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DO NOT MISS THIS MOVIE!!! Ed, Carlos, Carmen, Warren, Sobey, and myself among others went to see it as part of the Vanc. Int'l Film Fest. It was amazing. 3 hours long, absolutely magical... Well worth the $10! (no LSD required for viewing, better to watch sober, at least the 1st time!) Some groups are forming to go on Monday
and/or Wednesday.
http://www.viff.org/viff02/filmguide/filmnote.php?FCode=GAMBL
Official site: http://www.gambling-gods-and-lsd.ch See Official Press Release below Back to http://escape.to/burningman |
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A filmmaker’s inquiry into transcendence becomes a three-hour trip
across countries, connecting people over culture and time. From Toronto,
the place of his childhood, Peter Mettler sets out on a journey that
includes evangelismat the airport strip, demolition in Las Vegas,
chemistry and street life in the model society of Switzerland, and the
coexistence of technology and divinity in contemporary India.
Mettler blends documentary observation with lyrical camera work,
location sound with aural sculpture. The result is an audio-visual
composition whose movements challenge our preconceptions, evoking in us
the wonder and awe of our daily lives. A lucid and personal portrait of
our times, Gambling, Gods and LSD may change the way you look at the
world.
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GAMBLING, GODS and LSD:
Winner of National Film Board Award for Best Documentary Feature at the
Vancouver International Film Festival
The National Film Board of Canada is proud to announce that Gambling,
Gods and LSD, director Peter Mettler’s epic inquiry into the human
pursuit of transcendence, has won the NFB prize for Best Documentary
Feature at the Vancouver International Film Festival.
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A cloud of debris sucks out of the air as the ruined shards of a
collapsed building hover up and reassemble themselves like a jagged
jigsaw. This reverse-view of a demolished hotel is just one of the
indelible images of Peter Mettler's (Picture of Light, VIFF 94) latest
film. As a child growing up in Toronto, Mettler ran away from home.
Coming to a river, he was suddenly flushed with a profound awareness of
how this
ribbon of water connected him to the infinitely varied world
outside his childhood boundaries. This memory serves as a touchstone for
a filmmaker's search for meaning in the marginal and the monumental,
from evangelism to gambling, from sexual and chemical experiments to the
coexistence of technology and the divine. Blending documentary
observation with lyrical cinematography and expressive sound design,
Gambling, Gods and LSD is an epic inquiry into the human pursuit of
transcendence around the world, lucidly wrought amidst a maelstrom of
luck, destiny, faith, and expanded perceptions. -- Elan Mastai
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(Found this review online by a McGill Tribune
writer - thought it was well written. squish)
Gambling, Gods and LSD openseyes & minds
"When we close our eyes, we see the God within us."
By Scott Medvin, McGill Tribune
Gambling, Gods and LSD is a cinematic exploration of the things that people search for to make themselves whole, whether it be religion, drugs, hedonism or the road to recovery. Established independent director Peter Mettler talks to real people about their lives and the way they live them and examines a number of profound themes: expanding perception, the craving for security and the joy that can be found in life. He begins in his hometown of Toronto and sets out to the other side of the world, stopping in the American Southwest, Switzerland and India. He meets an astounding array of people on his journey, people whom the viewer get to know and feel for, whatever their eclectic situation may be. Mettler clarified, "This film is… about the breaking down of categories, of prejudices. Ultimately the film is about the people who watch it." Anyone who sees this film will probably feel something different and take from it different aspects to infuse into their own life.
This is not a film about drugs, or a film to see while on drugs. This is
a movie that shows what drugs, as well as a number of other
reality-changing lifestyles and beliefs, can do for a person. I myself
have always argued that a person can gain an intimate knowledge of
himself through the use of psychedelically sacramental drugs such as
LSD, and that doing these psychedelic drugs can change a person forever.
