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SATURDAY, AUGUST 18 |
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DAN TERRA VERDE A nature-bound tale of an unsuccessfully luring a mate with duck decoys. COUNTING CONTROL “Counting Control mixes image from a 1958 social guidance film, The Snob, with The Conet Project's eerie recordings of governmental shortwave numbers stations (licensed by irdial-discs.com) in a commentary on the effects of parental verbal abuse.” – Marie Ullrich THE PASSENGER A personal, experimental, 16mm film that addresses the filmmaker’s tenuous relationship with her mentally ill mother and her own reservations about pregnancy, birth, and parenthood.The physical reworking of the film’s surface serves as a signifying device for the process of building a life, becoming a mother, and repairing that which is broken between mother and child. The fracture between experience of a mother’s illness and memories of joys with her were literally sutured in the editing. “At the funeral I was the only one of her children to speak. I said she had perfect penmanship and that she loved to dance and sing. The later were her gifts to me.” – Kathryn Ramey PLEDGE “Using a mounting crescendo of both cello music and images of masculinity, Pledge becomes a meditation of violence and innocence, symbolism and the everyday. The material is sadly timeless and provides one with an abstract medium to ruminate about war and, hopefully, peace.” - Black Maria Film Festival & Ann Steuernagel THREE SIDES OF PI “My brother – junky, joker, bon vivant. Peter got his nickname after Pierre became Pie, then simply pii. Understanding him was like trying to figure out the area of a circle.” - Tony Gault ANTARCTIC TERRITORY 2004 “A poetic portrait of areas on the Antarctic Peninsula. Or moving towards an end.” – Sarah Buccheri “Taking Bobby Clarke's premeditated slash of rival Russian hockey star Valery Kharlamov's ankle during the 1972 Summit Series as its point of departure and site of research, the film proposes a way of viewing this action through the filter of Canada's political and cultural histories, the particular circumstances of the Summit Series and its semiotic function in the imagination and collection memory of Canadians.” – Brett Kashmere
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