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Film Festival Catalog


Copyright

2014 Peihua Lee

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission. Design , complied, and written by Peihua Lee S a n Fr a n c i s c o , C A Fo r t h e c o u r s e G R 6 1 2 : I n t e r g a t e d c o m m u c a t i o n i n A c a d e m y o f A r t U n i v e r s i t y. Fo r t h e f i l m f e s t i v a l “ D e c o n s t r u c t i v e E v o l u t i o n “ t o c e l e b r a t e t h e w o r k o f David Cronenberg. _leepeihua.com _peihua.lee0312@gmail.com


CONTENTS

DAVID CRONENBERG 04 BIOGRAPHY 06 AWARDS 08 INTERVIEW 12 Q&A

FESTIVAL FILMOGRAPHY 16 SHIVERS 20 RABID 24 SCANNER 28 VIDEODROME 3 2 T H E F LY

SCHEDULE 38 OVERVIEW 39 INTRODUCTIONS TO SCREENINGS 4 0 RO U N DTA B L E S & TA L KS

L O C AT I O N 48 TIFF Bell Lightbox Map & Directions

SPECIAL EVENT 52 EXHIBITION: THE SCIENCE OF THE SPECIAL EFFECTS

DINING & DRINKING 5 6 R E STAU RA N TS, BA R S & LO U N G E S


WELCOME

ABOUT

01

Welcome to t he DECONSTRUCTIVE EVOLUTION film festival

DECONSTRUCTIVE EVOLUTION is a space where audiences can immerse themselves into the 1970s/80s science fiction horror world. In the celerbration of the 40th year anniversary of Shivers had been released, let’s experience all David Cronenberg’s remarkable achievements together. The festival will explore films which David Cronenberg created in his early stage of film making. From aesthetic perspectives to fleshly sensations, there won’t be a moment for a break.


—David Cronenberg


DAVID CRONENBERG


D AV I D C R O N R N B E R G

BIOGRAPHY

05

Stereo (1969) Crimes of the Future (1970) Shivers (1975) Rabid (1977) Fa s t C o m p a n y   ( 1 9 7 9 )

BIOGRAPHY

The Brood (1979)

Sources : IMDb

Videodrome (1983)

Scanners (1981)

The Dead Zone (1983) The Fly (1986) Dead Ringers (1988) Naked Lunch (1991) M. Butterfly (1993)

Born in a family with journalist father in Toronto, Ontario, Canada,

human body and topics of the prominent dichotomy between body and

in 1943. Cronenberg graduated from the University of Toronto with

mind were back again in The Dead Zone (1983) and The Fly (1986), both

a degree in Literature after switching from the science department

bright examples of a personal film-making identity, even if both films

(organic chemistry). The fact that he has scientific background and

are based on mass-entertainment materials: the first being a rendition

interest (especially in lepidopterology), so naturally that film making

of a Stephen King best-seller, the latter a remake of famous American

is just like science experiments for him. Blending different effects and

horror movie.

elements together to create compelling visual and spiritual feast. He reached the top status of horror-master with the gore-filled,

With Dead Ringers (1988) and Naked Lunch (1991), the Canadian director, no more a mere genre movie-maker but a fully realized a

modern-vampire variations of Shivers (1975) and Rabid (1977), following

uthor, got the acclaim of international critics. Such profound statements

an experimental apprenticeship in independent film-making and in

on modern humanity and ever-changing society are prominent in the

Canadian television programs.

provocative Crash (1996) and in the virtual reality essay of eXistenZ

Cronenberg gained popularity with the head-exploding, telepathy-

(1999), both of which well fared at the Cannes and Berlin Film

based Scanners (1981) after the release of the much underrated,

Festivals. In the last two film projects Spider (2002) and A History

controversial, and autobiographical The Brood (1979). Cronenberg

of Violence (2005), Cronenberg avoids expressing his teratologic

become a sort of a mass media guru with Videodrome (1983), a

expressionism in favor of a more psychological exploration of human

shocking investigation of the hazards of reality-morphing television and

contradictions and idiosyncrasies.

