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Image + Nation: Mapplethorpe
To kick off its ciné-création section, the LGBTQ film festival of Montreal presented the new biopic Mapplethorpe, shining a light on the photographer’s rise to fame last Friday December 1st, at L’impérial. It also marked the first collaboration between the MAC and Image+Nation.
Although the movie’s intentions are very noble, it miserably fails to achieve anything, with the exception of a good performance by leading actor Matt Smith in the role of Robert Mapplethorpe. Odi Timoner’s first feature film has some interesting aspects, but mostly fails to live up to the public’s expectations.
Instead of focusing on one aspect of the photographer’s life, it goes through almost all his years as an artist, and by doing so, overlooks many important issues and characters. The movie feels fabricated, plastic. The edginess of Mapplethorpe’s photos isn’t, by itself, a good enough reason to make a film. But Timoner’s work doesn’t suggest anything else.
Since the very beginning of the film, I immediately knew it wouldn’t work. It starts with an awkward montage of archival images of New York (probably from the 40’s), even though the rest of story is set 30 years later. And after seeing a young Mapplethorpe in military uniform at the Pratt Institute, we quickly move on to his friendship with punk singer and poet Patti Smith, as they are taking a stroll down Washington Square Park. This is where the movie becomes problematic for me.
I’m a great fan of Patti Smith. I read her autobiography Just Kids a few years ago. It was written, in part, to honor Mapplethorpe’s legacy. She mentions how they grew to love one another, and how they struggled their way into the art scene of 1970’s New York. In Just Kids, Smith emphasizes how they almost died of hunger and sickness at a young age, trying to make it big.
In Timoner’s biopic, however, it all seems too easy. Instead of being portrayed as the badass that she was, Patti Smith, played by Marianne Rendon, looks like a naïve and innocent little girl. Her relationship with the photographer isn’t convincing. It’s no secret that Smith and Mapplethorpe had a passionate relationship, but there doesn’t seem to be much chemistry between the two in the movie.
When Mapplethorpe meets his first (male) lover and is introduced to “gay culture”, he immediately drifts away from the singer. We only see her again at the very end of the film, when he’s on his death bed. This seems very unlikely. It’s a well known fact that even after they separated, Smith and Mapplethorpe corresponded and saw each other regularly. Their love never really faded, according to Patti Smith’s account in Just Kids.
The other problem I have with this film is its inability to understand Mapplethorpe’s work. It is as if his bdsm and flower pictures just appeared, simply because he thought they were cool. There’s no real explanation of his artistic intention or process, nor is the movie interested in anything but the subversive aspect of his work.
Timoner’s aesthetic decisions are also questionable, as she couldn’t really convince us that we were in 1970’s New York (we see, for instance, a strange décor of the Twin Towers being built). The grainy retro images all shot on super 8 don’t necessarily add anything to the story either.
Despite Matt Smith’s great performance (he is particularly convincing in the end, when the protagonist becomes all the more narcissistic and self-obsessed, afraid of death) and the rapid but moving ending, Mapplethorpe has unavoidable flaws. Even if it might be enjoyable for someone who knows nothing about the photographer, I think a biopic has a responsibility to tell the truth as it was, without sensationalism. I hope that for her next film, Timoner doesn’t miss the mark.
Olivier Du Ruisseau hosts Friday Franco Show which airs Friday at 1:00 p.m
Lesser Evil Throw Caution to the Wind on Debut EP
Photo: Caroline Désilets
When thinking of uses for a RV, it’s natural to picture families on vacation travelling across the country to visit various national parks and tourist destinations. That’s not what Montreal’s Lesser Evil had in mind, however. Instead, the duo recorded their self-titled debut EP in a RV secluded in the woods, without any electricity, running water, or the most precious of resources in today’s world, Wi-Fi.
