A selection of films produced between 2005-2011 by members of The Loop Collective, a Toronto-based group of independent filmmakers, musicians, dancers and multimedia artists who strive to connect cinema to related interdisciplinary art forms. 1. fugitive l(i)ght 2. c: won eyed jail 3.Thaw 4. Parícutin 5.Quanta 6. Shapes Eat Shapes 7. Levitas 8. Spiders in Eden 9. The Changing Light 10. Christ Church – Saint James 11. Thought Form 12. Morning 13. Many Glimpses 14. Movement / Stasis (documentation)
Filter Films
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On the paths that cut through Toronto’s Tommy Thompson Park, at the foot of Leslie Street, an assortment of terrains collide: thicket, pebbled shorelines, muddy vistas, and fertile earth with beds of wildflowers. A giant duck crosses the horizon. A radio transmission of Shooby Taylor, the human horn, travels with us.
The Order of Ideas at the Leslie Street Spit
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Birds in flight break through rusted clouds and translucent buildings. Rebar at a construction site seems to snake through sunlit puddles.
Balinese Rebar
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Snake grass lines a forest path. The camera passes toward the entrance to the woods. It staggers and repeats as the scene is saturated in colour.
Snakegrass
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Amidst the ghosts of his cultural roots, Popovich creates a lyrical and loving light monument dealing with separation, change and death. “Part diary, part travelogue, part memorium for a friend’s death, ‘Elegy’ deftly and poetically blends the private concerns of the filmmaker, a discovery of roots in his native Yugoslavia, and the insubstantiality of remembered moments.” – Kass Banning, Now Magazine Screenings: Toronto Festival of Festivals; Krakow Film Festival, Poland; International Documentary Film Festival of Nyon, Switzerland; Ann Arbor Film Festival, Michigan; 5 Jours du Cinéma Indépendent Canadien, Montreal; CBC-TV
Elegy
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tu touches ce qui t’entoure dans un lieu partagé avec la camera; à travers ce que tu touches, à travers une chambre, un escalier, un autre corps, comme ca tu commences à exister, à vivre, à désirer – à travers cette mort de toi-meme et cette naissance d’une troisième, cette naissance de l’invisible. you touch what surrounds you in a space shared with the camera; through what you touch, across a room, a staircase, another body – you begin to exist, to desire – through this death of yourself and this beginning of a third, this beginning of the invisible.
Par vos yeux (through your eyes)
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Fati, 23, and Aissatta, 16, live in the banlieue north of Paris, in a cité called “La Rose des Vents.” Their father emigrated from Mauritania to France 40 years ago to work on the assembly line at Citroën. Shot over a period of three years, the film follows the stories of the two sisters, their refusal of traditional ideas of French identity and their search for independence within a community where secularization, radicalization and patriarchal rule are continually in confrontation. Fati, 23 ans, et Aissatta, 16 ans, vivent dans la cité de La Rose des Vents, dans la banlieue nord de Paris. Il y a quarante ans, leur père quitta la Mauritanie pour venir travailler en France sur une chaîne de montage d’une usine Citroën. Tourné sur une période de trois ans, le film raconte l’histoire des deux soeurs, leur refus des idées traditionelles sur l’identité française et leur quête d’indépendance au sein d’une communauté où la sécularisation, la radicalisation et la règle patriarcale sont en perpétuelle confrontation.
Fati et Aissatta (Fati and Aissatta)
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This 16mm B&W cut-out animation borrows narrative tropes from early Atari video games, silent films, and anime cartoons, offering a weird story and hybrid aesthetic. The narrative is based on the imagined adventures of the singer’s lost cat, Hoshi. Hoshi eats a koi fish, who emerges angry from his digestive system. The koi enlists the help of a pug to exact revenge, and the three characters embark on an epic chase through the cosmos. Their journey brings them through wormholes and across poisonous planets where their skin is melted off by acid rain.
Hoshi Neko (Little Star)
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“In SOLAR SIGHT III I have continued the dream-like form of disparate animated scenes, each with its own ‘romantic-with-an-edge’ slightly surreal flavour. Scenes are sometimes run-on, sometimes separated by brief periods of darkness to relax, as in breathing, the viewing eye. There are no fancy superimpositions now, nor excessive visual trickery. Only comparatively straight forward presentation of the improbable images, which have formed themselves in my improbable mind.” — Lawrence Jordan
Solar Sight III
