NATIONAL CIN E M A

The Toronto retrospective The courage & the glory

limism. The legacy of the Retrospec- personal films. This high ratio justifies funding bodies. "The politics of Tele- by Gail Henley tive could be that it clarified the past to the low-budget personal film as the film Canada are no good," says Carle. make the future more perceptible. glory of Canadian cinema. A related 'They favour producers. There will be First of alt, what became ahundantly conclusion, drawn from the top 25 films, $235 million in the next four years for The Retrospective - that is how it quickJy clear right from the beginning is that reveals that the "major plaver" behind producing films and only one million of became nicknamed - just as quickly Canadian film is as diverse as the coun- each of these films was none other than that will go to script-writing. But writing became the only real event of the 9ih try itself, and therein lies probably the a filmmaker ; and so it was that auteurs and authorship is where it ail starts." Annual Festival of Festivals in Toronto : kernel of a new realization of film in such as Claude Jutra, Gilies Carle, Don a giant celebration, whose purpose, Carle feels particularly well-placed to Canada. For too long there has been an Owen, Jean-Pierre Lefebvre, Denys value and success proved all the cynics re open the discussion since his feature attempt to find a homogeneous entity Arcand, Francis Mankiewicz, Michel wrong. films were among the first to reflect that would define our films and per- Brault, Jean Beaudin, Pierre Perrault, It was the largest attempt at Canadian contemporary Canadian cinema. "We haps ourselves. However, the sheer Don Shebib, Phillip Borsos, and Michael cincma. anytime, anywhere. There started something, (referring to the Que- mass of styles available within our tra- Snow were the real stars of the Festival. were over 200 Canadian films mi fea- becois features on the '60s) and that was dition defies the concept of a single The filmmakers were feted; their tures and 148 shorts t screened in 10 cut short by the tax-sheltering policy. homogenous centre, of the definitive films, in re-struck prints, were shown to days ; every day the film audience had a We started something again in the 70s, Canadian film As a result, programmers full houses; and a tuur, sponsored by choice of over 12 Canadian programs and that is now being cut short by the Piers Handling, coordinator of the Labatt's, will take both filmmakers and somewhere in Festival village. With new policy of big movies made for Retrospective, and programmers Peter films to all the major centres across traditionally only 2% of total screen time television. They think that television Harcourt, Kay Armalage, and Bruce Canada from October through Decem- in the cinemas across the country scree- will save the cinema, I believe the con- Elder chose to put together different ber. Afterwards, an international tour ning Canadian movies, the Retrospec- trary : television will put censorship programs that prcsetiled the range of will take the Ten Best to major centres tive gave audiences the rare oppor- into film." strengths of Canadian film. in the II.S, and Europe, tunity to go to a cinema to see their own Despite this diversity, the program- Filmmakers introducing their films Paul Almond, filmmaker, this films "foreign" movies. For them, the Retro- mers wanted lo highlight the major has become standard Festival of Fes- included in the Retrospective were spective was an enjoyable overall look accomplishments of Canadian cinema tivals format, a special practice that has Isabel and Act of the Heart) believes the at Canadian cinema from the very he- and thus the focal point of the Retro- personalized the Festival and delights Retrospective contributed in a very ginning to 1984, For filmmakers, the 9th spective became a pantheon of the best the audiences. In introducing La Vraie important way to the discussion. Annual Festival of Festivals was a lime films ever made in Canada. Selected in Nature de Bernadeffe, Gilies Carle (be- not only to look a I the history and tradi- "The Retrospective let us see very poll of over 300 film critics, national and sides Bernadette in the Ten Best, his tion of Canadian films hut to assess clearly what a distinctive voice was international, teachers and industry films included in the Retrospective where I hey stand in relation to that tra- speaking out through motion pictures professionals, the Ten Best, in order, were (Jed and La Tete de Normande dition. It uas the first lime in Canadian in the late '60s, early'70s. Our films were were : Mon Oncle Antoine ; Gain'Down St-Onge), spoke intensely on the film as good as Australian cinema, as any film hislory Ihat the film community the Road; Las Rons Debarras; The business past and present, "La Vraie European cinema ; they offered a wide, co Dec lively could pause to reflect on Apprenticeship of Duddy Kravitz ; The Nature de flernadeffe was made IS rich experience for the film-going whal has shaped the landscape. For Grey Fox Les Ordres; J.A Martin pho- years ago. We had such freedom working public. Those were the good years' some, il was jubilation at being found tographs ; Pour la Suite du monde; outside the regulations. Cm hopingJais everybody talks about. Then there was again ; for