“Being in the woods, outside with no neighbours, very alone and so calm – it feels like the home you never had,” says Christophe Lamarche-Ledoux, one half of Lesser Evil, about the experience. “He was actually living in a RV in the middle of the woods and he had transformed it into a studio, so that was very appealing to me as well, because I was like ‘no phones, we can actually do that,’ [and] bang out tunes and we don’t know what they’ll become,” adds Ariane M., Lesser Evil’s other half.
The pair were actually neighbours growing up in Sherbrooke, but it was only years later when they were in Montreal that they connected through mutual friends in the city’s music scene. What began two years ago as Ariane M. seeking out Lamarche-Ledoux to produce a project of hers evolved into a fruitful partnership, which they realized didn’t belong solely to one member or the other.
“Even though at that moment it wasn’t said that we were a band, it was still like that. Christophe was not [less] engaged because it wasn’t his project. We were like troopers the both of us,” Ariane M. says.
The end result of the pair’s collaboration is a four song debut EP that avoids easy classification. The first single “Caution” begins with sinister keyboards shrieks and no-wave saxophone skronks, but ends with gently cascading piano lines. The duo then jumps straight into the pulsating synth groove of “Sight Of”, demonstrating the versatility the two musicians possess throughout the EP. According to Lamarche-Ledoux and Ariane M., that eclecticism is intentional to an extent, even if it subverts the necessity of listeners and critics assigning genre labels to music.
“We all do it, we do it when we listen to something, it’s just a normal reflex. You can see with the four tracks that are pretty distinct that we’re trying to mindfuck that [laughs], meaning that we try to not get categorized, but if we do that’s life,” Ariane M. says.
“People ask ‘what’s the etiquette you would place your music under,’ and mostly people aren’t very satisfied by something broad,” Lamarche-Ledoux adds. “I’ve been in a rock band, and just saying it’s rock is not satisfying, people want to be specific.”
If Lesser Evil’s songs themselves are diverse in style, their accompanying music videos are all united in their unsettling use of Super 8 slice-of-life Americana footage, achieved by projecting the footage onto a wall and then recording the results on VHS. Behind the videos was a team of 5, including Guillaume Langlois (who’s also the owner of the 12 hours of source material for the videos), Felix-Antoine Boutin, and Odile Gamache, alongside Lamarche-Ledoux and Ariane M. themselves.
Originally Lamarche-Ledoux and Ariane M. planned on a traditional video shoot, but watching the footage intertwined with their music convinced the pair not only to use the available footage for “Caution,” but for all four of the EP’s songs. Even after trying to superimpose other music onto their footage, including Lamarche-Ledoux’s other project Organ Mood, the duo realized only Lesser Evil’s music would fit right with what they were seeing.
“We just put the EP on repeat and we watched the whole five of us for five hours, the rest Guillaume did,” Ariane M. explains. “But we watched five hours with our EP on repeat, and then we were going crazy. After a pause I was like ‘can we put something else [on]?’ Then we put something else, and after 15 minutes I was like ‘this is not working, can we put something else?”.
Despite just releasing an EP, Lamarche-Ledoux and Ariane M. are not intent on their collaboration being a one-off. The duo are already well on their way to completing an album as Lesser Evil and are working out how to bring their project onto the stage.
“We’ve worked on a lot of music in the past, and this project we’re really proud of” says Lamarche-Ledoux. “It keeps on giving, in the sense that we have many other really good songs that are already finished. It’s not getting ambitious in the sense that we want to make money and be big about it, we just feel like we can invest our time in this. It keeps on giving all the time, so we’re gonna push this project.”
“It’s super challenging in a good way,” adds Ariane M. “We’re both very ambitious in terms of trying to do the best, tap into what we can give at the moment and trying to be the best artists we can be. That sounds very absolute, but that’s the eternal quest.”
Lesser Evil is out now (Cult Nation)
Image+Nation: Postcards From London
25 years after Postcards from America, director Steve McLean brings queer cinema further with his new film tackling the relationship between male prostitution and art. Postcards from London was shown at L'Impérial Thursday November 30th for the LGBTQ film festival Image+Nation.
