2,498 Matches Found
Seven women, ages seven to ninety-five, discuss their ideas on the concept of female beauty. The women are not only diverse in their ages but also in their cultural and religious backgrounds. Each woman is asked the same set of questions and while their answers vary, a similar message is revealed.
Abrasive, class critical, sexually loaded performance is erupting again in the 90's in self-funded venues as an assault against the resurgence of evangelical "family values" and the scapegoating of poverty. Dirty Babette Productions is a sporadic series of cabarets produced by lesbian writer/performer Christy Cameron. The emphasis is on dyke-core reading-rants and media art, transgender performance, pseudo-sex shows, and audience dress-up. The Manifesto is performed by Christy Cameron at “Dirty Babette’s Strange Attractor” (Toronto 1997).
A hand-processed film that blurs the false duality of gender roles and the dubious distinctions between femininity and masculinity.
Hoolboom takes the music video for Madonna's "Justify My Love" and runs it alongside a transgressive letter to Madonna from her schoolmate, Jason.
Intersections of the autobiographical voice (in the realm of mythic/memory and the personal) co-mingle with the historical, to produce a film that is neither an "official historical document" nor a "personal history." Instead, "Coconut/Cane & Cutlass" is a hybrid fusion of the autobiographical, historical and experiential, in an episodic structure that is richly textured and layered with optically printed imagery, front-screen projection, re-created archival images, oral narratives/histories, a spirit dance, and theatrically stylized dramatic scenes. The poetic, fragmented style and structure of the film represent the exile's internal struggle to "reconstitute" her own sense of self in relation to her history and ancestry.
An experimental documentary about disclosed secrets, social prejudices, and the fragile memories of a dysfunctional family.
A murderous tree attacks people at lakeside lodge.
Testimonies of women and men living with HIV or AIDS on life, love and their illness.
The story of the exquisite torture suffered by high school students on a daily basis. Our hero is both sullen and gay. He feels isolated and alienated but he is not alone - they're all caught up in a big daisy chain of unrequited love and teen trauma.
Spoof focusing on Joe Private as the detective who does everything wrong.
A filmmaker searches for two Canadians who flew to the moon in 1959, but because they were Canadian, were too modest to tell anybody about it.
The work centres around St. John's poet Gerry Rubia and her poem Out On A Limb and takes a whimsical look at physical disability in a way that's truly Gerry. The piece hopes to capture her spirit and sense of humor.
Some images, maybe a little bit of music, some people talking with each other, you know what? Just watch it. I didn't yet. Not that I don't want to, but I'm busy you know. School and everything.
A life lived in cars and a last race with the devil...
Through a unique combination of visual images the video plays with a certain vision of reality and illusion - histories and culture(s) and the ambiguities of a cultural or a national identity. The artist combines the work created - video and computer techno-applications to explore her aesthetics ... Each set of geographical, political and sociological circumstances prescribe different labels. We come to believe in labels and to limit ourselves within the parameter of that imposed identity. We have to struggle to mediate between what we know to be the self and the outward deluge of imposed descriptors.
The Colour of Immunity was an early prevention video created by Glace Lawrence and Black CAP (with original music from David Findlay) for the Toronto Living With AIDS series. This video was the first HIV/AIDS-themed video produced exclusively for and by African, Caribbean, and Black communities in Canada.
This is Just To Say was made in the summer of 1999 through a workshop opportunity offered by Inside Out Toronto Lesbian and Gay Film and Video Festival for queer youth. This is Just to Say documents several young men and women’s first queer experiences through interviews accomplished by simply approaching strangers on a busy Toronto street on a Sunday afternoon. Through invasive conversation This is Just to Say explores personal narrative and identity politics in the "post" era; a testament about being young and queer in 1999.
Fairy dust, hot babes, a fairy godmother on a motorbike, and three wicked stepsisters are some of the characters in this fun lesbian reworking of the classic fairy tale.
Moody, edgy and unrelieved: the duplicity of desiring one’s double.
