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Statistics :
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Fantasia 2006
Other programming 1/1 - Page 5
Info
Author(s) : Yves Gendron
Date : 6/7/2006
Type(s) : Report
 
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Fantasia 2006 :

international programming

39: A FILM BY CARROLL MCKANE
USA
, Gary Sherman, 2006

World Premiere, hosted by director Gary Sherman
Carroll McKane, having already killed 17 couples, sets up eight DV cameras on reticulated arms in a warehouse to document his crimes and kidnaps a celebrated psychologist in the hopes that he will write his biography. Told entirely from the perspective of Mc Kane's unblinking cameras, 39 is a disturbing slice of verite filmmaking from Gary Sherman, director of DEAD AND BURIED and RAW MEAT, making his return to the genre after over a decade's absence. Make no mistake, this is a graphic and unsettling work, but it doesn't rely on abject depravity or exploitative gore to disturb. No, this one's by Carroll McKane, who's far too obsessed with himself to let his victims take centre stage.

 

BAD BLOOD
Portugal
, Tiago Guedes & Frederico Serra, 2006

Montreal Premiere
A respected academic inherits a sprawling country home and packs up his wife, children and grandchild, moving them against their wishes. And the country is a vastly different place than the city, a place where superstition runs rampant, the local priest still performs exorcisms, and there may just be a thread of truth embedded in the strange, disturbing tales told about their new home. Beautifully shot and augmented with a minimalist score that evokes the work of Daniel Lanois, this is a subtle, slow-burning tale of a haunting in rural Portugal . Built around a carefully nuanced script and strong performances from all involved, it is a welcome relief from all the noise of most Hollywood films, a film that takes its time to build mood and atmosphere. A major prize-winner at the Fantasporto Film Festival.

 

BEHIND THE MASK: THE RISE OF LESLIE VERNON
USA, Scott Glosserman, 2006

Canadian Premiere, Hosted by Director Scott Glosserman
A breakout success at this year's South By Southwest Film Festival, this critically acclaimed comedy / horror film takes place in a universe where the happenings of the HALLOWEEN and ELM STREET films actually occurred, and where being an unstoppable killer is virtually a career option. A documentary crew follows budding supernatural killer Leslie Vernon as he prepares to become his town's worst nightmare, training vigorously to be able to walk slowly yet still catch up with his victims, learning the ins and outs of electricity etc. One part mockumentary, one part stylized narrative filmmaking, Mask opens like a Christopher Guest film and effortlessly shifts gears along the way to become exactly what it satirizes, virtually evolving into an 80's slasher movie, while cleverly de-constructing the subgenre, exploring and parodying the deeper reasons why these films have typically been structured in such specific ways.

 

BON COP BAD COP
Québec, Érik Canuel, 2006

World Premiere, Hosted By Director Erik Canuel
Bon Cop Bad Cop stars Patrick Huard and Colm Feore as a pair of cops, from Quebec and Ontario respectively, who must work as a team to crack a series of crimes which target the national sport – hockey. Based on an idea of Huard's, Bon Cop Bad Cop is the first completely bilingual Canadian film. Érik Canuel has been recognized for some years now for his work in advertising, music videos and the direction of television series. In cinema, he brought us successful and critically acclaimed films such as Le Survenant Le dernier tunnel , Nez rouge and La loi du cochon .

 

THE DESCENDANT
Québec,
Philippe Spurrell , 2006

World Premiere, hosted by director Philippe Spurrell
It's a year since the mother of 25-year-old James Duke passed away, and he finds himself hungering to learn more about her life, and about the grandparents she's cut him off from since early childhood. Resentful stares and tense whispers follow behind James as he seeks to learn more about his roots, and his grandparent's often inexplicable behavior suggests that there are secrets deeply buried in the Duke family history. Inspired by little-known but deeply tragic events in the foggy history of own province, The Descendant , the 35mm debut feature by Montreal filmmaker Phillippe Spurrell, is an eerie and effective mystery with an effective, grounded supernatural twist.