others a dialectic on where Nobody Waved Good-bye; and La Vraie freedom will come back. That would be the change at the CFDC — the men who we've been and where we're going; for Nature de Bernadette. One of the ob- the greatest thing." could get the most money could hire the inusl. a renewed sense of hope and op- vious conclusions from the Ten Best For Gilies Carle, the Retrospective best directors and best actors and make (excepting the documentary, Pour la reignited the passionate argument.over the most commercial movies ; ironically the future orientation of Canadian they made the worst dog . At that time Cm'/ Henley is a screenwriter living in Suite du monde and the high-budget s cinema that has long been on-going a film that was made with any reference Apprenticeship of Duddy Kravitz) is Toronto and author of the best-selling between filmmakers and government to Canada was the kiss of death novel Where The Cherries End Up. (hat eight of the 10 films are low-budget,

6/Cinema Canada-November 1984 money in a mini-series. At the film was a long period of live to six years festival there were wonderful films where everyone was trying to make from Italy, France, England, or Germany American films. funded by their television. But in 'The Retrospective, however, has Canada, it hasn't happened." helped us rediscover that powerful Larry Kent, filmmaker, (his films in- voice of our film culture. Now we are at cluded in the Retrospective were The the point of a clash of visions - out of Bitter Ash, When Tomorrow Dies, High this, in the future, will come a good and Sweet Substitute) is one of the film- synthesis. The clash occurs between the makers who have been labelled part of avowed intent to provide television fare the lost generation from the '60s which for Canadians, and the intention of the resurfaced with the Retrospective. "Tele- Broadcast strategy which wanted to film does not want to make feature provide a more substantial Canadian films, that's not what it wants to do," voice, to Canadians and to the rest of the says Kent. "The message I got from the world. And therein lies the clash of Trade Forum is it wants to do North ideologies, in the Retrospective, we've American material. They're not in- been witnessing one hundred distinc- terested in the filmmakers : they moved tive Canadian features; we're looking at immediately to the producers and now a cultural Canadian monument. But have moved to the broadcasters. It was what is to happening to the Canadian deliberate. They're not interested in us. distributor or the Canadian filmmaker If you compare it to the theatre, what today7 They are being dictated to by counts to them is the theatrical com- network programmers wanting to put pany, i.e., the people who run the thea- all their money to prime-time televi- tres, not the playwrights." sion." For Kent, the Retrospective was a Rene Malo, independent film distrib- wonderful event, not only because of its utor. and executive producer of Sonatinc size but because of the regenerative I which was screened in the Perspective enthusiasm and hunger of the audien- Canada program I and a guest panelist at ces to rediscover or discover Canadian the Trade Forum on the subject of films. "Audiences came in large num- Canadian distribution, added fuel to the bers to see the films,' say Kent, "to see discussion with his remarks from the films about themselves and thev were podium He stands squarely in sympa- delighted. It gave them a fresh aware- thy with the low-budget personal film- ness and nationalistic pride in our own maker. ",\'o great films have come out of culture. Only the government and Tele- series television, no matter how what film seem to be the ones not interested country in the world It's the indepen- dent filmmaker who makes the films in Canadian films." that make the culture. Truffaut - that's Don Owen, filmmaker, ibesides who you remember " ,\'obodv Waved Good-bye, one of the 'An immense and powerful ideological Ten Best, his recent film Unfinished battle is being waged,' says Paul Business was in the Perspective Canada Almond. "And it is the struggle for the programi is equally troubled bv the cultural life of motion pictures in this television emphasis in current film pro- country. Peter Pearson, idirector of Pro- duction. "Telefilm is only one third of grams for Telefilm Canada and overseer the money, the other third is CBC. of the multi-million dollar Broadcast CBC has to accept the proposal. Now all Fund ; and filmmaker - his films in- the scripts have to go through the drama cluded in the Retrospective were Snow- department and that is problematic. birds and Paperback Hero I is the key Independent production should be man who is responsible for how this completely different from the sen- will be resolved. Will the discussion he sibility of the drama department. One is resolved in the birth of a new era - or aware, if you're selling to CBC, that will this simply mark a nice industrial you're getting a certain sensibility of boom and nothing of any meaning will how the script will be judged. It's a little spring from it ?" bit like having Colonel Sanders safe- Yet Almond, as virtually all the film- guarding the chickens.' makers buoyed by the success of the Says Carle : "Television will cut off Retrospective, feels optimistic: "The 