Tiff list 2010: The Complete Toronto Film Festival Lineup
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- Wavelengths 3: Ruhr
- Wavelengths 4: Pastourelle
- Wavelengths 5: Blue Mantle
- Wavelengths 6: Coming Attractions
Wavelengths 2: Plein-Air As with painting, natural light and colour are inexhaustible sources of inspiration for film and video artists, whose plain-air shooting radically transforms our scenic views, offering a stirring ephemerality and, in some cases, a poignant intimacy. In Vincent Grenier’s “Burning Bush” (Canada/U.S.A.), a virtuosic use of video sets a burning bush alight with crimson colour and spiritual flight. Kaleidoscopic colour, parenting and art-making coalesce in John Price’s domestic life frieze “Home Movie” (Canada), an extended portrait of his children captured with an old Russian 35mm camera and a variety of expired film stock. “Ouverture” (Canada/France) by Christopher Becks is a serene, yet kinetic in-camera meditation on an old barn in Normandy. Philipp Fleischmann’s “Cinematographie” (Austria) reinvents the filmstrip by way of an astonishing 360 degree camera obscura construction, which allows for a continuous image to emerge like a scroll. Recently blown-up to 16mm from its original super 8mm, Helga Fanderl’s intimate triptych, “Blow-Ups: Portrait, Tea Time, Red Curtain” (Germany) is a tender depiction of a love affair. “Anne Truitt Working” (U.S.A.) is a portrait of the Minimalist painter and sculptor elegantly observed by Jem Cohen. Madison Brookshire’s “Color Films 1 & 2” (U.S.A.) close the programme with winsome wavelength compositions of light. Wavelengths 3: Ruhr Exchanging his 16mm Bolex for a high-definition video camera, and straying from his native soil, James Benning heads to Germany with “Ruhr” (Germany/U.S.A.). Using his medium much like a painter would, Benning creates a monumental and surprising portrait of the Ruhr Valley, the largest urban agglomeration in Germany known for its heavy industry. Split into two parts, with six long takes in the first section and one masterful hour-long take in the second, Benning turns his mathematician’s eye toward the area’s industrial sublime, reinvigorating our viewing experience along the way. Wavelengths 4: Pastourelle Nathaniel Dorsky is one of the most gifted 16mm filmmakers of our time and was recently voted “The Best Experimental filmmaker of the Decade” by a poll conducted by Film Comment magazine. Suffused with longing, Dorksy’s three latest films, “Compline,” “Aubade” and “Pastourelle” (U.S.A.) demonstrate a devotional cinema wherein the plasticity of the medium is met by the artist’s consummate expression. Arresting in its twilight beauty and filled with beguiling apparitions, Compline is the final film “Dorsky” was able to shoot on Kodachrome, his preferred and longtime-used film stock. “Aubade,” which is a poem evoking daybreak, signals a new beginning, with his shooting on colour negative. Glimpses of Paris – the abstraction of its flickering neon signs, the elegance of its views - appear in both “Aubade” and “Pastourelle,” the latter presented here as a World Premiere. The program concludes with T. Marie’s wondrous digital triptych, “Water Lillies” (U.S.A.), which evokes Monet’s famous late Impressionist series by meticulously employing the inherent aesthetisizing properties of pixels, working with time and luminosity. Wavelengths 5: Blue Mantle The ocean has always been a mythic source of life, as much as it has a legendary call to death. In Mati Diop’s mysterious and melancholic “Atlantiques” (Senegal/France), winner of the International Film Festival Rotterdam’s Tiger Award for Best Short Film, a young man speaking in hushed tones describes his high-seas odyssey to friends huddled around a campfire in Dakar. Faint illuminations cast through an ornate gateway to a train platform in an abandoned station from Buffalo’s glory days create hazy, elegiac stained-glass effects, or the blurred vision of escape and disappearance in “Eve Heller’s One” (Austria); the first roll of film she