 

EDMOND
USA, Stuart Gordon, 2005

Canadian premiere, hosted by Director Stuart Gordon
A powerful, confrontational, exploration of male middle-class white America's undercurrents of hate, written by David Mamet ( GLENGARRY GLEN ROSS ), directed by the equally legendary Stuart Gordon ( RE-ANIMATOR ) and starring William H. Macy, Julia Stiles, Joe Montegna and Jeffrey Combs. Gordon, who founded and ran Chicago's Organic Theater for 15 years before venturing into film, was one of the first people ever to direct a Mamet play, and has been wanting to adapt EDMOND for well over two decades. Until recently, it was deemed too controversial and no producer was brave enough to touch it. Undiluted by the calculated hipness that often plagues edgy US indies, it is a violent film, both physically and emotionally, boiling with existential provocations and jet-black wit that redefines the term "uncomfortable." Mamet's script, written during a painful period in his life, plays almost like a 70's Paul Schrader work dosed in breathless “Mametspeak”. Tough as nails and provocative to the extreme. .

FROSTBITE
Suede, Anders Banke, 2006

Canadian Premiere
The first vampire film from Sweden is a gleeful teen comedy/horror that takes full advantage of that country's Polar Night - the period during which the sun stays beneath the horizon, causing months of darkness without sunlight! Director Banke was given an almost unheard-of budget, and he and producers Magnus Paulsson (longtime programming director at Lund 's celebrated Fantastisk Filmfestival) and Goran Lindstrom used a large portion to load their film with state-of-the-art makeup and visual effects on par with any American studio release. Featuring the most destructive use of a garden gnome ever, and a soundtrack that mixes contemporary pop with an original score by the Slovak National Symphony Orchestra, Frostbite marks the opening of a new chapter in Scandinavian cinema.

 

THE GRAVEDANCERS
USA , Mike Mendez, 2005

Canadian premiere, Hosted by Director Mike Mendez
A group of college friends joking around in a cemetery find themselves followed home by spirits, commencing a terrifying month of supernatural visitations that are designed to end in death. Scary as hell and consistently surprising, the film is driven by freakish scare sequences piled one on top of the other to exhilarating effect. Director Mendez ( The Convent ) has said that he designed his film to play like a very adult version of Disneyland 's haunted mansion ride and this spirit comes through strongly. Coffins burst up from the earth, cadavers shriek, graves shoot flames and the ghosts themselves wreak unbelievable havoc. A freakish dose of old-school 80's horror.

 

ILS (THEM)
France, David Moreau & Xavier Palud, 2006

Montreal Premiere
THEM is a visceral and very Freudian feature-length siege film depicting a couple being chased throughout their residence and the surrounding forest after their home is broken into by an unknown group of attackers. Stark lighting effects and intense set pieces centered around rows of flowing curtains, endless corridors, elongated tunnels and the like are constructed in a way that can best be described as a fusion between the tones of Val Lewton and Alexandre Aja. Tension heats up to incinerating degrees as intricate production-design manipulations make bizarre nooks and crannies seemingly stretch onwards to infinity, lending a nightmarish tone of irrationality to otherwise straightforward occurrences. Its closing punchline will absolutely floor you, and is of the sort that most North American films wouldn't venture near. Expect the almost inevitable US remake to end quite differently. A gripping exercise in horror film atmospherics.

 

Kebab Connection
Germany, Anno Saul, 2005

Ibo, un Turc de Hambourg adore Bruce Lee et voudrait entrer dans l'histoire comme le créateur du premier film de kung-fu allemand. Comme son ambition n'a d'égal que son manque d'expérience, il tourne un spot publicitaire pour le snack de son oncle Ahmet. Le spot connaît un succès extraordinaire et Ibo est maintenant célébré comme un nouveau Spielberg. A peine a-t-il remporté cette victoire qu'il apprend que sa copine Titzi est enceinte. Ibo réussira-t-il à mener de front sa carrière cinématographique naissante et son futur rôle de père? Une comédie romantique déjantée sur fond d'intégration sociale.

 

THE KOVAK BOX
Espagne, Daniel Monzon, 2006

International Premiere
A disturbing thriller with sci-fi overtones from the producers of The Machinest , directed by Daniel Monzón ( Heart Of The Warrior ) and co-written by regular Alex De La Iglesia scripter Jorge Guerricaechevarría ( Day Of The Beast, Perfect Crime ). David Norton (Timothy Hutton) is a best selling author on a publicity tour in Majorca . Everything seems to be going well until his fiancée receives a strange telephone call. Suddenly, she jumps to her death from their hotel balcony. What could possibly have driven her to do this? As David desperately searches for an answer, people start dying all around him, inexplicably committing suicide. David becomes the reluctant hero of one of his own stories.