“During the late 1980’s and early 1990’s the Canadian military undertook a series of witch hunts aimed at interrogating and intimidating gays and lesbians serving in the military. I was one of those investigated. This is my story."
Bradley explores her own phobia of being identified as a butch in this diaristic examination of internalized lesbophobia.
A documentary about Vancouver's High Risk Society, a non-profit organization which operates as a drop-in centre for street active, transgender, and HIV positive persons. This engaging video is dedicated to the memory of the transgender people who have passed away since its inception.
Making out, speaking out, coming out. Queer youth gettin' busy with a camcorder at Gulf Islands Film and Television School (GIFTS).
A Jewish lesbian explores the contrast between constructing identity through the voluntary shaving of her head and the forced shaving of women's heads during the Holocaust as a means of erasing identity.
A Canadian short film about learning queer theory.
The Mod Squad meets Faster Pussycat meets Queer Nation with Fast Car.
Boulevard of Broken Sync is about a lover's revenge.
In this queer Asian spoof of karaoke, a new boy in town discovers the dark side of the big city. The story follows his adventures to an underground club where sex and murder are in store.
In 1995 when Thirza Cuthand was 16 she felt like the only lesbian at her Saskatoon high school. This turned out to be untrue, but the lack of visibility in her high school coupled with the lack of representation of queer teenagers in the 90's made her make her first video, a comedic short about teenage lesbian loneliness and trying to bribe classmates to come out with the promise of candy.
Moving from Mapplethorpe's gaze that objectified the body, to the perspective of the subject, this video challenges media stereotypes of Black masculinity, the body as form and the Black man as object.
Reflections by Sikh women on identity, sexuality and lesbianism within Sikhism. This provocative and challenging film is groundbreaking in that it is the first time that voice has been given to Sikh lesbians.
Emerging from the multiple perspectives of this film, a memory of a neighbourhood is recreated which tells of the fragility of working class habitats residents and workers from southwest Montréal recount its tragic history: The immigration and settling of the Irish in the 19th century the expropriation of Griffintown the destruction of Goose village. The industrial decline of Pointe-Saint-Charles and surroundings.
"Montreal's Stonewall! In July 1989, riot police broke up a predominantly gay and lesbian party, assaulting party-goers and arresting eight people. Two days later, club-wielding police brutally attacked a mass demonstration in broad daylight, leaving dozens injured and 48 arrested. We're Here tells the story of communities coming together in the face of police brutality to organize, demonstrate and demand their rights as citizens."
The cold, the snow, winter in black and white, all to reinforce missing the warmth, colours and scents of Tunisia.
Bare uses the documentary form to explore an unconventional subject matter-women who shave their heads. Three women talk about various personal experiences, touching on issues of identity and retaliation over the stereotyping of women of color, and how they use shaving as a personal, political action to achieve empowerment.
The Dance of Life features the extended monologue of a first-generation Canadian woman. This stream-of-consciousness reflects a discourse of existence fractured among the many "characters" seen in the film. A dizzying exploration of many people in the process of becoming many other people. Inevitably this cyclical dance, this tautology of existence, leads us to "la vie c'est la mort".
A hyperlapse of Montreal, shot in single frames on a Bolex, capturing a unique journey through time and space across the city.
The hidden life of a big city conceals secrets such as Satanic masses, snake worshipers, massage parlors, women's lingerie direct sales, the therapeutic pyramid, extra-terrestrial visits, chiromancy, and strange cults: all these phenomena attract the filmmaker's attention. Exotic dancers are given top billing in this exploration of drug addicts, prostitutes and protagonists engaging in various unusual underground activities in Montreal and surrounding area.
In the attempt to find out how and why her sister died, a young woman discovers her sexuality. How her desire for women is held prisoner in the mourning and mystery surrounding her sister's suicide.
Through choreography and performance by Susanna Hood, and editing and effects in exposure caused by hand-processing, "The Light in Our Lizard Bellies" reflects the intensities that discombobulate us as we go through change and face parts of ourselves previously denied or unknown.