Mettler takes this to another level to show how powerful religion can be. The film's second main scene is of a revival at the Toronto Airport Christian Fellowship Church. As rock music plays, an older woman twirls around madly, looking like a barefoot hippie girl dancing at a Grateful Dead concert. People lend their voices to the praise, and their closeness to God causes them to fall to the ground. A woman steps before the crowd and describes her hallucinatory visions of a warrior Jesus; hands are laid upon her and she falls to the floor in a heap of worship.
People are as happy and high as from a mighty drug: this drug is called
faith and love and truth, a drug more powerful than PCP and more intense
than DMT. With footage of an airplane streaking across the sky, Mettler
leaves Toronto and ingrains a powerful image into the viewer:
leaving one perception to enter another. This effect is repeated as the
film veers from one reality to another.
In the American Southwest, red-rock canyons and tumbleweeds are
portrayed in a time-lapse that gives the feeling of sped-up evolution
happening before your eyes. The camera sits in a car that flies around
the curvy mountain roads, hurtling the viewer around corners at
breakneck speed before stopping to show a valley, mountains in the
background, a storm ever-so-slowly rolling in over the horizon. This
scene is less abstract than the first nature scene: the psychedelic
glimmer has disappeared, to be replaced by the artificial glow of Las
Vegas' lights.
Most of the Vegas footage is shown as if it was shot from one of the
city's many million security cameras. The "eye-in-the-sky"
sees all, and shows the throngs of people that flock to Sin City in
search of pleasure. An interview with a man who studies and practices
erotic electro-stimulation reveals that "the human being is a
pleasure seeking machine that always wants to be right," a theme
which is touched upon at various points in the film.
Whether discussing the intricacies of deep heroin addiction or
interviewing Albert Hoffman, the revered chemist who accidentally
discovered LSD in Switzerland almost 60 years ago, Mettler refuses to
pass judgement on the lifestyles and choices of his subjects. He opts
instead to present the story unbiased, allowing the viewer to make
judgements on an individual basis.
And everyone who sees this movie will take something away from it. This
is a beautiful movie, not only visually, but thematically, and in the
way in which Mettler approaches his project. Some moments are
heart-wrenching, while others bring out a smile or a laugh. Regardless
of your emotional response, this movie will appeal to your intellect, to
the part of you that is always searching, always trying to transcend
itself.
Whatever you do to make yourself high, be it dancing till exhaustion
amidst the flashing lights of a rave, experimenting with drugs
trying to open the "Doors of Perception" or praying to
whichever higher spirit you invoke, Gamblers, Gods and LSD will show you
that your search is not futile, and that there are many ways to get
high. I strongly recommend this movie to everyone. Like ingesting Christ
in Communion or dropping that first hit of LSD, this movie may change
the very essence of your being.
http://www.mcgilltribune.com/news/297746.html
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GAMBLING,
GODS AND LSD - a film by
Peter Mettler CH
/ CDN 2002, 35 mm, 180 min, 5003 m, 1:1.66, Dolby Digital DTS, English /
Swiss German, e / g INTERNATIONAL
SALES Alliance
Atlantis ”I
experience the world only through my senses. I describe the material world
to which our bodies belong as a transmitter, because all signals come from
there to our antennae – ears, eyes, our senses. Here the signals are
received and transformed into sight, sound, music. There
is one great transmitter: the cosmos, the entire material world… and
there are an endless number of receivers, individuals, every single human
being.” Albert
Hofmann SYNOPSIS A
filmmaker’s inquiry into transcendence becomes a three-hour trip across
countries and cultures, interconnecting
people, places and times. From Toronto, the scene of his childhood, Peter
Mettler sets out on a journey that includes evangelism at the airport
strip, demolition in Las Vegas, tracings in the Nevada desert, chemistry
and street life in Switzerland, and the coexistence of technology and
divinity in contemporary India. Everywhere along the way, the same themes
are to be found: thrill-seeking, luck, destiny, belief, expanding
