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poster

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20

/1/

Alone. In an empty space. Dancing and then laughing? Having fun passing and re-passing time. Compressing, stretching, wringing out space and time. Discover the charge of a rather banal reality. Enter the folds of reality. Seeing between the lines.

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20

/1/

An experimental documentary about aging and decaying memory at the turn of the new millennium, featuring the filmmaker's grandmother.

poster

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10

/1/

N/A

poster

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10

/1/

Luc Bourdon, Marc Paradis and Simon B. Robert are curators for a selection of Canadian video to be presented within the context of the 13th Montréal International Festival of New Cinema and Video. This tape relates their experiences and research which occurs during their journey across Canada. This document is less a documentation of the trip than a logical suite to the questions raised in a previous work, Scheme vidéo. Focusing on the displacement of the three curators, the tape reflects their perceptions through the random capture of images. With Paul Wong, Grant Poier, Nida Home Doherty, Jerry Kissel, John Greyson and Collin Campbell.

poster

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10

/1/

A torrent of words, of tenderness, of violence, of sense, and nonsense. Exasperation in speech as it butts up against things and repeats in a million ways its submission to nature and life. Red night. Collapse of night as dreams topple to their own destruction. Ruin, as an inescapable as the impediments we place before ourselves, destiny which sweeps us away, and on which we have so little hold.

poster

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10

/1/

The passive-spectator, without device, becomes his / her own interpreter and listener. In this video-montage made for a group experience of sound, the sound of an oscilating fan becomes increasingly high-pitched. Instructions then appear on the screen inviting us to listen to our own breathing, the sounds of our body, and to silence. This video concludes with the sound of the oscillator ending the experience.

poster

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10

/1/

Richard Martin has captured the choreography of a dancer, shooting the performance nine times as a way of accentuating contrasts and producing an abstract composition of form and movement. In the video, contrasts gradually increase until the dancer’s gestures are but abstract black and white movements. The music remains while the commentary disappears.

poster

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20

/1/

"For Les Heures d'argent, des illuminations, I have tried to make an installation of the conditions in wich sudden images appear, to interrogate oscillatory phenomena such as presence, disapearance, and to represent them in a luminous way. Thus, the research consists in revealing in each sequence incredible light situations wich, as suggested by the title, sometimes depend on atmospheric accidents. Each sequence, as if it where an Illumination will reflect light as a phenomenon. Among these, let us mention mirage, scintillation, dazzle and radiance - manifestations with a halo. Finally, the selected poetic fragments from Rimbaud's Illuminations introduce words that create acoustic sparkles within the space and tension with the image. They do not only increase the semantic potential of the image but also, and hopefully, add starlight to it." - Suzan Vachon

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10

/1/

A question of perspective, 1958 - 1992. In an elliptical train of fragmentary and associative imagery, Discours des comètes explores the difficulty sometimes experienced in the act of distinguishing dreams from memory; this ambiguity is called troubled vision. Images pass, comets: small and luminous bodies traced onscreen; luminous, glorious, celestial orbs, firing deep impressions. Pregnant memories, boats, men, virtual drowning, anguished dreams. Now, as then, dream and memory give their accounts.

poster

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10

/1/

Two worlds are involved. The internal world, closed, virtually isolated, with just one tenuous, uncertain link with the other world - the telephone. The other, external world exists only to pass from one sealed-off place to another. Call each other? - you lose your voice before you get an answer: your head spins with non-existent voices. Telephone and answering machines are scheming devices. Just waiting in vain.

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10

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5.8

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35

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In a country bar, Mario, a regular, spontaneously decides to integrate his stunt routine into the nude dancer's performance, which leads to a quasi-orgy. After things have calmmed down, Mario's girlfriend confronts him to what he considers to be his true calling: a double career as stuntman and upholsterer.

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55

/2/

"Lost In Her Hair (Monday)" starts with an excited young Iranian girl getting ready for her first day of school. As her mother is brushing her hair and dressing her, she has varied conversations with off-frame family members that reflect cultural specificities.

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Guillaume Vallée explores and interrogates the partially erased sensory memory of his adolescent years in this cameraless animated short created using a 35mm trailer for Céline Sciamma’s feature film WATER LILIES (NAISSANCE DES PEIUVRES, 2007). This process of resuscitating long-buried experiences and forgotten remembrances derives from the materiality of the 35mm stock, the nature of the filmed images and Vallée’s painted and scratched interventions directly on the film emulsion.

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