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The Best Chris Gallagher Directed Movies

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poster

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6.4

/8/

10

/1/

Mirage offers a thoughtful and disturbing meditation on a wide variety of cinematic problems - the portrayal of women in film, the ability of a reassuring male commentary (“Dreams come true in Blue Hawaii”) to direct our gaze and our conventions of fantasy/dreamland. The film tests ones ability to pay attention. We keep seeing essentially the same image and hearing the same phrase yet we have a difficulty grasping what this film is about. The film has a mystery or haunting feeling to it that perhaps surfaces well after one has seen it, and is the basis of thought on the subject of the sexual portrayal of women on film. Mirage could be seen many times; perhaps the tail could be spliced to the head resulting in a continuous loop - as there is no clear beginning, middle, or end to the film – somewhat like the nature of our own existence. – Martin Rumsby, The Invisible Cinema

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10

/1/

Part fictional narrative, part travelogue, part documentary, this unusual film serves as another sign that non-fiction film as we know it is going through a major revolution. Engaging fictional narrative elements to create a ‘mystery,’ Where is Memory is a boldly original and affecting meditation on the nature of complicity and the Third Reich. Masterful use of archival footage matched with contemporary footage of Europe, a haunting score and an inspired mix of realities for a thoughtfully framed poetic odyssey that charts new cinematic territory. — Judges’ Award, Northwest International Film Festival

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10

/1/

Terminal City records the demolition of the Devonshire Hotel in Vancouver; through extreme show motion (200 frames per second) and symmetrical diagonal framing, Gallagher underscores the passage from order to chaos within the event. The sparseness of this centering and he patience required of the viewer heightens the literally explosive climaxes of the film, and transforms the everyday violence of the events into moments of convulsive beauty. – Jim Shedden, Michael Zryd, The Independent Eye

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4.0

/11/

10

/1/

In Atmosphere the camera pans back and forth over a body of water at a varying tempo and most people assume that a camera operator is in charge. The final image of the film carries a great deal of significance. It opens up a gap between the film’s appearance and its reality; what it appears to be – what it imitates – is not an object or scene from everyday life, but a film. Atmosphere is not just an imitation, but an imitation of an imitation, a metafilm that plays with the viewers’ expectations about cinematic form. —R. Bruce Elder, Image and Identity

52

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6.4

/32/

10

/1/

62

/3/

3.6

/433/

Photographed through the windshield of a Vancouver city bus and edited according to the rhythms of the bus' windshield wiper, the film transforms the linear narrative of the bus ride into a temporal construction that can be described as cubist. The effect of the cutting strategy on the actual temporal organization of the film is as remarkable as its effect on our sense of time.

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A perfectly logical camera placement renders action as a visual paradox rooted in the analogue world where image and sound took up physical space and required movement to be revealed. We ride alone with the world’s most famous piece of music watching an image that is both still and moving at the same time. Sound and image in this film are on a collision course as there is not enough space for both on the surface on the record. We literally hear until we get there. Hear to There is a lighthearted visual parable that raises questions about the representation and relationship of image and sound.

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To be lost means you cannot recognize space so on the mall directory “you are here” is the first step to restoring meaning to space but that assumes that a being and space are separate entities, one containing the other. But does space exist, as we know it, when it’s unobserved or does it transmute into marvelous forms that instantly snap back to normality when observed by a conscious being. It seems that space is fixed and stationary, as we experience it, but again behind our backs it may be flowing like a liquid violating all physical assumptions. So when we open our eyes to the apparent world is our consciousness the determining factor defining space, suggesting there is no space devoid of consciousness and are we in space or is it in us. Perhaps you are here should be here is you.

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The film draws an analogy between the cutting and suturing of the human body and the reconstruction of the world through film. Using optical printing techniques, it connects diverse elements in a dream-like flow: a vision of mind at play amid the anxieties of our society. It's also an operation on our image systems, including cinema.

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Chris Gallagher’s feature-length film essay Time Being is an elegant and thought-provoking investigation of the nature and experience of time, and its filmic representation. 88 one-minute shots or shot-sequences counterpoint a spoken commentary that probes and questions the subject from many different angles – psychological, philosophical, mechanical, cosmological, artistic. Equally, Gallagher combines aspects of different cinemas – documentary, structural, poetic, narrative, and personal – skillfully interweaving all the elements into a complex yet coherent and surprisingly moving statement on the human condition. The most brilliant film on its subject I’ve ever seen, Time Being is cool and non-academic yet deeply engaged, and beautifully shot. An educational film in the best sense. —Tony Reif

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