Three girls and six boys from the Montreal middle class give of the universe of a certain youth a true, different image from the one we might have imagined. Drugs, love, sex, freedom, authority, social conflicts feed their conversations and are on their minds. Continue reading
The story of three men and a boy on a three-day hunting expedition. For them, who are from a humble background, hunting is a form of social promotion and freedom. But above all it’s a virility test which they must pass. Continue reading
When Simone nods off at the wheel, her car goes out of control. She escapes serious physical injury, but her life changes direction nevertheless. She cancels a planned trip to Italy, quits her modeling job, and calls her friend Philippe with the suggestion that they have a baby together. To gain time, he agrees but only under the condition that they do it in the desert. The two leave Montreal for Utah where something unexpected awaits Philippe. Continue reading
“Like a Dream That Vanishes” continues Sternberg’s work in film both thematically and formally: the ephemerality of life echoed in the temporal nature of film, as the stuff of life echoed on the energy, life-force in rhythmic light pulses. (Your life is like a candle burning.) Imageless emulsion is inter-cut with brief shots of natural elements and mise-en-scene of the stages of human life: a little boy runs and falls; teens hang out together at night smoking; sun shines through tree branches; men pace, waiting; flashes of lightning; an elderly man speaks philosophically about miracles. Continue reading
“Transitions” is a film of inner life and speaks of time, reality, power. It depicts the disquieting sensations of being between – between falling asleep and being awake, between here and there, between being and non-being. These metaphysical themes are evoked by the central image of a woman in white over which layers of images and sound (voices) are superimposed. Continue reading
A woman believes she is beginning to lose her mind when she begins seeing ghosts and spirits.
As a comment on religious repression, familial ostracism, and subliminal incestuous urges, this film might have some value. Continue reading
Katherine Gilday’s impressive documentary debut The Famine Within focuses on the debilitating and unattainable ideal of a woman, and its devastating effects on the health and morale of women, particularly, young North American women.
The film suggests that consumerism (fuelled by the gazillion-dollar diet, fitness and fashion industries) and mass media are largely responsible for creating and spreading this image. In one example, the film documents a model search. Of the 40,000 women (mostly teenagers) who felt qualified to respond in the first place, only four met the agency’s physical requirements. Even these four girls aren’t “ready” until they are polished, primped, posed and airbrushed for popular consumption. In today’s body-centered, youth-oriented culture, this image becomes a dangerous catalyst for the ever-increasing number of young North American women developing harmful eating disorders. In their obsessive pursuit of the perfect body, many women become anorexic, bulimic or, ironically, diet their way to obesity. Continue reading