perception, the craving for security in an uncertain world. Fact joins
with fantasy; the search for meaning and the search for ecstasy begin to
merge. Mettler
blends documentary observation with lyrical camerawork, location sound
with aural sculpture. The result is an audio-visual composition whose
movements challenge our preconceptions, evoking in us the wonder and awe
of our daily existence. It is a mosaic of moments where the whole is much
greater than the sum of its parts. Gambling, Gods and LSD invites the
viewer to actively participate in the making of meaning, so that the
central theme of the film and the experience of watching it become one and
the same. A
visionary, intuitive journey. A lucid and personal portrait of our times. Gambling,
Gods and LSD may change the way you look at the world. PRODUCTION
NOTES Gambling,
Gods and LSD – GGLSD for short – is Peter Mettler’s 8th film and
follows work made in many genres: the shorts Lancalot Freely (1980) and
Gregory (1981), the experimental films Scissere
(1982) and Eastern Avenue (1985), the fiction features The Top of His Head
(1989) and Tectonic Plates (1992) and the documentaries Picture of Light
(1994) and Balifilm (1997). The
original idea for GGLSD surfaced in 1988, but it wasn’t until Picture of
Light was completed in 1994 that Mettler was able to devote himself fully
to the project. From the beginning, the process of making the film was
structured as a voyage of discovery. Mettler explains: "It was
important for this project
not to depend on a script or a preconceived shooting plan. It was a more
open and intuitive way of working. Such a process still requires decisions
and choices, but they were made in response to the apparently random flow
of events and people who crossed my path.” Working
alone or with a small crew, Mettler shot film and video footage in Canada,
the USA, Switzerland and India (see list of appearances). Four themes set
the conceptual guidelines for shooting:
the desire to transcend; the denial of death; the illusion of safety; our
relationship to nature. These themes played a guiding role in selecting
subjects for the film, as well as suggesting how to respond
to and film the subjects. The encounters themselves created the
journey’s own logic. As Mettler says: "I wanted to let one thing
lead to the next, allowing the film to make itself – so that its
structure might reflect the logic of life’s unfolding.” Mettler’s
travels for the film occurred intermittently between late 1997 and early
1999. He began the editing process in 1998 in a rambling wooden farmhouse
in the Swiss canton of Appenzell, loaned to the production by the
Schlesinger Foundation as a year-long artist-in-residence grant. The
following year Mettler moved his digital editing system into an abandoned
hotel in nearby St. Anton, which he and a group of fellow artists had
turned into a collective working residence. In
a first, rough editing stage, Mettler and his co-editor Roland Schlimme
created a 55-hour assembly culled from a larger quantity of original
material. Mettler explains: "Nothing was ever shot twice, there were
no re-takes or multiple camera angles, so the 55 hours contained a
multitude of different scenes and characters. I put the material together
chronologically and tried to crystallize scenes and sequences according to
what the material itself suggested. The challenge was to create a
structure and a story while preserving the chronological order of events
without imposing too much from outside. It was important to let the
material breathe.” Right
from the start, sound design played an important role in structuring the
film. Sound influenced the picture editing choices as much as the picture
would call for a certain sound, and these had to blend with the spoken
word of the people interviewed. Mettler worked with collaborators to
develop individual sound elements as accompaniment or counterpoint to
specific contexts within the emerging film. Original aural elements were
created by noted Swiss sound designer Peter Bräker, musician Fred Frith
and DJ Dimitri de Perrot. The
soundtrack also merges sounds and music recorded on location, ranging from
Las Vegas casino ambience through techno halls to Indian religious
ceremonies. It also uses pre-recorded music by various artists, including
Jim O’Rourke, Henryk Gorecki, Tony Coe, Knut and Silvy, Christian
Fennesz and others (for a full list, see music credits). As
a Swiss-Canadian co-venture the film could partake of the expertise
available in both countries throughout all stages of the production.
