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7pm at Deluge: Imperial Valley

The Air of the Earth in Your Lungs
Ross Meckfessel | 11:00 | Japan/USA | 2018 | W Cdn Premiere
Drones and GoPros survey the land while users roam digital forests, oceans and lakes. Those clouds look compressed. That tree looks pixelated. A landscape film for the 21st century.

La Mesa
Adrian Garcia Gomez | 9:45 | USA | 2018 | W Cdn Premiere
La Mesa explores the intersections of memory, identity and queer desire, to recreate fragmented and romanticized stories of a childhood in rural Mexico as told by the filmmaker’s father. These disjointed vignettes are interwoven with queered reenactments of scenes from popular culture. Garcia Gomez casts himself in the old Mexican films and American Westerns he grew up watching with his family in California, appearing as the romantic lead opposite the male actors, including Pedro Infante, Mexican national hero and the filmmaker’s childhood crush.

XCTRY
Bill Brown | 6:18 | USA | 2018 | Cdn Premiere
Leaving one hometown and looking for the next one.

Imperial Valley (cultivated run-off)
Lukas Marxt | 14:00 | Austria | 2018 | Cdn Premiere
An aerial journey over a post western landscape provides a glimpse of the ecological phenomenon that is the Imperial Valley. Located in the southwestern United States and featuring extensive growing areas for fruit and vegetables, Imperial Valley stretches out for 80 kilometres, right to the Mexican border. In the north, it borders on Salton Sea, a man-made lake created in the early 19th century. The agricultural exploitation and settlement of the valley can only be sustained through artificial irrigation. The run-off water and fertilizer involved in that process are channelled unfiltered into the lake, which lacks a natural drainage system. In the 1940s the US military used the region to conduct bomb tests and in the 50s it was opened to tourism and touted as the Californian Riviera. With the continuing aridification of the area and the stirring up of toxic dust particles Salton Sea is becoming a threat to humans and the environment at large—an ecological and economic disaster.

Patches of Snow in July
Lana Z Caplan | 8:20 | USA | 2018 | Cdn Premiere
Gods, natural disasters and the end of radio…mythology, religious fanaticism, climate deniers, environmental profiteers, natural disasters and the threat to free speech reflected in the mirror of an unnatural, morphing landscape.

Nutsigassat [Translations]
Tinne Zenner | 20:00 | Greenland/Denmark/Canada | 2018 | Cdn Premiere
“Go outside. The lovely mountains two, Sermitsiaq and Kingittorsuaq, look at them.” While the housing blocks carry a past of national diaspora, layers of snow cover a future development in the city of Nuuk, Greenland. The landscape acts as a scenery for collective nostalgia and industrial production, as the film studies glitches in translation of language and culture in a post-colonial modernity. “Nutsigassat reflects on the power of language as a colonizer of foreign landscapes. Through a complex juxtaposition of text, voice and her beautiful 16mm film imagery, Zenner has created a critical work in which the majestic and vast vistas of Greenland defy the history imposed on them.” (CPH:DOX 2018)







9pm at Deluge: I Think You Should Come to America

Fainting Spells
Sky Hopinka | 10:45 | USA | 2018 | W Cdn Premiere
Told through recollections of youth, learning, lore and departure, this is an imagined myth for the X?w?ska, or the Indian Pipe Plant—used by the Ho-Chunk to revive those who have fainted.

The Shifting Sands
Madi Piller | 9:26 | Canada | 2018 | W Cdn Premiere
Jacques Madvo’s documentary, Israel: Land of Destiny (1977), is abstracted in The Shifting Sands. Piller’s film asserts the intersection of history and identification with the land through the personal struggles of the filmmaker’s father as a young Jewish refugee, arriving in 1946 in Palestine. High contrast, repeated images of the war in 1948 immediately after the establishment of a Jewish state in Eretz Israel (to be known as the State of Israel) interact with Madvo’s observations of Israeli society after its first 30 years of existence. The film juxtaposes images in a fractured timeline that reflects on the acceptance of the formation of a Jewish state. The work is framed within the philosophical thinking of Martin Buber and the recent history of Israel. Shifting sands can both erase and reveal human endeavour.

genizah; passages from the lublin book graveyard
Solomon Nagler | 10:00 | Canada | 2018 | W Cdn Premiere
Passages retrieved from the lublin genizah, a ruinous non-archive where the sacred is slowly being released from its corporal form.

Dalva
Guillermina Buzio | 3:00 | Canada/Brazil | 2017 | W Cdn Premiere
Dalva raised eight boys by herself in Arembepe, a place where sea and music mark the rhythm.

Between Relating and Use
Nazli Dinçel | 9:00 | Argentina/USA | 2018 | W Cdn Premiere
“Exhibitons, whether of objects or people, are displays of the artifacts of our disciplines. They are for this reason also exhibits for those who make them, no matter what their ostensible subject. The first order of business is therefore to examine critically the conventions guiding ethnographic display…” (Destination Culture, Barbara Kirshenblatt-Gimblett, 1998)
Borrowing words from Laura Mark’s “Transnational Object” and DW Winnicott’s “Transitional Object,” this film is an attempt to ethically make work in a foreign land. Transitioning from assuming the position of an ethnographer, we turn and explore inwards—on how we use our lovers.

I Think You Should Come to America
Kamila Kuc | 20:00 | UK/USA | 2017 | Cdn Premiere
Using 16mm archival footage, excerpts from letters from a Native American prisoner and documentation of my own involvement with the Movement for the Supporters of Native American Indian Rights in Poland, this film explores a paradoxical fascination of the Poles behind the Iron Curtain with the ideal of America as a “land of freedom.” I Think You Should Come to America investigates the cultural conditions in which memories are created.
While critically evaluating my own enchantment with America as a teenage girl from Communist Poland, I interrogate various patterns of perception in order to produce a form of reflection that is personal and political. The film uses numerous American educational films to expose the patterns of cultural (mis)representation, teasing out a network of complex cultural forces that wish to find their expression in the act of historical and personal self-inscription.

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