A film on the Dare strike of the early 1970s. Hundreds of feet and legs, milling, marching and picketing with the word “solidarity” superimposed on the screen. The soundtrack is an organizer’s speech on the labour situation. Like her films “Rat Life and Diet in North America,” “Pierre Vallieres” and “Reason Over Passion,” “Solidarity” combines a political awareness, an aesthetic viewpoint and a sense of humour unique in Wieland’s work. Image description: Plain black laced shoes and bare or white-stockinged ankles of a person standing on green grass, a metal-tipped umbrella at their side. White text superimposed over the middle of the image reads: SOLIDARITY.
Filter Films
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“The Soldier Boy” explores the cross-cultural dynamic between Greece and Canada through themes of Greek mythology and codes of sexuality. It premiered at the 1995 Toronto International Film Festival and was critically acclaimed as an “evocative” and “amusing” satire.
Soldier Boy, The
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A film about solar-heated houses in the snowbelt – their cost, performance, and technology – as told by the architects and people who live in them. The film demonstrates that solar energy is a feasible alternative now, not next year or in the next century.
Solar Frontier, The
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A trail of two feet. These feet go many places but arrive nowhere; there are no endings, only pauses and new beginnings. What is more important, the goal or the trip?
So-Lo
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This film is filmed text. The film reads: “This is the title of this film. So is this.” This film is an in between the author and you. It is communal reading. Within my work it could be described as a child of “One Second in Montreal” and “Rameau’s Nephew.” “A delightful film, full of humour and sentience, it is also an odd film: a text-film, a silent black-and-white talky in colour, a self-reflexive document and a fictive construct, a non-movie that paradoxically fulfills and subverts the implications in the titles of such books as ‘The Language of Cinema’ and ‘How to Read a Film’… by a filmmaker of subtle genius.” – Michael Ethan Brodzky, Arts Canada, 1982 “…extraordinary as Michael Snow’s new film is, it’s best described briefly – the better to keep its surprises intact…Snow manages to de-familiarize both film and language, creating a kind of moving concrete poetry while throwing a monkey wrench into a theoretical debate (is film a language?), that has been going on for 60 years…he creates a visual dynamo that loses nothing in motion for its absence of pictures.” – J. Hoberman, Village Voice, 1982 “Snow’s film addresses all the issues which Socrates’ condemnation of written language (in Plato’s ‘The Phaedrus’) raises…It seems obvious that the serial presentation of the words reveal that discourse (written or spoken) occurs in time and that the words which constitute a discourse present themselves one after another, like moments in time. The brilliance of ‘So Is This’ is that it challenges these apparently obvious truths.” – Bruce Elder
So Is This
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A pencil portrait of the artist as a young woman. My Boyfriend Gave Me Peaches: Fleming utilizes her quirky, elegantly minimalistic style to superb effect in this film, a humorously nasty teenage girls’ ditty about a mean boyfriend who gets bumped down the stairs and carted off in an ambulance. I Love My Work: In the faux-naif stick-figure animation Fleming describes the plight of the modern woman who insists on trying to get to work, despite horoscope warnings that she should stay at home.
So Far So
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A documentary work which takes an in-depth look at the full range of Michael Snow’s work, including his painting, photography, music, sculpture, and filmmaking. Through conversations with Snow, and interviews with other members of Canada’s cultural community, the viewer is given an understanding of his challenging art. The film is designed in such a way as to give the uninitiated viewer a lasting introduction to Snow’s work and an understanding of our national artistic heritage.
rameau
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Rimmer takes a quick, playful romp through the Beaubourg’s paintings, twisting and bending their reflections to his own light rhythms.
Beauborg Boogie Woogie
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“Snow Search” finds four performers searching for each other, each carrying one quarter of a photographic portrait of Michael Snow. A lyrical exploration through the city and an homage to Michael Snow.
Snow Search
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When a film camera is introduced into an unexpected setting it acts as a catalyst for spontaneous performance. “Snorkel,” which was shot in Super 8 and transferred to 16mm film, shows a group of friends gathered for a social evening. They put on various acts, including the garbled telling of some sci-fi movie’s plot, and snorkelling in a pail of water. McLaren’s camera is by no means an innocent bystander – it intrudes upon the scene, picks out particular activities, withdraws, and generally impels the action as mediator between event and document.
Snorkel
