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poster

86

8.0

/5270/

82

/149/

76

/135/

4.3

/30238/

96

/72/

88

/96/

86

/19/

4.0

Filmmaking icon Agnès Varda, the award-winning director regarded by many as the grandmother of the French new wave, turns the camera on herself with this unique autobiographical documentary. Composed of film excerpts and elaborate dramatic re-creations, Varda's self-portrait recounts the highs and lows of her professional career, the many friendships that affected her life and her longtime marriage to cinematic giant Jacques Demy.

poster

58

50

5.6

/2585/

61

/261/

60

/81/

2.9

/2238/

In a moment of cowardice, Detective Carl Mørck sends Rose, his junior colleague in Department Q, to the remote Danish island of Bornholm to answer his old colleague Christian Habersaat's repeated requests. But during his forced retirement ceremony Christian kills himself sending Rose into a journey deep into her own traumatic past. Later, Department Q are embroiled into an old cold case of a girl found dead hanging in a tree.

poster

43

36

5.1

/4344/

54

/162/

50

/102/

2.5

/1539/

32

/25/

22

/110/

In London's contemporary art world, everyone has a hustle. Art Spindle runs a high-end gallery: he hopes to flip a Mondrian for millions. One of his assistants, Beth, is sleeping with Art's most acquisitive client, Bob Macclestone. Beth wants Bob to set her up in her own gallery, so she helps him go behind Art's back for the Mondrian. Bob's wife, Jean, sets her eye on a young conceptual artist, Jo, who lusts after Art's newest assistant, Paige. Meanwhile, self-absorbed videographer Elaine is chewing her way through friends and lovers looking to make it: if she'll throw Dewey, her agent, under the bus, Beth may give her a show. And the Mondrian? No honor among thieves.

poster

77

33

7.5

/106/

65

/4/

74

/13/

3.7

/807/

100

/5/

Hitch a ride into the dark heart of Australia with Soda_Jerk's TERROR NULLIUS, a blistering, badly behaved sample-based film that confronts the horror of our contemporary moment. Equal parts political satire, eco-horror and road movie, TERROR NULLIUS is a rogue remapping of national mythology, where a misogynistic remark is met with the sharp beak of a bird, feminist bike gangs rampage and bicentenary celebrations are ravaged by flesh-eating sheep. By intricately remixing fragments of Australia's pop culture and film legacy, TERROR NULLIUS interrogates the unstable entanglement of fiction that underpins this country's vexed sense of self.

poster

71

31

7.1

/149/

55

/8/

70

/3/

3.4

/1418/

93

/14/

Comprised entirely of hundreds of pirated film samples, Hello Dankness is a bent suburban musical that bears witness to the psychotropic cultural spectacle of the period 2016 to 2021. Set in the American suburbs, the film follows a neighbourhood through these years as consensus reality disintegrates into conspiracies and other political contagions. Part political satire, zombie stoner film, and Greek tragedy, the work is also informed by the encrypted memetics of contemporary internet culture.

poster

58

27

5.3

/611/

62

/36/

52

/18/

67

ToY is a drama about two lost souls from disparate backgrounds who find each other amid the desperation and glamour of Los Angeles, forging an unlikely relationship that spirals into tragic chaos.

poster

43

20

4.6

/1176/

38

/36/

45

/21/

3.0

/317/

36

/27/

36

/6/

Reckless desire wreaks havoc over Memorial Day weekend as a family confronts the volatile and fragile nature of love. A modern retelling of Anton Chekhov's "The Seagull", set in rural New England.

poster

46

5

4.4

/356/

76

/3/

45

/6/

21

/14/

As a young man, Dorian Gray's beguiling innocence captured the eye of famed artist Basil Hallward. As the two enter into a close friendship, Basil crafts a remarkable piece of art that seems to capture Dorian's essence as much as it does the artist's obsession. Stricken by the remarkable beauty of the piece and lamenting his own inevitable loss of youth, the troubled Dorian makes a wish that the artistic rendering of him bear the weathers of time while he remains forever youthful. Later, as Dorian strikes up a friendship with Lord Henry, wealthy entitlement, decadence, and obsessive pleasure lead the handsome young noble down a dark path of drugs and dangerous friendships. When Basil attempts to help his old friend, the artist's nobility ends up costing him his life. Through it all, Dorian remains as hypnotically handsome as ever.

poster

?

