This short film from Arthur Lipsett is an abstract collage of snippets from discarded footage found by Lipsett in the editing room of the National Film Board (where he worked as an animator), combined with his own black and white 16mm footage shot on the streets of Montreal and New York City, among other locations. A commentary on a machine-dominated society, it is often cited as an influence on George Lucas's Star Wars and his conceptualization of "The Force."
Documentary about Harvard-trained theologian Stephen Jenkinson, a grief counselor who teaches that death empowers us to live and that we must not only accept death but embrace it.
A playful exercise in intermittent animation and spasmodic imagery. Playing with the laws relating to persistence of vision and after-image on the retina of the eye, McLaren engraves pictures on blank film creating vivid, percussive effects.
Four-time Emmy winner John Kastner was granted unprecedented access to the Brockville facility for 18 months, allowing 46 patients and 75 staff to share their experiences with stunning frankness. The result is two remarkable documentaries: the first, NCR: Not Criminally Responsible, premiered at Hot Docs in the spring of 2013 and follows the story of a violent patient released into the community. The second film, Out of Mind, Out of Sight, returns to the Brockville Mental Health Centre to profile four patients, two men and two women, as they struggle to gain control over their lives so they can return to a society that often fears and demonizes them.
A documentary film about a group of hunters who gather annually to hunt moose near Maniwaki, Quebec.
A cinematic portrait of people walking in their individual ways.
Delves deep into the anxiety, thrill and uncertainty of six aspiring animation artists as they are plunged into the twelve-week trial-by-fire that is the NFB's Hothouse for animation filmmakers.
A worker, called in a hurry to remove the snow in the city street, try to buy his remaining gifts in the tumult of Christmas eve without quitting his work.
This short film is a portrait of Tofino, BC intertidal artist Pete Clarkson as he crafts his most ambitious and personal project to date: a memorial to the 2011 Great East Japan earthquake and tsunami. He, like so many of us around the world, was deeply affected by the disaster. Years later, as splintered and mangled timber and other objects started to wash ashore, the disaster hit home again for Clarkson, and the inspiration for his memorial was born. In Clarkson’s caring hands, the remnants from the Tohoku region take on a life of their own as he shapes them into a unique public sculpture. The result is an evocative memorial that is a site of remembrance and contemplation, and an emotional bridge connecting an artist, his community and a people an ocean away.
Seances, co-created with the National Film Board of Canada, presents a wholly new way of experiencing film narrative. By dynamically generating a series of film sequences in unique configurations, potentially hundreds of thousands of new stories are conjured by code. Each will exist only in the moment—no pausing, scrubbing, or sharing—offering the audience one chance to see the generated film. This project, co-created by the ever imaginative Guy Maddin, is a visual discourse on the impact of loss within film. All the sequences pay homage to lost silent films from the early day of cinema. Seances is nostalgic but it is also frequently hilarious. Part of the joy and sadness of Seances is that many possible narratives are created but they can be only viewed once before they disappear forever.
Madame Tutli-Putli boards the Night Train, weighed down with all her earthly possessions and the ghosts of her past. She travels alone, facing both the kindness and menace of strangers. As day descends into dark, she finds herself caught up in a desperate metaphysical adventure.
This short film features 4 readings of a prose poem from Leonard Cohen’s novel Beautiful Losers. Read by Cohen himself, the poem produces a distinct emotional effect every time it is read, following the poet’s rendition and accompanying visuals.
Canadian actress and filmmaker Sarah Polley investigates certain secrets related to her mother, interviewing a group of family members and friends whose reliability varies depending of their implication in the events, which are remembered in different ways; so a trail of questions remains to be answered, because memory is always changing and the discovery of truth often depends on who is telling the tale.
High school is over, summer is ending, and Jake must say goodbye to his best friend Sarah but can’t. Instead, he confesses his true love and his desire to go with her. When Sarah rejects him, Jake seeks out escape by any means necessary: random sex, violence, going crazy, even buying into Charles’ deluded dream of driving to Toronto to become a stand up comic. But Jake’s real escape route leads not along the open road. It leads in the direction of a crazed dancing stranger.
From the moment she was born, Vaysha was a very special girl. With her left eye she can only see into the past, and with her right she can only see the future. The past is familiar and safe, the future is sinister and threatening. The present is a blind spot. In captivating parabolic imagery, the award-winning animation artist Theodore Ushev illustrates the world through Vaysha’s eyes.
This animated short follows an unwanted baby who is passed from house to house. The film is the Canadian contribution to an hour-long feature film celebrating UNESCO's Year of the Child (1979). It illustrates one of the ten principles of the Declaration of Children's Rights: every child is entitled to a name and a nationality. The film took home an Oscar® for Best Animated Short Film.
In this Oscar-winning short film, Norman McLaren employs the principles normally used to put drawings or puppets into motion to animate live actors. The story is a parable about two people who come to blows over the possession of a flower.
Rosie Ming, a young Canadian poet, is invited to perform at a Poetry Festival in Shiraz, Iran, but she’d rather be in Paris. She lives at home with her over-protective Chinese grandparents and has never been anywhere by herself. Once in Iran, she finds herself in the company of poets and Persians, all who tell her stories that force her to confront her past; the Iranian father she assumed abandoned her and the nature of Poetry itself. It’s about building bridges between cultural and generational divides. It’s about being curious. Staying open. And finding your own voice through the magic of poetry. Rosie goes on an unwitting journey of forgiveness, reconciliation, and perhaps above all, understanding, through learning about her father’s past, her own cultural identity, and her responsibility to it.
In this extraordinary short animation, Evelyn Lambart and Norman McLaren painted colours, shapes, and transformations directly onto their filmstrip. The result is a vivid interpretation, in fluid lines and colour, of jazz music played by the Oscar Peterson Trio.
Humanity’s ascent is often measured by the speed of progress. But what if progress is actually spiraling us downwards, towards collapse? Ronald Wright, whose best-seller, “A Short History Of Progress” inspired “Surviving Progress”, shows how past civilizations were destroyed by “progress traps”—alluring technologies and belief systems that serve immediate needs, but ransom the future. As pressure on the world’s resources accelerates and financial elites bankrupt nations, can our globally-entwined civilization escape a final, catastrophic progress trap? With potent images and illuminating insights from thinkers who have probed our genes, our brains, and our social behaviour, this requiem to progress-as-usual also poses a challenge: to prove that making apes smarter isn’t an evolutionary dead-end.