Financing also occurred on an international basis. The film’s first and
critical supporter was the late Andreas Züst, best known to Mettler fans
as a principal character
in Picture of Light. Further funding came from the Swiss Federal Office of
Culture (EDI), the Swiss Broadcasting Corporation (SRG SSR Idée Suisse),
ARTE, the city and canton of Zurich and Telefilm Canada. Additional
support was received from a number of foundations and arts organizations
in both countries, and in the form of goodwill from many associated
participants. Gambling,
Gods and LSD was co-produced by Cornelia Seitler of maximage GmbH, Zurich,
and Alexandra Rockingham Gill and Ingrid Veninger of Grimthorpe Film Inc.,
Toronto. AN
INTERVIEW WITH PETER METTLER You
have worked in all genres, from fiction to documentary and experimental
and essay film. How would you define this new film? I
wouldn’t call it any of those things. Those labels suggest certain
pre-formed expectations that this film does not adhere to. We need better
names for things. Names which relate the nuances of a thing. A tree is not
just a tree. I like the idea of ‘white’ films - like the white light
you get when combining the colors of the spectrum. This
film is, in part, about the breaking down of categories, or prejudices.
GGLSD invites the viewer to go on a journey, to actively participate in
the making of meaning and the opening of the senses. It isn’t aimed at a
specific category of viewer. It will appeal to anyone who can find
something of their own sensibility in it, whether they relate to the
journey itself, the characters encountered along the way, the notions of
belief and spirituality, or simply the aesthetic potential of image and
sound. Is
Gambling, Gods and LSD intended to work on the intellect, or the senses,
or both? The
film addresses a part of the psyche that everyone has. It’s the musical,
painterly, you could even say hallucinogenic sensibility. It relates to
the realm of the unconscious and of dreams: a kind of state that involves
the intellect but also bypasses the intellect. The film is a transmission
of experience, at times beyond language and concepts, letting the
situations speak for themselves. This has very much to do with how we use
our senses, how we experience a piece of music, a situation, or an image -
the combination of different sense perceptions. In
the film Albert Hofman, the inventor of LSD, talks about the kind of
perception we have as children, and later lose. Is the film an attempt to
try to restore that sense of wonder, as Hofman describes it? Yes,
to an extent, I did try to invoke the non-judgmental openness of the way a
child sometimes sees. I try to invite the viewers to approach the film
with this openness and let them feel free to interpret for themselves.
The
meaning of the film is ultimately generated by the individual viewer? Ultimately,
the film is about the people who watch it. Again, the experience of
watching the film reflects the central idea of what the film is
‘about’: the way in which we make things meaningful. Watching the film
is an active experience in the quest for meaning, in acknowledging the
fragility of our belief systems, in our ongoing pursuits of happiness –
or whatever you’d like to call it. Within this context, the film comes
across a wide range of situations such as addiction, the manifestation of
God, the departure of loved ones, the attempt to perfect our environment
through technological or scientific intervention, mass ecstatic gatherings
in churches, raves, implosions, poodle races or guru visitations etc. Poodle
Races? Yes,
the film addresses not only spectacular situations, but also the banality
of the everyday. I think what I learned most in making this film was how
to see the potential, or similar themes, in anything I would look at. And
how anything I could look at, somehow contains the strains of everything
seen before. And
the experience of making the film? My
experience of shooting the film was a mix of observation and
participation, of research and openness, of following encounters while
developing an instinct of when to run the camera. During
editing the experience of going on that journey was repeated. Just as
events unfolded with their own particular chaotic logic while I was
travelling, the film also had to grow out of this same inner logic. I
could say that in a sense the film made itself, and I acted only as a
medium. This was one of my strictest
guidelines. Another was that the film could only be edited in
chronological order. The editing responds
to what happens, instead of trying to impose a structure on the material
from the outside. You could say: the flow dictates the form. Gambling,
Gods and LSD has been called an "audio-visual composition”. What
role did music or musical structures play in the making of the film? Picture
and sound were edited simultaneously, and they fed off and stimulated one
another. The music in the film is a mix of real environmental sounds,
pre-recorded music, and original compositions that were developed
specifically for the film. While you are watching the film, you’re not
always sure what is what. This heightens the perception of sound and the
image to which it is linked, which generally stimulates the senses to go
deeper. The musical structures complement the other modes within the film:
storytelling, documentation and fantasy. Filmmaking
as a kind of composing? I
definitely think the camera is like a musical instrument: you tune
yourself according to the subjects you want to capture. But it’s
important that your own experience is transmitted through the instrument
you’re recording with. I think that allowing yourself to perceive and
experience the world on the musical instrument level – meaning not just
sound and image but also thematically – takes you into another dimension
of the language of cinema. Interview
by Marcy Goldberg SYNAESTHETIC
WORLDS by
Peter Weber a)
Teledivinitry: Fernschmeckerei Gambling,
Gods and LSD is a three-hour contemporary dream. The film starts at the
bubbling spring of his current of images; we see a whirlpool of phantoms
and figures, gods and ghosts. Teledivinitry – Fernschmeckerei: this is
what Mettler calls his technique of generating flickering visual noise by
endlessly superimposing images and sounds until everything blends into a
single, quivering whole. This spring is the source of all that follows.
