ISSN 1717-9559
Keyword Category : Cinema(s) of Canada
Atom Egoyan Buster Keaton Canadian Cinema Cinematheque Quebecois David Cronenberg Denys Arcand Documentary Donigan Cumming Fantasia Festival New Media Francois Miron Guy Maddin Karim Hussain Larry Kent Leslie Nielsen Michael Crochetierre Michael Snow Mitch Davis Mockumentary NFB Paul Tana Peter Mettler Phil Hoffman Quebec Cinema Region Centrale Robin Schlaht Roshell Bissett Roy Cross Wavelength Wetfish World Film Festival
1.
A report on the 2008 edition of the Fantasia International Film Festival.
2.
An impressionist look back at some of the defining moments of Fantasia 2008.
3.
Steffen Hantke reviews a book on David Cronenberg by Mark Browning which attempts to read Cronenberg through a literary rather than cinematic landscape.
4.
A thematic and formal analysis of the environmental thread across a group of mainly low budget, independent horror films that showed at Fantasia 2007.
5.
An essay on the Soviet Science Fiction films which played at the 2007 Fantasia International Film Festival.
6.
An interview with Doug Harris, writer/director of the Canadian film Remembering Mel.
7.
An brief look back at the capital cost allowance period in Canadian cinema, which acts as an introduction to the interview with Doug Harris.
8.
An interview with Philippe Spurrell, director of the Canadian supernatural mystery, The Descendant (2007).
9.
Coverage of the 8th installment of the Calgary International Film Festival.
10.
An earnest, DIY account of a sighted creature in the New Orleans, Louisiana area.
11.
All too often film criticism takes itself too seriously. What if film criticism tried to be as entertaining as its product? Offscreen introduces 'Bran Stakhage's' new concept in film criticism: 'post-it' styled criticism which you could print out and stick on your kitchen fridge.
12.
In this essay, Brett Kashmere examines Ryan Tebo’s recent documentary Whoever Fights Monsters, a film which examines the nature of improvisational jazz through a unique approach to the filmmaking process itself.
14.
A review of the NFB's much anticipated DVD box set of Pierre Perrault's seminal Île-aux-Coudres trilogy.
15.
In-depth review of the Fantasia International Film Festival's first DVD release, a compilation of outstanding shorts shown at the festival over the past several years.
16.
An overview of Richard Kerr's multimedia installation, Industrie/Industry.
17.
The recent video work series of four 50-minute filmic essays by Québécois giant Jean Pierre Lefebvre is analyzed for its cultural and aesthetic depth.
18.
An introspective analysis of what happens when aesthetization meets the politically volatile subject of global capitalism.
19.
An interview with young filmmaker Julia Loktev on her controversial film about a female suicide bomber, Day Night Day Night.
20.
A report on the 2006 edition of the Festival of New Cinema in Montreal, with a preamble on the etiquette of big theatre experience in the era of the multiplex experience.
21.
An essay on Hakan Sahin's first two features, Mirror and Snow, studies on the psychological effects of living in geographical isolation.
22.
An interview with director, cast and select production people of the refreshingly original indie horror film, Shallow Ground.
23.
A look at how two recent documentaries on the slasher/stalker film signals a paradigm shift in the horror genre.
24.
A report on Fantasia Film Festival 2006, discussing issues related to form-content, style for style's sake, and short films featuring man eating cats.
25.
An interview with the director of Strange Circus and The Suicide Club, Sion Sono.
26.
A report on the 10th Year Anniversary of Fantasia, focusing on films featuring particularly nasty male pyschos.
27.
A review of François Miron's revisionist, Sapphic film noir, which imagines a world where women act like Humphrey Bogart and men are nervous, jittery and timid.
28.
An in-depth analysis of the representation of women in contemporary Iranian cinema.
29.
A somewhat irreverent, insightful analysis of two recent female-centered Iranian documentaries, The Ladies Room and Iranian Journey.
30.
An analysis of two recent documentaries exposing the social injustices of archaic law and custom in Israel and Central India: Sentenced to Marriage and Highway Courtesans.
31.
Review essay of Guy Maddin's The Saddest Music in the World which concentrates on issues of National and cultural identity.
32.
