brouillard #14 is the result of in-camera temporal layers shot on the path that extends from the filmmaker’s family cottage to a lake. “In his ongoing brouillard – passages series, Alexandre Larose creates long-take sequences by superimposing first-person, Hamish Fulton-esque walking trajectories shot along a man-made path leading to a lake. Using a lens wide enough to condense the human eye’s field of vision into the frame’s 1.33 aspect ratio, Larose creates spectral superimpositions infused with a meteorological mix and the intense lusciousness of the Quebec landscape.” — Andréa Picard
Filter Films
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Dialogue brings together two disciplines of printing and cinema. Working directly onto the surface of 16mm and 35mm film stock using letterpress, Judith Poirier utilizes an aleatoric approach to animation, generating intuitive compositions governed by elements of chance and surprise. The typographic forms, once translated as a soundtrack, vary from the harmonious to the discordant. From the starting point of the alphabet as a series of abstract symbols, a visual representation of the spoken word, this film explores the acoustic and visual rhythm of type.
Dialogue
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Two Weeks – Two Minutes, a film and a book, explores the double-page format and the notion of time in both media. During a two-week residency at the Center for Book and Paper Arts (CBPA) in Chicago, Judith Poirier printed simultaneously on paper and 35mm clear film stock using a letterpress. Every hour during her stay, she systematically wrote down what she was seeing, hearing or doing, trying to capture a snapshot of time. These observations were set directly on the press, at the rhythm of a spread a day while using the CBPA’s collection of metal and wood type. The letters, stereotypes and ornaments printed on celluloid, generate the animation as well as the soundtrack for this two-minute film. Each spread of the 24-page book produces 10 seconds of film for a total of 120 seconds (2 minutes). For the digital transfer of the printed celluloid, the frame was turned 90° recreating the vertical format of a book and the horizontal movement of reading. Edited as two vertical screens side by side, the film mimics the format of its book companion and suggests a different reading experience. Studio support for the creation of this work was provided by the Columbia College Chicago Center for Book and Paper Arts in the summer of 2012 under an artist in residence program supported by the Illinois Arts Council.
Two Weeks – Two Minutes
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For more than a decade, Mirvish Productions operated La Cage Theatre in downtown Toronto. The theatre’s resident performers, The Impostors, have earned rave reviews over the years but it’s the show’s final number that gives them a major standing ovation. In An Evening with The Impostors, the group prepares to bring their high-glam drag spectacle to the small town of Port Hope, Ontario. The Impostors are ready, but is Port Hope ready for The Impostors?
An Evening with The Impostors
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Change Over Time is an animated, experimental, personal documentary about the filmmaker’s first year on testosterone from an impressionistic and poetic perspective. The filmmaker asks himself the questions, what kind of man will I become? What emotional and soul changes will I experience during this time? The result is a distilled, evocative poem of Ewan’s musings on loss, love, and change through the use of stop-motion and digital animation, still photography, and time-lapse cinematography. Change Over Time will leave viewers with the wave of the filmmaker’s experiences washing over them.
Change Over Time
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Following the life of war hero Kenneth Owen Moore, Up in a Plane transforms a granddaughter’s grief into a joyfully animated adventure through the Canadian prairies of the early 1900s, the Second World War, the present and beyond.
Up In A Plane
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After a night out, two buds talk where they’re most comfortable – in bed.
The Age of Insecurity: Bed Buds
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In Barthes’ essay, “The Grain of the Voice”, the concept of the “genosong” was evoked to separate the sound of the voice from its language. Visual Music for Ten Voices distinguishes the physicality of the optical vocal track as having a unique identity from its actual resonance in sound films. Designed as a 10-foot black box projection loop, this film focuses on the rhythm and materiality of ten 35mm optical soundtracks. Each musical passage maintains its original length and linear harmony with the other tracks, collectively creating a new sense of motion and repetition.
Visual Music for 10 Voices
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With the aid of a USB microscope and X-ray scanners, this time-based media installation peers into the surface structure of decayed and rotted 35mm celluloid film like a drone flight reconnaissance mission flying over unknown enemy territory. Inspired by electronic surveillance data and Second World War Allied bombing raids on Dresden, the microscopic camera behaves as the trained eye of the bombardier, looking manually into the active areas of the film frame.
The Lost World
