Thursday, October 11 | next
7pm at Deluge: Camera Threat
Jason Britski | 4:33 | Canada | 2018 | Vic Premiere
Public Domain is a found footage project made from public domain archival material that is an exploration, and a reaction to the turbulent times we find ourselves in.
Last Will and Testament
Gregg Biermann | 9:00 | USA | 2018 | Cdn Premiere
This work appropriates and transforms a key sequence from the classic western High Noon and transforms it into a reverberating waterfall of repeating fragments like a digital-age version of Joan Jonas’ Vertical Roll.
Callahan Bracken | 1:05 | Canada | 2017 | W Cdn Premiere
In recontextualizing archival footage from the 20th century, Boys Beware explores trends within hyper-masculine relationships and the ways they conspire to alienate queer youth.
Anna Spence | 4:00 | USA | 2017 | Cdn Premiere
Booted from the limelight, Max Headroom now roves the video signal in search of meaning. Once summoned to the screen, he talks to the audience in hopes of remembering his past life. As we watch Max (and as he continues to watch us), he begins to understand what it will take to escape from his purgatory.
Kevin Doherty | 11:30 | Canada/USA | 2017 | W Cdn Premiere
Outtakes from a defunct pyramid scheme’s promotional and instructional videos incidentally document its unravelling. The source materialover 60 hours of raw footage produced in the wake of the 2008 financial crisiswas appropriated, fictionalized and reenacted for the film. In spite of the scheme’s manipulative tactics, participants push back against its logic through performative errors or deliberate rejection. Flat Pyramid isolates these moments and, consequently, mimics the trajectory of the scheme itself: inevitable collapse.
Akosua Adoma Owusu | 3:33 | USA | 2018 | W Cdn Premiere
Inspired by Nollywood’s distinct re-imagining in the form of sequels, Mahogany Too interprets the 1975 cult classic Mahogany, a fashion-infused romantic drama. Nigerian actress Esosa E. examines and revives Diana Ross’ iconic portrayal of Tracy Chambers, a determined and energetic African-American woman enduring racial disparities while pursuing her dreams.
Bernd Lützeler | 30:00 | Germany/India | 2017 | Cdn Premiere
Somewhere in the dreary nooks of Mumbai’s film industry, Camera Threat explores the ambivalent relationship this city of film has with the moving image. Seated on a casting couch, two actors are getting stuck in impromptu conversations on the side effects of a world which no longer bothers to tell facts from fiction.
9pm at Deluge: Terror Nullius
Soda_Jerk | 55:00 | Australia | 2018 | BC Premiere
Soda_Jerk’s Terror Nullius is a political revenge fable which offers an un-writing of Australian national mythology. This experimental sample-based film works entirely within and against the official archive to achieve a queering and othering of Australian cinema. Equal parts political satire, eco-horror and road movie, Terror Nullius is a world in which minorities and animals conspire, and not-so-nice white guys finish last. Where idyllic beaches host race-riots, governments poll love-rights and the perils of hypermasculinity are overshadowed only by the enduring horror of Australia’s colonising myth of terra nullius.
Formed in Sydney in 2002, Soda_Jerk is a two-person art collective who work at the intersection of documentary and speculative fiction. They are fundamentally interested in the politics of images: how they circulate, whom they benefit, and how they can be undone. Their sample-based practice takes the form of films, video installations, cut-up texts and lecture performances. Based in New York since 2012, they have exhibited in museums, galleries, cinemas and torrent sites.
“A weird, dazzling, kinetic, dizzyingly ambitious, sensationally mishmashed beast of an Australian film, one part video art installation project, one part revisionist documentary and one part, I don’t knowLSD-infused YouTube compilation video?” Luke Buckmaster, The Guardian
“Soda_Jerk remix cinema history to create the best movies that never existed.” i-D
“Terror Nullius is a fearless, fun, and determined call to arms to rally against a regressive status quo. Soda_Jerk’s archival remix practice is part of a loose conceptual history that manifests across the avant-garde filmmakers of the twenties, Situationist detournement of the sixties, Burrough’s cut-ups, eighties Metaphysical TV, contemporary VJ culture, open source and peer-to-peer networks.” Alexandra Heller-Nicholas, Artlink