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In a series of playful portraits, Líl̓wat children and youth go about their daily duties at the community’s summer camp outside Mount Currie, B.C. Infused with a sense of love, togetherness and pride, this short documentary is a remarkable visual archive of a Líl̓wat community through the beautiful faces of their young people. This short is part of the L’il’wata series. In the early 1970s, at the outset of her documentary career, Alanis Obomsawin visited the Líl̓wat Nation, an Interior Salish First Nation in British Columbia, and created a series of shorts that provide personal narratives about Líl̓wat culture, histories and knowledge.

This short vignette features coal mines in New Waterford and Glace Bay, Nova Scotia, along with traditional Cape Breton folk songs sung by Men of the Deeps - a miners' choral group.

The principle of stillness in Sequels in trasfigured times is like a botanical drying procedure for film which conserves a fixed but superb memory of the shapes.

Elders Mariane and Athanas Jacob – of the Atikamekw community of Manawan – demonstrate a moose-call horn constructed from bark. The beautiful horn is a vital tool in attracting moose, an essential animal in their culture and community.

This silent 9 minute film is like a 'pointillist painting' come to life - where grainy shapes reveal themselves to be part of a visual jigsaw puzzle - an assembly over time - and where the film-maker's daughter serves to be the subject of this painting in time. Razutis uses re-photography and camera movements that mimick the eye's 'saccadic eye movement' in revealing the visual sequence and interaction between daughter and father. The revelation is conducted over repeating sequences whose content is 'sampled' as if in the construction of a memory as puzzle.

This film by Salomonie Pootoogook features a pixilated performance by Timmun Alariaq. Created in Kinngait (formerly Cape Dorset) Film Animation Workshop on Baffin Island, a workshop established to teach animation skills to local artists. This is part of a collection of films by Inuit artists released by the NFB in 1973

A group of summer campers who haven't seen each other in over a decade are called up by the camp owner for a strange reunion. Each of the guests brings a ton of emotional baggage as they try to figure out why they are there and try to work out past differences to relieve the past.

Marshalore's You Must Remember This is an autobiographical narrative on the pressure to conform to a feminine stereotype of beauty. It deals with a series of small, intimate dramas where she sings old songs of the 1930s and 40s. If the text seem banal, the melodies derived from the title song combine with remarkable camerawork to create a wonderfully seductive atmosphere.

The film features a dance of the elements, filmed in the woods, beach and cliffs of British Columbia with the contemporary troupe of dancers from the University of British Columbia. The special effects, obtained by caches placed in front of the camera, dissolve, giving the images a symbolic impact, insofar as they geometrically evoke alchemical symbols.

After winning the American Triple Crown, Secretariat races at Woodbine, a Canadian track.

Canadian Pacific II is designed as a companion piece to Canadian Pacific I. Shot from a window two storeys higher and in the building adjacent to the artists’s studio of the previous year, one enters into a dream state… an involvement with a vocabulary of seeing and feeling by subtle transitions of the passage of time

Dressed in white against a black background, John filmed at one frame per second and used one-second exposures to create an effect of flapping wings and brushstrokes. In order to create the flying effect in his studio, he had to film with a mirror and interpret the story backwards (hence the teleprompter) and upside down. As a result, the film has to be shown from back to front, which in turn requires an adjustment of focus and frame lines differing from those of any film that has been shown just before or after. A film made in a single shot, filmed continuously for 45 minutes.

Film shot by a delegation of the Canadian Communist League (Marxist-Leninist) about the ways in which the people of the state of Democratic Kampuchea (1975-1979) were rebuilding their society through farming cooperatives and education while resisting United States, Soviet, and Vietnamese threats to their sovereignty. Although the film aims to celebrate Pol Pot and the Khmer Rouge as liberators of an oppressed people, viewers should be aware that the Khmer Rouge was responsible for committing genocide and killing 1.5 to 2 million people from 1975-1979 under Pol Pot's rule.

Film shot by a delegation of the Canadian Communist League (Marxist-Leninist) about the ways in which the people of the state of Democratic Kampuchea (1975-1979) were rebuilding their society through farming cooperatives and education while resisting United States, Soviet, and Vietnamese threats to their sovereignty.

Alanis Obomsawin shows children film clips about the struggle of a Cree boy who is caught between Indigenous and settler worlds. Following these clips, she has a discussion with the children about what they have seen.

East of Toronto on the shore of Lake Ontario, is the Pickering Generating Station, one of the world's largest nuclear power stations. Here it is used to explain how a nuclear power station works, showing the fuel bundles, calandria, fuelling machines, boilers, control room, turbine-generator and spent fuel bay. Part of the multimedia kit The Energy Crisis?. Produced by the NFB for Energy, Mines and Resources Canada.

For a young mother happiness can be an hour's stroll in the park with her sleeping infant--but happiness is short-lived when the baby begins to cry and the passers-by pause with freely proffered advice. Made of animated paper cut-outs, this film without words is a spoof about the self-styled child experts who are so caught up with their own views of what's best for a child that they fail to see the infant's real problem.

Travel as mediated spectacle, a time lapse journey from Vancouver to Reno and Las Vegas Nevada; speed as stasis, abstraction, violence, culminating in a 'televised abduction and police chase at the border' and a 'letter to home'. Within this long, high-speed with time-lapse drive through deserts and neon wastelands of 'Amerika', we can ask: 'Who is the voyeur, who kidnaps who, who is cruising the boulevards, and who is the object of the gaze'?

