Copyright 2013
Winnipeg Underground Film Festival
June 1 to 4th, 2017

At the Rachel Browne Theatre (2nd Floor, 211 Bannatyne Ave)

In a discussion about the ethics of appropriation and the idea of borrowing footage from Vimeo Staff Picks, acclaimed Canadian filmmaker and scholar Mike Hoolboom declares: “Those images need better homes!” Appropriation can be an act of subversion, of transgression, yes, but it can also be an act of love, of reverence, an empathic act. The filmmakers in this program dig through vaults, trash bins, and the pop-culture canon, to create works which reflect upon collective memory and experience. What’s ours is ours, and some images need better homes. New work from Canada, Argentina, Australia and the United States. (free screening)

Army, Cattle, Wagons (a western) dir. Craig Smith
2016 | US | 21 | 35mm on video | Canadian premiere
“Western films are about movement, but real western life was quite slow. A cowboy
ancestor of mine kept a diary of a cattle drive; it was a very slow, plodding process. Hollywood makes everything fast...” - CS
In Army, Cattle, Wagons, Craig Smith resurrects silent second-unit images originally shot for (but never used in) the 1940 Hollywood western, Arizona. Stock sound effects are married to the forgotten footage, and a quiet, observational, and more reflective version of the Hollywood Western is revealed. -SF

¡PíFIES! dir. Ignacio Tamarit
2016 | AR | 4 | super 8 on 16mm | Canadian premiere
¡PíFIES! (from the Spanish slang, "mistake") is an apology to the technical problems of the amateur filmmaker. A rhythmic collage where the focus is placed on the mistakes, or what would have been discarded by the cineaste, instead of being left. -IT

Answer Print dir. Mónica Savirón
2016 | US | 5 | 16mm on video | Manitoban premiere
Answer Print is made with deteriorated 16mm color stock, and it is meant to disappear over time. Neither hue nor sound has been manipulated in its analog reassembling. The soundtrack combines audio generated by silent double perforated celluloid, the optical tracks from sound films, and the tones produced by each of the filmmaker’s cuts when read by the projector. The shots are based on a 26-frame length: the distance in 16mm films with optical tracks between the image and its sound. -MS

Nothing a Little Soap and Water Can't Fix dir. Jennifer Proctor
2017 | US | 9 | video | Canadian premiere
In films, as in life, the bathtub is often considered a private space for women - a place not only to groom, but to relax, to think, to grieve, to be alone, to find sanctuary. For Hollywood, though, it’s also a place of naked vulnerability, where women narratively placed in harm’s way have no escape. -JP

YOU TOLD HIM I WAS GAY: Undercover Lesbian Supercut dir. Dayna McLeod
2015 | CA | 3 | video | Manitoban premiere
Season 1, episode 6 of Rizzoli & Isles is cut down to all mentions of an online dating, lesbian undercover operation, complete with surveilling male gaze and interactions between Jane Rizzoli and Maura Isles, the two female protagonists. -DM

The Was dirs. Soda_Jerk
2016 | AU | 13.5 | video | Manitoban premiere
The Was is a sample-based video for now, about the time before now. Part experimental film, part music video and concept album, The Was is the collaborative meeting of Australian sample artists Soda_Jerk and The Avalanches. Constructed from over a hundred rotoscoped video samples, The Was is a detour de force through the neighbourhoods of collective memory. -SJ

* images from Soda_Jerk's The Was (top) and Mónica Savirón's Answer Print (bottom)