The expansive mountainscapes of the Andes are the basis for this new, 35mm film by Daïchi Saïto, who won the 2016 Tiger Award for Short Films with Engram of Returning. Once again propelled by the free, pulsating improvisation of saxophonist Jason Sharp, in which his heartbeat and breathing play a prominent role, the series of images slowly becomes more abstract. The end result is a hypnotic, sensory meditation on ‘our’ earth.Read More »
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The Sahara Desert occupies most of the northern continent of Africa. It’s eight-and-a-half-million square kilometres in area, and stretches from Mauritania on the Atlantic coast, through Mali, Niger and Chad, and ends at the Red Sea in Sudan. It’s arid, bleak and unforgiving. Outbreaks of civil war between various desert tribes spring up continuously along the entire route. The carcasses of the desert’s victims — camels, goats and scorpions – litter its vast expanse, having succumbed to the heat or the lack of water or the violence of its storms. What, then, would possess someone to traverse this hell on earth – alone?Read More »
Adam Bell is a glum, disheveled history professor, who seems disinterested even in his beautiful girlfriend Mary. Watching a movie on the recommendation of a colleague, Adam spots his double, a bit-part actor named Anthony Clair, and decides to track him down. The identical men meet and their lives become bizarrely and irrevocably intertwined. Gyllenhaal is transfixing as both Adam and Anthony, provoking empathy as well as disapproval while embodying two distinct personas.Read More »
Mai Zetterling explores Swedish cultural canon in a Canadian TV-production called “Cities”. Zetterling herself play all the prominent roles.Read More »
In 1995 a then well known Québec theatre director named Robert Lepage made his first feature film, Le Confessional which, to my mind, remains one of the most impressive debut Canadian films ever. An intellectual and polyglot, Lepage carried his theatrical self-assurance over to the sphere of cinema without compromising cinematic language, and in fact expresses his ideas through formal means in the manner of an assured auteur. Thematically the film is not much of a stretch for a Québec film, centering on one of the constant themes in Québec cinema: sibling-parent tension. In this case, as in many other important Québec films, the tension revolves around an estranged father-son relationship [to name just a few Québec films dealing with troubled mother/father and daughter/son relationships, Les Bons Débarras (Francis Mankiewicz, 1980), Un Zoo la Nuit (Jean-Claude Lauzon, 1987), Les Invasions Barbares (Denys Arcand, 2003), and La Vie avec mon Père (Sébastien Rose, 2005)]. What makes the film impressive is not the story but its formal treatment across two time frames, weaving the past and the present and the personal and the historical.Read More »
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A war photographer returns home to Montréal to discover that his two partners have left him to be together. Alone in the city, he photographs what he sees, trying to heal both his war memories and a broken heart.Read More »
While young and in her prime, Nadia decides to retire from pro swimming after the Olympic Games; to escape a rigid life of sacrifice. After her very last race, Nadia drifts into nights of excess punctuated by episodes of self-doubt. But even this transitional numbness cannot conceal her true inner quest: defining her identity outside the world of elite sports.
Official Selection Festival de Cannes 2020.Read More »
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“Wavelength” was shot in one week in December, 1966, preceded by a year of notes, thoughts, mutterings. It was edited and first print seen in May, 1967. (The Film-Makers’ Cooperative)
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I wanted to make a summation of my nervous system, religious inklings, and aesthetic ideas. I was thinking of, planning for a time monument in which the beauty and sadness of equivalence would be celebrated, thinking of trying to make a definitive statement of pure Film space and time, a balancing of “illusion” and “fact,” all about seeing.Read More »
All Movie.com Plot Synopsis by Hal Erickson
With Mon Oncle Antoine, actor Jean Duceppe established himself as Canada’s principle purveyor of eccentric relatives. Playing the uncle of 15-year-old Jacques Ganon, Duceppe acts as the lad’s confidante through the difficult coming-of-age process. The Canadian backwoods and the mining-town milieu of the 1940s are displayed to excellent nostalgic advantage in this retrospective piece from writer/director Claude Jutra (who also plays a supporting role). Though relatively unknown in the states (and often dismissed as unremarkable by below-the-border critics), Mon Oncle Antoine is regarded as a classic of the Canadian Cinema. The film won an unprecedented eight statuettes at the 1972 Canadian Film Institute Awards, including best picture and best director.Read More »