An uncompromising look at the ways privacy, safety, convenience and surveillance determine our environment. Shot entirely at night, the film confronts the hermetic nature of white-collar communities, dissecting the fear behind contemporary suburban design. An isolation-based fear (protect us from people not like us). A fear of irregularity (eat at McDonalds, you know what to expect). A fear of thought (turn on the television). A fear of self (don’t stop moving). By examining evacuated suburban and corporate landscapes, the film reveals a peculiarly 21st century hollowness… an emptiness born of our collective faith in safety and technology. This is a new genre of horror movie, attempting suburban locations as states of mind.
Category: Short
Don Owen’s groundbreaking short drama tells the story of two young women who go to the city to work in a dress factory, and who share a room to ease their expenses and their loneliness. The film shows the currents that brought them together and the facets of their natures that first made them seem compatible but eventually drove them apart. Their story reflects, to a degree, the situation of anyone who has ever shared the life of another.
This film is based on the famous horror story by Ambrose Bierce. It tells of a hunter whose young wife dies of fever. Her grief stricken husband prepares her body for burial, but during the night the forces of nature intervene to create a horrific and macabre ending.
Edward Monskii, is in a very bad shape, and Botter Gaarman, obviously tired, are in the terrace of a coffee of a Mediterranean city, ready for a long time prepared mission. When a quite old man, Ernest Carpentier, joined their table, the situation becomes tense and dangerous.
A split screen shows two tightly synchronized, “impossible” shots of the same scene: a moving POV camera showing what the central character is looking at, and a stationary wide shot, both framing the entire action simultaneously. The deliberate positioning of the static, detached view above the erratic, close-up subjective POV of the central character lends an uneasy feeling to it. At the start of the film, we see the central character’s dream before he wakes up and comes out onto his balcony in the top screen (the bottom screen becomes his POV looking out the window, in sync with the top view.) Set in West Vancouver, BC.
This film is a playful depiction of the festivities around the performance If All Trains of the World by Alex Mlynárčik on June 12, 1971. Still photography, live action, interviews, old etchings and archive footage of old train journeys are skilfully blended to create a sympathetic and humorous portrait of the romance of an old steam train and the joy of artists and the general public in participating in this children’s game for adults. Once again, the avant-garde is imaginatively used to eulogise over traditional values and the past. Deň radosti is important not just for the considerable pleasure it brings; it is the first of a series of films in which artists use film to document happenings.
An orphan girl chooses an old book from a box of donated charity items. In this book, she reads a story that she makes her own. When she collides with an old man, the story comes to life…