A review essay of Maddin's most recent docu-short on Roberto Rossellini.
34.
A cultural analysis of the Canadian comic phenomena of the Trailer Park Boys.
35.
A report on the 46th International Film Festival of Thessaloniki, Greece (TIFF, 18 – 27 November 2005).
36.
An overview of all the best of Canadian, American, and International cinema screened in Montreal during 2005.
37.
An in-depth interview with co-writer and co-director of the Canadian noirish horror film Eternal.
38.
An inside look at one of the more intriguing film festivals in North America, the Telluride Film Festival.
39.
An analysis of Werner Herzog's mockumentary Incident at Loch Ness
41.
An in-depth report on the Fantasia International film festival, with a focus on the Thai films, the shorts, and some impressive US films.
42.
Writer Randolph Jordan weaves through a thematic pattern of pregnancy/death/rebirth which left its mark on FanTasia 2005.
43.
Montreal's animator/filmmaker Rick Trembles interviews the living legend of fantastic cinema, stop-motion animator extraordinaire, Ray Harryhausen.
44.
An interview with the director of the indie reality-based melodrama (in the good sense) Firecracker.
45.
An interview with director Tomoko Matsunashi on her film The Way of the Director.
47.
An in-depth interview with Brazil's horror master Jose Mojica Marins.
48.
An in-depth essay on the 10th anniversary of Robert Lepage's impressive debut feature Le Confessional
49.
Revisiting a classic of Quebec cinema, La Petite Aurore, L’enfant Martyre.
50.
On the occasion of the launch of the NFB's DVD box set L’oeuvre documentaire intégrale de Denys Arcand 1962-1981, Isabelle Morissette meets with Denys Arcand on the subject of On est au coton and the influence that the documentary has had on his creative process.
51.
Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).
52.
The evolution of Québécois popular hero IXE-13 from serial novel to film.
53.
Mondo film, ethnographic film, Mondo Cane, Russ Meyers
54.
An analysis of two classic Cuban shorts, one pre (??El Megano??) and one post-Revolution (??La primena oaroa al machete??).
56.
These three documentaries, which adopt a “biographical” approach with their singular characters, present images of people who are at once ordinary and extraordinary, who through their tenacity and resilience are elevated to the status of myth.
57.
“Twist” makes an interesting companion piece to another recent Canadian film by director Tim Southam, “The Bay of Love and Sorrow” (2002). Unlike Tierney, for whom “Twist” represents his first feature film, Southam comes to “The Bay” with a more varied and experienced background.
58.
Fortunately in Aotearoa, we have the New Zealand International Film Festival not only to break up the slate of gray scheduled every year from June through August, but also to give us some food for thought about what kind of future we’re setting ourselves up for in the next few hundred years.
59.
Masterclass! short film workshops with UK writer/director/actor/educator Simon van der Borgh and US short film guru Kim Adelman.
60.
As I said in my most recent Fantasia International Film festival report, the director of “Bottled Fool”, Hiroki Yamaguchi, is a good bet to become the next big thing out of Japan. After making a prize winning short in 1999 at the age of 21 (“Shinya Zoki”/“Midnight Viscera”) he soon completed his first feature film in the same year, “Hateshinai tameiki” (1999).
61.
On the occasion of Fuon (The Crying Wind, Japan, 2004, 106 mins.) showing in competition at the 2004 Festival des Films du Monde (World Film Festival), in Montreal, the director of the film, Higashi Yoichi, along with principal actor, Uema Muneo, and Yamagami Tetsujiro, the film’s producer were interviewed by Peter Rist for Offscreen.
62.
Review of Maddin's latest film within the broader context of recent Canadian cinema and its reception in the United States.
63.
Along with Totaro's essay, this forms an in-depth introduction to the films of Guy Maddin.
64.
An analytical peek into the twisted world of Guy Maddin.
65.
Michael Vesia's report on the debut of Montreal's Italian Film Festival.
67.
An in-depth analysis of the representation of men and race across several varied recent films.
68.
I was fortunate to catch this low budget chiller at a late night screening at Montreal’s Cinema du Parc theatre on April 23, 2004. It had been a long time since I had seen this film, but for reasons soon apparent, it has remained finely etched in my memory.
