This past winter I taught a graduate seminar course at Mel Hoppenheim School of Cinema (Concordia University) entitled “Curatorial Practices and the Politics of Programming.” It was a fantastic and meaningful experience and I was fortunate enough to have 13 engaged students, all of whom suffered along with me as I attempted to make sense of my overly-ambitious and newly minted syllabus. After a few weeks of the course and after several discussions around programming ethics, responsibilities, practices, and outcomes, we decided to compile a list of questions that someone curating or programming film might…read more
I love this short Argentine animation film Padre, and I think you will too. If the film piques your interest into animation production, then check out the wonderful making-of short the filmmakers have so generously provided here.
North America’s largest and most sweeping doc-deluge, the Canadian International Hot Docs Festival, is once again in full swing, and the moment wouldn’t be complete, for me at least, without some form of commentary that assesses this institutional giant as it marks another year. In that spirit and as with past “taking stock” previews (2014 is here, 2013 is here and 2012 is here) of Hot Docs, I humbly present my take on this year’s fest, divided into three Sergio Leone-inspired sections: what’s promising, what’s looking like a fixer-upper, and…read more
I’ve watched over 50 documentaries in the last two weeks (and many more over 14 years of programming), and here’s what I’m thinking:* The first point is so crucial that I’d like to just put it up front and center, then get on with the lesser evils of contemporary documentary filmmaking: If white people, who are usually or always cis-gendered males, are featured in your film as the only subjects, protagonists or voices of authority, then you have either made a film about a small remote sect in some distant…read more
An incredible short film based on a photograph (thank-you Hesam Hanafi). Wind (Szel) by Marcell Iványi, won the Cannes Palme d’Or in 1996.
It’s springtime in Toronto and that means Canada’s premiere documentary showcase is back for another jam-packed ten day event that will deliver the world of doc to eager local audiences and international festivalgoers. This is Hot Docs‘s first year with new Executive Director Brett Hendrie steering the ship (Chris McDonald is now overseeing the Bloor Hot Docs Cinema) and it looks like Hendrie has continued his predecessor’s legacy of putting on huge, popular and energized festivals. In particular, the Hot Docs talks this year look fantastic, with discussions around environmental…read more
This just in! NSCAD University has informed me that they will indeed offer my class, “Cinemas of Globalization” this summer. I’m thrilled to be heading to Halifax for May and June to teach this intense, around-the-world course on the cultural, social, historical and political context of non-mainstream and non-Western cinemas! Now, it’s time to curate the playlist and accompanying texts – sweet!
These two short political satires (above) are from different eras (1986 and 2013, respectively) and tackling totally different issues (colonization/racism and sexuality/homophobia, respectively), but watching the newer of the two, Love Is All You Need totally reminded me of BabaKieuria, a classic that has been long-forgotten in the canons of political cinema.
Twenty years ago today, it was a year like any other. The ceremonial swap between less liberal and more liberal leader of the United States took place when Clinton picked up where Bush left off (launching a cruise missile attack on Iraq just half a year into his term and fine-tuning the ongoing regime of domestic and international deregulation for the next eight), Czechoslovakia emitted more post-Soviet fragmentation moans and became two independent states, North Korea announced its imminent withdrawal from the Nuclear Nonproliferation Treaty, and Canada saw the four-month…read more