80% of the subjects one as a filmmaker one single overriding view of our would like to explore. To make film vou cinema is that most of the cheap hustlers have to be more violent, more sexual, have disappeared. Filmmakers will re- you need more depth, you have to go surface because there will be no one to with marginal people - TV does not make the films. And 1 think that people allow you to go with marginal film, TV like Peter Pearson are genuinely chooses the subjects for vou. We'll all wrestling with this point. The Retro- end up making Walt Disney-tvpe movies, spective is bound to have had some because if you want the right to say impact on the Broadcast Fund.'' something dangerous, it's this right that There is considerable international will be cut off. It is the system I'm precedent for the situation to be re- against - it kills authorship, kills thea- solved positively. "All of the more im- trical movies, kills independent dis- portant films in Malv have come out of tribution. Now it will be decided in Par- Italian television funding, even Fellini," liament how films are to be made in says Almond. "How could Fellini spend Canada.' 55 million on a film that everyone knows As if to underscore this serious situa- will lose S3 million if it wasn't for Italian tion, the Festi\al screened two recent television And yet Italy, the nation, still National Film Board films, Democrat!- comes out ahead - the world's perspec- on Trial: the Morgentaler Affair and tive of Italy is altered by its filmmakers. Abortion: Stories from Xorth and Likewise, the German New Wave was South in the Perspective Canada pro- brought about by the participation of gram Democracy on Trial : the Mor- German television. Television does not gentaler Affair was made as a pilot fur necessarily hamper the independent the CBC in a series of films dealing with filmmaker - it doesn't have to - it s just landmark court battles. 1'he CBC. was that it does right here in Canada, right wildly excited by the series initially and now. It's always the same answer from invested $50,000 to gel it off the ground. the CBC, We'd love to show vour pic- But when The Morgentaler Affair was ture, but we don't have the money.' It's completed, the CBC withdrew its sup- the same answer for any motion picture, 1 • Goin Down The Road: Paul Bradley, Jayne Eastwood and Doug McGrath; Monique port and cancelled the series. They saw and yet they'll tie up vast amounts of Mercure and Marcel Sabourm in J. A. Martin phatographe I the film as too controversial and exer-

November 1984 - Cinema Canada/7 cised their right to kill it. Gail Singer, business gels started, and when the filmmaker, made Abortion: Stories country looks back, they'll see how good from North and South with Studio D of these film directors were and thai the National Film Board. Her film re- they'll take their place in Canadian film ceived the same reception from CBC history." when she approached the network. The question could also be rephrased Their position, according toSinger, was, Had these filmmakers been French- 'We can't show this film because it takes Canadian, would they have fared any an advocacy position ' There is no rule better than the English Canadians ? No in the Broadcast Act that disavows film one can avoid noticing thai, of the Ten made from a woman's perspective and Best, six are French-language films, and yet decisions are made by individuals at that seven of the top ten films were shot the CBC that veto controversial subjects. in Quebec. "One reason there are so "That's censorship," says Gail Singer, many indigenous Quebec movies is "and we have it." because of the Societe generale du The planners of the Festival were cinema." says Don Owen. "That is not keenly aware of the uneasy tensions in the same with Ontario and this begs the Canadian film industry. The Retro- immediate attention. One-third of the spective would not only confirm that population of this country is in Ontario there was indeed a rich and long tradi- and all the Ontario Government Film tion of good Canadian films, but also Office does is make a big pitch to bring offered a means of intervening in the de- American films to shoot in Ontario. The bates between the film community and Ontario Government must get in and the government. Peter Harcourt, consul- have a film fund that equates the So tant to the Retrospective, believes that, as a ciete's aid-plan. Set up an Ontario Film result of the Retrospective, the discus- Fund for films that reflect indigenous sion is much more clearly focussed filmmaking. Ontario films help give a now. "For the first time in my life, I'm a strong sense of what this part of Canada tiny bit hopeful. The CFDC was mucking is. There is a unique culture here. Inter- about for 1G years but not seeing they nationally people have a real sense of a had to put money in the whole package. place called Quebec, but not Ontario, In At least they put in place an industrial Nobody Waved Good-bye [shot regionally strategy, but there was nothing in their in Ontario) you could feel the difference. mandate that guaranteed a cultural We need more impetus and support in strategy. With Peter Pearson in charge, that direction. Jean-Pierre Lefebvre's I'm hoping that the industrial strategy films all had money from the Societe will serve the