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Mark Twain’s essay is brought to life with this film telling the Civil War story of a Confederate troop who has not been exposed to the atrocities of war. The film also adapts Twain’s short story “The War Prayer”.
rarefilmm | The Cave of Forgotten Films Posts
In this unique approach to the autobiographical film format, director Stephen Dwoskin pieces together home movies shot by his parents in New York City, a video letter recorded during the 1990 Gulf War by filmmaker Robert Kramer, and raw footage filmed by Dwoskin himself. A veteran of the New York independent film scene of the 1960s, Dwoskin constructs a film poem in which the strong sentiment of his personal story—he was stricken by polio and eventually confined to a wheelchair—never overwhelms the beauty of the film’s distinct form.
Liz Erickson is an energetic young woman who is eagerly approaching her freshman year in college. But once on campus, she soon discovers the gritty reality of college life. From crass comments by male classmates to the cruel hazing rituals of the school’s sororities, Liz is shocked by the behavior of her fellow students. She finds solace in her burgeoning friendship with noble World War II veteran Joe Blake, who is attending college thanks to the GI Bill.
The first Canadian fiction feature directed by a woman, Sylvia Spring’s Madeleine Is… investigates themes of patriarchy, art, and emancipatory politics in the context of Vancouver’s counterculture. Madeleine, an aspiring painter from Quebec, relocates to Vancouver at the height of the hippie era and has a series of encounters with men—a macho political radical, a fantasy figure-cum-young businessman, an older homeless man—which lead to self-discovery. The city and its paradoxes and politics are vividly evoked, while the era’s emergent feminism informs the film’s perspective.
This hilarious film alternates three kinds of material: footage of barking dogs, shots of streets and other locations, and a ludicrously overdetermined melodramatic story, illustrated chiefly by a series of stills (and occasionally by shots in motion) and narrated off-screen. The net result of its combined strategies is to reveal melodrama itself as a pure formal mechanism, with characters and plot reduced to the status of necessary props.
Writer-director Ari Gold’s 21-minute short film, HELICOPTER, recounts in impressionistic detail the aftermath of his mother Melissa’s death in the helicopter crash that also killed her boyfriend, promoter Bill Graham. Employing a narrative pastiche that includes acted vignettes, a black-and-white animated re-creation of the crash itself, poignant answering-machine voice-over and personal photos, Gold deftly conveys the fractured nature of loss: how memory, despair, indignation and even elation surge and recede in the mourning mind.
Mr. Drake and his wife live a nice, quiet life on their Sussex farm, until one of their ducks lays a radioactive egg made of uranium. After the government finds out about this, the armed forces storm onto the farm in a frantic search for the duck responsible.