Julianna Yau’s blog

For the past few weeks, I’ve been drained and in dire need of a revival… and it turns out some fine films were all I needed. While stone is my favourite medium for creation, film is my favourite medium for “consumption” and I haven’t been exposing myself to enough fine film recently.

Tonight, I attended Double Vision, presented by The Images Festival, CFMDC and CAFKA. The films screened tonight were extremely fine and well-crafted.

Notes in Origin (Ellie Epp, 1987) was my favourite because of Epp’s playfulness and superb grasp of time and timing. At the end of each “note”, I hoped there was another, until I fell into Epp’s rhythm and understood how many notes there would be. The length of each note was perfect, and her punctuation of the end of the film was direct without taking the audience out of the film.

Christina Battle’s the distance between here and there was crafted with a brilliant crescendo and ended with a similar grace and firmness. With both Epp and Battle, I didn’t quite know where they were taking me or how they would resolve the film, but I knew for certain I was in good hands.

Kitchener-Berlin (Phil Hoffman, 1990) was an absolute feast for the eyes. The interlacing of images was done with immense purpose, and I had a distinct sense that Hoffman knew exactly what to show us and when. At the end of Part 1 was a short film-within-a-film which I absolutely adored. The film was The Highway of Tomorrow or, How One Makes Two, a self-proclaimed amateur film by Dent Harrison. It was wonderfully playful, and the R100 makes me yearn to see Matthew Barney’s Cremaster 1 to search for a connection which probably doesn’t exist.

There is another set of films tomorrow, starting at 8pm at The Gig.

Related posts

• Why SOME creative people are putting their work free on the Net (1)
• TIAC - Where Virtual Worlds Collide (0)
• The “Matthew Barney” Model (0)
• Love & Savegry & C-10 (0)
• Is there hope for alternative business models? (0)