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Because We Are Girls

Three sisters have spent years bracing themselves for the pivotal moment that opens this film: the final verdict in their trial against their cousin, their childhood sexual abuser. From there, the story returns to their memories of growing up in a large and insular Punjabi-Canadian family in the small mill town of Williams Lake, British Columbia. With unflinching candour, the sisters discuss their family's dark secrets and expose a toxic family culture that relied on female subservience and obedience. These roles, they acknowledge, have deeper roots and have in part been reinforced by the Bollywood films that have structured their fantasies of romantic relationships. While the film tells a difficult and confrontational story of abuse, it is also a celebration of the loving sisterhood that allows these women to demand justice for the wrongs of their childhood years.

Because We Are Girls

4.0 2019
The Quoddy Fold

"The Quoddy Fold" is an intimate interaction between a woman and a derelict coastal house. In this one-hour film Phillips dismantles and studies the movement from wood to dust, damp paper to mold, and ponders the house folding back into the land and sea. Phillips' performance constantly seeks evidence of dissolving boundaries, thingness, history and intersubjectivity of space, place and species. Through the poetics of the ruin "The Quoddy Fold" is an interrogation of dwelling and landscape giving space to entertain the ecological, cultural and societal anxieties surrounding impermanence.

The Quoddy Fold

NR 2019
Not Moldova 1937

"In another virtuoso turn, the artist brings her exemplary camera eye to Moldova, home of her grandparents, before they were driven out along with their Jewish comrades, thousands of them killed. Fragments of survivor testimonials mix with archival photographs and objects, along with present-day city celebrations (what is being forgotten in these civic rites of memory?). Haunted natural scapes grow over the dead, the abandoned graveyards and stones mark the places where culture and community used to be performed. This is a synoptic act of grieving, but also: a summoning of the present, a conjuring of the thousand ways that the betrayals of neighbours and friends marked out the Jews who had lived peaceably amongst them for generations, newly caught now in a terror of state oppression and greed."- Mike Hoolboom

Not Moldova 1937

NR 2019
The Spirit Keepers of Makuta'ay

Yen-Chao Lin travelled along the east coast of Taiwan – an area characterized by its wild nature, colonization and population exodus. The Amis is the largest of many ethnic minorities in Taiwan officially recognised as indigenous peoples. In search of different spiritual practices belonging to the indigenous people of Makuta’ay, Yen-Chao Lin places the memories of the old Amis spirit keepers on an equal footing with the practices of Daoist rituals and Presbyterian burials, allowing personal prayers to resound and collective resistance to emerge. The Spirit Keepers of Makuta’ay was shot on Super 8 film and developed by the director by hand. The effects created during the development process add an additional layer of spiritual interpretation. A miniature, an essay, an impressionistic painting.

The Spirit Keepers of Makuta'ay

NR 2019
Berta Boys

‘Berta Boys is a short film and exhibition that contemplates the teetering instability of Alberta’s hyper masculine identity. For Terrence, this exaggerated posturing has fused Alberta’s aesthetic and economic identities into a petrol-philic culture that is put on display via hyper-masculine regionalisms; roof-racks, lift-kits, oil-slogans and truck nuts, these are the accessories of the twenty-first century petrol cowboy. Driving forward with a self-assured camp, Berta Boys looks to open up this imagery by creating an isolated world where men turn their violent gaze on each other. Terrence is joined in the film by fellow Albertan artists Aaron Brown and Gabriel Esteban Molina as co-writers and co-performers. In an effort to explore the masculine archetypes found within themselves, the trio meditate on the unrestricted behaviours that blend tragedy with absurdity.

Berta Boys

NR 2019
Random Is My Favourite Colour

Lyle Reimer is about to put the finishing touch on his latest art piece, taking recycled trash and glueing it all to his face, revealing Lyle XOX. While in Vancouver, he's preparing for a big shoot in Tokyo, that will set in motion the launch of his book and window display at Bergdorf-Goodman in New York City. Throughout this journey to fame, Lyle is reminded of the past, and needs to connect with it, his family, his friends, and his childhood in rural Saskatchewan in order to make peace and move on.

Random Is My Favourite Colour

1.0 2019