needs of independent and and could not have been made without imaginative filmmakers as much as they- that support. In Ontario, the producers serve the needs of Harold Greenberg have the power, and they want the big and Denis Heroux. As long as they allow bucks and deals in Hollywood, and thev the imaginative product to be produced have the script re-written and tell you we will have, for the first time, some how to make the film, and who the continuity of product. A filmmaker director should he. Filmmakers are not won't have to wait another three years a power in Ontario." to make the next film, which can he 'Telefilm has a lot of contempt for its inhibiting to culture. Bureaucrats will artists," says Gilles Carle. "First thing have to have the courage to support t he they want you to do is join forces with imaginative product with a small com- foreigners - because they love Ame- mercial return and large cultural ricans. What about the girl from Kitlaloe impact." who has an idea ? Writers and artists are Even the Tribute paid tribute to what forgotten people in this field. Sitting at was being enshrined in the 9th Annual Ihe Trade Forum is like sitting for four Festival of Festivals as Warren Beany hours in the bank. I'm ashamed. I'm dis- used that platform to expostulate on the gusted. So many people, supposedly so stale of cinema in America. The most brilliant, always talking about money. positive thing he said was to underli ne And government people talking money the need for film festivals 1o be centres with them too. The government's job is for discussion, where a varietv of films to create culture. Artists are the blood of are shown and explored, where film- a society There are so many good ideas makers can come and learn. If not, he that should be made into films. So many feared there would soon be only one movies made that never should have kind of film made - the film that fits been made - and you wonder why there demographics - and he strongly was no filter. And on top of that, these warned against the dangers of making neo-evangelists of neo-capital ism are that kind of film. not telling the truth. They want to steal A poignant lament for the lack of the money. But who has seen a return on momentum in the Canadian film indus- their money here ? They just want you to try came from author MorlevCallaghan feel guilty. Leopold Z was broadcast 32 (The fiim Now that April's Here 1195.8), times and they tell me my films don't based on four short stories of his. was make money. No return here. Every- screened in the Retrospective in the body lies. Distributors lie. Producers lie. Eyes Write program, sponsored by Nobody tells the truth." publisher McClelland & Stewart, and "It stinks here and you can't smell it." featuring Canadian films made from Perhaps it is fitting that this was a filmic Canadian novels.) "The boys who made comment. In a cameo satire on com- that picture never got the credit they mercial filmmaking in the avant-garde deserved," said Callaghan. "How film Illuminated Te.xts by Bruce Elder, a astonishingly daring it was and what a fat producer sits in a chair, holding a remarkable job they did. These were hammer and a set-square, and with a stories of mood and human relation- deadpan expression answers questions ships, of delicate balance and nuances. about his upcoming film. The pan is These boys (producers William David- played sumptuously by James D. Smith, son, Norman Klenman, with Davidson (also a filmmaker whose film included directing) look the stories and tried to in the Retrospective was Thirty-six do an honest job Bergman got a great short films in the Experimental pro- name for stories like these - of emotions. gram). He explains that he uses rats in If the money was there and they would his film, and when questioned why, have kept their heart and mind in it. it's responds, "Because they're available." * F . Mru 'ravura 3'-? A" 5,»«r if 'h* , Ti — Lanctot in La vraie nature de Bernadet.e ; and Jackie Burroughs and Rlchard FaVnswor.h n astonishing what might have become of When asked what the story is based The Grey Fo* . them. I hope someday when the film upon he responds: "On a very good

8/Cinema Canada - November 1984 »ra T IOHAL uwtw A idea, but I don't like to give the idea mental program mattered not merely film or the film business or in any way tival. The Festival planners, under the away." His greatest ambition is to keep for the recognition of the filmmakers introduce the film before the screening. unfailing direction of Wayne Clarkson, the film moving, and he says he will but because of the importance of the She did, however, stay to watch her film. have anticipated this and the new pro- make every attempt to keep it mobile. works themselves. In the survey of the At the end of the film the applause was gram created this year, Perspective He goes on to confirm his film will be best films ever made in Canada, Wave- extremely hearty, and, for one brief Canada, will become a continuing pro- suitable to be dubbed, and that if the length was one of the top 25. Snow's La exhilarating moment, the Festival helped gram in the Festival. story isn't satisfactory he'll have it re- Region centrale has been hailed as one her forgel that she was a minority-in-a- In succeeding years, the Perspective written. A very