69.
This interview, following the recent completion of his first film, will give us an insider view into the American independent cinema and a chance to better grasp the concept of ‘indie’ cinema.
70.
Part-two of Fantasia Festival report.
71.
Fantasia is back after a one year hiatus, stonger than ever.
72.
An impromptu three-way discussion on one of the most talked about documentary films ever.
73.
A Mäori proverb says you spend your life walking backwards because you can see the past but not the future—that’s why we trip.
74.
Hundreds of directors, producers, distributors, commissioners and others from all corners of the documentary industry from all corners of the world descended on Fremantle Western Australia for this year’s Australian International Documentary Conference (26-28 February). Sándor Lau dives into the belly of the beast in search of its soul.
75.
Analysis of Canadian filmmaker Phil Hoffman's poetic treatment of autobiography and aesthetics in Passing Through/Torn Formations.
77.
In this essay Garrett asks of himself: “What is a minor work of art, and what a major one? How do the perceptions about the social value of characters in film translate into one’s estimation of a film’s importance?” These are questions that occur when Garrett views two films focusing on Native Americans, Randy Redroad’s Haircuts Hurt and Norma Bailey’s Cowboys and Indians: The J.J. Harper Story, and then sees Denys Arcand’s The Barbarian Invasions.
78.
A report on the 4th Calgary International Film Festival.
79.
Writer Rist concentrates on the Asian offerings at the 27th edition of the WFF.
80.
Randolph Jordan stretches his writer's arms in his two-part Fantasia 2003 report, using part one to reflect on cult cinema spectatorship.
81.
Jordan uses part two of his report as an extended mediation on Fantasia (and Jordan) favorite Takashi Miike.
83.
The long wait is over. After a one year hiatus for economic and logistical reasons, the FanTasia International Film Festival is back (July 17-August 10, 2003).
84.
By Brett Kashmere and Astria Suparak following the Stan Brakhage Benefit Concert featuring Sonic Youth, Anthology Film Archives, NYC April 12, 2003.
86.
Stemming from his ongoing graduate work, first-time Offscreen writer Brett Kashmere delves headlong into the fascinating intersection of Brakhage and the cultural expression of the Post-World War II American avant-garde.
87.
Anyone who has heard Stan Brakhage lecture will probably be familiar with his now famous artistic credo, his “400 year plan”. Offscreen editor Donato Totaro provides a brief glimpse into the mountain of a man that was Stan Brakhage.
88.
Drawing on the wide-ranging theories of Michel Chion (Audio-Vision: Sound on Screen), William C. Wees (Light Moving in Time), Sergei Eisenstein (Nonindifferent Nature), Peter Kivy (Music Alone: Philosophical Reflections on the Purely Musical Experience), and Tom Gunning, Jordan explores how Brakhage's films and theory ask us to 're-learn' the fundamental principles of how we interect with the world around us.
89.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
90.
Stan Brakhage at the Cinémathèque Québecoise, Montreal, January 27-28, 2001 Part 1: “Death is a Meaningless Word.”
91.
In a first of a two-part essay, Rist looks back at 25 years of attending the Montreal World Film festival.
92.
The notion of documentary truth might be best understood as that truth which is found in the way that we mentally organize our perceptions. Increasingly the theoretical understanding of documentary film is moving away from the notion of an inherent reality found within a film text and more towards an understanding of how texts are read.
93.
A recurring element that struck me during the 2002 Festival International Nouveau Cinéma Nouveaux Medias’ and which I have decided to use as my anchor for this report, is the fragmented narrative, and/or the anthology or omnibus format. Many films at the FCMM were structured using this time honored tradition. Films covered in this report include 11’09’’01, Ten, Gambling, Gods and LSD, Dolls, and Elsewhere.
94.
In a perfect world Peter Mettler would be a household name. Unfortunately it isn't. Stefik takes you on a journey with one of Canada's lesser known gems, filmmaker Peter Mettler
95.
Stefik tries to define the particular and unique qualities that make up the Peter Mettler film experience. Although largely a review of Mettler's latest films, “Gambling, Gods and LSD”, Stefik also touches on some of Mettler's earlier works.
96.