 

THE LOST
USA: Chris Sivertson, 2005

Canadian Premiere, hosted by director Chris Sivertson
This blistering portrait of teen disaffection, depicting a narcissistic delinquent's spiral into a killing spree, has shattered audiences wherever it's been shown. Director Sivertson chose to set the narrative in an indeterminable era, one that combines elements of 50's America with modern-day styles, peppered with traces from all periods in between, giving The Lost a chilling timeless quality perfectly suited to deal with horrific truths that transcend generations. This approach also creates a subtle sense of dislocation that runs throughout the film. Based on the acclaimed and notorious novel by Jack Ketchum (an except from which was published in The Outlaw Bible Of American Literature , alongside passages from Henry Miller, William Burroughs, Hunter S. Thompson etc) and produced by May director Lucky McKee, whose own film The Woods is having its North American Premiere at this year's festival. .

 

NEIGHBORHOOD WATCH
USA , Graeme Whifler, 2005

Canadian Premiere, hosted by director Graeme Whifler
A knockout black comedy / horror illustrating a young couple's troubles with a right-wing Christian fundamentalist neighbor that escalates to outrageously grotesque extremes. The feature directorial debut from the man who scripted Sonny Boy and directed experimental videos for The Residents is a twisted, audacious work that opens as an ironic comedy, takes a few black turns, keeps you smiling (albeit far less comfortably then before), introduces some extremely perverse sexual elements, throws in some gross-out humour as a diversion - and then plunges its audience into a violent abyss of extremities that will shock the un-shockable and floor the rest of you – literally – a person fainted during a recent screening!

 

PUSHER 3
Denmark, Nicolas Winding Refn, 2005

Montreal Premiere, hosted by Director Nicolas Winding Refn
A hard-hitting masterpiece of urban crime cinema that traces one man's descent into personal apocalypse over a single day, night and following morning, starring brilliant Croatian actor Zlatko Buric as a junkie trying to quit the habit - while maintaining his position as one of Copenhagen's biggest heroin dealers. This 3 rd entry in Refn's acclaimed trilogy - a series of engrossing explorations of Denmark 's criminal underworld, each film baring relation to the others only through peripheral characters who inhabit the same universe – is one of the strongest works of its kind since Scorsese's heyday. Extraordinary character writing and wholly immersive ensemble performances have always been Refn's signatures, but Pusher 3 is exceptional even by his standards. Reflecting Denmark 's sometimes troubled cultural melting pot, nearly half the film's dialogue is in languages other than Danish - Polish, Serbian, Arabic and Albanian. A gritty, violent and above all, honest film that thrives with a humanity (and melancholic sense of humour) as impacting as any of its darker surprises.

 

WILD BLUE YONDER
Germany, Werner Herzog, 2006

Canadian Premiere
“I want to use imagery and sound in a way you have never before experienced.” This is how Werner Herzog describes his mesmerizing new science fiction/fantasy. Brad Dourif is a space alien gone to seed, living in an abandoned southern Californian ghost town (“We built a mall here, but nobody shopped”) and stewing over CIA conspiracies, Roswell cover-ups and eons-long interplanetary travel ("Our ancestors were great scientists, but the journey was long and boring and, by the time we finally arrived, we all just sucked."). Herzog appropriates previously unseen footage - a 1989 NASA launch for the “interstellar” mission, underwater images from the Arctic ice shelf for the alien world…- accompanying these strange visions with one of cinema's most hypnotic scores. A deserved prize-winner at the Venice Film Festival.

 

THE WOODS
USA, Lucky McKee, 2006

North American premiere, hosted by Director Lucky McKee
From the director of May . Indie hero Lucky McKee's highly anticipated entry into the studio-production big leagues is an atmospheric film about witchcraft in a mysterious all girl's boarding school that hits unique notes uncommon to most modern studio releases. Graced with an effective cast that includes Agnes Bruckner, Evil Dead icon Bruce Campbell and the always-fascinating Patricia Clarkson ( Wendigo , Dogville ), delivering one of her most memorable performances to date. McKee shot The Woods right here in Montreal , assembling a stellar team with many figures from the city's industry, both in front of and behind his camera's lens.

