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7pm at Deluge: The Floating World

Water Once Ruled
Christina Battle | 6:14 | Canada | 2018 | W Cdn Premiere
Collaging appropriated footage with original imagery, Water Once Ruled collapses the past, present and future into a single repeating loop. Linking the introduction of satellite imagery with the colonization of our own as well as other planets, the video considers water—and the lack thereof—as the distressed resource connecting Mars’ history with Earth’s present and future.

Calum Walter | 15:00 | USA/Italy | 2019 | Cdn Premiere
Meridian follows the last unit in a fleet of autonomous machines sent to deliver an emergency vaccine. The film shows footage transmitted by the machine before its disappearance, tracing a path that seems to stray further and further from its objective.
Meridian is inspired by a real event that occurred in Washington, DC on July 17, 2017, where an automated security robot was found floating in a fountain at the building it patrolled. It had plunged into the water while on routine patrol, spurring speculation as to whether the machine had chosen to end its life or if this was just a glitch in an otherwise reliable technology. Perhaps more interesting than the fate of the machine was the desire to see its death within a human context. Meridian looks for parallels between automation and purgatory, depression and malfunction.

Annie Briard | 4:47 | Canada/USA | 2018 | Vic Premiere
How much of what we see is actual? How much do we fabricate? 
Carousel reflects on these issues by taking the viewer on a psychedelic road trip through the high desert in Joshua Tree, where the seen eventually breaks apart and the limits between agreed-upon physical reality, head trips and disassociation become blurred. Through DIY analogue processes combined with light post variations, Carousel offers an affective vision through which we might collectively reconsider how we make sense of the “natural” world and of each other.

Las Breas
Laura Kraning, Blue Kraning | 12:20 | USA | 2019 | Cdn Premiere
Las Breas is an observational portrait of three tar pits, of which there are only six in the entire world. Situated in three distinct landscapes in Southern California—urban Los Angeles, the oil fields of San Joaquin Valley and Carpinteria Beach, Las Breas investigates the spaces between archiving the pre-historic and the contemporary industrial landscape. While skeletons of extinct megafauna and vintage animatronic beasts are on display in the heart of Hollywood, the sticky remains of ancient microscopic organisms seep to the surface of both land and sea. Of the earth, yet primordial and impenetrable, the bubbling tar that rises from the depths speaks of past extinction and human exploitation of the earth’s limited resources.

Hours of Glass
Michiel van Bakel | 7:00 | Netherlands | 2018 | Cdn Premiere
This short photographic investigation follows an associative path along places that helped shape the observation, or should we say, the surveillance of the heavens. An extraterrestrial gaze is turned towards earth in the form of a full spectrum camera, with its eerie colour schemes. Likewise, deep-gazing techniques are directed towards people sharing thoughts over the ether.

The Floating World
Janelle VanderKelen | 17:20 | USA | 2019 | Cdn Premiere
The Sun was offended by her brother’s behaviour and hid in a mountain cave as an act of passive protest. Representatives of a world plunged into darkness begged her to come out, but she refused. It was only after someone started a silly, raucous dance and the plight of the world was momentarily forgotten in laughter, that the Sun peeked out to see what could be so funny.
Ghostly hauntings function as symptoms of a distraught environment in a series of interdependent retellings of this myth found in The Kojiki (Records of Ancient Matters). The restagings are informed by Japanese poet Akiko Yosano’s understanding of human bodies and personal relations as integrally politicized entities and actions, inspiring a closer examination of how humans interact with the environment and the “non-human.”

9pm at Deluge: The Shouting Flower

butterfly disaster
Caryn Cline | 6:50 | USA | 2019 | Cdn Premiere
“What looks like agricultural success, purging bean and corn fields of milkweed (among other weeds), turns out to be a butterfly disaster.” – Verlyn Klinkenborg. 
Inspired by Klinkenborg’s observations, using found footage from four different sources, I edited, optically-printed, super-imposed, scratched on, bleached and otherwise altered the film to highlight, lament and challenge the monarch butterflies’ dilemma.

It Matters What
Francisca Duran | 9:06 | Canada | 2019 | W Cdn Premiere
Absences and translations motivate this experimental animation in an exploration of the methods and materials of reproduction and inscription. The inquiry is set within a framework of practical and critical human relationships with other-than-human-species elucidated by the theorist Donna Haraway. A fragment from Haraway’s essay “Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene” is reworked here as a poetic manifesto. Enigmatic found-footage calls into question human violence over animal species. Plant life is both the subject matter of the images and assists the means of photographic reproduction. 

Le dernier jour du papillon lune [The last day of the luna moth]
Guillaume Vallée | 4:51 | Canada | 2019 | W Cdn Premiere
A luna moth is dying under the eyes of a child. From the point of view of the insect, we hear the child wonder about death, post-mortem and the ephemeral, in a monologue inspired by Cioran.

The Shouting Flower
Derek Jenkins, Ruby Zuroski-Jenkins | 12:02 | Canada | 2018 | W Cdn Premiere
A work about collaboration and process, The Shouting Flower approaches political resistance from multiple subject positions—plant, child, filmmaker—in an attempt to model what Anna Lowenhaupt Tsing calls “work across difference.” Using images processed in plant material gathered at key locations throughout the city, as well as direct animation and audio recorded on a child’s toy, the film documents its own creation within a landscape of hostility and neglect. A collaboration against cooperation, it becomes as it refuses. Refusing, dispersing, it shouts, “No!”

Atomes en quête d’immatérialité [Atoms in Search of Immateriality]
Anne-Marie Bouchard | 5:36 | Canada | 2018 | W Cdn Premiere
“There is only one moral worth in this story, one essential piece of information: we are only derisive sparks in the eyes of the universe, may we have the wisdom not to forget it.” – Hubert Reeves

The Mulch Spider’s Dream
Karel Doing | 14:00 | UK | 2018 | W Cdn Premiere
In 1974 Thomas Nagel published his famous essay “What is it like to be a bat?” arguing that there is a specific mental state to each organism. Besides his critique toward the materialist theory of mind, the paper also explores the differences between human consciousness and the awareness of bats. According to Nagel subjectivity can not be shared. However, cinema might be a tool to do exactly that; sharing a lived experience of another creature. This film attempts to kindle the vision of a spider by using experimental phytochemistry; creating organic shapes, rhythms and colours directly on expired 16mm film.

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