funny scene and cutting of the few indisputably innovative films minority in a minority cinema. Canada program will be the device used to the point. of the decade. Artforum, the New York And yet isolated work continues in to show more Canadian material. It will However, except for this extant piece, critical magazine, stated that this film is this country, and filmmakers work feature the diversity and the quality of experimental filmmakers do not engage as radically different from other con- against one, two or three opponents. the films made in the 12-month period the discussion on this level. Their temporary films as Eisenstein's films The low-budget, indigenous Canadian before the Festival and from which will debate with Canadian cinema goes on were. "The first films developed into feature film is in the same minority be highlighted the best in Canada. To just as energetically but proceeds on a experimental films," says Snow. "They situation against the dominant Holly- add prestige lo this important program much more theoretical plane. Whereas had to be made with a creative spirit, wood illusionists as is the Canadian the 9th Annual Festival marked the the low-budget feature filmmakers the way the things happen in them, avant-garde cinema - only the latter are establishment of a new award, the argue that realist cinema is important in mostly without any connection with less passive towards the Hollywood Toronto-City Award, for the film which itself, the avant-gardists argue that it is narrative but using the magic possi- orthodoxy. The avant-garde exists to most demonstrates the excellence of never aesthetically significant because bilities of the camera." In La Region extend the boundaries or change what Canadian cinematographic production. of its realism. A work of art is interesting centrale the camera spins gyrosco- exists. This is what will keep film prac- The first recipient of that award was La for its formal intricacy and complexity. pically in a way the human head can tice exciting and real. Femme de I'hotel by filmmaker Lea Pool. The jury - which included film- Forty percent of the Retrospective not, like a disembodied eye, seeing "There isn't anything wrong with maker Allan King (his films in the Retro- was made up of the Experimental pro- visions that only people without gravity having a small audience. I have an spective were A Married Couple and gram which screened 100 films (all of Hike men on the moon) could see. Art- audience but 1 know a lot of people who Running Away Backwards) - was varying lengthsl, giving audiences 45 forum described Snow's unique camera are good and can't be seen. My own unanimous in its choice for the Toronto- hours of Canadian avant-garde cinema. movements as original as the crane view is that there are real masterpieces City Award, selecting Pool's film be- The sheet mass of films in this program shots in Griffith's Intolerance or Ozu's and it's too bad more people don't see it. use of camera angles : "It is Ihe use of cause it stood out for its distinguished overwhelmed any notion that this is an And it has to do with money : a com- these original camera movements insignificant aspect of Canadian cinema. mercial film has an industry built up for cinematography, its superbly co- These were tough, esoteric films which which gave Snow the power to produce it," says Snow. ordinated design, its deeply moving the audiences had lo wrestle with, films a film which could sustain the viewer's However, there is a strong avant- performances and its extraordinary that demanded attention, and have won interest for three hours. Snow has made garde cinema in Canada, and the Canada coherence of vision and theme. Pool international acclaim Canadian avant- an enormously complicated, varied, Council is doing a good job of promoting recalls that for years juries which read garde film has a considerable reputa- and beautiful film." , tion outside the borders of this country 'One of the reasons people may have and Michael Snow is its leading inter- difficulty with experimental film (is national celebrity. David Rimmer, Joyce thatl they're so used to the states of Wieland, Bruce Elder, Chris Gallagher mind that prepare them for narrative pi and Rick Hancox have been written fiction film which stands or falls on the about and had screenings in Germany, suspension of disbelief - they* can't France, England, the U.S., and Japan. handle a state of mind that doesn't fall Bruce Elder, programmer for the Expe- into that. One of the problems is over- rimental program and filmmaker (his coming the reactions built on habit,' films in the Retrospective were 1857 says Snow. (Foot's Gold) and Illuminated Te,xts) In Illuminated Texts Bruce Elder argues that the best-known Cana- elucidates the argument for avant-garde dian filmmakers on an international cinema versus the traditional, dominant illusionist cinema. It is a highly accom- level are the masters of the Canadian avant-garde. "For instance, in iRichard) plished film which Michael Snow says Roud's Dictionary of Filmmakers, ihe is vitally interesting for its polyphonic only English-Canadian filmmaker that aspect. "In a narrative movie your atten- is mentioned is Michael Snow," he says. tion is controlled," explains Elder. "As soon as you ask yourself what's going lo The Retrospective