Social & External
Buell Quain
Paul Berthelot
Quain's Friend
Men and women in the Horn of Africa and adjiacent regions of the Middle East tell stories of their relationships and contacts with demons and spirits in their life and culture.
An experimental intake of Ojore Nuru Lutalo as he recounts the 22 years he spent in political isolation, and the flourishing comradery he built with prison abolitionist, Bonnie Kerness, whose work supported him and other prisoners.
It’s a model story, an extraordinary adventure, a tale of revolutionary practice and tension, among anarchy and irony, simplicity, curiosity and vitality throughout the whole of Europe, its wars and the social struggles of the 1900s. A tale on how to live all in one breath, responsibly, diving into contradictions, "getting one's hands dirty", and still keeping one's balance between theory and practice.˝
This short impressionist documentary looks at the creation of a Button Blanket by integrating the performance of a traditional dance with the art of the West Coast Heiltsuk Nation.
A polemic against Werner Herzog and the making of "Fitzcarraldo", exploring the question of the filmmaker's ethical and moral responsibility.
Wandering Spirit School, organized by concerned parents, broke with tradition by introducing subjects that are of particular relevance to its pupils. Traditional Indigenous stories, traditions, languages and crafts balance the program of academic subjects required by the Ontario Ministry of Education. The experience of the children at Wandering Spirit is contrasted with the very different life experienced by their parents, educated in the old residential schools.
An experimental ethnographic documentary that criticizes the colonizer view of anthropology.
The film discusses the traits and originators of some of metal's many subgenres, including the New Wave of British Heavy Metal, power metal, Nu metal, glam metal, thrash metal, black metal, and death metal. Dunn uses a family-tree-type flowchart to document some of the most popular metal subgenres. The film also explores various aspects of heavy metal culture.
An experimental documentary about dead turtles, crab swarms, decaying tennis courts, and microscopic histories. The filmmakers shot their explorations into the abandoned golf courses, factories, and resorts of Sarasota, Florida and spoke to local youths who are using them for new and strange purposes. What would the Surrealists and Situationists think of a suburban, subtropical tourist town? What goes on in a storage unit in the dead of night? What is the afterlife of a decommissioned train car? What ghosts haunt a ruined hotel? What is the life cycle of a city? When will waters wash it all away?
50 years on, the Aboriginal Tent Embassy is the oldest continuing protest occupation site in the world. Taking a fresh lens this is a bold dive into a year of protest and revolutionary change for First Nations people.
Captain Kleinschmidt leads an expedition sponsored by the Carnegie Museum to the arctic regions of Alaska and Siberia to study the natives and the animal life.
Finnish filmmaker and artist Sami van Ingen is a great-grandson of documentary pioneer Robert Flaherty, and seemingly the sole member of the family with a hands-on interest in continuing the directing legacy. Among the materials he found in the estate of Robert and Frances Flaherty’s daughter Monica were the film reels and video tapes detailing several years of work on realising her lifelong dream project: a sound version of her parents’ 1926 docu-fiction axiom, Moana: A Romance of the Golden Age.
Inspired by Steven Blush's book "American Hardcore: A tribal history" Paul Rachman's feature documentary debut is a chronicle of the underground hardcore punk years from 1979 to 1986. Interviews and rare live footage from artists such as Black Flag, Bad Brains, Minor Threat, SS Decontrol and the Dead Kennedys.
In GLOBAL METAL, directors Scot McFadyen and Sam Dunn set out to discover how the West's most maligned musical genre - heavy metal - has impacted the world's cultures beyond Europe and North America. The film follows metal fan and anthropologist Sam Dunn on a whirlwind journey through Asia, South America and the Middle East as he explores the underbelly of the world's emerging extreme music scenes; from Indonesian death metal to Chinese black metal to Iranian thrash metal. GLOBAL METAL reveals a worldwide community of metalheads who aren't just absorbing metal from the West - they're transforming it - creating a new form of cultural expression in societies dominated by conflict, corruption and mass-consumerism.
"For Sale! Including 500 violent stone throwers from Hell", was the message from the controversial squat 'Ungdomshuset' in Copenhagen, Denmark. The film takes a balanced look behind the barricades and follows the definitive last year in the life of the squatters before all was demolished in March 2007 and riots broke out in Copenhagen.
Ano Ravenia, a mountain village in Greece, young men leave to find work, learn a trade or serve in the Army while a young woman may leave her father's house only to enter that of her husband. The unmarried girls remain in the village amoung the elderly folk, meeting together to embroider their trousseaus and chat. In a rural Greek community, it is not the role of women to express their point of view in public. The film allows the spectator to sit in one of these casual sewing sessions where the girls talk about their wishes and problems, most of which revolve around marriages that will change their lives.
The historic gathering of three hundred indigenous activists from North, South and Central America who met in Quito, Ecuador, in July 1990 to organize a cross-continental indigenous resistance to the Columbus Quincentennial.
Drawing on original footage from National Geographic, Etched in Bone explores the impact of one notorious bone theft by a member of the 1948 American-Australian Scientific Expedition to Arnhem Land. Hundred of bones were stolen and deposited in the Smithsonian Institution in Washington DC, until it became known to Arnhem elders in the late 1990s. The return of the sacred artefacts was called for, resulting in a tense standoff between indigenous tribespeople and the Department of Anthropology at the Smithsonian.