Mea culpa, when I saw its trailer beforehand, I was expecting a cliché remake of every coming of age film, filled with gay stereotypes. The movie itself was, however, completely different. Postcards from London turned out to be one of the most original films I had seen in a long time.
It tells the story of Jim, an 18-year-old boy from Essex (played by Beach Rats’ Harris Dickinson), who moves to London, as he doesn't really fit in with his conservative family. Once in London, he gets recruited by a group of five young men, self-proclaimed "raconteurs”, who admire him for his intelligence and good looks. Their job basically consists of sex work that specializes in "post coital intellectual stimulation". Desperately looking for a job and a place to stay, he joins them in their mysterious endeavours.
In order to survive in their world, Jim has to learn about art to please his sophisticated clientele. They’re not only looking for sex, but also good conversation about literature and painting. So he becomes acquainted with artists such as Caravaggio, Pasolini, and Francis Bacon. But as soon as he sees their work, Jim faces a new tragedy.
He learns that he’s suffering from a rare disease called the Stendhal Syndrome, which makes him hypersensitive to beautiful works of art. Whenever he faces a chef d’oeuvre at an art gallery, he immediately faints, overwhelmed by the beauty of the work.
Jim ends up having to cope with his disease while learning about art and doing his new job as best as he can.
Though this might look like a very strange, unpromising and maybe pretentious proposition, McLean’s film manages to create its own charming surrealist universe and imagery. Instead of relying on the clichés of sex work, Postcards from London is more intellectual and makes us think (a little).
Toward the second half of the film, the young sex worker becomes a “muse” and poses for artists around London as he fascinates everyone with his beauty. Rather than being superficial, this plot twist calls for meaningful conversations about art between different characters. It also allows for Jim to question himself about his own relationship with his body and about how the artist’s gaze affects it.
Throughout the movie McLean constructs a retro neon aesthetic that suggests a nostalgia for the Soho of the 60’s and 70’s, when Francis Bacon was at the peak of his career. He also recreates many of Caravaggio’s paintings. The 16th century artist is always present in the film, as Jim and his new friends even pose for Caravaggio in his dreams.
All of this is, of course, very much absurd. But McLean knows it. His film is self-aware, often sarcastic and ironic, playing the audience with stereotypes of gay men and queer films.
Another original aspect of the film is its constantly moving camera and colourful scenes. It also shows great attention to detail in costumes, wallpaper, and everyday objects, all vibrant and flashy, adding to the retro aesthetic and dynamism of the picture.
Even if Postcards from London is sometimes predictable and has a few disappointing outcomes (the final scene, for example, is a little too dramatic and has no real connection to the rest of the story), it is still enjoyable. McLean’s first picture in a quarter of a century stands out by its clever use of stereotypes, art history, and art direction.
Olivier Du Ruisseau hosts Friday Franco Show which airs Friday at 1:00 p.m
Film Review : 24 Frames
Photo: myhotposters.com
Montreal is welcoming the latest addition to it’s cinema family, Cinema Moderne: located in Mile End, and born just this year on September 17th 2018. When walking through its doors, there is an irrepressible feeling of a dream coming into reality. The cinema is comprised of a 50+ seat theatre with a bistro and bar, with promises of many cultural events to come. The cinema’s mission is inclusive and innovative, with an aim to incorporate series into their programming featuring directors from indigenous populations, women and local artists.
Their mission also includes the integration of family friendly events, in hopes to make this cinema accessible to all. The theatre is exciting, new and above all, “moderne”. There seems to be endless possibilities emerging from the space, and I am personally looking forward to their future programming. Last Saturday I saw Abbas Kiarostami’s latest and final work, a meditative and minimalistic piece that seemed to counterbalance the roaring new cinema.
24 Frames is the last work of the irreplaceable cinema auteur Abbas Kiarostami. With it, he leaves the audience with his last expression, a few frames that perhaps summarize the intent of his career and of his minimalistic style.
