Virtuosic renditions of the apparatus of the cinema, this program presents a collection of structural work that bombards us with a self-reflective ocean of luminous textiles. Symphonic obsolescence and dancing bananas, ruined churches resurrected on celluloid and waves of light exhaled before death.
Scott Fitzpatrick | Manitoba
2:00, 16mm, 2011
noun \’wiŋ-,diŋ\ 1. A lavish or lively party or celebration. 2. A real or pretended fit or seizure; a rage. An ode to a misunderstood font is rendered by laser printing directly onto 16mm leader. Made in Microsoft Paint.
Boris Eldagsen | Germany
3:33, HD, 2012
North American Premiere
In this personal work Boris Eldagsen uses webcam footage and voice excerpts of people he had cybersex with between 2000 and 2003. Exposing their guided masturbation he draws an indirect and unflattering portrait of himself, a discomforting yet honest reflection of what lies at the heart of this private addiction of many. Combining split screen and flipped webcam imagery with a heartbeat — driven soundscape “THE SCHOOL OF CYBERSEX (Soft Self Portrait)” examines another redemptive way of losing oneself.
Anja Dornieden & Juan David Gonzalez Monroy | Germany
6:00, 16mm, 2011
North American Premiere
A joke so poorly told and unfunny that the characters of the joke are forced to reveal their spirit through the process of their own destruction.
Christine Lucy Latimer | Ontario
4:14, SD, 2012
1950’s 16mm swimmers dive unknowingly into video-infested waters.
Shinkan Tamaki | Japan
14:30, SD, 2012
Perception changes ambiguously between moving images and sound. I went on a journey by water. I had been gazing at the calm sea for hours on the back deck. Before my eyes was endless sky, the nearly leaning sea horizon, strong sunlight shining on the surface of the water, and trails on the sea traced by the ship. The sound were of the engine and waves, vibrations propagated through the ship hull, and a pleasant breeze. I’m trying to sense every moment. I am here to watch the sea. Thinking this, I will daydream even before I know it. Occasional whistles make the scene in front of me clear.
Marc Atkinson | UK
5:49, SD, 2012
Filmed at Happisburgh, a village in Norfolk, England whose residencies, like many others near the coast, are threatened by severe coastal erosion. Many homes that were once 20 feet from the sea now sit at the edge of a cliff. Filmed using Super 8 and a reel to reel tape recorder, the subsequent footage was exposed to sea water for a period before being projected back.
Heidi Phillips | Manitoba
4:30, 16mm, 2012
In “Forsaken”, Phillips again abstracts images selected from found footage, this time exploring such techniques as contact printing and hand tinting and toning. Muscle men, machinery, and building climbers become foreboding figures in this darkly apocalyptic film.
Stephen Broomer | Ontario
2:45, 16mm, 2010
In the spring of 1998, Christ Church – Saint James, an historic black church in Toronto’s Little Italy, was destroyed by arson. All that remained were walls and a pit, and over subsequent years, the site was overtaken with graffiti. This film has taken on the layered form of the site itself: the space and its surfaces becoming tangled and multiple, the grid of a stone-filled window giving geometric form to simultaneously occurring images of concrete, nature, waste, paint, and sky.
Dan Browne | Ontario
29:00, HD, 2012
JURY PRIZE: BEST CANADIAN WORK
A meditation on death, as experienced through a lifetime of images. “A man sets out to draw the world. As the years go by, he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and individuals. A short time before he dies, he discovers that the patient labyrinth of lines traces the lineaments of his own face.” — Jorge Luis Borges