Film Categories: Ecology

  • Oh Dad!

    Using a unique animation technique, “Oh Dad!” is a boy’s account of a heated confrontation with his father over the issues of the nuclear arms race and various forms of pollution. The boy tells of his mistrust of adults and his frustration with the world that grown-ups are leaving his generation.

  • Oh Dad 1&2

    Oh Dad! Using a unique animation technique, “Oh Dad!” is a boy’s account of a heated confrontation with his father over the issues of the nuclear arms race and various forms of pollution. The boy tells of his mistrust of adults and his frustration with the world that grown-ups are leaving his generation. Oh Dad II In this continuation of “Oh Dad!,” a young boy expresses his deep concern about environmental issues in his diary. Arguing with his father, the boy tries to convince him that although he is younger, he has serious opinions. He talks about national security, militarization,…

  • Oh Dad II

    In this continuation of “Oh Dad!,” a young boy expresses his deep concern about environmental issues in his diary. Arguing with his father, the boy tries to convince him that although he is younger, he has serious opinions. He talks about national security, militarization, and acid rain. The boy grapples with what he sees as the collective responsibility of the adult world as a whole, and the responsibility of his own father, a scientist, for the damaged environment and the resulting disease, hunger and pollution. Despite the seriousness of the issues addressed, “Oh Dad II” is as warmly humorous as…

  • On Land Over Water (Six Stories)

    “In cinema one extracts the thought from the image; in literature the image from the thought” (Levinson). This reflection was the catalyst for the photographic and narrative strategies of “On Land Over Water.” “On Land Over Water…” was born out of an image-notion of a skid mark on a highway, photographed in close-up, revealing texture and form. The image would be positioned with a voice-over narration, telling the story of a young boy witnessing a fatal auto accident and its ensuing aftermath. Over the following winter months I meditated on the cinematic potentials of that notion, “On Land Over Water…”…

  • Opus 40

    “Opus 40” is about repetition: repetition in working and living, repetition through multiplicity and series, repetition to form pattern and rhythm, repetition in order and in revealing. “Opus 40” was filmed in the Enterprise Foundry, Sackville, New Brunswick, and has excerpts from Gertrude Stein’s writings.

  • Avocado Vegetarian Turtle, The

    A scientific report about a bizarre, new creature and its life cycle, told from a child’s point of view. On one level it is amusing, on another, the new creature can be seen as a symbol of healing the fragmentation of living with and within different worlds.

  • PATH

    Employing a simple three-part structure, “PATH” is about personal experience and the interpretation of that experience. Both humorous and serious, the film is a cross-Toronto exploration, expansively taking in a wide variety of people, events and situations. In creating a dynamic web of associations, “PATH” invites participation in the act of perception. The film’s structure works like this: Davis is filmed connecting dots on a street map; next she walks that distance on the street, filming as she goes; then she recalls and interprets what she has seen in memory sequences. The street sequences have a variety of different rhythms…

  • Picture Start

    This lyric brief is a meditation on the natural world, its carefully wrought superimpositions of sky, leaves and chromatic close-ups a powerfully felt evocation of animistic surround. Photographed with a keen eye for detail, Kneller’s painterly overlays collage these moments into a gently flowing homage to the present.

  • Plein Air

    This abstract travelogue flies just over the surface of the Canadian Shield in Northern Ontario. “Plein Air” is an engrossing sonic and visual trip and a continuation of Kerr’s fascination with landscape cinema.

  • Salvage Archives

    Salvage Archives continues Rufelds’ research into cultural and subcultural expressions of late capitalist alienation, and the forms of collective storytelling that take shape under the shadows of unjust material systems. Told in a hybrid narrative style, mixing elements of essay film, social realism, and neo-noir, Salvage Archives oscillates between two narrative threads, counterposing a lonely online conspiracy theorist and a disembodied historian of agriculture. The two figures recount their stories in alternating chapters, perversely mirroring each other as they wade into the knotted abstractions of capitalist productive systems, logistics networks, patterns of accumulation, and systemic waste. As both narrators’ grandiose…