Tag Archives: Blais

VIFF 2018 Shorts Segment: Escape Routes

Cinema

With every VIFF, it’s a goal of mine to see at least one shorts segment. I had the good fortune of seeing a segment as my first VIFF show. The segment titled Escape Routes consisted of six shorts by Canadian directors. Three of them were filmed in BC. All six were intriguing to watch.

The Subject (dir. Patrick Bouchard): We see a body on the table. We see a spike coming out of a foot at first. Then we see it start to be dissected. What’s happening is a whole lot of imagery happens around his body and coming from out of his body. Then when he’s dissected in his upper chest, we see a steel inside.

What’s happening in this film is the animator dissecting his own body. This film is the animator using self-dissection to show what his works are all about. His emotions, his memories, his fears, all go into his work. A couple of religious entendres may be telling how it plays into his fears. Even the artistic patterns that form around his skin give a picture about what the animator is saying about himself and how it plays into his works.

Girl On A Bus (dir. Matthew B. Schmidt): The film begins with people questioning about a girl who disappeared. Then the film shoots to a scene on a bus. A teenage/young adult female is one of the passengers and she’s just relaxing and looking at Instagram photos. The bus takes a break at a gas station along the highway. She uses the outside bathroom and changes her hair, makeup and clothes to something very different and takes social media pictures. The driver can’t recognize her and thinks a passenger is missing. As police are questioning the ‘missing girl,’ she gets interrogated and gives misleading questions. She mentions she’s running away but doesn’t say why. She leaves the interrogation booth. A picture from a child identifies her as the missing, but she walks away when asked.

At first, it seems like a nonsense film. A girl changes her look but is labeled missing? Then you get the sense of what’s happening. She says she’s running away but gives a vague answer why. When told to stay at the booth as the police leave temporarily, she leaves. When asked if the photo of her on a child’s pad is her, she doesn’t answer and walks away. It makes more sense later on. She comes across as a girl who wants to escape from it all. It’s not apparent exactly the reason or reasons why, but it’s obvious she wants to escape from everything. Only on social media would she want to be around people. I can identify because I had those same feelings when I was her age. A very good short story of a film.

Best Friends Read The Same Books (dir. Matthew Taylor Blais): The film consists of no sound at all, but of images of plants, colors, bushes, parks, coasts, and the director reading a book in various places and various seating positions on a bench. The film ends with a set of colors.

I’ll take it for what it is. This is the director trying to film in an abstract sort of way. The images, around various areas of Greater Vancouver, are meant to tell about his surroundings and reading the same book.

Train Hopper (dir. Amelie Hardy): The film begins with a passage of Allen Ginsberg’s poem America. Then cuts into a video of a young man who’s a customer service agent working at his desk with his headset. Later we catch the young man around trains on the train tracks. Then we see him hopping on the trains between the cars and going along for the ride. We even see his self-recorded videos of him during the trips. Within the second-half of the film and video footage, we hear the man talk about his dreams and his imagination and why he takes these trips, which include trips crossing into the United States. The film ends with audio of Ginsberg’s America.

The film begins with a statement that the Beat Generation is not dead. The whole film is a picturesque reminder that even in this day and age, there are still young people who still dare to dream, who dare to still want to live their dream out. This film shows it with this young man who’s a customer service agent by profession, but dreamer by passion. An excellent cinematic portrait.

Acres (dir. Rebeccah Love): The story begins with a young man working on a farm. Later on, his sister, her husband and a former girlfriend of his join for dinner. They talk about him managing his father’s farm after his death, as well as a dispute over use of the land that will require legal attention. The sister and brother-in-law leave for home but the ex-girlfriend decides to stay overnight. Possibly to help him with his situation. She is a photographer by passion. The two were in love while they were in college. This is happening while they’re talking of a way to properly mark the burial site of his father’s ashes. He had ambitions of becoming a businessman, but passions in his life that involved travelling caused him to leave everyone behind, including the family and even her. She tries to get to the bottom of this. Especially since this caused their break-up. Eventually they do rekindle.

The film is a picturesque way of showing a real-life situation. It’s a quiet situation, but one that needs to be discussed and resolved. The filmmaker does it with good storytelling and honest dialogue.

Biidaaban (dir. Amanda Strong): This is the one short that’s fully animated. There’s one young person of Indigenous decent, Biidaaban, and an older Sasquatch shapeshifter Sabe. They live in the same dwelling. They communicate with what you first think is a smartphone, but is actually a mystic rock that creates images and dialogue. Biidaaban seeks to collect sap from maple trees in a neighborhood. Sabe will assist Biidaaban. As they collect the sap, they are suddenly taken over by spirits and enter into a mystical world.