While lamenting the FCMM's decision to eliminate live performances (at least for this year), Randolph Jordan points to the short film as the one area where the FCMM continues its cutting edge, innovative programming.
97.
Boistered by a half-year sabbatical, Peter Rist was a man on a mission, and watched over 250 films on the big screen in 2002. Rist gives us an idea about what makes Montreal one of the best cities in North American for the discerning filmgoer, and how it can be even better.
98.
The top of Michael Snow’s curriculum vitae reads, born: Toronto, Ontario, 10 December, 1929. Occupation: filmmaker, musician, visual artist, composer, writer, sculptor. As Canada’s best-known living artist, Snow is also one of the world’s two most highly acclaimed experimental filmmakers (the other being Stan Brakhage, US).
99.
La Région Centrale (Quebec, 1971, 180 min., 16mm, color) is arguably the most spectacular experimental film made anywhere in the world, and for John W. Locke, writing in Artforum in 1973, it was “as fine and important a film as I have ever seen.” If ever the term “metaphor on vision” needed to be applied to a film it should be to this one. Following Wavelength, Michael Snow continued to explore ...
100.
Thirty-five years after its inception, Wavelength (Ontario, 1967, 45 min.) remains one of the most vital and (still) groundbreaking films in the history of experimental cinema. It is, quite simply, the “Citizen Kane” of experimental cinema. Screenings of Wavelength in and out of academic situations have probably generated more mixed emotions-frustration, boredom, exhilaration and awe (sometimes in the same spectator)- than any other film.
101.
If ever the term “Renaissance Man” applied, it would be to Michael Snow. Most artists would be pleased to have made inroads into one art, but Snow is a strange beast, extending his creative talons into music, painting, sculpting, photography, and film (are you dizzy yet?). So as ecstatic as we were to have one hour with Snow out of his extremely busy schedule, we realized given his prodigious achievements....
102.
The films of Michael Snow require a certain intellectual disposition. To be fully understood and appreciated they should be placed within the context of art history, and more specifically modernism, where each medium’s intrinsic value is maintained. But aren’t such pretensions to a medium’s purity merely utopian, or in the least fragmentary or incomplet
103.
Michel Chion’s Audio-Vision: Sound on Screen presents some compelling strategies for approaching and interpreting the use of sound in film, and provides many avenues for using sound as a way of understanding cinema from a more transcendental frame of mind. What Chion discovers through his process of coming to terms, so to speak, with his expanded vocabulary for sound analysis is that much of the deeper experience we get from cinema is a direct result of the transcendence....
104.
Offscreen welcomes Vancouver correspondent Tim Newman as it extends geographically to the Western coast. As a first-time coverage for Offscreen, Newman's descriptive prose captures the all-important ambience of one of Canada's premiere Film Festivals.
105.
Iranian cinema once again leads the way at the Montreal World Film Festival.
106.
Perhaps still an appendice to the mega-Just For Laughs Comedy Festival, the new programming crew are out to make a mark.
107.
A focus on the documentaries and shorts, with a special attention given to How's Your News?
108.
Can cinema reproduce the full sensorial spectrum, and if so, what would this cinema look like?
109.
A long overdue look at Zulueta's lost cult classic, Arrebato.
110.
An interview with Montreal-based filmmaker Roshell Bissett on her first feature, the horror film Winter Lily.
111.
An overview report on New Zealand's International Short film festival.
113.
Good things do come in small packages, with this subtle and delicate low budget digi-film that dignifies 24 hours in the life of two flawed, yet endearing losers, lovers Alex and J.D.
114.
A roundtable discussion with filmmakers Robin Schlaht, Roy Cross, Michael Crochetière, and film critic/writer/teacher Johanne Larue.
115.
Randolph Jordan relies equally on his 'eyes' and 'ears' as he concentrates on the often overlooked juxtaposition of sound and image, a dialectic that is becoming an increasingly important part of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
116.
Part two of Randolph Jordan's coverage of Montreal's FCMM Festival International Nouveau Cinéma et Nouveaux Médias.
117.
A review of Robin Schlaht's recent Canadian feature Solitude.
118.
