Jan

Censured in Canada Film Festival

by Censured In Canada

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Date and Time

Sat, 24 January 2015

12:00 PM – 6:00 PM EST

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Location

CineCycle

(Located in coachhouse in alley behind 129 Spadina Ave i.e. alley beside ZipCar office)

http://bit.ly/CineCycle

Toronto, ON M5V 3A8

Canada

Event description

Description

CENSURED IN CANADA is a film festival for Canadian-based artists and work marginalized by Canadian festivals and institutions - whether it was due to a lack of "right" credentials / connections; or the work challenges aesthetic / cultural / social norms.

Eschewing the typical stuffy film festival format in favor of access and celebrating the work of artists, tickets are issued for the day instead of per screening for the inaugural festival on Jan 24-25. Ticket holders are free to attend as much or as little of the day's screenings. However for safety reasons, if the venue is already at full capacity for a particular screening, no one will be admitted until capacity is freed up.

Link to map and directions to CineCycle

Films that will premiere on Saturday (times are approximate):

Links to Sat, Jan 24 Screening Schedule and Facebook event

12:15 pm Black: A Film (by: Mae Sekhmet) 12:30 pm Mars Project (by: Jonathan Balazs) 1:32 pm All Together Now (by: Iqrar Rizvi) 1:35 pm Loup-Garou (by: Isabelle Giroux) 1:40 pm Teenage Dance (by: Adam Bentley) 1:43 pm The Good Samaritan’s Blues (by: Adonay Guerrero) 1:52 pm Homeless (by: Vladimir Nicolas) 1:54 pm Patriot (by: Robert Armanyous) 2:05 pm Nestor (by: Daniel Robinson) 3:05 pm Medium Rare (by: Chris Laxton) 3:25 pm ancestors (by: Michael Belanger) 4:00 pm The Little House That Could (by: Mars Roberge)

PROGRAM NOTES FOR JAN 24 (SAT)

Demons kick off the first half of the program with Satanic misconceptions threatening to overwhelm a woman’s journey of self-discovery (BLACK), and a documentary which explores Stewart’s connection with a demonic alien, his diagnosis and his art (MARS PROJECT). Art as mirror is made manifest via a body extension (ALL TOGETHER NOW) and five female doppelgangers (LOUP-GAROU). Yet a shared experience can splinter; whether teenagers preparing for a dance (TEENAGE DANCE) or two friends witnessing a hit and run (THE GOOD SAMARITAN BLUES).

The second half of the program deals with journeys in harsh surroundings, beginning with the everyday journeys of the homeless, visualized through stop-motion (HOMELESS) and 50s Neo-Realism (PATRIOT). Their loneliness is paralleled by a man who wakes up in a harsh wilderness with vague memories of his surroundings (NESTOR), and the character and viewer traversing the cinematic landscape as if in a dream (MEDIUM RARE and ANCESTORS respectively). Rounding it off is a documentary about Emmy Award-winning stylist, Patricia Field, who spent several decades giving hope to lost outsiders – transsexuals, drag queens, butch-dykes, who had to flee from their hometowns (THE LITTLE HOUSE THAT COULD)

Films that will premiere on Sunday (times are approximate):

Links to Sun, Jan 25 Screening Schedule and Facebook event

12:15 pm Aligning With You (by: Eugene Tang) 12:28 pm ya wooto (that’s just how it is) (by: Jenny Cartwright) 1:38 pm Agape (by: Emmanuel Kabongo) 1:50 pm Argus (by: Matthew Hayes) 1:58 pm The Island (by: Adam Florian) 2:46 pm Linda (by: John Ward) 2:55 pm On a Day Like Today, Many Years Ago… (by: C.M. Orszak) 3:50 pm Pigboy (by: Chad Magnant) 4:01 pm I Fall Down (by: Christopher White)

PROGRAM NOTES FOR JAN 25 (SUN)

Struggles and obstacles kick off the first half of the program, that experienced by young love
(ALIGNING WITH YOU), to a documentary about Ouagadougou, one of the world’s poorest places, seen through a bar’s inseparable regulars (YA WOOTO), and a man trying to find to gain custody of his son (AGAPE). We then shift to the Maritimes as four individuals tell of the dread felt living in the shadow of the Halifax grain elevator (ARGUS) and a documentary exploring social responsibility of suicide refracted through the social issues on Prince Edward Island (THE ISLAND).

In the second half of the program, things are not as they appear when a director’s commentary descends into conflict when the writer feels her film on violent relationships is being belittled (LINDA); and when a woman recalls an abbreviated romance - with public transit (ON A DAY LIKE TODAY). Things take a darker turn when documentary filmmakers get too close to a dealer of a strange new drug (PIGBOY), and when an intolerant world and primal nature threatens the friendship between a teenage girl and a disfigured man-child (I FALL DOWN).