Know Your Indie Filmmaker: Sara Gunnarsdóttir
Gunnarsdóttir’s work has an edgy, punky vibe throughout that often aptly reflects the grungy, fragile existence of her subjects.
Gunnarsdóttir’s work has an edgy, punky vibe throughout that often aptly reflects the grungy, fragile existence of her subjects.
Canadian filmmaker Matthew Rankin explores local, national, and international history with an eccentric and deadpan touch that is refreshingly and genuinely loving.
Yamamura’s films are a bit like chameleons. Each looks different from the previous one, yet there can be no doubt that the films are his.
Baumane’s work touches on sex, gender, relationships, and mental health with a fierce sense of humor and refreshing bluntness.
Using dark, absurdist humor and nightmarish imagery, the duo has cooked up a body of work that is spellbinding, surreal, and often political.
Hacking’s work is freewheeling chaos – mind-twirling wonders that seep inside you before you even have a clue why or how.
Bucsi’s films are soft, sensual, and magical works that soothingly explore love, nature, and the universe.
Mizue’s visually scrumptious, kaleidoscopic wonders dazzle the eyes and ears.
Everything you should know about Canada’s Sheridan College according to staff and students.
The duo’s films explore political and social themes with inventiveness, humor, and a wide range of techniques.
Favez’s short films and tv work feature an assortment of odd yet lovable and compassionate characters seeking social connections.
Rutledge’s works are trippy cg wonders that take viewers on a sensory ride they never knew they wanted or needed.
Diakur’s utterly original films have garnered acclaim for using software glitches and defects to tell sensitive stories about equally broken humans
Our fourth look at contenders that have qualified for the 2023 Oscars.
This week’s subject is Estonian master Priit Pärn, the animation successor of Jean-Luc Godard, George Grosz, Pop Art, and Monty Python.
Kamentsky’s camera-less, abstract pieces combine technical innovation with frequently absurd, comical, and saucy storylines.
Pavlátová’s films obsessively explore how language, boredom, sex, desire, and death inevitably mess up marriages and relationships.
Simard’s multi-layered works eschew straightforward narratives and explore overlapping sensations wide open to interpretation.
Ocker cleverly explores themes of peer pressure, loneliness, ethics, fear, and anxiety, while celebrating the differences in each of us.
Phillip’s bold, funny, and deeply personal works explore a mélange of characters as they skulk, slide, and scrape their way through life.