6.8

/30/

This film documents Kutlug Ataman's artistic production in a retrospective approach and elucidates his works with his own words and with commentaries by curators, art institution directors, art historians and critics who are familiar with his production through close collaboration, to witness the construction of an impressive artistic production spanning 15 years. The film also includes the excerpts from the artworks and the installation footages of their realization.

poster

?

10

/1/

The Sleepers is a startlingly dark vision of sleeping people suspended under water, unable to make contact with the world outside. Viola describes the work: “Seven 55-gallon metal barrels stand in a darkened room. They are white inside and out and are open at the top. The only light in the room is a soft bluish glow emerging from each barrel and diffused throughout the room. The barrels are filled to the brim with water. At the bottom of each one under the water is a black-and-white video monitor facing straight up, the source of the blue light. Video and power cables for the monitor are visible as they emerge from the floor and enter the water over the top rim of each barrel. On each screen is a close-up of a person’s face while asleep. There is an image of a different person in each barrel, actual recordings of people sleeping presented continuously with little or no editing.

poster

?

10

/2/

Black Sea Files is a territorial research on the Caspian oil geography: the world’s oldest oil extraction zone. A giant new subterranean pipeline traversing the Caucasus will soon pump Caspian Crude to the West. The line connecting the resource fringe with the terminal of the global high-tech oil circulation system, runs through the video like a central thread. However, the trajectory followed by the narrative is by no means a linear one. Circumventing the main players in the region, the video sheds light on a multitude of secondary sceneries. Oil workers, farmers, refugees and prostitutes who live along the pipeline come into profile and contribute to a wider human geography that displaces the singular and powerful signifying practices of oil corporations and oil politicians.

poster

?

8.4

/49/

15

/2/

60

/1/

Mimicking the hyperbolic rhetoric of today’s copyright cops, Hollywood Burn pits a righteous league of video pirates against the evil tyrant Moses and his Copyright Commandments. Determined to alter the present by changing the past, the pirates travel back to 1955 to construct the ultimate weapon: an Elvis Presley video-clone. Part sci-fi + rom com + biblical epic + action movie, this free-culture manifesto adopts the tactical responses of the parasite, feeding off the body of Hollywood and inhabiting its cinematic structures and codes. The unwitting all-star cast includes Elvis Presley, Charlton Heston, Monkey, Batman, Bette Davis, Jaws, Jesus, The Hulk, The Hoff and the Ghostbusters.

poster

?

5.5

/20/

20

/2/

Day after day, images of film life in the author's collage glued together from fragments of feature films flow at a frame rate in which the date of the day appears in various forms.

poster

?

10

/1/

"This Is a Camera Which Shoots This" and "As I See You You See Me" are both set up facing two cameras and monitors and the performer walks between them while voicing the sentence of the title. Here the words "This" and "You" have the same form in the nominative and the objective cases, switching the roles of not only the signifier (word) but also the signified (object).

poster

?

5.8

/7/

60

/1/

Splicing together footage from the musical comedy Pardon My Sarong (1942) and the TV series Graffiti Rock (1986), Tap Hop stages a dance battle between the pioneering 1980's hip-hop crew the New York City Breakers and the seminal 1940's tap group Tip Tap & Toe.

poster

50

?

5.8

/386/

42

/4/

64

/4/

36

/7/

An inventor looking for backing for his television invention gets involved with a crooked businessman and gangsters who try to steal his invention.

poster

?

