Fabulous Festival of Fringe Film 2008

Fear Remembered

Schedule 2008Tickets and DirectionsFabulous Festival of Fringe Film HomeOpening ReceptionA Pathless LandFear RememberedPeople's ChoiceHandmade Film WorkshopHarvesting the YukonExperiments With TruthTrue Meaning of PicturesTrip-Hop MetropolisAndrew Lampert: Projection Performance



July 31, 9:00pm, Hanover Drive-In

by Phil Hoffman

Behind the Walls, Under the Stairs
Behind the Wall, Under the Stairs, Christina Battle

Looking back over the past seven years of Drive-In screenings at the Fabulous Festival of Fringe Film, there has been a steady growth in experimental filmmakers, in Canada, working on 35mm film. In the past, with regards to the short film, 35mm was primarily used either in the making of animated films, or, as a step in the process of making dramatic features, sometimes called ‘calling card’ films. In my own curation of this Drive-In screening, over the years, I have had to rely heavily on 35mm independent or ‘alternative’ films made in Europe or the USA. This program attests too a new development in experimental filmmaking in Canada, as nine Canadian films have been selected, all on 35mm, utilizing a wide range of processes from hand processing to tinting and toning, painting/scratching on film, to experimental animation. This development is occurring for several reasons. There is a backlash against the proliferation of digital imaging techniques and processes that are primarily computer-based. Many artists prefer to work in a more visceral way, through hands on approaches more akin to painting and sculpture. Some blend a digital practice with a hands-on DIY approach. As well, for example in Toronto, there are more film co-ops (LIFT & CFMDC) and labs (Niagara Custom Labs), and alternative screening venues (Pleasure Dome). Certainly our own experience at the Fabulous Festival of Fringe Film has shown us that there is a diverse contingent of filmmakers and film viewers interested in an alternative audio-visual culture. Finally, developments in distribution of alternative images, through the internet, has increased the awareness of experimentation of image and sound.

We hope you enjoy this program of imaginative films which offer a wide range of subjects, and techniques: the autobiographical Phantom Limb by Jay Rosenblatt, in which the filmmaker tells a personal story about the loss of his seven year old brother, as a point of departure to deal with the universal stages of grieving; the exquisite lingering camera work which confronts us in John Price’s Camp Series and The Boy Who Died; cinematic manifestations of anticipation and fear in Sami van Ingen’s Deep Six as well, an ornate sense of fear greets us through Sebast jan Henrickson’s, Death Part 1; the universe of the spider, and the emotional charge of its bite is explored through Christina Battle’s Behind the Wall, Under the Stairs, and through Andrew Lennox’s obsessive spider-like construction and psychological re-construction, A Noiseless Patient Spider; the exquisitely crafted, musical works of Madi Piller, in Toro Bravo and L’Estranger, in which several techniques are combined including optical printing, painting on film, cut-out animation and charcoal drawings; the thoughtful, stop-motion, political critique, Afghanimation by Allyson Mitchell; and the perfectly pitched cinepoem, brings the night to a close, and us closer to our dreams through Joshua Bonnetta’s, By Grace.


Camp Series # 2
(Canada, 2007, 7 min)
John Price
Impressions of a visit to a duck hunting camp and the phenomenon of hunting for sport. Price observes his young son amidst the iconography of guns, stuffed trophy kills, and other remnants of mid-20th Century notions of masculinity.

Behind the Wall, Under the Stairs
(Canada, 2006, 3 min)
Christina Battle
Imaginary photograms crawl across the emulsion, their flow arrested via re-photography. These marks look like multi-hued spiders crawling towards a new birth. Again and again, they are falling from the horizon of the frame line in warm hues of red, purple and brown. `The spiders are organising themselves… One day soon they’ll take over.’

Toro Bravo (Brave Bull)
(Canada, 2007, 3 min)
Madi Piller
Toro Bravo is a beautiful experimental animation which uses a variety of materials - including charcoal drawings, sand, cut-outs and photocopies - to depict a bull fight. The film expresses the filmmaker’s sadness at the brutality of our times, and the omnipresence of violence as spectacle. Toro Bravo was created using a blend of digital and analogue techniques.

Phantom Limb
(USA, 28 min)
Jay Rosenblatt
Phantom Limb uses the filmmakers personal story of the loss of his 7 year old brother, more than 40 years ago, as a point of departure to deal with the universal stages of grieving. The film reminds us that while grief is painful and isolating, it is a reminder that life is impermanent, and death is inevitable.

Death Part 1
(Canada, 2006, 2min)
Sebastjan Henrickson
Here today gone tomorrow. This ornate depiction of the unpredictable nature of death and its ever-present threat, was created using a very special re-photography technique. Re-shooting handcrafted collaged images adds to the anxiety felt by a friend’s sudden death.

Death Part 1

A Noiseless Patient Spider
(Canada, 2006, 12 min)
Andrew Lennox
A film constructed like a spider’s web. Inspired by the Walt Whitman poem of the same title, this handmade film deals with the way memories, in the form of home movies, bind within the brain and dissipate through dementia, like the building and degeneration of a spider’s web. The film serves as a compendium of psychic disorders and phenomenon.

(Canada, 2008, 6 min)
Allyson Mitchell
Afghanimation uses stop-motion animation to weave a critique of military/media relations and the complacency of Canadians in smothering, camouflaging and covering up the real stories that come out of the history of occupation and war in Afghanistan. This film is also homage to Canadian filmmaker Joyce Wieland’s evocation of the domestic in order to critique nationalism and foreign policy – which is sadly still relevant and current.

Deep Six
(Finland, 2007, 7 min)
Sami van Ingen
A logging truck recklessly rolls towards the camera in this finely crafted, cinematic symphony of anticipation and fear. The film is built on an excerpt from the Hollywood B-movie, The Rage (1998), in which van Ingen has skillfully re-photographed using a photocopy machine and re-edited, stripped of any remnant of narrative convention.

L’Etranger (The Stranger)
(Canada, 2006, 3 min)
Madi Piller
A repetitive portrait of fear and despair is the human condition evoked by the absurdity of crimes committed in the name of humanity. The Stranger is a hand-made film, printed on a b/w home printer, hand-painted and optically printed in 35mm.

The Boy Who Died
(Canada, 2007, 7 min)
John Price
John Price continues his diaristic musings and exterior explorations in the elegiac, The Boy Who Died, a homage to near death. Exquisitely shot by Price on crisp hi-con film stock, the work resonates the essence of the far north as isolating and foreboding. The footage was shot after hearing that a girl, Price had filmed a week earlier, was severely injured in a snow mobile accident.

By Grace
(Canada, 2006, 4 min)
Joshua Bonnetta
In this small rumination on loss and leaving, By Grace expresses the abilities of film to represent memory and the imagination. This exquisite dream-like gem, makes use of direct animation, composited photograms, painted chemistries and archival family footage, all grafted together through optical printing. The images are complimented with an array of distant sounds which blends processed field recordings, analog electronics and found family recordings.