would not have happen next, the film answers, so you been complete without the Experimen- almost feel in control, but you're not. In tal program. Underlying this statement Illuminated Texts, paradoxically you is Ihe precept that if we view ourselves don't feel in control, you're always as a cultured audience, it behooves us to aware there's more than you can grasp, avant-garde Canadian cinema. Although the script while she was seeking finan- know the films and recognize the you're in exile from the film's whole- occasionally threatening, the future is cing told her, "This is not a film." Bui names of those who have created mas- ness, but you are in control because you fairly predictable : as long as there's a filmmakers never give up and juries terpieces in this genre of Canadian can make up a movie for yourself. The Canada Council, there'll be a Canadian change. Eventually there was a jury I at cinema. Michael Snow, the Canadian different channels of information lei avant-garde Toronto is particularly for- the Socieie generale du cinema I that mastef filmmaker of avant garde you make your own movie out of it-you tunate to have The Funnel (a 100-seat liked the script and Lea Poo) was on her cinema, muses about recognition in his can listen to the sound-effects and theatre on King Street East that has been way. own country so long in coming: "I've music, you can listen to the narrative, in existence since 1972) that shows Mv point of view is that there was a had people who visited in past years you can watch the images, you can read these films. (There are only three other large public forthis film," says Pool, but from Europe, while the Festival was on, the titles. You can do a couple of them at such formal small theatres which what is ironic is thai distributors and who asked me, Why don't they show once but not all of them, so every time screen avant-garde cinema in Canada.) producers don't want to know there is a your films, don't you live here ?," Not to you go back to the movie you see a new Some avanl-garde filmmakers hope thai large public for this kind of film. We can put too fine a point on it, someone who movie. That allows viewers a freedom chains like Cineplex will start exhibiting prepare this public the way we did for thinks he has rudiments of a film cul- they never get in a narrative movie." avant-garde movies to a larger public. violence or we can prepare this public ture and has never seen a Michael Snow Joyce Wieland, filmmaker, (her films Certainly, what the film festival did was for poetic films that express emotion film is equivalent to someone boasting included in the Retrospective were A clarify that there is an audience for this and beauty. If everyone has violence in about literature and having never heard and B in Ontario and Sailboat; Rat Life kind of film - and that the audience is them, so loo they must have love in of James Joyce. Michael Snow is celebrat- and Diet in North America; Reason growing. ihem. and we have lo find the public." ed internationally for his films and has Over Passion and The Far Shore) is one Ultimately that's why the Retrospec- The Retrospective reminded us of been working as a filmmaker for 20 years. of the most nationalist of all filmmakers, tive was embraced so enthusiastically our rich heritage in film," says Wavne He is as important a figure in Canadian whose films have also been highly by so many people. It showed that this C larkson, "and now it is an obligation Ml in history as one could hope for. The praised internationally as important is not a one-genre lilm country. It and duly of the Festival to continue Festival for Ihe first lime screened his avant-garde works. The Far Shore, a 1976 showed that Ihe past is open and varied, thai appreciation and awareness of most celehrated films, IVave/erigf/i ; La feature film, was her first attempt lo and if the past was that way, so too can uur nation's productions. Perspective Region centrale; and One Second In crossover into mainstream Canadian the future he It vindicated the cultural Canada grew out ol the Retrospective — Montreal in the Retrospective's Experi- cinema. The experience was so trauma- lobbyists, and those Ismalli groups of we could not have a Retrospective and mental program. "I don't like Ihe term tic and she was so devastated at being people who have argued that if there then allow ii to disappear - the effort experimental film because it makes it unable to distribute her film that she were more access to Canadian films, and values inherent in the Retrospective sound as if these are tries' and the subsequently gave up filmmaking. She there would be the audience. must be acknowledged on a continuing others are achieved. I'm making the was persuaded lo come to the Festival However what is significant is that as basis. And choosing the best Canadian kind of film 1 like to see made or just like for the screening of The Far Shore, but Festival audiences become more used film from the Perspective Canada pro- to see," says Snow. was still too devastated to speak and to seeing Canadian films, they will have gram is the new beginning of a long and Screenings the works in the Experi- refused to stand up and comment on the to be satisfied in each succeeding Fes- rich tradition of winners." #

November 1984 - Cinema Canada/9