Film Format: 16mm

  • Man in the Box, A

    Rather than looking outward, and creating a spherical universe around itself (e.g. Michael Snow’s “La Region Centrale” ), the camera is introspective, defining itself by how it “sees the world”; it never sees anything but itself. “A Man in the Box” is a camera’s photographic memory, trying to focus upon its own image. We realize that we see only what we want to see – that how we decide to see determines how we will see. Dedicated to Bill Wees, my eye’s mentor. Film to be screened twice, once forwards, and once backwards. (RR)

  • Archaeology of Memory (sound)

    Beginning in scratches of light, this film evolves through colour, rhythm and multiple images tracing a history of cinema from mythical beginnings to the thread of personal memory, peering into the everyday pathology of family, sex and death. “A kind of double history that intertwines autobiography with the development of cinema, it’s a stunning, enormously seductive array of images …” – Cameron Bailey, NOW Magazine

  • Man Who Could Not See Far Enough, The

    “The Man Who Could Not See Far Enough” uses literary, structural, autobiographical and performance metaphors to construct a series of tableaux that evoke the act of vision, the limits of perception and the rapture of space. Spectacular moving multiple images; a physical, almost choreographic sense of camera movement; and massive, resonant sound have inspired critics to call it “stunning” and “hallucinatory.” The film ranges in subject from a solar eclipse shot off the coast of Africa to a hand-held filmed ascent of the Golden Gate Bridge, and moves, in spirit, from the deeply personal to the mythic. “…miraculous… charged with…

  • Man Who Envied Women, The

    Jack Deller, a professor of Foucauldian and Lacanian theory, is left by his artist-wife after four years of marriage. Deller is played by two actors; the wife is never seen. Her voice is heard throughout – it governs the film. The camera pursues him on the image track, while her voice pursues her train of thought. The structure of the film is elaborated in a constant interweaving of fiction and documentary, narrative and theory, amidst issues of sexuality, aging, power relations, and political activism.

  • Man Whose Life Was Full of Woe Has Been Surprised by Joy, A

    “Having recently completed his monumental film cycle, ‘The Book of All the Dead,’ Elder begins a new cycle – ‘The Book Of Praise’ – with ‘A Man Whose Life Was Full of Woe Has Been Surprised by Joy.’ Elder believes that, by using speed and by creating constructions which incorporate a number of attractions that contend with each other for attention, a filmmaker can produce a form of experience that bypasses the intellect and goes straight to the body and the senses. Accordingly, he creates dense, elaborate films that make use of intricate montage construction, complex collage (combining simultaneous multiple…

  • Marc & Ann

    An enchanting portrait of Marc and Ann Savoy, Cajun musicians who are dedicated to the preservation and continuance of Cajun culture. Marc is an irreverent storyteller and accordion maker; his wife Ann is the mother of four, and author of the book “Cajun Music: Reflection of a People.”

  • Marilyn’s Window

    This stream-of-consciousness could be nothing less than pathway of the soul, as images of Marilyn’s window are remembered from inside-out, its “view” interwoven with all of other windowing and the Elements of the known world.

  • Architectures Landscapes

    Although made in 1993, this film languished for several years as the filmmaker attempted various remakes during 1994-95. Eventually he decided to preserve the original version and to allow the new experiments a place in the subsequent films, “You Take The High Road” and “We Are Experiencing ….” Luckily the filmmaker’s parents had kept a VHS video version of the original film, otherwise it would have been impossible to cobble together the various film elements from memory alone. The film marks the filmmaker’s first use of the optical printer as a tool for image manipulation and layering. The film is…

  • Mary

    Mary is a kind of everygirl, living with her parents’ constant battling, but able only to deal with the kid stuff – the boy who picks on her at school, the embarrassment her best friend causes. I liked the kitschy ‘70s setting. It kind of reminded me, because I lived through that era, of the stuff I had to deal with when I was little. (VR)

  • Mary Mary

    Presented as an autobiography, “Mary Mary” interweaves the political with the mythical; visual and textual “quotes” from other films with fragments of children’s stories; and dreams and memories with history. “M” is an ambiguous figure: an English-Canadian woman filmmaker struggling with the representational structures that form and are formed by her as she tries to make a film. At first her script eludes her. Locked in her room, she becomes tangled in a web of memories, images and stories, quotations and histories. Yet even within these confines (narrative and psychic, as well as architectural) the possibility of new readings is…