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7pm at Deluge: Foot Stretcher

Rhythm of Being
Giada Ghiringhelli | 6:26 | Switzerland/UK | 2017 | Cdn Premiere
Rhythm of Being is an experimental and contemplative film inspired by Henri Bergson’s concept of vital force and the fact that all existence is in a flux of becoming and never at rest, a perpetual generative process that we can’t escape. Through body movements, light and sound, a surreal and artificial world is constructed and deconstructed.

Plasma Vista
Sarah Cockings & Harriet Fleuriot | 7:31 | UK | 2016 | Cdn Premiere
Objects and devices become corporeal and manipulative. The magician is a composed cartoon machine repeating tricks and equations. When products become prosthetics does the accessory take some emotional control?

Foot Stretcher
Inbar Hagai | 57:21 | Israel | 2017 | Cdn Premiere
Foot Stretcher documents a young artist’s determination to become a ballerina while simultaneously creating a film. Hagai embarks on this journey with absolute persistence, although it is a lost cause due to her physiological build and non-institutionalized practice. Throughout the film Hagai unflinchingly forces upon herself the gruelling physical obligations necessary for professional ballerinas, suffering extreme dietary restrictions while pushing her body into becoming more flexible through daily exercises. The film begins as Hagai sculpts and installs a series of unique ballet devices made to her specifications for the purpose of stretching her body and comes to a climax when she auditions for the Israeli Ballet.

9pm at Deluge: Class Order Family Tribe

Ghosts of Empire [sketch]
Brett Kashmere | 4:17 | Canada/USA | 2017 | Cdn Premiere
Part film-essay, part critical elegy, Ghosts of Empire examines the history of representation of football in American cinema, football’s concussion crisis (and its obfuscation by the National Football League and the difficulties of visualizing unseen effects), the twilight of emulsion-based film manufacturing and the legacy of the company NFL Films, once Kodak’s biggest customer.

Dog in the Shade
Ei Toshinari | 10:17 | Japan/USA | 2016 | NA Premiere
Dog in the Shade is a series of playful tangents of melancholic memories that lament boundaries. It chases after something that is no longer there; longing to make what is absent present.

Skin in the Game
Ariana Gerstein | 5:00 | USA | 2016 | Cdn Premiere
Made from Super 8 and 16mm—printed, processed, cut, turned into a collage, scanned, processed, joined—from analog to digital. An exploration of the relationship between parts. An act of surgery on the body of film.

dragons & seraphim
Sasha Waters Freyer | 14:00 | USA | 2017 | Cdn Premiere
Ancient flowers and animal desire. The past rises up—a mirage, but I can’t bury it deep enough. Fever season of magic, madness: adolescence. It’s their turn now, our willing sacrifice. dragons & seraphim fuses original film footage of three generations of family with nature films and the home movies of strangers optically reprinted frame by frame.

The Parent Trap
Stephanie Barber | 3:26 | USA | 2017 | Cdn Premiere
A short 16mm film as a memorial for my grandmother whose voice can be heard singing a bit of a song. What goes when the body goes? How many parents have we got stacked upon us into eternity like ladders to the afterlife?

Music of Desire
Kristin Reeves | 8:00 | USA | 2016 | Cdn Premiere
Feel the sensation of suspension between pleasure and a reverse soundtrack of desire when intimacy is coupled with dysfunction. Produced at Signal Culture using real-time analog video processing tools and found media.

Anne Golden | 3:03 | Canada | 2017 | W Cdn Premiere
Travel and discovery in the future-past.

Class Order Family Tribe
Rob Fatal | 26:04 | USA | 2016 | W Cdn Premiere
Class Order Family Tribe is a silent, experimental documentary by video and performance artist Rob Fatal. The film is composed entirely of 60-year-old 8mm footage created by the filmmaker’s matrilineal Native American family as they struggled to survive poverty, racism and boredom in 1960s Central California. Using stream of conscious narration, intuitive editing and camp, Fatal engages the macabre and darkly comedic footage as a textual narrator. Fatal’s written words examine the overlapping and dissimilar uses of gender, violence, sex and memory as survival strategies from one generation to the next in their indigenous family.

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