The film begins with an excerpt explaining the concept of his film. Kiarostami was fascinated by the idea that a painter can only capture one moment in their work. His curiosity then lead him to wonder, what happened just seconds before or after this moment. It is with this speculation that the director began creating his film. Drawing from his past photographic works, Kiarostami used animation to bring these stills to life and to express what could have happened if mere seconds had passed.
All the scenes have a sense of playfulness to them, as if we were exploring the thought process of the director’s mind. It is almost as if there is a dialogue throughout the film, as invisible as one’s own thoughts, but still deeply present. This film is yet another example of the most prominent theme of his work, the concept of the creation of reality. Here, he creates a reality based in the real world and then heightens it with the hand of imagination and computer animation.
With great sadness, with the completion of this film, we realize that we have lost a great artist. The final frame is in fact the last one gifted to us, but there remains a comfort in his enormous body of work. He was a true artist, and up until his last days was re-creating his vision in a new, innovative style. He gave us one more reason to be grateful for the work he has given us.
RALLY FOR CLIMATE CHNAGE IN MTL, NOVA SCOTIA REGULATIONS, COP24
Hosted by Erdene Batzorig
Stories by Erdene Batzorig
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LOCAL
On Saturday, Montrealers joined a worldwide march to bring awareness to climate change during the COP24, the United Nations Climate Change Conference.
The rally in Montreal included citizens, environmentalists and Indigenous leaders who were protesting the Trans Mountain Expansion pipeline.
According to the Montreal Gazette, since its inception in 1950s the Trans Mountain pipeline has been bought by Kinder Morgan and more recently by the federal government.
Protesters said they want the government to actually consider the environmental impact if the federal government decides to expand the pipeline.
Could Nova Scotia’s new alcohol regulations create a domino effect in the rest of the country?
According to Global News, the Maritime province’s decision to remove limits on how much alcohol can be brought into the province for personal consumption has come as a result of a controversial debate at the Supreme Court.
Executive director of the Canadian Constitution Foundation, Howard Anglin believes the move could be good for the whole country, “Every province that … moves to reduce friction at our internal provincial borders should be applauded for that and, hopefully, will be an example to other provinces.”
Business owners in other Maritime provinces also believe this move could be a positive change.
INTERNATIONAL
U.S., Russia, Saudi Arabia, and Kuwait oppose a special report on climate change at this year’s United Nation Climate Summit.
The report which was commissioned three years ago as part of the Paris Agreement, details what would happen if average global temperatures rise by 1.5 C, and how to ensure they don't go higher.
The CBC reports that nearly all of the 200 countries present were ready to welcome the special report, except the US, and the three other delegates who refused to endorse it.
Alden Meyer of the Union of Concerned Scientists said, ”I think it was a key moment, the fact that a group of four countries were trying to diminish the value and importance of a scientific report they themselves, with all other countries, requested three years ago in Paris is pretty remarkable."
The four-oil exporting countries objections maybe linked to the suggestion in the report that the use of fossil-fuels be phased out by 2050.
Playboi Carti at MTELUS, Dec. 1 2018
Playboi Carti made a stop in Montreal on Saturday night as part of his Neon Tour, and an eager crowd awaited the artist’s much-delayed performance at MTELUS.
Atlanta native and long-time A$AP Mob affiliate Playboi Carti is on the last stretch of his tour, continuing to promote his debut studio album Die Lit that dropped in May 2018. The album came after the success of Carti’s eponymous debut mixtape, featuring his breakout single “Magnolia” that put eyes on the 22-year-old trap rapper.
With an expected start time of 8:45PM, Carti only got on stage at a late 10:45PM to an impatient, and perhaps slightly annoyed, crowd. However, all tension left the room as the performer walked on stage to “R.I.P Fredo (Notice Me)”. Immediately, the venue erupted into complete carnage as the audience was bulldozed closer and closer to the stage by aggressive fans that were eager to catch a front row view.
