out Festival, Toronto, 1998; Grand Prize, Cabbagetown Film Festival, Toronto, 1999; Honourable Mention, Ann Arbor Film Festival, 2000. DIRECTOR’S STATEMENT: When I discovered Nancy Jo Cullen’s short story “Why I Hate Bees” in the Saskatchewan quarterly literary magazine, Grain, it had just won an honourable mention in the publication’s writing contest. Nancy lives in Calgary, Alberta. The complete text of her story serves as the narration for the film. Non-professional actors were used on location in Brockville and Gravenhurst, Ontario. The energy of the kids was explosive and Kathleen Swim Fowler was stung by a bee during rehearsal for the kissing scene. In the film, I play with the way memory races ahead or lags behind the stories we tell and the tendency it has to linger on things we do not mention in our stories. Through optical printing, use of colour, animation, editing and sound, I interpret the memory and point of view of the young narrator – sometimes touching directly on her story, other times suggesting what she might have experienced but is not telling.
Why I Hate Bees
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“Who’ll Stop the Rain” is a short but provocative animated film about the acid rain that falls in Canadian forests and on Canadian wildlife. The film is not intended to inform viewers of scientific facts. Its only goal is to motivate them to help stop the rain and can be used to generate discussions concerning the acid rain problem.
Who’ll Stop the Rain