ever shot, recently revisited and blown-up to 35mm. Resuscitated archival footage of a tragic event is met with contemporary prophecy in Kevin Jerome Everson’s enigmatic “753 McPherson Ave.” (U.S.A.). Rebecca Meyers’ “blue mantle” (U.S.A.) is an ode to the ocean, intercutting between the mesmeric sea with its glistening, beckoning waters and various representations of the deep. Meyers crafts an ambitious treatise buoyed by the breadth of its cast. The apocalyptic sublime of J. M. W. Turner’s 1840 masterpiece “The Slave Ship,” with its fiery conflagration and strewn debris amid wild waters, is the source for T. Marie’s time-based pixel painting-film “Slaveship” (U.S.A.). A languorous, searing abstraction with a hot palette updates the classic scene in reference to today’s skewed social hierarchy and the selling of human life. “Hell Roaring Creek” (U.S.A.) is the latest film by experimental anthropologist Lucien Castaign-Taylor, co-director of “Sweetgrass.” A static camera records the coming of day as a shepherd leads his flock of sheep across the titular stream in a prismatic, painterly pastoral. Wavelengths 6: Coming Attractions Early cinema confronted the spectator like no other art, beckoning a reciprocal engagement and curiosity as both spectacle and document. This program pairs contemporary experimental works with those from a hundred years ago when cinema itself was a grand experiment. Celebrated Italian artist Paolo Gioli returns to a tabula rasa with his handmade cameras allowing him to exploit and fashion film’s reproductive means. The exhilarating “Photo Finish Figures” (“Il Finish delle figure”) (Italy) relays a sense of the contemporary, sensory “photo-finished” experience using a 35mm stills camera and various masking devices. Ken Jacobs’ “The Day was a Scorcher” (U.S.A.) sees the Jacobs clan vacationing in Italy in stroboscopic postcards pulsing amid Roman ruins. Then to Torino in 1909, for turn-of-the- century postcards in which a bunch of bambini-in-a-barrel pucker up for the camera, blowing kisses, some through tears of terror, all’italiana in “Concorso di bellezza fra bambino a Torino.” In Friedl vom Gröller’s “Delphine de Oliveira” (Austria), a placid young woman is filmed in a Parisian courtyard. Her belle laide looks convey paradoxical and untold mysteries, while a mise-en-abyme furthers the peculiar attraction. Jonas Mekas in “Kodachrome Days” (U.S.A.) is another timepiece comprised of family photos resuscitated through digital technology, whose pulse harkens back to proto-cinematic devices, giving Mekas an air of a trickster like Segundo de Chomón’s “Le Roi des dollars” from 1905. (France). Peter Tscherkassky’s “Coming Attractions” (Austria) is a sly, sartorial comedy masterfully mining the relationship between early cinema and the avant-garde, by way of ‘50s-era advertising. With references to Méliès, Lumières, Cocteau, Léger, Chomette, the film playfully explores cinema’s subliminal possibilities using an impressive arsenal of techniques like solarization, optical printing and multiple exposures. Completing the evening’s attractions is a selection from EYE Film Institute Netherlands’ “Bits and Pieces project” (Netherlands), which restores and compiles “anonymous, unidentified or otherwise interesting fragments,” saving them from oblivion for our viewing pleasure. The archival prints will be presented with live piano accompaniment by William O’Meara. Directory: inc -> files inc -> The Shape Of Droughts To Come: 2012 Versus The 1930s Dust Bowl inc -> Air traffic control in the usa inc -> Incoming 6th Grade Summer Reading List 2014 inc -> Second Edition inc -> Ncaa legislative Proposals (Created August 16, 2007) inc -> Ed Green Nuffield trip to usa and Canada, June/July 2012 Friday 22 June 2012 files -> September 13, 2010 Sneak peek at Henry’s Crime files -> 35th Toronto Film Festival The global world of film and Oscar-hunting American flicks converge in Hollywood North Download 160.75 Kb. Share with your friends:
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