Film Categories: history

  • May 35

    A haunting commemoration of the Tiananmen Square uprisings made from fragments of censored archival imagery transferred onto film using razor blades and scotch tape. “May 35” speaks to the difficulty of remembering in the absence of memory, especially when June 4 histories have been censored and obscured. It is a tribute to the thousands of lives devastated by this upheaval. Sound Design: Kadet Kuhne

  • Le Dormeur Du Val

    Art essay video, free interpretation of Arthur Rimbaud’s poem “Le Dormeur Du Val”, aimed at pointing the absurdity of war: through history and continents, no matter their race or religion, soldiers, instruments of the authorities, represent one and only person: another victim.

  • THE GENDER LADY: THE FABULOUS DR. MAY COHEN

    Roe v Wade and women’s abortion rights are under concerted attack in a number of American states. In Canada abortion has been legal for more than 30 years, but access to abortion services varies considerably across the country and conservative MPs and MLAs are increasingly participating in anti-choice strategy gatherings. Into this retrogressive context arrives a timely documentary: the compelling story of a courageous, pro-choice feminist campaigning Canadian family physician, “The Gender Lady – The Fabulous Dr May Cohen”. Dr. May Cohen has advocated for women’s health, women’s rights, abortion rights, LGBT rights and human sexuality for more than fifty…

  • Rettet das Feuer (Rescue The Fire)

    Berlin, 1993. Photographer and artist, Jürgen Baldiga, battles HIV. In the 1990s, the AIDS epidemic reached its climax, to which no one was prepared. Infected bodies and their stories diminish, erasing their existence. Through the death of his friends and subsequently his own, Baldiga becomes the chronicler of his time: “I am taking a picture. I photograph the world. I exist.” Identity and history disappear without the persistence of memory. Until the final days of his life, Jürgen documents the exodus that seizes him. Rettet das Feuer (Rescue the Fire) directs the gaze to a piece of West Berlin history…

  • Fresh Blood: A Consideration of Belonging

    “Fresh Blood” is a hybrid documentary blending personal narrative and a video-essay style. The piece engages issues of Jewish racialized identity, Arab/Jewish dichotomies and the ways these come together in Iraqi Jewish culture, and the personal implications of the politics of Palestine and of the Jewish holocaust. The artist returns to a land of remembering and forgetting. With her first language lost it is difficult to communicate with her grandmother, and yet there is humour and poignancy in their resulting exchanges. In seeking out her biological father, Yael questions the significance of blood relations. She revisits and revises family memory…

  • What’s Ours and What We Are

    In “What’s Ours and What We Are,” images, motifs and words that originally served a particular political agenda are playfully manipulated to distort and re-contextualize their original status, satirically articulating the purpose of propaganda which is to ‘speak to’ and ultimately to persuade a spectator.

  • Il Raggio Silenzioso / The Silent Ray

    The man’s presence lingers in the room that for years served as his study. Present and past intertwine as he follows threads of his memory and recalls events from the time of his participation in the colonial war against Ethiopia in 1935-36.

  • Waiting (انتظار)

    A young woman journeys to visit her grandmother. What transpires between the unsaid and silence propels into a prolonged moment of tension and desires of connection. Image description: A young woman and her grandmother sit next to each other on a couch. They both look straight ahead with stony-faced expressions, not talking.

  • Una Sola Sangre

    “I have two homelands, but one blood,” says Silvia Galdes in Una Sola Sangre, the latest film by the Haitian-born, Toronto-based filmmaker Esery Mondesir. Silvia, along with her siblings Silverio and Estella, is a first-generation Haitian-Cuban, the daughter of Sylvain Galdes, one of an estimated 500.000 Haitians who migrated to Cuba for work in the early 20th century. Despite not seeing their father’s homeland until their sixth decades (and after the shooting of the film), the Galdes family and their social position in Cuba has long been marked by their Haitianness – an identity they and their children negotiate in…

  • Sammy

    Toronto, July 27, 2013, shortly after midnight. Sammy Yatim is standing inside an empty streetcar, a small knife in his right hand. A Toronto Police officer will shoot him dead. From a mixture of gunpowder, blood and acrimony: the portrait of a boy who didn’t have to die.