ISSN 1717-9559
Keyword : Canadian Cinema
1.
An interview with Doug Harris, writer/director of the Canadian film Remembering Mel.
2.
An brief look back at the capital cost allowance period in Canadian cinema, which acts as an introduction to the interview with Doug Harris.
3.
An interview with Philippe Spurrell, director of the Canadian supernatural mystery, The Descendant (2007).
4.
Coverage of the 8th installment of the Calgary International Film Festival.
5.
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.
7.
A review of the NFB's much anticipated DVD box set of Pierre Perrault's seminal Île-aux-Coudres trilogy.
8.
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.
9.
An overview of Richard Kerr's multimedia installation, Industrie/Industry.
10.
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.
11.
An introspective analysis of what happens when aesthetization meets the politically volatile subject of global capitalism.
12.
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.
13.
An essay on Hakan Sahin's first two features, Mirror and Snow, studies on the psychological effects of living in geographical isolation.
14.
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.
15.
Review essay of Guy Maddin's The Saddest Music in the World which concentrates on issues of National and cultural identity.
16.
A review essay of Maddin's most recent docu-short on Roberto Rossellini.
18.
A cultural analysis of the Canadian comic phenomena of the Trailer Park Boys.
19.
An in-depth interview with co-writer and co-director of the Canadian noirish horror film Eternal.
21.
An in-depth essay on the 10th anniversary of Robert Lepage's impressive debut feature Le Confessional
22.
Revisiting a classic of Quebec cinema, La Petite Aurore, L’enfant Martyre.
23.
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.
24.
Interview with makers of the poetic science-fiction parable The City without Windows (La Dernière Voix).
25.
The evolution of Québécois popular hero IXE-13 from serial novel to film.
26.
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.
27.
“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.
28.
Review of Maddin's latest film within the broader context of recent Canadian cinema and its reception in the United States.
29.
Along with Totaro's essay, this forms an in-depth introduction to the films of Guy Maddin.
30.
An analytical peek into the twisted world of Guy Maddin.
31.
Michael Vesia's report on the debut of Montreal's Italian Film Festival.
33.
An in-depth analysis of the representation of men and race across several varied recent films.
34.
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.
35.
Analysis of Canadian filmmaker Phil Hoffman's poetic treatment of autobiography and aesthetics in Passing Through/Torn Formations.
36.
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.
37.
A report on the 4th Calgary International Film Festival.
38.
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.
39.
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
40.
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.
41.
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).
42.
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 ...
43.
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.
44.
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....
45.
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
46.
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....
47.
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.
48.
Perhaps still an appendice to the mega-Just For Laughs Comedy Festival, the new programming crew are out to make a mark.
49.
An interview with Montreal-based filmmaker Roshell Bissett on her first feature, the horror film Winter Lily.
50.
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.
51.
A roundtable discussion with filmmakers Robin Schlaht, Roy Cross, Michael Crochetière, and film critic/writer/teacher Johanne Larue.
52.
A review of Robin Schlaht's recent Canadian feature Solitude.
53.
Offscreen welcomes Randolph Jordan with his first of a two-part festival report on Fantasia 2001.
54.
The definitive interview on one of Montreal's most notorious independent feature films, Subconscious Cruelty. Enough said.
55.
An in-depth festival report on the fifth installment of the Fantasia Film Festival (2000).
56.
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.
57.
The Montreal-based Tana discusses these films and his experiences as an Italian-Canadian filmmaker.
58.
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.
59.
Text of the lecture given by Donigan Cumming as part of a series of video screenings in France, October 25th to November 2nd 1999.
60.
Canadian director Atom Egoyan discusses his existential serial killer film Felicia's Journey.
61.
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.
62.
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.
63.
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.
65.
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
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