The most enigmatically grouped programme in this year's Wavelengths was the third showcase. Where Wavelengths 1 was modelled on the fading analogue medium of celluloid, and Wavelengths 4 interpreted the concept of 'space' in six radically different ways, the theme of Serial Rhythms seemed to evolve from one piece to the next. Links between each work showed hints of motifs or ideas from the previous film, but to look at any two random films in the programme, one would be hard-pressed to locate many discernible commonalities. In truth, I think programmer Andréa Picard likes it best that way. In her introduction, she did not hesitate to mention the vagaries within this set's curation. She'd initially toyed with a concept of death, but admitted (and this was evident) that that theme drifted further away in the compilation's second half. There was still a concrete vision in the end - that being, to create...
- 9/27/2011
- IONCINEMA.com
“Ah, yes! Rose Lowder!” This is the response when the name of the French experimental filmmaker comes up in conversation among the avant-garde cognoscenti, the recognition that Lowder is not only a major master of our time but a kind of inevitability, one of the essential pillars of cinema as a material artform. And yet, her work isn’t as widely written about or addressed in canonical surveys, compared with comparable figures of her generation, with comparable levels of achievement. It seems that Lowder is taken as a given, part of the overall landscape of the experimental film universe, an axiom. No one makes films like hers, but there are dozens of films for which Lowder is the only logical point of comparison. Her Bouquets series has become her best known set of films (arguably the works that cemented her reputation), but they are but one small part of an...
- 9/12/2011
- MUBI
As has been noted many times before, by me and others, the Wavelengths series of the Toronto International Film Festival is like a festival unto itself. So far removed from the red carpet nonsense, the deal-making, and the me-firstism of web journalists hoping to hit the Web with their initial impressions of some new Bryce Dallas Howard vehicle, Wavelengths affords breathing room to cinema and video at its most formally adventurous and, yes, uncommercial. We come here to look and listen, not to look “at” or listen “to,” and if that sounds hopelessly pretentious, come on down to the Jackman Hall and see for yourself. It’s actually quite cleansing, often funny, and a guaranteed good time, at least in part. (Short films are like the weather in my hometown of Houston, Texas. Don’t like it? Wait a moment. It’ll change.)
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
- 9/8/2011
- MUBI
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