The rapper went on to play an unreleased song titled “Cancun” from his recently teased upcoming Whole Lotta Red album. Yet, it was not until the beginning of the third song that Carti demanded everyone open up the crowd and chant along to his “MOSH PIT! MOSH PIT!” request. As the crowd split in two, fans waited for the music to drop as they heard the introduction to “wokeuplikethis*”. From there, anyone that was sucked into the audience had no luck of being reunited with the friends that they came with. Shirts began to come off as men in the crowd could not take the heat that came along with hundreds of aggressive, very sweaty, Carti fans bopping to his greatest hits.
The rapper played a multitude of fan favourites, both old and new. Several tracks were those that featured Lil Uzi Vert verses such as “Shoota” and “Of Course We Ghetto Flowers”. Carti played some of his earliest tracks that put him on the hip hop radar such “Fetti” and “Broke Boi”. For many songs, he played only short snippets as they were tracks assisted by other rappers, such as “Mileage” featuring Chief Keef and “Lean 4 Real” featuring English grime artist Skepta.
While the crowd may have found itself calming down at one point in the night, it was surely due to a sheer depletion of physical energy. Regardless of one’s place in the audience, various different pockets of mosh pits found themselves scattered throughout. Whether it was a group of 10 or a group of 40, one misstep and you may get lost in the chaos with no guarantees of coming back.
As expected, Carti saved the best for last. “Telephone Calls” from A$AP Mob’s Cozy Tapes Vol. 1 led into “Lookin” and of course, “Magnolia” to finish off the night. As dozens of people left throughout the show because they could not keep up with what was to come, the crowd gathered their last remaining energy to rage to the rapper’s 2x platinum hit.
When Carti wrapped up his final track, he ended the night by paying homage to one of 2018’s hip hop martyrs. As he exited the stage, “Take A Step Back” by Ski Mask the Slump God featuring the late XXXTentacion began to play as Carti greeted the fans farewell.
Although a slight delay may have frustrated fans in the beginning, it can only be assumed that the energy Playboi Carti gave out in his hour long set was met with forgiveness by his loyal fans.
Jacob Carey is the host of Trappin' in Traffic, CJLO's newest hip-hop show, every Tuesday at 5:00 p.m.
Energy East pipeline, Gender Biased Violence, Co2 Emissions
Unemployment and immigration, legal age for pot, Trans-Mountain consent
Hosted by Luca Caruso-Moro
Stories by Luca Caruso-Moro
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LOCAL
Last year, Quebec’s unemployment rate dipped to historic lows at 6.1 per cent.
This means most Quebecers who looking for a job in 2017 found one. It also means there are jobs left unfilled across the province.
This is why Trudeau has voiced his concerns about the CAQ’s plan to reduce next year’s immigration acceptance by 10,000 people.
Valerie Plante echoed Trudeau’s concerns.
ANOTHER LOCAL
In other provincial news, Quebec’s National Assembly is voting on raising the legal age to buy pot to 21.
The law would make Quebec’s legal age with regards to weed the highest in the country, while maintaining the lowest age to buy cigarettes and alcohol.
The law would also ban smoking on public streets, parks, and sports fields.
NATIONAL
JUDY WILSON: “When you’re walking about the united nations and you’re going to go along with the self-determination and the consent, why wasn’t that applied with the Trans-Mountain Pipeline that’s going through 513km of our territory?”
That’s Neskonlith First Nation Chief Judy Wilson confronting Trudeau during an Assembly of First Nations conference this week.
Wilson said her nation was not consulted during trans-mountain pipeline negotiations.
Trudeau said his government acknowledges that there was inadequate consultation with first nations regarding the project.
JUSTIN TRUDEAU: “We are in the process now of going back and listening more. But, at the same time, we have to understand that this is a process that we are engaging in in good faith, in full respect. But it is not a process that ever is going to give unanimity.”
