To celebrate our fifth year anniversary we’ve given ourselves the challenge of programming (and projecting) an evening of double projections!
Vanessa O’Neill’s sublime Suspension uses rephotography, tinting and superimposition to turn a westward view of the Pacific Ocean into a sublime interplay of waves, light and grain. Malcolm Le Grice’s classic Berlin Horse is an early film that explores the possibilities of the loop, taking a short fragment of a silent film and subjecting it to a series of colour processes amplified by the phased music of Brian Eno. Daichi Saito’s Never a Foot Too Far, Even is a contemporary expansion, superimposing a section of a Kung-Fu action film into a perceptual play, accompanied by a violin composition by Malcolm Goldstein. Tonight’s screening of Visions in Mediation #2: Mesa Verde, Stan Brakhage’s vision quest to the ruins of the Ancient Peublo cliff dwellings in Southwestern Colorado is amplified by a second print given to Kate MacKay from the filmmaker as a gift. And finally, a third projector will be sparked to present For My Crushed Right Eye, Toshio Matsumoto’s ode to the social unrest and expansion of the late sixties, all of which threatened to burst out of the frame.
Suspension, Vanessa O’Neill, 2008, USA, 2 x 16mm, 10 min.
Berlin Horse, Malcolm LeGrice, 1970, UK, 2 x 16mm, 9 min. Score by Brian Eno.
Never a Foot Too Far, Even, Daichi Saito, 2012, Canada, 2
x 16mm, 14 min. Score by Malcolm Goldstein
Visions in Meditation #2: Mesa Verde, Stan Brakhage, 1989, USA, 16mm (+1), 18 min.
For My Crushed Right Eye (つぶれかかった右眼のために), Toshio Matsumoto, 1969, Japan, 3 x 16mm, 13 min.
SPECIAL THANKS: to our hosts for 5 years the Gladstone Hotel!
Thanks also to steadfast supporters Canadian Filmmakers Distribution Centre (CFMDC) and the other helpers for this program: Image Forum (Tokyo), LUX (London), Tomonari Nishikawa, Liaison of Independent Filmmakers of Toronto (LIFT) and the artists!