The subject of Cane Toads is so bizarre, and the reaction of the people interviewed so emotionally polarized, that it feels like a mockumentary. On the broad scope of things, Cane Toads tells the cautionary tale of what can happen when nature is tampered with.
119.
A relatively new breed of film comedy hybrid has emerged in the past 20 or so years, the 'mockumentary.'
120.
Randolph Jordan summarizes Fantasia 2001 in light of the tragic event of 9/11, an event which may perhaps change how reality-based violence is treated in films and other forms of entertainment.
121.
Fantasia, in its 6th year, continues to grow and mature as an important and eclectic film festival.
122.
Offscreen welcomes Randolph Jordan with his first of a two-part festival report on Fantasia 2001.
123.
The definitive interview on one of Montreal's most notorious independent feature films, Subconscious Cruelty. Enough said.
124.
An in-depth festival report on the fifth installment of the Fantasia Film Festival (2000).
125.
A look at Atom Egoyan's Family Viewing as both a springboard and touchstone for an inquiry into the nature of time and how shifting perceptions and attitudes toward it have effected society and the individual.
126.
Interview with Republic of Korea director Park Ki-Hyung on his smash debut horror hit Whispering Corridors (1998).
127.
One of the most influential and important horror magazines, Fangoria horror magazine, selects Spanish director Nacho Cerda as one of the 13 rising Horror stars to keep on eye on.
128.
The Montreal-based Tana discusses these films and his experiences as an Italian-Canadian filmmaker.
129.
Another edition of the FCMM has come and gone, and I can not remember an edition which featured as many programmers and organizers brimming with perennial smiles.
130.
The Emperor's Naked Army Marches On is an impassioned cinema verite-styled account of the one-man wrecking crew/dissident Okuzaki Kenzo, an ex-Private of the 36th Engineering Corps who fought in the West Pacific during World War 2. Read review of recent book on the film.
131.
A look back to Fantasia 1999 and a look forward to Fantasia 2000.
133.
An in-depth interview with the director of the smash horror hit series Ring.
134.
Will Buster Keaton ever date? Unlikely, as this recent retrospective demonstrates.
135.
The Award winning Canadian experimental narrative film Subterranean Passage is a meticulously layered visual puzzle that slowly unravels through a series of echoing motifs on the wonder and resiliency of childhood imagination.
136.
Text of the lecture given by Donigan Cumming as part of a series of video screenings in France, October 25th to November 2nd 1999.
137.
Canadian director Atom Egoyan discusses his existential serial killer film Felicia's Journey.
138.
Genghis Blues touches the very core of the human soul -as great music does- and demonstrates with poetic simplicity how music can be the great cultural leveler. How else can you explain the immediate, symbiotic link that is established between a burly, blind, near-forgotten San Franciscan bluesman and the people of a remote Central Asian nation, Tuva?
139.
The 28th International Festival of New Cinema and New Media set the marker posts on the route to the future. This one festival comprises two very separate events that –for the moment– have little to do with each other.
140.
For its annual benefit screening, La Cinémathèque Québécoise offered a restored 35-mm print of Paul Leni's searing expressionistic historical drama, The Man Who Laughs.
141.
My curiosity about a film entitled Burn, Witch, Burn has been peaked since the day I purchased an original one-sheet of the film in the mid-1970's. With the film still unavailable on video, I had written off the likelihood of every seeing the film.
142.
The continual blur of Montreal Film festivals does not allow the seasoned filmgoer much chance to breathe, let alone contemplate each individual festival within the city’s cinematic global whole.
143.
Leslie Nielsen was in Montreal this past summer shooting the (Canadian-German co-production) film, 2001: A Space Travesty, which he not only stars in but also co-wrote with Joseph Bitonti, Francesco Lucente, and Olimpia Lucente, and served as executive producer. The following interview took place during a set visit on August 25th, 1999.
144.
During the 1999 Fantasia Film Festival Montrealers were “graced” with the presence of Grace Quek (alias Annabel Chong), in town promoting a documentary about her life entitled SEX: The Annabel Chong Story, directed by Canadian filmmaker Gough Lewis.
145.
In its 27th version, the International Festival of New Films / New Media in Montreal took a leap forward by returning to its roots. In shifting focus from the carnival-like elements that have predominated since the festival's move to a summer venue and back to the programming, the festival again filled its important niche on the Montreal festival landscape.