Sloan at Cafe Campus, Nov 27 2018
For those looking to relive the 90s, there’s no better news than a 30th anniversary performance possibly in the works of the debut album by Halifax power-pop quartet Sloan. “Four nights at the Foufounes!” bassist Chris Murphy told the crowd, before adding that he hopes to assemble the other acts that played their first Montreal show.
Murphy was joking, of course, because Sloan is nowhere close to being a nostalgia act.
A career spanning close to 30 years, Sloan is one of Canada’s most beloved rock bands. The band formed in Halifax, Nova Scotia and was the centrepiece of the city’s exploding music scene in the early 90s, which led some music journalists to dub the East coast city “Seattle North.” Sloan signed with Geffen, Nirvana’s label, for the release of their first album, Smeared. It was their second record, Twice Removed, that cemented Sloan’s power pop meets British Invasion sound, departing from their shoegaze-influenced debut. After parting with Geffen, Sloan released a slew of well-received albums and established themselves as an integral part to the story of Canadian rock music.
The CanCon veterans treated its Montreal fans to two sets, starting the show with new single “Spin Our Wheels.” With 12 records, Sloan can pull from a deep catalogue. Songs from Pretty Together, Parallel Play, and Smeared were played, even one rare B-Side, “Step On It, Jean” from Action Pact. Noticeably absent was 1998’s Navy Blues, which contains one of Sloan’s best-known songs, “Money City Maniacs.” Murphy told the audience that the band will be touring the album next year to celebrate its 20th anniversary.
After so many albums and tours, Sloan played nothing but a tight, solid show, save for one honest slip-up from guitarist Patrick Pentland who told the crowd the band hasn’t played a show in two months and they don’t rehearse. If that’s true, then their performance last night is even more impressive. Highlights include a blistering performance of “Underwhelmed,” one of the finest Canadian songs ever, and show closer “The Lines You Amend” off of One Chord To Another. As with any Sloan show, there was a major emphasis on audience participation, to clapping and singing along to major hits such as “The Other Man” and “Everything You’ve Done Wrong.”
Still, Sloan played most of their material from 12, their twelfth record released last April. A band with four songwriters, Sloan changed instruments twice during their two sets to let drummer Andrew Scott sing the lead on his songs. During Scott’s first time up front, he delivered a rockier rendition of his song “Gone for Good,” thanks to Murphy’s surprising mastery behind the kit. He then went immediately into fan favorite “People of the Sky,” proving to the crowd that Sloan is still as strong as they were back when that song was recorded in 1994.
Since Sloan has been around for so long, it’s easy to take them for granted. But that would be a serious mistake and it’s important that listeners take any chance they can to see them live. Here’s looking to 2019 for the Navy Blues Tour.
Image+Nation: Queerment Quebec
Un public enthousiaste a joint les équipes de production de huit courts métrages LGBTQ très variés, tous faits au Québec, le lundi 26 novembre 2018 au Centre Phi, dans le cadre du festival Image+Nation.
«Notre édition 2018 sera la meilleure», a dit d’entrée de jeu Charlie Boudreau, directrice du festival. Ça fait 18 ans qu’Image+Nation donne leur chance à des réalisateurs principalement émergents, alors qu’ils présentent des courts métrages autour de différents thèmes LGBTQ.
«Cette année, c’est exceptionnel, nous avons du refuser le 2/3 de nos soumissions», a-t-elle ajouté. Le public et le nombre de films reçus à «l’évènement le plus successful du festival» grandi à chaque année, et fait la fierté de l’équipe organisatrice, puisqu’il s’agit du seul projet 100% québécois de la semaine. Malgré les trop souvent très petits budgets des productions présentées, la qualité était quand même au rendez-vous, et les propositions furent audacieuses. La directrice était aussi heureuse de recevoir avec elle un délégué du Festival international de films de Kiev. Ce dernier était présent au Centre Phi pour évaluer la qualité des courts métrages proposés et décider s’il allait, pour une deuxième année consécutive, faire une soirée Queerement Québec en Ukraine ! «Ça fait partie du travail qu’on fait, faire voyager nos films partout dans le monde.» a dit la directrice.
