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The Scribe

Comedy short produced by the Construction Safety Association of Ontario, Canada. It demonstrates the dos and don'ts of construction site safety. The film is the last professionally filmed footage of film legend Buster Keaton, shot months before his death from lung cancer on February 1, 1966. He recreates several routines from his youth, as well as some new material for the film. Most notable was his recreation of a gag from his 1918 film The Bell Boy in which he mops the floor using only the tip of the mop, little by little while sitting on the floor.

The Scribe

6.2 1966
Macbeth

This is a very theatrical version, full of sound & fury, histrionics and big arm movements. Cynical audiences might not buy into it, but if you were to go back to the early 1600s this is probably the way you'd see it. The plot of Macbeth, if you were snoozing during high school English class, is about an 11th century Scottish warrior who hatches a dubious plan to steal the throne. Spurred on by his wife Lady Macbeth, who wears the pants in the household, he finds himself swiftly slipping down the path of evil.

Macbeth

4.8 1961
The Best Damn Fiddler from Calabogie to Kaladar

"The Best Damn Fiddler from Calabogie to Kaladar" tells the story of Emery Prometer, a proud bush worker in Ottawa Valley, resisting government aid to support his family. The film compassionately depicts their struggles and the resolve of Emery's daughter, Rosie, (Margot Kidder in her film debut) to break the cycle of poverty through education. This '60s NFB standout authentically portrays their dignity amid hardship, showcasing Canadian filmmaking despite hurdles from private broadcasters' cost concerns. The Best Damn Fiddler from Calabogie to Kaladar won eight Canadian Film Awards, including Best Picture (John Kemeny, Barrie Howells), Director (Peter Pearson), Cinematography (Tony Ianzelo), Screenplay (Joan Finnegan) and Lead Actor (Chris Wiggins).

The Best Damn Fiddler from Calabogie to Kaladar

7.7 1969
Palace of Pleasure

John Hofsess’s The Palace of Pleasure emerged from the psychedelic haze of 1960s postmodern art. It was a blistering work that combined arresting abstract imagery with the wounded expressions of a young couple, edited into a collage of mass culture imagery and album and book jackets, all of it framed as a therapeutic treatment. Addressed to a generation coming up in an era of protest and social change, where many found themselves increasingly burdened with hopelessness, paranoia, and neurosis, The Palace of Pleasure was offered as a cleansing ritual, a post-Freudian expelling of dammed-up energies that anticipated The Primal Scream. In this video, Stephen Broomer discusses Hofsess’s therapeutic ambitions, how the film was composed of Hofsess’s earlier films, and the sensual spell of the work, the way in which it commands us to enter into a universal fellowship of touch that circulates, from us to us, through us, to strain the boundaries between the self and the other.

Palace of Pleasure

7.0 1967
Polar Life

Polar Life’s novelty was its theatre, with the audience seated on a central rotating turntable in the middle of eleven fixed screens. Viewers have described the intricate juxtaposition of screen images and narration and the complex relationship created between moving spectators and multiple screens. Documentation images and scripts of the bilingual narration by Lise Payette and Patrick Watson show elaborate temporal and spatial representations of the Arctic and Antarctic regions: the Inuit in daily activities in the Canadian North; other northern peoples of Alaska, Lapland, and Siberia; and settlers from the South, scientists, explorers, and other inhabitants of the landscape, including reindeer, bears, and birds. Archival film footage of early northern explorers, combined with newly shot documentary footage, was edited across the various screens to create spatial relationships that are sometimes coherent, sometimes fragmented.

Polar Life

NR 1967
Geneviève

Two teenage girls go to winter carnival in Quebec City for the first time. Their ambiguous, tentative relation with a young boy brings both of them the sweet intensity and disillusionment of first love. One of four film sketches on the problems of adolescents facing the adult world in the 1960s included in the anthology film That Tender Age (La fleur de l'âge, ou Les adolescentes). The three other sketches were directed by Jean Rouch, Hiroshi Teshigahara, and Gian Vittorio Baldi.

Geneviève

6.7 1964
Attiuk

The people of Unamenshipu (La Romaine), an Innu community in the Côte-Nord region of Quebec, are seen but not heard in this richly detailed documentary about the rituals surrounding an Innu caribou hunt. Released in 1960, it’s one of 13 titles in Au Pays de Neufve-France, a series of poetic documentary shorts about life along the St. Lawrence River. Off-camera narration, written by Pierre Perrault, frames the Innu participants through an ethnographic lens. Co-directed by René Bonnière and Perrault, a founding figure of Quebec’s direct cinema movement.

Attiuk

9.0 1963
The Ballad of Crowfoot

Released in 1968 and often referred to as Canada’s first music video, The Ballad of Crowfoot was directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB. The film is a powerful look at colonial betrayals, told through a striking montage of archival images and a ballad composed by Dunn himself about the legendary 19th-century Siksika (Blackfoot) chief who negotiated Treaty 7 on behalf of the Blackfoot Confederacy. The IFC’s inaugural release, Crowfoot was the first Indigenous-directed film to be made at the NFB.

The Ballad of Crowfoot

6.8 1968