Wavelengths

TIFF 2013 Postscript | Wavelengths 2: Now & Then

By Samuel La France / September 20, 2013

By Samuel La France “There is no post-production in my work,” claims Helga Fanderl in an expository video posted on her website. Fanderl’s statement reinforces the spontaneity and immediacy of her shooting methods, the results marked by an explicit sensitivity toward the objects, gestures and spaces that she films. And while it’s true that her…

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TIFF 2013 | Wavelengths 1: Variations On…

By Samuel La France / September 11, 2013

By Samuel La France There was deception aplenty in the first of four Wavelengths shorts programmes at the 2013 Toronto International Film Festival. Entitled Variations On…, the programme foregrounded the formal repetitions and deviations pervading each of its five works, the title’s ellipsis suggesting that the audience’s requisite curiosity be matched by an equally imperative…

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TIFF 2013 | Three Landscapes (Peter Hutton, US)—Wavelengths

By Max Goldberg / September 11, 2013

By Max Goldberg One of several triptychs showing in this year’s Wavelengths program, Peter Hutton’s Three Landscapes zeroes in on the industrial terrain ringing Detroit (where he grew up), the bucolic pastures of the Hudson River Valley (where he now lives), and Ethiopian salt flats (where he travelled under Robert Gardner’s sponsorship). The most obvious link between…

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TIFF 2013 | A Field in England (Ben Wheatley, UK)—Wavelengths

By Tom Charity / September 8, 2013

By Tom Charity “Open up and let the devil in!” With four movies in four years, Ben Wheatley seems set on giving Michael Winterbottom a run for his money as the most prolific filmmaker in Britain, and the devil take the hindmost. Unlike the versatile and self-effacing Winterbottom, however, Wheatley immediately stamped a distinctive authorial signature…

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TIFF 2013 | The King’s Body (João Pedro Rodrigues, Portugal)—Wavelengths

By Adam Cook / September 4, 2013

By Adam Cook The King’s Body is at least the third film this year to play with a formula in which the filmmaker(s) provide an environment and scenario and introduce to it a variable (people, actors), the ensuing interaction between the controlled and uncontrolled becoming the source of the film’s meaning; the two others I…

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TIFF 2013 | The Strange Little Cat (Ramon Zürcher, Germany)

By Michael Sicinski / August 30, 2013

From Cinema Scope #55, Summer 2013 By Michael Sicinski The first five shots of Ramon Zürcher’s debut film The Strange Little Cat (Das merkwürdige Kätzchen) serve as a kind of miniature map for this relatively short (72-minute), highly unusual work, neatly outlining the spatial compression and sonic misdirection that characterizes its aesthetic approach throughout. (Though…

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Shine a Light: Ben Rivers and Ben Russell’s A Spell to Ward Off the Darkness

By Michael Sicinski / August 30, 2013

By Michael Sicinski With its very title, A Spell to Ward Off the Darkness is a film that announces itself as being in league with forces not entirely of this world. Nevertheless, its makers are two of the leading lights of contemporary experimental cinema precisely because of their pellucid examination of the world around them.…

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The Beauty of Horror and the Horror of Beauty: An Encounter with Albert Serra

By Mark Peranson / August 30, 2013

By Mark Peranson “It is not necessary for the public to know whether I am joking or whether I am serious, just as it is not necessary for me to know it myself.”—Salvador Dalí, Diary of a Genius (1964) Cinema Scope: Let me repeat what I wrote about your film, namely that for me Story…

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TIFF 2013 | Cristi Puiu on Three Interpretation Exercises (Cristi Puiu, Romania/France)—Wavelengths

By Aaron Cutler / August 30, 2013

From Cinema Scope #55, Summer 2013 Every Film Must Be an Exercise: Cristi Puiu on Three Interpretation Exercises Cristi Puiu’s new film Three Interpretation Exercises is exactly that: three discrete, roughly 50-minute sequences, improvised with three groups of four actors, which grew out of a workshop Puiu was invited to lead in Toulouse. Puiu spoke…

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TIFF Day 8: Wavelengths 4: From the Inside Out

By Andrea Whyte / September 13, 2012

By Andrea Whyte Black TV (Aldo Tambellini, USA, 1968) Burning Star (Josh Solondz, USA) When Bodies Touch (Paolo Gioli, Italy/France) Ritournelle (Christopher Becks, Peter Miller, Germany) Watch the Closing Doors (Jim Jennings, USA) View from the Acropolis (Lonnie van Brummelen, Siebren de Haan, The Netherlands) De la mutabilité de toute chose et de la possibilité…

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TIFF Day 8: Wavelengths 3: I am micro

By Samuel La France / September 13, 2012

By Samuel La France I am micro (Shumona Goel, Shai Heredia, India) Class Picture (Tito & Tito, The Philippines) Francesca Woodman: Selected Video Works (Francesca Woodman, USA, 1975-78) Ich auch, auch, ich auch (Friedl vom Gröller, Austria) Waiting Room (Vincent Grenier, USA/Canada) The Transit of Venus I and II (Nicky Hamlyn, UK, 2004-5/2012) August and…

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TIFF Day 8: Wavelengths 1: Under a Pacific Sun

By Aliza Ma / September 12, 2012

By Aliza Ma Pacific Sun (Thomas Demand, USA) 21 Chitrakoot (Shambhavi Kaul, USA/India) Many a Swan (Blake Williams, Canada) Concrete Parlay (Fern Silva, USA) Departure (Ernie Gehr, USA) Auto-Collider XV (Ernie Gehr, USA) Filing into the familiar (and familial) cinema space of Jackman Hall for the inaugural installment of Wavelengths 2012, devout patrons of the…

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TIFF Day 8: Wavelengths 2: Documenta

By Michael Sicinski / September 12, 2012

  By Michael Sicinski Untitled, 35 mm glass slides (Luther Price, USA) Phantoms of a Libertine (Ben Rivers, UK) A Minimal Difference (Jean-Paul Kelly, Canada) Shoot Don’t Shoot (William E. Jones, USA) Sorry Horns (Luther Price, USA) Orpheus (outtakes) (Mary Helena Clark, USA) Pipe Dreams (Ali Cherri, Lebanon/France) UFOs (Lillian Schwartz, USA) Although the first…

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TIFF Day 5: Wavelengths

By Bart Testa / September 12, 2011

By Bart Testa The Toronto International Film Festival’s experimental film series Wavelengths was begun by Cinematheque Ontario programmer Susan Oxtoby a decade ago as an outgrowth of her popular year-round Cinematheque series The Free Screen—and not of anything happening at TIFF itself, which has consistently displayed little interest in avant-garde films. Wavelengths continued with Oxtoby’s…

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