There is an indelible moment in Peter Raymont’s documentary Shake Hands With the Devil in which retired Canadian General Romeo Dallaire, ten years removed from his ordeal as the head of the embattled U.N. peacekeeping force in Rwanda, steps out of an airplane and back onto that country’s soil for the first time as a civilian. Raymont’s
Canada's Documentary Magazine
During the top half of the 1990s, Steve Reinke became not only a high-profile video artist but also a bona-fide Art Star. His vehicle was the serial-conceptual project The One Hundred Videos. This grandiose volume consisted entirely of short works, the longest an uncharacteristic ten minutes. The average length of these tapes was closer to
“WE NEED TO UNDERSTAND THE DARKNESS. ESPECIALLY WHEN WE FACE THE LIGHT. IF WE TURNAROUND, THERE IS ONLY DARKNESS.”— Anonymous female voice Delivered sombrely, the opening quote of Velcrow Ripper’s new feature documentary ScaredSacred, sets up beautifully the overriding theme of the film: to move ‘towards’ the darkness rather than running away. Just as effectively, it nails down the underlying metaphor, with ‘scared’ being shrouded in darkness, and
DURING APRIL 2004 AND BEYOND WE WERE CONSTANTLY REMINDED THAT THIS WAS THE TENTH ANNIVERSARY OF THE FIRST DEMOCRATIC ALL–RACE ELECTIONS IN SOUTH AFRICA. I was shocked by the realization that last year also marked the thirtieth anniversary of my first visit to that country, of my first experience with apartheid. After that first trip in 1974 as part of an African tour I was doing for the American NGO (non-governmental organization), CARE, I was to devote a large
“These children have the serenity of a leafless tree, as if they already had within themselves one life; as if all the pain and longing that goes into adult life, all the relinquishing, has already been endured.” – Pirjo Honkasalo Veteran Finnish filmmaker Pirjo Honkasalo made her latest documentary, The 3 Rooms of Melancholia, because
“Why can’t you just leave me alone?” – Oscar-nominated animator Ryan Larkin, shouting at the screen during one of the first public showings of Alter Egos, the documentary about his history, art and character. Documentary biographies have become so formulaic in their celebration of individuals’ achievements and fame that if someone makes a film portrait
Sometimes a picture burns a hole in your head, burrows into your brain and takes up residence. Like the face of the title character from the new digitally animated 3D short, Ryan. And what a ravaged face it is, with weather roughened skin, deep creases at the mouth, one eye reddened, the other missing. And
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 finds the indomitable auteur—famous throughout his career for his forcible, occasionally unscrupulous mastery of exotic,
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 unplugged. Its whole life flashes before its Nanookian eyes. Why? I can only offer a
BRITISH COLUMBIA – Katherine Dodds Secrets “It was going to be a look at how sex education has changed over the last 50 years,” says producer Trish Williams about Secrets, the one-hour doc for CBC on which she is currently in production. “We were looking for revolutionary changes, but we didn’t find them.” Instead what