This film is animated in the rough collage style that James MacSwain has made his own. Utilizing a series of vignettes, the film traces the story of the child born to Marilyn Monroe and President Kennedy. As the satire unfolds, the story becomes a metaphor for the collapse of the American Empire due to mysticism and drugs.
Animated magazine cutouts of two men having sex lead into appropriated gay porn images, blurred to the point where they become abstract colour and motion. All this is set to pastoral sounds, sex noises, and a reporter's voice-over about the RCMP’s “fruit box” experiments - official and ludicrous attempts to expose closeted gay men.
Laurie Maria Baranyay makes her feature debut with this raw, gritty character study of a young woman struggling to come to terms with herself. The film centers on Mikey, a lass sporting vintage threads, platinum blonde hair, and a series of ugly bruises on her face. At the movie's outset, Mikey has a woodland rendezvous with her thuggish boyfriend Adam. After a round of unsatisfactory sex, Adam starts to heap drunken abuse upon her after Mikey reveals that she has to be at her sister's birthday party where Adam is expressly not invited. Mikey eventually stumbles in to the party late, which infuriates her family who cannot understand why she continues to date such a loser as Adam. But Mikey continues to stand by her man, and the physical abuse he inflicts on her. Later, she has more run-ins with her sisters, and a sleazy ex-beau who rapes her on a bathroom floor. When morning dawns, Mikey and her mother have a heart-wrenching talk.
Zig zag pictures dance to zig zag sounds; both sound and picture drawn onto 35mm film.
Lovers take a vacation
A film about Canada in a time of flux. It chronicles a journey from Batoche in Saskatchewan to the Plains of Abraham at Québec, two decisive sites upon which the fragile foundations of Canada were constructed. The journey breaks off in polyphonic reveries on home, histories, and stories from the road; moving forward through the landscape, drifting off in memory.
Animates the surreal "biomorphs" created by celebrity zoologist Desmond Morris in his paintings. Morris wrote in The Secret Surrealist: "My greatest desire is to jump through the frame of one of my paintings, like Alice through the looking-glass, and disappear forever into my surreal world." A clip from Hybrid Vigour appeared in the BBC2 Personal Passions Series II - Episode One: Desmond Morris - The Surrealist, 1999. Zoologist Morris is author of The Naked Ape and The Human Zoo, host of many TV specials, art curator, and a world-class surrealist painter since the time of the original Surrealist group. Paintings were redrawn in Animator Pro and transformed, with permission from Morris, from reproductions in the book "The Secret Surrealist."
Ottawa 90 Signal Logos compilation. International Animation Festival.
A free adaptation of eight choreographic pieces of "Infante, c'est destroy". In addition to La La La Human Steps dancers, actress Markita Boies takes part in this feature-length feature film. Contemporary dance confronts the world of Diego Velasquez, the great painter of the Spanish Renaissance.
Pre-schoolers are playing in a parc. Time stops and transforms their games into conflicts. 16mm / b&w / sound
No Harbour for War documents the active movement in Halifax against the Gulf War of 1991 and the role of war played by Halifax from its founding in 1749 to the Expulsion of the Acadians in 1755, WWI and the Halifax Explosion of 1917, and the many wars of the 20th century.
A bear assaults a rabbit, beginning a chain of cruelty.
A ghost/tourist takes a trip with two lesbians.
Decades before the Truth and Reconciliation Commission, Shirley Bear was defying repressive colonial narratives with inspiring imagery of Indigenous womanhood. Catherine Martin profiles the Wolastoqiyik/Malecite artist known as Minqon Minqon (Rainbow Rainbow).
The nostalgic story of The Monteith Inn, in the Muskokas, run by Karen Shopsowitz’s grandparents, Harry and Jennie Shopsowitz, from 1935 to 1949. Originally seen as a haven for Canadian (and American) Jews who were kept out of restricted clubs, the hotel soon became a colourful part of the province’s Jewish history.