From the top floor of the airport hotel in Toronto that once stirred his
childhood fantasies, he weaves a fabric of flights, thoughts, waterways
and energy lines he explores in the course of his travels. The camera is
the sensor and the divining rod; always receptive to the unexpected, it
follows invisible currents, drifting on stage and backstage, past the
great backdrops of the world to eavesdrop on the miracles of daily life
and rediscover wonder. b)
Cross section: "I follow water everywhere” The
Telediviner moves from Toronto through the American desert to the
mightiest image spring of all, the Las Vegas seduction machine, which
magnetically attracts hordes of will-o’-the-wisps and garish dried
flowers. Mettler is all ears in the crackling air, acquiring access to
control rooms and probing the giant synthesizers from every conceivable
angle. From this desert metropolis his flight path takes him to the moated
castle, Switzerland. The country of the Alps, a jagged, land-locked island
sitting in an ocean of fog, becomes the link between America and Asia.
Landing, he plunges through the prefabricated images of Arcadian
landscapes and consummate order, draws his lines through the elements and
shows a radically new heart of Switzerland. A roaring mountain stream is
suddenly rivaled by the beat of a bass, spills over into repetitive
electronic music, foam and frenzied dancing masses. From the rocks and ice
of the high Alps, we nosedive into the underground nerve center of a
techno-park where utopias come spewing out of laser beams. Against the
idyllic backdrop of the Alps, an Indian film crew shoots a story that will
enchant millions of spectators in Asia: the image spring of Switzerland
bonds with the complex image spring of India where ancient mythologies and
the digital future collide, bubbling pictures swelling into a flowing
current that comes full circle until spring and delta become one.
Spectators, following Mettler half way around the globe, travel through an
ever-changing present. How did this exquisite interplay emerge? The answer
lies in the art of flying and advanced chemistry. c)
At the digital editing console After
almost two years on the road, Mettler retired to the hilly countryside of
Appenzell, where he started editing, first in a farmhouse, later in an
abandoned hotel. Day and night, in shifts and with different teams, the
masses of footage were reviewed, emerging versions repeatedly screened and
discussed by small circles of friends: filmmakers, artists, musicians and
writers. Having traveled through the rolling foothills of the Alps,
visitors would come upon the filmmaker and his team holed up in a kind of
cockpit, through which one could gaze at different continents. At the
editing machine I felt as if I were in an airfreight carrier looking at a
multitude of intricate control processes. In earlier versions, there were
always pictures of the interior of control towers at airports. It seems to
me that filmmakers are social polyrhythmists, who keep thousands of soups
simmering at once, thousands of pies suspended in mid-air.
