Latest posts from National Screen Institute - Canada (NSI)

FIN Atlantic Film Fest’s Amy Baldwin on the social value of film festivals

Posted: 30 Oct 2018 08:29 AM PDT

SPONSORED POST

One of my favourite memories as a child was going to the movies over the Christmas holiday with my Uncle Grant. Over the years we saw some excellent movies: Finding Nemo, Monsters Inc., and more. But the highlight came after the movie itself, the moment where my uncle would ask us what we thought of the movie.

My sister, Natalie, and I would go back and forth, babbling about what we liked or didn’t like about the film. This tradition began when I was very young, about seven or so, and what still stands out to me is how thoughtfully Uncle Grant listened to our critiques.

The more I reflect on our Christmas movie tradition, the more remarkable it is to me that he – music professor at New York University who’s worked with Broadway award-winning actors to opera singers – valued the cinematic opinions of his five- and seven-year-old nieces. It was one of the first times as a child I remember being treated like my opinions and views mattered.

I became marketing and communications coordinator for FIN Atlantic International Atlantic International Film Festival in Halifax, Nova Scotia in September 2018. But to be honest, I felt like a bit of a fraud. While the arts have always been part of my life, when compared with my coworkers, I’m not even close to being a film lover of their calibre.

During the festival, I was brought back to my family’s Christmas movie tradition as I had similar conversations with strangers, volunteers or seatmates on the way out of films. It reaffirmed the irreplaceable spot film festivals occupy in our society: one that provokes and provides space for meaningful conversations. And the brilliant part of it is that, unlike many other art experiences such as visiting art galleries, there isn’t a lot of background necessary to appreciate a film. And one certainly does not need to be a film expert to see the artistry of cinema.

At FIN, we strive to bring films to our audience that are a jumping-off point for meaningful conversations. This year, FIN Atlantic International Film Festival did not stray away from difficult topics.

An Audience of Chairs by Newfoundland director Deanne Foley brought us into the realities of a manic episode and the crushing reality of living with bipolar disorder. The Girls of Meru provided an arms-length perspective of the rampant issue of sexual violence against young women in Kenya. This heartbreaking documentary had a hometown connection, as writer/director/cinematographer Andrea Dorfman is a Halifax-based filmmaker. This prompted audience members to compare the film’s insight into the issue of sexual violence in Kenya to that of Canada.

The vulnerability shown by documentary subject Scott Jones in Love, Scott, captured by Laura Marie Wayne, created space for a discussion about hate and the long path to healing and forgiveness. Topics such as mental health, suicide and intergenerational trauma are difficult to bring up but having films like The Song and the Sorrow by PEI director Millefiore Clarkes and Through Black Spruce by Don McKellar gave audience members the ability to broach them with loved ones in conversations about the movies which is a valuable way to prompt larger societal discussions.

Some of the greatest films are also the most controversial. No one knows controversy like Lars von Trier. His film The House That Jack Built aired to a sold-out theatre at FIN and brought up timely issues like misogyny, censorship and the value our society places on art. A movie such as von Trier’s found its appropriate home in our inaugural year of the Extreme Program with Panos Cosmatos’ ultraviolent Mandy and Gaspar Noé’s Climax.

FIN believes in the power of film and strives to make it accessible for all to enjoy. We’re proud to continue our relationship with Autism Nova Scotia to provide free relaxed screenings. These screenings are specially designed to accommodate those who may experience sensory overload. They include reduced lighting, replacing rounds of applause with finger snapping, reduced volume and a theatre full of film lovers who won’t get upset with an occasional verbal outburst or quick exit.

This year we provided three relaxed screenings: our opening night film Splinters by Halifax favourite Thom Fitzgerald, which features an entirely Atlantic Canadian cast, anime film Mirai, The Bookshop, and documentary Finding the Secret Path.

FIN contributed to the conversation surrounding climate change with the G7 Summit gathering simultaneously in Halifax over the festival. There was no better testament to the impact of film than walking into Sharkwater Extinction, the documentary by late filmmaker Rob Stewart. The theatre was filled to the rafters with conservationists, coastal-dwellers and ocean-lovers, many of whom brought stuffed animal sharks with them.

The documentary-maker touched so many people. During the Q&A session with Rob’s parents after the movie, many people commented on the impact Sharkwater and Sharkwater Extinction had on their lives, career directions and lifestyle choices.

Another Canadian film with the ability to influence its viewers was Anthropocene: The Human Epoch. It’s a visually stunning movie, showing both the beauty of our planet and destruction humanity has inflicted on it. Sometimes an enormous issue like climate change requires the visual impact of films like this to change behaviour, prompt discussion and show the extent of the issue.

Film has an undeniable ability to connect and provoke people to take a harder look at their lives, actions or communities. (Isn’t the proof of a quality movie when you continue to think about it long after the popcorn is cold and the theatre lights have gone up?)

In a period of increasing polarization and isolation, bringing people together to laugh together as an audience, jump in their seats or debate the merits of an issue is rarer and rarer. While we often talk about the changing nature of film, the value of film festivals such as FIN – much like my Christmas tradition – are the meaningful conversations after the film itself.

While we worry about the destruction of the film industry, between online streaming, Netflix and tax credit issues, film festivals remain valuable despite their challenges.

– Amy Baldin, FIN Marketing & Communications Coordinator Intern

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The Legend of Rasputin

Posted: 25 Oct 2018 08:09 AM PDT

For the first tabloid star, for the peasant mystic that created a century of intrigue, for the living infamy and growing legend of Grigori Rasputin.

Creative team

Writer/director: Jamie Shannon
Producer: Heather Henson

Filmmaker’s statement

This film was made to commemorate the 100 year anniversary of Rasputin’s murder and the Russian Revolution.

About Jamie Shannon

Jamie Shannon is a well known puppeteer and showrunner who has created over 500 hours of broadcast children’s television.

Inspired by the legendary Jim Henson, Jamie created his own troupe of puppets while attending film school. The quirky characters known as the Grogs soon found a home on Canadian cable channel YTV, performing daily as live on-air hosts for the network for three years, culminating with a 24-hour channel takeover.

The Grogs’ success led Jamie to create the long-running preschool series Nanalan’, based on his Nana’s backyard. Nanalan’ aired on Nick Jr, PBS, CBC and was sold to 30 countries around the world. The series garnered three nominations and won two Gemini awards (best writing and best performance in a preschool series).

After Nanalan’ Jamie created the equally successful cult teen puppet series Mr. Meaty for Nickelodeon. Once again he puppeteered and voiced multiple characters as well as writing and directing the series.

In addition to Mr. Meaty, Jamie worked for numerous networks: creating the characters of Ooh and Aah for the Disney series Ooh, Aah & Me, directing the pilot and overseeing the first series of Big and Small for the BBC, directing and creating characters for the entire second season of Giver, a documentary style show for TVO, and creating and providing the voices for several characters on YTV’s animated series Weird Years.

An experienced director and master puppeteer, Jamie has brought to life unique characters for countless projects, including music videos for the likes of Sia and Kid Rock, short films such as the 2013 Sundance short Wakening, the Spike Jonze-produced Higglety Pigglety Pop and Heather Henson’s Ibex Films The Legend of Rasputin.

He has also worked on live action series such as R.L. Stine’s Goosebumps, The Comedy Channel’s Hot Box and the Sinking Ship’s Odd Squad on PBS and CBBC, in addition to hundreds of commercials and print campaigns.

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