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Filtered by Topic: Wavelengths

Wavelengths, part III
This is the final round-up titles in Wavelengths that have documentary roots. Follow these links to Part I and Part II.

Profit motive and the whispering wind by John Gianvito is an astonishingly elegant and elegiac chronicle of the history of the progressive movement in America told through its cemeteries, plaques and monuments, its symbolic and physical landscape (the one we so often overlook). Propelling us on this journey is a wind of change that summons and gathers the images that lend voice to those who have disappeared...


On the making of  POOL - I'm writing to you from Kuala Lumpur, within the autocratic state of Malaysia, currently celebrating it's 50 years of on-again off-again independence.  While in my time in the big city, I was fortunate enough to have been able to join a researcher on her trip to the province of Aceh, one of the hardest hit areas during the 2004 tsunami that devasted parts of South and South-East Asia. Eighteen months after tragedy, we took a plane from Kuala Lumpur to Medan, Indonesia, and was taken...


Docs in Wavelengths, Part II
We began to note the crossover of docs into TIFF's Wavelengths section in a post two days ago; and we heard from one of these filmmakers Heinz Emigholz, the director of Schindler's Houses. Here's the second of three installments, highlighting other Wavelengths titles with a documentary impulse:

(Picture: The Butterfly in Winter)

ERZHÄLUNG, which translates as “tale”, by the Swiss artist Hannes Schüpbach, is a silent portrait of 80 year-old Italian sculptor Cesare Ferronato whose life we see, is devoted to artistic process. He seemingly lives sequestered...


A Conversation about "Schindlers Houses" as featured in Wavelengths

Marc Ries: What was your first encounter with Schindler like?

Heinz Emigholz: In 1975, I happened to pass the Lovell  House in Newport Beach. At first sight, the building struck me as simultaneously  strange and well-conceived.  But at that time, as a filmmaker I was working on extremely  time-analytical compositions with no ideas on architecture outside the medium of time. Only later did my film work expand to issues and depictions of space. And I had  forgotten my encounter...


TIFF’s Wavelengths section is a curated presentation of artist-made film and video from around the world. The term “artist-made” is increasingly replacing the more slippery and elusive idiom “avant-garde” and the somewhat aloof-sounding “experimental”. They’re just labels, equally expendable, elastic and appropriated at will. Unlike some of my international colleagues, I actually like the terms, but recognize nonetheless that what counts is the ethos: the mode of expression, the personal means of production, the risk-taking.

This year’s Wavelengths demonstrates a remarkable surge in filmmaking, longform and on celluloid, with...


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