Genres: experimental

  • Yelling Fire

    “‘Freedom of Speech’ does not include the right to yell ‘Fire!’ in a crowded theatre” (U.S. Supreme Court Justice O. W. Holmes). All existence as displacement: Violence. The rhythming of simple existence.

  • Yggdrasill Whose Roots Are Stars in the Human Mind

    This film, a combination of hand painting and photography, is a fulsome exposition of the themes of “Dog Star Man.” In that early epic I had envisioned The World Tree as dead, fit only for firewood; and at the end “Dog Star Man” I had chopped it up amidst a flurry of stars (finally Cassiopeia’s Chair): now, these many years later, I am compelled to comprehend Yggdrasill as rooted in the complex electrical synapses of thought process, to sense it being alive today as when Nordic legend hatched it. I share this compulsion with Andrei Tarkovsky, whose last film “The…

  • Yonge Street

    In this film, Anderson walks down Yonge Street from Bloor Street to the waterfront, recording the shifting intensities of the cityscape. “It’s as if you had flowed down Yonge Street along with the pollution of life and in the terror of the tunnel met death, and finally felt your body emptied with the rest of the waste into the lake. As the camera peacefully scans the water there is a feeling that everything is being cleansed…” – Rick Hancox, Cinema Canada

  • You

    “You” is inspired from a story that emerged in an interview with Lisa Black, the main character in the film. A situation with many angles; the telling, the filming, the final projection event….“You” is an imaginary fictionalized you in a whimsical space. It is the still live residue of the broken relationship Lisa is confronting in this film. A parallel actor, the film is in the business of reinterpreting. As a result the film is closer to a psychic space, an ironic place where distance is also intimate and a measure of insight. Part of the TALKING PORTRAITS series.

  • Air Cries – Le Mistral

    The story is the closure, the film is how pain and anxiety are carried by the wind. There is no use trying to exert control, it only causes the pain/anxiety to linger. It must run its natural course. The Mistral can be beautiful and terrible, if it catches onto you/your soul becomes wrapped in its temper. It dances over the water changing its course to make your light unpredictable, terrible but beautiful … solo or in tandem. The story is the jazz by which these events take place. To exert any force over the film would not be the story.…

  • Blue Moses

    “A manifesto of film epistemology in the form of an actor in conflict with the camera eye.” – Brussels International Film Festival, 1964 “A meat enigma spoken in eternal language of director, con man, and magician.” – Michael McClure

  • You Are Not Alone

    “You Are Not Alone” is a detective story about the search for a missing person, told mostly from the point of view of the missing person. It’s also about homesickness. The missing person, named Price, has absconded with a lot of money and fled somewhere warmer. His wife hires a detective to find him. Continually on the move, Price gives a lift to a drifter named Robin after she’s left at a truck stop. The clues he sends back such as tape recordings and photographs as if he actually wanted to be found, draw investigator Politzer, who say he’s never…

  • You Take Care Now

    “Fleming’s perilous travelogue recites, in first person voice-over, a tale of two cities. The first is Bridiski, where the patent sexism of her surround leads her to seek refuge in the hotel room of her unscrupulous tour guide. The second moves closer to home – where the simplest of street crossings becomes a nightmare journey of dark collisions, broken bones and ambulance drives.” – Mike Hoolboom

  • You Take the High Road

    This film reflects the filmmaker’s ambivalent feelings towards the new age of digital technology. As many as twenty picture elements per frame are composited by conventional and digital means. The resulting visual cacophony suggests a state of information overload. “It’s not faint praise to call Kneller’s six-minute feast of optical effects eye-candy of the most luscious order. ‘You Take the High Road’ launches on an excursion through various image banks from nature to techno-frenzy…” – Cameron Bailey, Top 10 of 1995, NOW Magazine

  • Your Daughter Is Sleeping

    A found narrative (an overheard telephone conversation) is juxtaposed with diverse images culled from the filmmaker’s own life and work. A personal essay on the relations between “raw” or unmediated experience, and experience organized through telling and through making images. Best seen in conjunction with “Diminished,” which is also about art (imperfectly) containing experience.