 

AN EVENING WITH UNDERGROUND COMICS LEGEND JIM WOODRING

Hilarious, mysterious, melancholic, mystical and mesmerizing, virtually throbbing with fecundity and profundity, wit and wonder – these are but a few words with which to describe the utterly astounding, gobsmackingly psychedelic artwork of American comic-book artist and illustrator Jim Woodring, who Fantasia is proud to present live and in person at the festival this year!
Following a special screening of Visions Of Frank , a Japanese collection of animated adaptations of Woodring's comic strips, Woodring himself will share a not only a few thoughts about his work and life, but also a very, very special treat. "Lazy Robinson" is a 20-minute audiovisual presentation of, in Woodring's words, "a series of charcoal drawings of unnatural objects floating in a black that cross-dissolve into each other, the midpoints being the real points of the exercise." Don't miss this rare opportunity to encounter Woodring and his work in close quarters – having your mind bent into strange new shapes has rarely been so much fun!

 

Bloody Blighty: The New Wave Of British Horror Cinema

Montreal , June 28, 2006 – The British horror film has long been celebrated for its penchant towards character driven pieces that rely on strong ensemble performances and evocative atmosphere to bring credibility to even the loopiest of scenarios. The UK genre films of the 50' and 60's operated in stark contrast to their often light or campy American contemporaries, taking vampires, werewolves and the like into real-world, often working class environments, populated by wholly believable characters. These films seldom made light of their subjects and their lead performers, who regularly hailed from theater backgrounds, often lent the productions a quality that bordered on the Shakespearian.

Today's new wave of UK genre filmmakers have upheld their country's tradition for intelligent character-driven horror, fusing it with the visceral ferocity being seen in the current US crops. The results are often breathtaking, and several of this year's UK genre films rank among the strongest works of their kind produced anywhere in the last 12 months.

THE DESCENT (Official Opening Film)
UK Dir: Neil Marshall, 2005

Canadian premiere
Several women on a cave expedition find themselves all-but buried alive after a rockslide seals off their exit. The only possible way out is down . As claustrophobia builds to suffocating extremes, a bad situation turns ferociously worse when the women realize that they are being stalked by an age-old forgotten species. Heart-stoppingly intense (it's a wonder nobody has died during a screening), wholly character-driven and unbelievably engrossing, The Descent has been widely hailed as the most frightening horror film of the year, which is an understatement. It is one of the most effective horror films of the past decade . This recent review quote from The Guardian's Mark Kermode says it all: “"One of the best British horror films of recent years. I jumped, I gasped, I winced, I cringed and, for lengthy periods of The Descent , I simply held my breath".

 

ISOLATION
UK Dir: Billy O' Brian, 2005

Montreal Premiere
With the bank knocking at the door and the bills piling up, a farmer agrees to have his cattle used for genetic research in a series of breeding experiments. Soon it is clear that all is far from well and the farmer along with an isolated group are fighting for their lives, under assault by the horrific result of genetic experimentation gone grotesquely wrong. Executed with a serious, matter-of-fact tone that makes it very easy to buy into what is not such a farfetched scenario (the film's monster was created by simply merging two actual, well-documented cattle mutations). Isolation asks a surprisingly frightening question: what are you eating?

 

THE LIVING AND THE DEAD
UK , Dir: Simon Rumley, 2006

North American Premiere, hosted by director Simon Rumley
Making its North American debut after a strong launch at this year's Rotterdam Film Festival, this hallucinatory nightmare plays like a Merchant Ivory production directed by Darren Aronofsky.   In an arthouse spin on the Old Dark House subgenre, the film takes us into Longleigh, a decaying English mansion inhabited by a decaying aristocratic family - patriarch Donald, his bed-ridden wife Nancy and their mentally challenged, highly unstable schizophrenic son James. Donald leaves town on a business, leaving Nancy in the care of a nurse. Misdosing on his meds, James decides that, as the "man of the house", he ' s going to nurse his mother back to health, shutting out her homecare nurse and taking the phone off the hook. The film evolves into a surreal barrage of sometimes violent, quasi-existential nightmare sequences that ultimately leave the outcome up to the viewer which, any way you slice it, isn ' t pretty.

