Adam R. Levine - A Life’s Work Adam Huggins & Illana Fonariov - Someday All of This Will Be Yours
Program 20
“A surrealist documentary about a road-trip to the Alberta Oil Sands.”
Frank Biesendorfer - Great Blue Heron
Amy Belanger - Eat Cake
Gabrielle Provost - Love Is Colder than Steel
Hesam Hanafi - The third choice
“A quick look upon a man’s intimate relationship with his car.”
Sandi Rankaduwa - Numbskull Numb Heart
Gerald Saul - Rerun Amok
Daniel Boos - Open Tara Lee Reddick - Vanilla Sam Chris Lockerbie - Spagottcha Robert Drisdell - The Orientation of Snails Allan Brown - Derby Jam Anja Dornieden and Juan Monroy - Awe Shocks
Ichiro Sueoka - Extreme Skiing in 1930 James Beattie Morison- Contingency “The history of the $100. Several times along the way, the idea for the festival nearly died in obscurity.”
Jodie Mack - The Future is Bright John Cannizzaro - Let Me Try to Explain Katherine Skelton - Waiting for Woody Kelly O’Brien - SIX
Ben Popp - Clouds
Lisa Morse - The Importance of Hortense
Benjamin Hayden - TROBIA
Lori Felker - I Own a Carousel
“Exploring fractal entities in a void unknown through the celluloid scope”
Brendan Prost - Transfixed; What’s Broken Brian Ganong - Dumpster of Your Love Christine Lucy Latimer - Focus Christine Lucy Latimer - Fruit Flies Danielle & Corey King - Infinite Struggles David Domingo - Sound of the Sun “Last summer, the sun brights. A man is in danger, so he writes a postcard to Robocop asking for help.”
David Shushan - Lark’s Tongue in Aspics “Cubist cinema; the film depicts a deconstructed image of The Palace of Fine Arts in San Francisco.”
Eric Hill - Wind Up!
Lori Felker & Robert Todd - Imperceptihole “A high contrast correspondence film, a science non-fiction fairy tale. Rolls of film were sent back and forth in the mail over the course of a year until the film began to reveal itself as a science non-fiction fairy tale, a speculative quest.”
Malena Szlam - Beneath Your Skin of Deep Hollow Mark Fiorillo - Peninsula Valdes Norbert Shieh - The Electric Embrace Pablo Marin - Carta Austral Paul Clipson - Caridea and Ichtyess (Compound eyes no.5) Peter Stinson - Besty “A very short film that highlights the special personality of Calgary filmmaker, Don Best.”
012 - 7pm nightly Chloe Reyes - A Celebration of Corn Robert Schaller - In the Shadow of Marcus Mountain Robert Todd - Undergrowth “A blind predator dreams through its prey’s eyes - a study in falling and rising.”
Ross Meckfessel - He, She, I, Was Scott Fitzpatrick - For Magicians Sean Hanley - Hindsight Sezen Turkmen - Walter Shinya Isobe - EDEN “The ruins of the old Matsuo mine in Iwate Hachimantai. Once, the place was called “the paradise on clouds” and there was 10,000 people’s life.”
VISITING ARTIST WORKSHOP $100 Film Festival presents: A Celluloid Treasure Hunt with Robert Todd Join CSIF visiting artist Robert Todd (Boston, USA) as he runs a two day workshop/ treasure hunt adventure. Workshop participants will enact Todd’s unique experimentaldocumentary style by working with 16mm cameras, shooting images from the environment around them, and then returning to the studio to work as a team to discover the narrative out of their collective images. Participants will learn to hand process colour 16mm film, edit footage on the Steenbeck and create a final collaborative project with other artists in the workshop. Participants will learn skills and techniques, but will also experience a completely unique working process and collaborative art-making. Cost TBA.
roberttoddfilms.com/
Stefan Mockel - What is this? Tara Nelson - Hull “A journey between layers of corporal consciousness, Hull explores the physical memory of trauma, and the psychological repercussions of a surgical disaster.”
GAMA Gallery of Alberta Media Arts (GAMA) - Feb 3 to April 29, 2012 Exposed: 3 films by John Price EPCOR CENTRE for the Performing Arts is proud to partner with the Alberta Media Arts Alliance Society and the Calgary Society of Independent Filmmakers to present a selection of films by John Price as part of the $100 Film Festival. CSIF programmer, Melanie Wilmink curates three films from well known independent filmmaker John Price who has produced experimental documentaries, dance and diary films since 1986. Price works with a wide range of motion picture film techniques and camera formats to produce images that communicate a powerful subtext.
AFTER PARTY Join us for our Festival After-Party and GAMA reception on March 10, 2012: Cafe Koi #100, 1011 - 1st Street SW Calgary, AB 10pm onwards
FESTIVAL TICKETS: Ticket sales at the CSIF Offices (NOTE: NEW ADDRESS - 223 12 Avenue SW) Cafe Koi - #100, 1011 - 1st Street SW Bogies Casablanca Video (Mission - Unit 12 - 2100 4St SW) $12 General Admission; $10 CSIF Members, Students, Seniors; $7 ACAD Students
What is the $100 Film Festival? The Calgary Society of Independent Filmmakers (CSIF) was founded in 1978 by twelve local filmmakers and artists in response to a growing interest in film production and to meet an emerging need for equipment and resources. The CSIF was the first media arts centre established in Alberta that still exists, a testament to its ability to respond to its community and evolve while remaining true to its mandate. Over the years, CSIF has continued to stay ahead of technological changes. Editing facilities changed from a Steenbeck to digital suites in the late 1990’s. The combination of traditional and digital filmmaking facilities expanded to the inclusion of a 16mm optical workprinter and a Super 8 digital transfer machine. Both the traditional and digital equipment banks continue to be used extensively by CSIF members. In response to the growing trend to video and digital technology, the CSIF created the $100 Film Festival in 1992. Intended as a showcase for film as an affordable and exciting medium, the popularity of the festival has grown year after year. The first year showcased eight short films on Super 8mm and the name sprung from the challenge to local artists to shoot a short film on four rolls of Super 8 – which tallied to the cost of $100 for film and processing. In following years, the festival dropped the budgetary limit and allowed 16mm film into the festival, which shifted the focus of the festival from low-budget to the quality of the small-format film medium. The festival is now an international celebration of celluloid. Small format film (like Super8 and 16mm) is much more accessible to independent filmmakers because of their lower cost relative to larger format film (like 35mm). This makes the types of works showcased the festival more in line with underground independent cinema, with greater focus on creative storytelling, minimal sets and artistic intention than is usually seen in industry style cinema. The requirement to finish to film also means that the festival showcases mainly films where the artist purposely decides to finish to film as part of the artistic intent. The focus on celluloid makes the $100 Film Festival one of only a handful of festivals in the entire world that exhibits exclusively on small-format film. There are very few festivals in the world that showcase their entire festival on film – we are one, 8fest (Toronto), the One Take Super 8 (Regina) and Straight 8 (UK) are the others. There are some festivals that showcase some of their programs on Super 8 & 16mm film, but also screen other formats as well. Festivals like Black Maria, The Rotterdam International Film Festival and Images Festival fall into this category, but once again are some of only a few festivals in the world left that screen on small format film.