146.
Interview conducted by Donato Totaro, Mitch Davis, and Jason J. Slater in Montreal, Canada during the 1999 Fantasia Film Festival. Photos taken by King-Wai Chou.
147.
Interview conducted by Donato Totaro, Mitch Davis, and Jason J. Slater in Montreal, Canada during the 1999 Fantasia Film Festival. Photos taken by King-Wai Chou.
148.
As part of his method he becomes one of the combatants or performers, knowing that each scene will present a different battle. If each new video is born from this type of process then Cumming is not only the field commander but a soldier as well.
149.
Lech Majewski, writer/director of The Roes' Room, calls his film an “autobiographical film opera”. A writer and director of opera as well as of film, Majewski composed the music and libretto that provide the text of the film.
150.
The latest incarnation of the Festival of New Cinema and New Media (FCMM) runs from October 15 to 25 and seems to be another attempt at redefining itself.
151.
The extreme levels of violence found in Hong Kong and Japanese films confounds many Western viewers because Western culture, unlike most Eastern cultures, tends to moralize violence. Read on for a cultural contextualisation of violence Asian style.
152.
For the second year in a row, Le Festival des Films du Monde is putting the spotlight on a country in which the cinema is at the heart and soul of its nation's culture.
153.
Montreal's Fantasia Film Festival returns for its third successful year, presenting challenging Asian and International films. Read here for in-depth converage of Montreal's most popular (populist?) film fest.
154.
In “Asian potpourri”, the adventurous reader will find a series of loosely connected reviews of films from Iran (from this past year's Festival of International Cinema and New Media) and Central Asia.
155.
The whirlwind that was Fant-Asia has come and gone, leaving in its wake some 70,000 spectators and a trail of cinematic blood and bullet-ridden body parts.
156.
The affable, soft-spoken Nacho Cerda is perhaps not what you'd expect from the director of one of Fant-Asia's most notorious films, Aftermath. But perhaps after reading this interview with Cerda you may feel that there is certainly more than meets the ...
157.
A Gun for Jennifer is a ballsy, energetic feminist revisionist take on the traditionally male revenge action film. After a successful festival run, it has seen comparisons to such female revenge films as Ms. 45 and Thelma and Louise, though...
158.
The inimitable Richard Stanley's films thus far include the cyper-punk cult science-fiction film Hardware (1990), the poetic experimental documentary on the Russian invasion of Afghanistan, Voices of the Moon (1991) and the oneiric horror film...
159.
Fantasia ’97 promises to be as spectacular as last year’s edition, Montreal’s first festival of commercial (Fantasy and Action) Asian cinema, Fantasia, which was arguably the city’s most popular film festival of all time.
160.
Both the Canadian Kissed and Spanish Aftermath deal with the taboo subject of necrophilia. However, the respective filmmakers Lynne Stopkewich and Nacho Cerdà are as far apart in approach as there native countries are geographically.
161.
I'm writing this nine days into Fant-Asia , Saturday the 19th, and one thing is clear, any doubts the organisers may have had concerning year two can rest in peace: the fest is a success far beyond their wildest dreams.
162.
The Love God is easily one of the most wildly inventive, original American genre films of recent years.
164.
Linoleum floors, toy horses, souvenirs, ash trays, slippers, sagging skin, shriveled hands, truth and dare; CUT THE PARROT is a tragic comedy with an artist and caste of marginal performers whose guttural monologues take on the characteristics of
165.
In a John Ford film, death is inevitably followed by birth in order to propel the reaffirming, regenerating life-cycle; likewise, the same week that saw the death of two cinema icons, Jimmy Stewart and Robert Mitchum, sees the flagship issue of Offscreen.
166.
Lucio Fulci's archetypical Italian zombie epic The Beyond plays at Fantasia in a pristine 35mm print.
167.
Last summer’s surprising smash-hit festival Fant-Asia is back with the same look, location and principal organizers, but with an added International component.
168.
After ten plus days of hectic film/video and moving image viewing, the FCMM is over, leaving a year void to be filled in by other film festivals. The point, however, is that none of the other festivals are going to be anything like this one.
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