Focus on Festivals

Incandescent: Hot Docs 2013

Canadian films glow at Hot Docs 2013

Documentary photographer Jo-Anne McArthur’s unflinching
gaze records man-made animal atrocities in Liz Marshall’s The Ghosts in Our Machine

POV is pleased to preview a selection of the Canadian films at Hot Docs. They offer an exciting mixture of the personal, the political, the cultural and the sociological. Many deal with families both functional and dysfunctional. Matters of life and death—the essence of documentaries—form the core for a number of these films. A multitude of styles are on view, from animation, to experimental to essayistic to straight-ahead vérité.

What’s inspiring is that the diversity and quality of the Canadian films at Hot Docs has been produced in an environment that has not been conducive towards their financing. It’s a tribute to the creativity and tenacity of Canada’s doc-makers that this bright explosion of films is upon us. Incandescent, indeed.

Michelle Latimer’s Alias by Kiva Reardon
Shawney Cohen’s The Manor by James Buffin
Katherine Knight and Marcia Connolly’s Spring & Arnaud by Sarah Keenlyside
Alan Zweig’s 15 Reasons to Live by José Teodoro
Teresa MacInnes and Kent Nason’s Buying Sex by Janis Cole
Anne Wheeler’s Chi by Janis Cole
Corey Ogilvie’s Occupy: The Movie by Nicholas Gergesha
Liz Marshall’s The Ghosts in Our Machine by Kiva Reardon
John Paskievich’s Special Ed by Greg Klymkiw
Ric Esther Bienstock’s Tales From the Organ Trade by Janis Cole
Charles Wilkinson’s Oil Sands Karaoke by Nicholas Gergesha
Juliet Lammers and Lorraine Price’s Last Woman Standing by Janis Cole