Entre chacun des huit films, d’une durée d’environ 10 minutes, Boudreau a pris le temps d’interroger les réalisateurs et réalisatrices ou d’autres membres des équipes de tournage sur leurs processus créatif et leur carrière. «On adore être reçus ici, ce n’est pas tout le monde qui prend le temps de faire ça», a dit Gabrielle Demers, une des réalisatrices en entrevue.
Queerement Québec affichait, pour sa dernière édition, une sélection de thèmes, de langues et de créateurs et créatrices très variés. Presque la moitié des films étaient en anglais ou mettaient en scènes des protagonistes issus de communautés culturelles minoritaires au Québec. L'événement était donc bien à l’image de Montréal, prouvant par le fait même que les enjeux LGBTQ sont universels et qu’ils peuvent liés à des réalités socioculturelles à l’écran.
L’école de cinéma Mel Hoppenheim de l’université Concordia a aussi souvent été mentionnée pendant la soirée. Trois réalisatrices sur huit y avaient étudié en film production, dont deux étaient en train d’y compléter leur baccalauréat.
Giovana Olmos, justement, est étudiante à Concordia et était accompagnée sur scène de Vjosana Shkurti, sa directrice photo, avec laquelle est collabore régulièrement, aussi étudiante en cinéma à Concordia. Ce sont elles qui ont réalisé mon film préféré de la soirée : Silvia dans les vagues. Il s’agit de l’histoire d’une famille noire de Montréal, organisant les funérailles du père, noyé dans un lac ou une rivière du Québec. On comprend, à travers des commentaires du fils, que le père voulait, juste avant de mourir, devenir une femme. Ce projet fût sans doute le mieux réussi visuellement, avec de magnifiques images, surréalistes, de Sylvia au fond de l’eau.
J’ai aussi beaucoup apprécié le premier court de la soirée, Reach the Sky, un stop motion très attachant. On y voyait de petites figurines, qui après s’est métamorphosées et assumées en tant que LGBTQ, rejoignent le ciel et les étoiles, littéralement.
Deux autres films dignes de mention seraient, d’une part, La pornographe, pour son look retro-70’s, le clin d’œil à Blow Up (Antonioni, 1966) et le commentaire sur le mouvement #MeToo; d’autre part, Amies, pour la tension dramatique palpable et le talent des jeunes actrices.
On a déjà hâte à l’édition 2019 de Queerement Québec, où certains réalisateurs de cette année ont promis qu’ils y seraient de retour.
Image+Nation sait certainement dénicher de bons talents de chez nous, qui nous rappellent la pertinence du festival dans son rôle de représentation de la diversité sexuelle et culturelle au grand écran.
Liste complète des films présentés cette année :
- AMIES
Marie Davignon Canada v.o.f 19min 2018 s.t-a. - DANSER SUR LES OS (Dancing around Bones)
Danika Vermette Canada v.o.f 2018 s.t-a. - IS YOUR TEEN A HOMOSEXUAL?
Tamara Scherbak Canada v.o.a. 6min 2018 - L'APPETIT DES GARÇONS (Starving Boys)
Raphaël Massicotte Canada v.o.f 7min 2018 s.-t.a - LA PORNOGRAPHE (The Pornographer)
Gabrielle Demers Canada v.o.a. 11min 2018 s.t-en. - REACH THE SKY
Daniel Sterlin-Altman Canada no dialogue 6min 2018 - SILVIA DANS LES VAGUES (Silvia in the Waves)
Giovana Olmos Canada v.o.f. 13min 2018 s.t-a. - ROSIE
Gail Maurice Canada v.o.f. & a. 15min 2018 s.-t.a.
Olivier Du Ruisseau hosts Friday Franco Show which airs Friday at 1:00 p.m
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