From IMDb :
A love story between a man and woman. And between a mother and her son. A mystical and fantastical odyssey on love.
From Toronto International Film Festival official website :
*** This description contains spoilers ***
Jean-Marc Vallée returns to French-language filmmaking with this powerful and unconventional love story that weaves together two disparate narratives to create a tale of emotion and destiny. The stories center on a devoted mother (Vanessa Paradis) of a young boy with Down syndrome in 1969 Paris, and a successful DJ (Kevin Parent) who is going through an emotional divorce in present-day Montreal. Continue reading
A Canadian cult classic.
A seminal film in Winnipeg independent film-making in the 1980’s Crime Wave is a work of incredible imagination and inventive ideas. Upon its release in the mid 1980’s the film played to terrific acclaim at film festivals across North America. Crammed with B movie gags and pop cultural references the movie follows the story of Steven Penny, a crime writer who wants to create the perfect colour crime movie but he is only good at writing beginnings and endings (and not the stuff in the middle.) Continue reading
Ten women, most of them in Vancouver or Toronto, talk about being lesbian in the 1940s, 1950s, and 1960s: discovering the pulp fiction of the day about women in love, their own first affairs, the pain of breaking up, frequenting gay bars, facing police raids, men’s responses, and the etiquette of butch and femme roles. Interspersed among the interviews and archival footage are four dramatized chapters from a pulp novel, “Forbidden Love”: Laura leaves her hick town and heads for the city, where she meets Mitch in a bar. Sparks fly, and so do laughter and joy. Ann Bannon, one of the writers of those paperback novels about forbidden love, talks about the genre.
***Not erotica or porno – this is a documentary.*** Continue reading
Canada / 13:30 min. / 1967
sound / color
“In Catfood Wieland shows a cat devouring fish after fish for some ten minutes. There seems to be no repetition of shots, but the imagery is so consistent throughout–shot of the fish, the cat eating, his paw clawing, another fish, the cat eating, etc.–that it is just possible the shots are recurrent. There is no question that Wieland has a unique talent.”- P Adams Sitney, Film Culture
“A cat eats its methodical way through a polymorphous fish. The projector devours the ribbon of film at the same rate, methodically. The lay of Grimnir mentions a wild boar whose magical flesh was nightly devoured by the heroes of Valhalla, and miraculously regenerated next morning in the kitchen. The fish in Wieland’s film, and the miraculous flesh of the film itself, are reconstructed on the rewinds to be devoured again. Here is a dionysian metaphor, old as the West, of immense strength. Once we see that the fish is the protagonist of the action, this metaphor reverberates to incandescence in the mind.” – Hollis Frampton Continue reading
Plot Synopsis from IMDB:
Adolescent Debbie reluctantly looks after her younger brother Todd for the day. Todd wants to go fishing and the two decide to fish in the creek located in a fenced off and restricted WWII bombing test site. The military has the area fenced off since there may still be remnants of dangerous materials there. Todd stumbles across an undetonated bomb, which he believes to be a dud. He takes the propeller off the bomb and plans on taking the bomb with him as a keepsake. Debbie is more concerned about Todd’s find, she believing the bomb could still be active, as it started to smoke after Todd took off the propeller. Debbie is unable to convince Todd to do what she believes is the correct thing to do, which is to tell the police. As Debbie runs off to tell someone in authority of the bomb, Todd goes back to retrieve it. When news of the bomb gets back to the military and their bomb squad, they have to rush back to save Todd from what sounds like a live bomb. Continue reading