 

WILDERNESS
UK , Dir: Michael J. Bassett, 2006

North American Premiere, hosted by director Michael J. Bassett
Brace yourself for this gripping genre hybrid that plays like a cross between Lord Of The Flies, Friday The 13th and Deliverance . Vicious bullying leads to the suicide of a timid inmate at the Moorgate Young Offenders Institute. The administration's solution is to pack up everyone who had resided in the dead boy ' s dorm - an assembly of violent sociopaths, repeat sex offenders, white-power skinheads and armed robbers - and send the entire lot "outward bound" to a deserted island for a part of their sentence. Once abandoned, the prisoners find themselves hunted by a vicious ex-military man. Strong ensemble performances and gruesomely inventive shock setpieces rocket this one through the stratosphere, and make Wilderness one of the most intense films of the year. On the basis of this film, director Bassett was hired by Fox to helm the sequel to this year's Hills Have Eyes .

 

Also screening in this series are Simon Boyes & Adam Mason's BROKEN, Jake West's EVIL ALIENS and Sam Walker's infamous short film DUCK CHILDREN.

 
short cuts

 

•  Au-delà de l'animation

•  Celluloid Experiments

•  DJ XL5's Zappin' Party Cavalcade

•  Liberté, Égalité, Fantastique: Courts métrages Français et Belge

•  Prends Ça Court!

•  Québec DIY (Volet Anglophone)

•  Québec DIY (volet Francophone)

•  Small Gauge Trauma 2006

•  Les Gros Bras font du cinéma 2006

•  Un film, Genre …

•  The Visions Of Jim Woodring

•  Vitesse Lumière 2006

•  Vive Le Court Libre: Courts-métrages Québécois Bloc 1

•  Vive Le Court Libre: Courts-métrages Québécois Bloc 2

•  Worlds Of Wounded Clay: The Films Of Robert Morgan

 

SPOTLIGHT: RUSSIAN ROULETTE

Montreal, June 28, 2006 – A small sampling of genre trends in Russian cinema, mounted to announce that this is a country whose distinctive filmmaking will regularly be showcased at Fantasia from this year onwards.

AZRIS NUNA
Russia Dir: Oleg Kompasov

North American Premiere
Though little known on these shores, Sergei Lukianenko is nothing less than a sensation in his native Russia . In fact, you could fairly say that Lukianenko is the man largely responsible for the current boom in Russian genre film. Lukianenko is an enormously popular author of science fiction and fantasy, best known on these shores as the author of both the novels and screenplays that formed the basis of the hugely successful Night Watch and its sequel Day Watch . With its blend of science fiction and kid-oriented action elements, Aziris Nuna aims for the adventure feel of films. Helping greatly to that end is some stellar design and effects work - this is quite simply a beautiful film. Aziris Nuna shows another side to Lukianenko.

JUNK
Russia Dir: Denis Neimand

North American Premiere, hosted by Director Denis Neimand
A psychopathic serial killer is up for sentencing and Marina , a onetime ace Muscovite who's trying to quit the game, is asked to interview him before final word comes down. She grudgingly agrees, but on the morning she is due to meet with him, the killer escapes and Marina is swept up in the pursuit, eventually becoming lost with a lone police investigator in an abandoned dacha town now populated only by a handful of society's outcasts – criminals, degenerates and predators all. From the stunning opening sequence onward, one thing is abundantly clear: director Denis Neimand has an exceptional eye. The film is beautifully shot, tension expertly manipulated, and Neimand includes a handful of excellent action set pieces. Helping things along are a strong cast and if the film feels a little familiar in the middle act, it is only to set up the slyly subversive ending.

SHADOWBOXING
Russia Dir: Aleksei Sidorov

North American Premiere
Artem is boxing's great white hope. Smelling the massive box-office potential of a series of bouts against a legitimate white contender, the American champ's promoter offers Artem a deal to throw the match to set up a lucrative repeat performance, but Artem's team is too proud to accept - this will be settled in the ring, with their fists. But pride comes before a fall and, when the fall inevitably comes, Artem is left broken, blinded, and on the run from drug dealers, the police and his own promoter. A big, glossy action picture, Shadowboxing boasts a likable cast, fantastic production values and some stunning action set pieces. A sprawling piece of work unafraid to criticize its own culture – from the desire for American-style success through to the mob influence on local business.

