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7pm at Deluge: Highview
Good Night Birthday
Amanda Thomson | 3:06 | Canada/Spain | 2017 | Vic Premiere
A playful hello shot frame by frame, twenty years after death.
Ways + Means
Leslie Supnet | 12:44 | Canada | 2015 | W Cdn Premiere
Using the texture and colours of the urban landscape, Supnet offers a hyperkinetic wandering through Toronto. Everyday imagery of the city speeds by, and the familiar is transformed into a new discovery through the camera lens. Made for Pleasure Dome’s Art Spin 2015.
Jeffrey Chong | 6:28 | Canada | 2017 | World Premiere
Kingsway’s design dates to the golden age of the automobile when the route was once the only highway into Vancouver, but now its monumental scale contrasts with the human scale of family neighbourhoods and storefronts. The film portrays the interaction between the past and the present, layering images and sounds, creating a collaged experience of Kingsway. Architectural signs and symbols overpower the foreground evoking the automotive scale, but present-day buildings and spaces reflect a changing vernacular as portrayed by the street’s soundscape and the road’s new sense of place.
Stephanie Gray | 10:19 | USA | 2017 | World Premiere
A film-poem to the disappeared “63 acres” once in downtown Manhattan. The filmmaker goes back to the corners and areas where full streets were obliterated in the name of eminent domain. No public outcry occurred and historic buildings, and in many cases entire streets, disappeared from Manhattan’s map.
Katya Yakubov | 4:28 | USA | 2016 | Cdn Premiere
As image-makers, we often photograph without purpose, out of compulsion or curiosity or sheer pleasure of seeing reality through a different prism. These personal archives of images begin to pile up and spill out of hard drives. The Landing was a way to ask these ungrounded images, separated by time and intention, to dance with one anothera cannon ball’s messy trajectory from sky to earth, collapsing its subjects into a fortuitous whole, while holding each blinking frame as separate.
East, West, and East Again
Kathleen Rugh | 9:30 | USA | 2016 | BC Premiere
On the edges of New York City and the outskirts of Los Angeles expansive oceans reach the land. People flock to experience a piece of nature grander than their cities. The film explores that boundary while occasionally bringing these two disparate coasts together as one. Through in-camera edits and double exposures slices of the film sync these distant locales.
Caryn Cline, Linda Fenstermaker, Reed O’Beirne | 3:00 | USA | 2017 | Cdn Premiere
By presenting three filmmakers’ work simultaneously within a single 16mm frame, Tri-Alogue #2 offers a complexity of perspective that undermines the omniscient cinematic gaze and evokes a deeper relational mystery. Collaborating to subdivide a 16mm film frame into thirds, three filmmakers present their separately-shot segments simultaneously within one spatial plane. From the interplay of these three points of view emerges a cinematic conversation based on a horizontal compositional logic within the shared frame.
Simon Liu | 21:30 | Hong Kong/UK/USA | 2017 | W Cdn Premiere
Personal moments are lost in film cuttings or disappear into a coloured fog only to suddenly reappear in a new constellation. This is the visual richness of Highview: four partially overlapping 16mm images that fully coalesce into a colourful abstract painting, but also create a narrative as an exploded montage. International Film Festival Rotterdam
9pm at Deluge: Fireworks Indoors
Curated by Scott Fitzpatrick, who will introduce the program and lead a Q&A.
Fireworks Indoors is a collection of eleven short films and videos to be viewed through 3D diffraction Fireworks Glasses (even if that was never the intent of their makers). Various approaches to structural film and video making (as well as several trans-media experiments), augmented with specs designed to enhance fireworks, laser shows and holiday light displays, offer an enthusiastic introduction to the concept of “fun formalism”a term first coined by Canadian filmmaker John Kneller to describe the work of Mike Maryniuk (whose 2011 video Thompson is featured here). Prioritizing wit and audience engagement, exploring transmutation and hybrid forms, Fireworks Indoors strives for the ecstatic, while shaking off the obedience to purism and much of the self-seriousness often associated with these forms. Unabashed visual consumption.
“Of course, I am not trying to reduce the complexity of the work by labelling it as fun formalism. There seems to be the misconception that once a work is fun, it becomes mindless entertainment. Under the moniker fun formalism, I am really referring to work that actively attempts to engage the audience. For instance, I would consider many of Snow’s films examples of fun formalism. In contrast, there are many serious works being made without any depth and curators have a tendency to justify this work as rigorous. In other words, they seem to equate work that is mind-numbingly boring with rigour. This might seem radical, but I believe it is the filmmaker’s duty to engage the audience by providing complex visual arguments and challenging ideas.” Clint Enns.
“You can’t show an abstract film to a non-abstract film audience without this word [trippy] coming up, without getting comments afterwards about how they needed acid to watch it or whatnot. So, basically, I feel that this type of animation has been grouped along with this product packaging, and it’s almost impossible to work within this tradition without acknowledging that.” Jodie Mack
“Trippy is GOOD.” John Klaccsman
filament studies | Libi Rose Striegl | 2:43 | USA
Wipe Poem | Chris King | 2:09 | UK
Convolve | Colby Richardson | 3:20 | Canada
Katagami | Michael Lyons | 3:14 | Japan/Canada
Shutter Utter | Matt Rossoni | 6:05 | USA
Fuddy Duddy | Siegfried Fruhauf | 5:30 | Austria
American Discotheque #1 | Deron Williams | 1:50 | USA
Trans/Figure/Ground | Lauren Cook | 5:27 | USA
Thompson | Mike Maryniuk | 2:16 | Canada
Sync | Max Hattler | 9:19 | Germany
BLOPS | John Klacsmann | 2:57 | USA
Scott Fitzpatrick is a visual artist (Libra) from Winnipeg, whose film and video work has screened at underground festivals and marginalized venues worldwide. He studied film theory and production at the University of Manitoba, and began conducting lo-fi moving image experiments in 2010. Primarily a filmmaker, he is also invested in photography, re-photography, kaleidoscope and collage. In addition to producing his own work, Fitzpatrick presents the work of others through the Winnipeg Underground Film Festival and Open City Cinema.