Intermedias Review

ISSN 1918-4026


  Juan Saez

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Film Festivals & Awards


October 11-14, Bloor and Carlton Cinemas, Toronto

Latino Diversity Film Festival

October 24-26, Carlton Cinemas, Toronto

Diaspora Film Festival

November 1-6, Carlton Cinemas, Toronto

Toronto’s Film Festivals Calendar


Contemporary Brazilian Cinema

Ed. by Hudson Moura

Journal Cinémas Vol. 22 N. 1

Vancouver Memories: My year Abroad. An Imaged Novel

by Wendy Bullen Stephenson

What happens when an independent international student, studying English in Vancouver for a year, becomes part of a tight-knit group of classmates and falls in love with a Canadian who is struggling to determine the direction of his life?

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Brazilian Fever in Toronto

The 270 films submitted to BRAFFTV’s festival demonstrate that Brazilian cinematographers  recognize  the public of Toronto and its various cultural communities as an important and valuable audience. The festival’s curator, Hudson Moura -- PhD in Cinema from the University of Montreal and post doctorate in Intercultural Films from Simon Fraser, Vancouver, BC -- continues to raise the bar by selecting movies that portray a Brazil that no one else has seen.

Thirty-six selected films, produced over the past two years by the Brazilian audiovisual industry, are competing for Golden Maple awards in the following categories: Best Film, Director, Actor/Actress and Audience Choice in the feature, medium length and short films as well as an award for Best Documentary. The jury comprises of Canadian audiovisual professionals, among whom are George Ayub, international circuit film distributor, and Diana Sanchez, international programmer for TIFF (Toronto International  Film Festival) for Latin America, Spain, and Portugal.

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Get here BRAFFTV 2012 complete program guide

Survival of the Stylish

The 18th century island mansion in Capsule is as much a character as are the women vying for position of Queen Bee in this stylish short.  In womb-like chambers the furniture literally gives birth to fully formed women; other rooms serve as arenas for instruction and battle; and a tomb-like room with its low, claustrophobically curved ceiling acts as a death chamber.  In gorgeously shot scenes, the beautiful women, adorned in haute couture fashions, are empty vessels evoking the icy remoteness of runway models.  The queen emotionlessly instructs the girls and deals out severe punishments for wrong answers.  The life or death competition is emphasized in animations of the girls' heads transplanted onto cat bodies and hissing hydras.  The contest results inevitably in a lone survivor and the cycle begins anew. America program.

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Crossing the boundaries of the cinematic screen in Doug Aitken’s Sleepwalkers

by Hudson Moura and Natalie Panovic

Doug Aitken envisioned a dialogue through technology, which has entered fully into the public realm of art. In Sleepwalkers, lives become architecturally integrated through the use of several screens. And thus, the installation entices the viewer to engage in a type of social interaction with the film screening where the public and private spheres collide.

Instead of presenting a continuous narrative, Aitkin focuses on...

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The Girl Under Glass

Shot almost entirely in the vast expanses of the Ragunan Zoo in Jakarta, Postcards follows the wandering Lana (Ladya Cheryl), abandoned there as a little girl and now working as a zoo keeper and guide.  As the inner workings of the zoo are shown we find Lana thriving under the fatherly mentor there.  One day a charismatic magician in full cowboy gear charms her with his tricks, luring her out of the zoo's green paradise and into the big bad city.  Becoming her second father figure and mentor, he makes Lara his assistant to sell his snake oils in the street market.  The pair eventually end up as the entertainment in a brothel where Lana is abandoned once again (the cowboy literally disappears in a fiery puff of smoke!)  and is now put behind glass for the customers.

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Bloody Hell

by Willis Wong

Jay and his lifelong friend and fellow killer Gal, find themselves back on the job as contract assassins.  With kill list in hand they surveil their prey, go in for the kill, dispose of the corpse and disappear, ready for the next target...

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A Regression from Deleuze's Time–Image to the Movement-Image in Charlie Kaufman's Adaptation

by Morgan O’Reilly

Adaptation is a film about the writing of its own screenplay, which was meant to be an adaptation of a book called ‘The Orchid Thief’. As the main character, screenwriter Charlie Kaufman, attempts to adapt this presumably un-adaptable book he eventually decides to place his self as the main character within the screenplay. Choosing to look outside of the book for the story that will turn ‘The Orchid Thief’ into...

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