VIY (1967)
Russia Dirs: Konstantin Ershov, Giorgi Kropachyov, Aleksandr Ptushko

New 35mm print, hosted by Russian film historian / preservationist Alla Verlotsky
Viy , based on Nikolai Gogol's short story, is one of two seminal pre- The Exorcist "possession" films. Viy is striking in the way it blends fantasy with early Soviet film history, most notably the aesthetics of post-Revolution Soviet cinema. What will strike audiences today are the three increasingly horrific nights that Khoma spends in the church doing battle with the evil spirit possessing the young woman's body. The first two set pieces are exercises in effective use of camera movement to reflect the supernatural, while the third is an overload of expressive shadow-play, stop-motion animation, creative set design and special effects, as the witch summons all forms of creature in an attempt to overwhelm Khoma in a literal "all hell breaks loose" climactic, not-to-be-forgotten set piece.

 
Le cinéma d'auteur contemporain d'animation stop-motion

Montreal, June 28, 2006 – The very dawn of cinema is rooted in the fantastic, from Méliès' Le Voyage Dans La Lune (1902) to Edison's Frankenstein ( 1910), and the painstaking methods of stop-motion animation developed in unison alongside the 7 th art as a means to create elements that do not exist in nature. Now mostly abandoned in favour of cold, computer generated creations, the old-school art of stop-motion is being kept alive and vital almost exclusively by obsessive auteurs who use the form to bring life to their deepest personal visions in the most hands-on manor in which one can possibly make a film. For our 10 th anniversary, we felt compelled to organize a small salute to several of the most intriguing contemporary stop-motion filmmakers working today. In a fateful note of programming synergy, it bears mentioning that Britain 's Robert Morgan, whose extraordinary work is a key component of this tribute, could just as well be listed in our UK New Wave spotlight.

 

BLOOD TEA AND RED STRING
USA Dir: Christiane Cegavske, 2006

Canadian Premiere
An astonishing and Lynchean, 13-years-in-the-making independent masterwork - written, produced, animated, and directed by a single woman, who also built every character and set, armed with nothing more than a 16mm Bolex and a credit card. With the tone of a child's nightmare, the film follows a group of beaked creatures who build a doll, sew an egg inside her womb and hang her Christ-like in an oak tree. The figure is stolen by a pack of aristocratic mice in turtle-drawn carriage, leading the creatures into a dream-like quest to retrieve it. A triumph of creative passion as an all-consuming force of nature, brimming with wonder, twisting with madness and hitting its eccentric marks with a uniqueness seldom seen in modern film , Blood Tea is a dialogue-free aria of unrestrained imagination.

 

LUNACY
Czech Republic Dir: Jan Svankmajer, 2005

Canadian Premiere
The latest production from legendary Czech surrealist Svankmajer (ALICE, FAUST, LITTLE OTIK) loosely adopts the writings of the Marquis de Sade and Edgar Allan Poe to create a forceful black comedy about societal perceptions of freedom and mental illness, while simultaneously lashing out against institutional manipulation and the trappings of what people are willing to accept as good or evil. Coming from Svankmajer, it should be no surprise that these issues are occasionally addressed with stop-motion animated pig brains, cow eyes and slabs of rotting meat. Svankmajer's most radical and subversive film to date concerns the plight of a man who is talked into confronting his fears of madness by undergoing “preventative therapy”…and checking himself into an institution for the insane!

 

WORLDS OF WOUNDED CLAY: THE FILMS OF ROBERT MORGAN
UK Dir: Robert Morgan

Screening are: Man In The Lower-Left Hand Corner Of The Photograph (1997), The Cat With Hands (2001), The Separation (2003) and Monsters (2004), followed by an extensive discussion with the filmmaker.

Britain 's Robert Morgan is one of the most visionary genre filmmakers working today, and chances are, due to sorry state of short film distribution, you have yet to hear of him. Morgan's shorts are surreal mini-epics of inner crisis and morbid grotesqueries. Each captures the essence of a child's fascination with death, deformity and decay, and merges it with the dark, philosophical ponderings and fears of adults in their most shattered state. Imagine a fusion between the sensibilities of David Cronenberg, Ingmar Bergman, Tim Burton, Clive Barker, Salvador Dali and the Quays, and you'll have a partial idea of the sheer brilliance of this man's work. His films seem to win prizes whenever screened, THE SEPARATION alone having won no fewer than 15, including one at Fantasia. We are very excited to bringing Morgan to Montreal to host a special screening block of his complete filmography.

Also screening are numerous stop-motion shorts, including one from Jan Svankmajer's son, Vaclav.

 
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