A fascinating dissection of a remote rural community's descent into barbarity as a result of WWII invasion fears.

The black-and-white images of the round-trip zooms in the Eira courtyard gate gangs slide over each other to form a hypnotic choreography of the film granules. Inspired by the work, Oka cites Malcolm LeGrice's book Abstract Film and Beyond (1977).

Videogramme, b&w, 1973

Burger and McKiggan document the lives of the low-wage working class in Halifax, Nova Scotia in the 1970s.

In the unauthored Video Inn Feedback, members of Video Inn explore the cosmic, seemingly limitless potentials of a camera and a monitor, pushing legible images into abstract plays of light and shape.

This film deals with the problems affecting the remote communities of the Labrador coast--particularly the relocation of families in more populated centres that offer better employment opportunities, school and medical facilities. The role played by the Labrador Film/VTR community development project is outlined.

The third film of David and Paul Pope's "Pope Trilogy" alongside Offstage Line and Slipway.

A drug encounter between a P.E.I. farmer and a hippie from "Upper Canada" who thinks he's Christ.

16mm film by Wyndham Wise and Richard Schoichet.

A half-horse, half-man pursues a young woman who turns herself into the same figure. Using a spare animation style, Straiton deals with a mythological subject that reveals his personal sense of humour. A beautiful film, set to original music, that is stunning in its simplicity.

An exceptional portrayal of the world's creation, from a barren landscape to the emergence of the Woman and the Serpent, ending with Society as we know it. The film is technically unsurpassed in plasticine animation.

"I strike the first pair of tuning forks on the edge of a table, raise and point them close to the microphone for their audible duration. they are placed in the middle of the frame in back of the mic. and the second pair is picked up repeating the same action. After the fourth pair has completed its duration, the sequence is repeated but this time they are placed outside the fame on each side. There is a third repetition where the forks remain, placed in the middle in back of the microphone. A simple scale progression is completed. The sound is recorded on audio tape separate from the film, so the sound and image gradually move apart. After the last pair is struck and positioned, the image goes blank and the sound continues for the amount of time difference between the image and audio." - David Askevold

"it continued to rain all day for some reason people started to talk about Delaware no one knew anything about it no one had been there or knew anyone from there..."

Elizabeth Bagshaw was a forerunner of the women's movement. As one of the first women to practise medicine in Canada, she had to overcome society's bias against women in medicine. During her seventy-year career she helped to instigate change in public opinion on that issue, as well as the issue of birth control. The film captures the personality of this remarkable woman through a contemporary interview and re-enactments of episodes from her youth. The sepia tones of the re-enactments are in keeping with the film techniques of the time, giving the viewer a strong sense of the period. The film is of special interest to persons interested in the evolution of women's roles in Canadian society.

A look at Jordi Bonet as he executed the work on the famous mural at the Grand Théâtre de Québec.

Two young men, one married and the other an “out” seventies clone, meet in a public toilet and have hot sex, but they’re caught through video surveillance.

"Betty Ferguson's 'Kisses', an hour-long anthology of film clips presented without titles or voiceover, is the sweetest and, in avant-garde terms, the most conventional film on the program. Although the kiss reached its supreme expression as the on-screen replacement for copulation in post-Code Hollywood, Ferguson's material is drawn largely from silent classics and the less-fetishized European cinema of around 1960. She compares her film to a patchwork quilt, but it's basically morphological, cataloguing clusters of shots where kisses are delivered to the hand, the neck, rained down on a beloved face, perfunctorily bestowed on a spouse, awarded to dogs, dolls, gun, etc." - J. Hoberman, Village Voice

Three different dreams of the city, three perspectives, in black and white with a soundtrack from student of John Cage, Bill Fontana... all in camera editing with a Bolex when experimental films meant something on film, raw, from the street, immediate and experiential... influenced by modern dance and the work of Ed Emshweller.

Surveys growing interest, especially among young people, in the occult, black and white magic, mysticism, and witchcraft. Interviews writer Colin Wilson, and shows a self-proclaimed New York Witch, a professor who claims that occultists are frauds and another who taught a course on witchcraft; also includes a high priestess of the New Jersey First Church of Satan.

A fast-moving montage of sounds and images from the punk-rockers.

In a motel room a TV plays the live broadcast of an eclipse. In the background, out the window, the street scene is dingy and dark. On the TV the eclipse passes. Outside, the street brightens slightly. Part landscape and documentary, Eclipse illuminates the improvisational nature where chance meets design and creates a great moment.

The principal and his wife at the Indian Affairs school in Waskaganish, James Bay, have initiated a curriculum development project with input from local people and resources from the community. The teaching materials are mainly in Cree and are drawn from Cree traditions.

Stones move through the landscape and take on the likeness of a human. Created in the Kinngait (formerly Cape Dorset) Film Animation Workshop on Baffin Island, a workshop established to teach animation skills to local artists. This is part of a collection of films by Inuit artists released by the NFB in 1973.

A film by Kai Oka

A film by Kai Oka

An illustration of the possibilities around electronically manipulating the colours of moving clouds. This formal investigation also makes it possible to experiment with other technical applications such as coloured titles, animation, etc.