They fly in groups, survey flight movements, are pilots and ground crew in
one. d)
Condensation, Saturation, Crystallization: "Things were allowed to
show themselves...” I
had the opportunity to look over Mettler’s shoulder several times while
he was editing. He took note of my rather inexpert suggestions as
guidelines for further pursuits and I noticed that he was suspicious of
hasty solutions. Short-lived effects would have been easy to produce, but
Mettler was looking for the secret connections that were hidden in his
material; he was looking for more lasting rhythms. Sound and picture were
processed together from the start as if to produce liquids that could
constantly be poured back and forth until the exact mix was achieved.
Music was the solvent that turned the imagery into a flowing river. When a
passage on Zurich was being edited, Mettler asked me (I live in Zurich)
what music I’d been listening to recently. He took sequences from my
favorite tune, poured them into his pictures and thus added impetus to the
cutting. Later these sequences were deleted again, leaving only a shadow
of the rhythm behind in the images. A soundtrack was then recorded with
live musicians. With such complex and elaborate condensation of movement,
strands kept falling by the wayside, others melted together. After almost
three years, a version had crystallized which seemed buoyed by the
reflection of everything that had been left out. e)
Alchemy of the Present Gambling,
Gods and LSD is a highly potent musical feat. The Telediviner demonstrates
how – after the breakdown of ideological systems – the world on this
side of fixed ideas and overused pictures must be linked synaesthetically,
associatively and in analogies, in order to follow the emerging lines of
meaning. Imperceptibly, almost organically, documentary and inner images
blend with musical movement to form a flowing stream in which the present
shimmers through in constantly changing realities. The synaesthetic
fusions of sound and image are the ordering drive of Mettler’s universe.
Empires are created between these spheres that keep us breathless as we
accompany his intoxicating journeys. APPEARANCES
IN THE FILM The
Airport Strip, Toronto, Canada Monument
Valley, Southwestern USA The
Helvetian Glacis, Switzerland The
Vijayanagara Empire, Southern India ORIGINAL
MUSIC BY also
featuring pieces by: Jim
O'Rourke CHICAGO
II from the album "Remove the Need" LIFE
GOES OFF from the album "Insignificance" by
Third Eye Foundation AN
EVEN HARDER SHADE OF DARK NO
DOVE NO COVENANT from the album "You Guys Kill Me" by
Christian Fennesz HOTEL
PARAL.LEL from the album "Hotel Paral.lel" AFTERNOON
TEA RECORDED AT THE BIG JESUS BURGER, SYDNEY by
Knut&Silvy ONE
NOTE EPINEMA DEEP
BREATH from the
album "Visit" by
Tony Coe TONY'S
BASEMENT from the album
"Sax With Sex" by
Henryk Gorecki SYMPHONY
NO. 3, OP. 36 performed by Zofia Kilanowicz HNH
International Ltd. Polish NRSO, Antoni Wit conducting by
Martin Schütz and Roots and Wires THE
BACKGROUND IS THE FOREGROUND THEN DELIRIUM from the album "Roots and
Wires" performed
by Jeremy Sinnott + Toronto Airport Christian Fellowship Worship Band WE
WANT TO SEE JESUS LIFTED HIGH NEW
SONG ARISIN' SON
OF MAN APPEARS PARTICIPATION
IN THE MAKING OF THE FILM Writing,
Directing, Cinematography: Peter Mettler PETER
METTLER For
20 years Peter Mettler has continued to create the kinds of films deemed
impossible to make yet readily appreciated once they exist. A key figure
in the critical wave of 80’s Canadian filmmakers including Atom Egoyan,
Bruce McDonald, Patricia Rozema, Robert Lepage, Mettler has consistently
produced works which elude categorization. Melting intuitive processes
with drama, essay, experiment or documentation, his films continue to take
a unique and influential position in creative expression and the merging
of forms from cinema and other disciplines. Meditations on our world,
rooted in personal experience, they reflect the visions and wonder of
their characters and audiences alike. Mettlers films have garnered many
prizes and been the subject of retrospectives internationally. Films
include: Scissere
(´82) and Eastern Avenue (´85) experimental investigations into the
movements of the subconscious. The
Top of his Head
(´89) feature drama following the search for identity in a media driven
world. Tectonic
Plates
(´92) feature drama, an adaptation of the play by Robert Lepage & Co.
