Issue 55 – Fall 2004

Issue 55 - Fall 2004

The Take is a bold political doc by Avi Lewis and Naomi Klein that goes inside a tense fight for labour rights in Argentina.

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This Interview Has Seven Decades

If you grew up in Canada in the Sixties, Patrick Watson was as distinctive a figure as Gordon Lightfoot, Jean Beliveau and Pierre Trudeau. His acute features and dry, slightly nasal voice illuminated the most important CBC show of that

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More than ZERO

ZERO THE INSIDE STORY, the latest film from Elida Schogt, deals with personal pain, the meaning of life, self-image and, not incidentally, the history of the number zero. Schogt, sitting comfortably on a patio the day after the Toronto International

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Reality vs. Verité: You Be the Judge

JUDGE JUDY MEETS FREDERICK WISEMAN in French filmmaker Raymond Depardon’s compelling feature doc, 10e Chambre, Instants D’Audiences (The 10th District Court, Moments of Trials), a hit on the 2004 film festival circuit. Depardon, a world-renowned photographer and eminent director, spent

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The Take: Into the Heart of Resistance

“To search for the good and make it matter: that is the real challenge for the artist. Not simply to transform ideas of revelations into matter, but to make those revelations actually matter.” – Estella Conwill Mojozo You might not

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Perrault and the poetic documentary

The best part of the latest monograph put out by the Toronto International Film Festival Group is the last—Pierre Perrault in his own words—where the passionate, sometimes in-your-face documentarian ends up sounding dangerously close to a stuck pig. Thank goodness

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Lament for A CanDoc Nation

ARISE, ARISE, O ye great-grandchildren of Grierson, Brittain, and Perrault. THE DOCUMENTARY, the only original Canadian art form that means anything to the rest of the world, is in peril. We’re on the CanDoc deathwatch. The intravenous machines are being

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Hybrid Theory

A winking post-modern concoction that has, over its very short career, inspired reams of passionate critical response, Incident at Loch Ness is ostensibly about a spectacularly troubled production, mounted by the German documentary (and occasionally fiction film) director Warner Herzog. It

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