Upon the film’s Q&A, we learn the film is not just about Indigenous legends and myths. It’s also about gender-fluidity as Biidaaban is a gender-fluid youth. From what I remember about the Q & A, the gender-fluidity does tie in with Indigenous culture. The whole film was very dramatic and very mystical. The genre of animation allows the viewer to feel the imagination of the film and capture the mysticism.

All six shorts were very intriguing to watch. Even with one more thrilling than the other, and one not trying to be thrilling at all, all had something to say. Sometimes you wondered if all six fit the term Escape Routes. Some of the subjects or plots in a film or two didn’t look like physical escapes at all. However many of them turned out to be escapes of the mind. Escaping isn’t just about a road to somewhere.

Escape Routes was an excellent selection of six Canadian shorts. Each were different in their own way. All of them had something to say. And all would come off as an escape from something. You had to see it to know it.

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VIFF 2017 Review: Forest Movie

ForestMovie

This year seems like the year I’ve seen more experimental film at the VIFF than ever before. The latest experimental feature I saw was Forest Movie. It was shot all in  Vancouver and it does a lot with the 65 minutes it has.

The film begins with images of a forest and then phases into a young woman sleeping. The young woman was actually dreaming of the forest. She sends a text message to her friend that she can’t meet up: she’s sick. The friend accepts.

What she does right after is put on a jacket and bring along her bag and portable chair. She simply leaves from her apartment suite near Powell St. and Nanaimo St. and walks to a forest inside the city. The visit is simple as she walks across the paved trails over the rocks and branches with her cellphone turned off. A complete getaway. There are times she takes breaks like for when she eats something or feels she needs to write poetry or prose in her notebook. Other than that, just simply walking through the forest.

Then she finds a grassy spot that’s open and surrounded by the trees. She uses that spot as a place to set up her chair and relax. There’s a twenty-minute shot of the area of the forest she witnesses from her chair. It just consists of that view, changes of sunshine or cloud, and the surrounding sounds of the outdoors or her dealing with her chair, bag or notebook.

Night soon falls. She actually fell asleep during her time sitting in the forest. Night approaches. She’s all alone in the dark relying on her cellphone as a flashlight. She rushes to find the exit to the forest, but is lost. Images of her attempt to exit consist of her cellphone light shining or complete darkness with nothing but sound. Morning breaks and we see her walking back to her apartment as if nothing dreadful happened.

No question this film can be defined as experimental. The film is what it is. It’s a story about a young woman seeking tranquility in a forest and is willing to deal with whatever comes to her. The director Matthew Taylor Blais was in the audience and would later hold a Q&A after. Before the film started, he said: “No two people will have the same impression of this film.”

I got what he was after in this film: he wanted us to create our own thoughts, impressions and opinions about this film. That explains why actress Ana Escorse is given no dialogue at all in this film. The film is all about what we see and what we hear. I was open to this. The film gives us images and scenes that try to get us to form our own opinions. For starters, I actually thought the woman really was sick from the texts she sent. I though she went to the forest possibly for natural healing therapy. That scene in her apartment that shows an Aboriginal dream catcher could may have made some, including myself,  believe she’s into Aboriginal spirituality and may see the forest as the medicine she needs. Even the scene where you see trees just outside a condo leads you to think this is an urban forest close to downtown Vancouver in Stanley Park, when it’s actually shot in Pacific Spirit Regional Park close to UBC.

Later shots add into the opinions we form about this film. The scenes where she takes out her notebook and writes or draws might get one to think she’s using the forest for creative inspiration. That twenty-minute shot of the forest’s view is an attempt to get us to rely on the background sounds to form our own opinions about what’s happening from this view. The end scene of her trying to leave the forest at night is also one that gets us to rely on our thoughts of what’s happening. The scene with the biggest impact is the scene where the camera makes like we see her escape through her eyes. It consists of the background sounds and the cellphone light cutting in and out. It’s actually the scene with the most drama as one would wonder will she make it? Will she get lost?

Matthew Taylor Blais does a very good job with this film. I was more welcoming with the experimentation in this film than I was in PROTOTYPE. I think Blais’ intro before it began helped me to be more welcoming.  It’s an experimental film that pays off and allows the audience to create their own impression. It allowed me to create mine. However it is to say that it does take some creative risks that would be questionable. I welcomed that twenty-minute shot of the forest scenery, but some were not so welcoming. In fact I saw a few people leave the theatre during that scene, including a group of four. That’s one of the risks of creating an experimental film like this. Not everyone is as welcoming as me to such experimentation.

Forest Movie is an experimental film that allows the audience to exercise their imagination and make their own judgements about what’s happening in the story. This is experimental film that pays off greatly.