Crude secrets about the Cantarell oil field, Mexico's most prolific offshore oil reserve, are portrayed in reverse in the visionary documentary Pozo. The mysteries of the bastard family of the fisherman who discovered the country's greatest energy treasure are accompanied in chorus by the intrigues, apparitions and petrosexual traumas of the inhabitants of Ciudad del Carmen, an island radically transformed by the voracious hydrocarbon industry. The chants of the gods of darkness, of crude oil and of the end of time, accompany and guide this return to the eternal source of emptiness. This invocation does not count the facts from the end to the beginning, but undoes them, diminishes them, de-refines them, decreases them, deconsumes them, de-extinguishes them.

poster

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N/A

poster

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Continuously running video installation: in a small alcove, a wood column extends from the floor and ceiling, with a gap in the center formed by two exposed video monitors facing each other two inches apart, mounted to upper and lower columns respectively, a black-and-white video image on each monitor. The upper monitor shows a close-up image of an old woman on the verge of death, and the lower monitor shows a close-up image of a new baby only days old. The images are silent. Since the surface of each monitor screen is glass, a reflected image of the screen opposite to it can be seen through the surface of each image, as life and death reflect and contain each other.

poster

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An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". This episode considers the politics implicit in Public Enemy’s claim that we’re already living [in] armaged-don. It begins with the discovery of an ancient stone crosshairs at an archeological site in Egypt. Sixty years later a giant alien mothership emerges from a mena-cing cloud over New York City, hijacking President Ron-ald Reagan’s TV statement in order to transmit a pirate broadcast from Chuck D, Flavor Flav and Sun Ra. Like Sun Ra’s mantra that ‘it’s after the end of the world’, Public Enemy invoke armageddon to insist upon the critical moment in which we already live.

poster

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An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". We are the Robots re-imagines the iconic scene in the film Close Encounters of the Third Kind (1977), where sci-entists use a synthesizer keyboard to communicate with an alien mothership. In Soda_Jerk’s revision of these events, Kraftwerk play sequences from their own music and the mothership responds with frag-ments of tracks that have sampled Kraftwerk. This jam session– between the original and sampled ver-sions of Kraftwerk’s music–explores the impact of German electronic music on Afrofuturist sonic culture.

poster

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An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". Destination Planet Rock maps the intergalactic legacy of Sun Ra and George Clinton in the sci-fi futurism of early hip-hop. Set in 1974 in the South Bronx, the episode be-gins in a neighborhood center where Sun Ra is explain-ing his ideas about the intersection of race, myth and outer space. The three future originators of hip-hop—DJ Kool Herc, Afrika Bambaataa, and Grandmaster Flash—are abducted and transported across the galaxy to Planet Rock, where they are schooled in the alien language of turntablism.

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An episode in Soda_Jerk's multi-channel digital-video installation cycle entitled "Astro Black". Race for Space gives life to Sun Ra’s claim to have been abducted by aliens who schooled him in the radical potential of music. While working as a piano man in Chicago in 1943, Sun Ra is contacted by Morpheus who offers him a choice of two destinies. Flashing forward to the 1969 moon landing, Neil Armstrong discovers that outer space has already been colonized by Sun Ra and his intergalactic ensemble, The Arkestra. At stake in this episode is the cultural politics implicit in the territorialization of outer space, both as a geography and a virtual field of possibility.

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"In her day-in-the-life portrait of an African-American woman, Simpson uses tropes of cinema, diary, and surveillance. The portrait appears on 31 12-by-9-inch flat video screens arrayed on a gallery wall to resemble a month on a calendar: a row of three screens tops four rows of seven screens. Each video runs about 20 minutes and appears to chronicle the events of a single day; most shots last around five seconds and the streams of imagery are not synchronized, so viewers face a kinetic panorama." -Bill Stamets

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The 10 new and retooled silent video works presented here are each director's response to a silent and nocturnal viewing situation. They are short, eclectic and remarkably diverse, representing a glimpse of contemporary Canadian video art.

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