The movement of the earths
tectonic plates is used to illustrate interconnecting stories on a human
scale. Picture
of Light
(´94) feature documentary, takes a film crew to the sub-artic to capture
the wonder of the northern
lights on celluloid. Balifilm
(´96) 30 min. diary/performance, a lyrical tribute to the creative forces
found on the island of Bali. Gambling,
Gods and LSD
(02) documentary, a three-hour journey across cultures, people and time;
an exploration
of the notions of transcendence and belief. Mettler,
a Swiss Canadian citizen, and a strong supporter of independent
filmmaking, has collaborated with Werner Penzel, Michael Ondaatje, Atom
Egoyan, Peter Weber, Andreas Züst, Fred Frith, Alexandra Rockingham Gill,
Robert Lepage, Bruce McDonald, Patricia Rozema and many others. The
various image and sound works of Mettler are occasionally presented in the
form of exhibition or performance. A book on his work entitled Making the
Invisible Visible was published in 1995. A creative residency, Verein
Alpenhof was established, together with a group of artists, in Appenzell
Switzerland in 2001. Currently Mettler is determining what to do with all
the unused material from the shooting of Gambling, Gods and LSD. Selected
highlights Balifilm
Sonic
Boom: Live performance with Evergreen Club Gamelan
Duisburger Filmwoche: Best Short Film
Visions du Reel: Opening Night Presentation Picture
of Light
Hot
Docs Toronto: Best Film, Best Cinematography, & Best Writing
Locarno International Film Festival, Switzerland: La Sarraz Prize
Swiss Ministry of Culture: Award for Excellence in the Arts
Figueira da Foz International Festival: Grand Prize (Images &
Documents)
MCTV Award: Best Ontario Film
Yamagata International Documentary Festival: Award for Excellence Tectonic
Plates
Figuera
da Foz: Most Innovative Film
of the Festival
Mannheim Film Festival: Catholic Jury Award
Colombus, Ohio: Grand Prize & Award for Excellence As
Cinematographer
Krapps
Last Tape with John Hurt by Atom Egoyan.
The Ring by Angus Reid
Leda and the Swan by Alexandra Rockingham Gill
The Life is the Red Wagon by Jane Siberry
Family Viewing by Atom Egoyan.
Artist on Fire with Joyce Weiland by Kay Armatage
Walking after Midnight by Jonothan Kay
A Trip Around Lake Ontario with David MacFadden by Colin Brunton
Passion A Letter in 16mm by Patricia Rozema
Divine Solitude with Nana Gleason by Jean-Marc Lariviere.
Next of Kin by Atom Egoyan
Knock Knock by Bruce McDonald
David Roche Talks To You About Love by Jeremy Podeswa Other
Retrospective
ARSENAL, Berlin 1999
Retrospective tour in Holland, by MECANO, 1998
Retrospective and photo exhibition at CINEMATEQUE ONTARIO 1996 -
Toronto
Retrospective at VIPER Festival 1995 - Lucerne, Switzerland
Exhibition of B&W photographic prints, I Died Shortly
Thereafter
Solo show, Foto Forum St.Gallen, Switzerland 1995
Member of improvisational music trio ESP, Switzerland, since 1993 TE-LE-DIV-IN-I-TRY te-le-
(téli) prefix far off, covering a distance > combining form, to or at
a distance: telekinesis // television//
used in names of instruments for operating over long distances [origin:
from Greek téle- ‘far off’] te-le-path-y
(télipathi) n. the supposed communication of
thoughts or ideas otherwise than by the known senses div-i-na-tion
(divenéijn) n. a divining or foretelling of the future or the unknown by
supernatural means// guessing
by intuition(O.F.) di-vine
(divàin) adj. of God or a god, divine wisdom// having the nature of God//
(pop.) superlatively good or beautiful, divine music |