a prophetic critique of contemporary aesthetics. The mutation of the Crash (1996) eXistenZ (1999) Spider (2002) A History of Violence (2005) Eastern Promises (2007) A Dangerous Method (2011) Cosmopolis (2012) Maps to the Stars (2014)


D AV I D C R O N R N B E R G

AWARD

06

19 82 Genie Awards

AWARD Sources : IMDb and MSN Entertainment

Nominated

19 96 Golden Reel Award

• Best Achievement in Direction— Scanners • Best Original Screenplay—Scanners

19 92 Genie Awards

Won Shared with: Robert Lantos, Jeremy Thomas—Crash

Won

19 84 Genie Awards

• Best Achievement in Direction—Naked Lunch • Best Adapted Screenplay—Naked Lunch

19 99 Genie Awards

Won Best Achievement in Direction— Videodrome Nominated Best Screenplay : Videodrome

19 96 Genie Awards 19 89 Genie Awards

Won • Best Achievement in Direction—Crash • Best Adapted Screenplay—Crash • Golden Reel Award—Crash; Shared with Robert Lantos, Jeremy Thomas

Won • Best Achievement in Direction— Dead Ringers • Best Adapted Screenplay—Dead Ringers, Shared with Norman Snider • Best Motion Picture—Dead Ringers, Shared with:Marc Boyman

Nominated Best Motion Picture—Crash

Nominated Best Motion Picture—Existenz; Shared with Robert Lantos, Andras Hamori


D AV I D C R O N R N B E R G

20 02 To r o n t o International F i l m Fe s t i v a l

20 06 Cannes Film Fe s t i v a l

Award for Best Canadian Feature Film —Spider

20 06 César Awards

20 06 David di Donatello Awards

Won • Best Director—A History of Violence, Naked Lunch • Best Screenplay—Naked Lunch

Nominated Best Foreign Film—A History of Violence

—A Dangerous Method

20 12 Va n c o u v e r F i l m Critics Circle Nominated VFCC Award : Best Director

Crash

—Canadian Film—Cosmopolis

20 12 Cannes Film Fe s t i v a l

Best Foreign Film—A History of Violence

Best Achievement in Direction—Spider

Best Achievement in Direction

Golden Coach & Special Jury Prize—

Nominated

Won

Nominated

Won

Genie Awards

20 06 National Society of Film Critics

07

20 11 Genie Awards

Won

20 02

AWARD

20 07 To r o n t o International F i l m Fe s t i v a l

Nominated Palme d’Or—Cosmopolis

20 14 Cannes Film Fe s t i v a l Nominated Palme d’Or—Maps to the Stars

Won People’s Choice Award—Eastern Promises

20 13 Genie Awards Nominated Canadian Screen Award : Adapted Screenplay—Cosmopolis


D AV I D C R O N R N B E R G

INTERVIEW

08

“My imagination i s not a place of horror” INTERVIEW

—David Cr onenber g

by Tim Lewis September 13, 2014

When the great Canadian film-

returned to his work with renewed

maker David Cronenberg turned 70

vigour. He directed a script called

Cronenberg is certainly not ready for his Zimmer frame just

last year he felt, in a word, old. An

Maps to the Stars, a savagely

yet. He’s 71 now, but maintains

admirer of Franz Kafka, he said he

funny takedown of contemporary

a slim, athletic build and often disappears into the hills around

found himself comparing himself

Hollywood, that he had been

to Gregor Samsa, the protagonist

tinkering with for a decade with

his home in Toronto on his bicycle.

of The Metamorphosis, who wakes

the writer Bruce Wagner. He also

His soaring hair has a metallic

up one morning to find—very

finished his debut novel, Consumed, sheen and the density of chinchilla

Cronenbergian—that he’s become a

which has been perhaps 50 years

fur. He is ferociously intelligent

giant beetle.

in the making. Both are unveiled in

and quick-witted, but, over a long

the next few weeks.

conversation on Skype, not in the

“You are a new creature,” Cronenberg explains. “Ask anybody

“You have huge power and

least bit intimidating. His reputation

who is not advanced in years

potency at this age,” Cronenberg

in film circles is for being decent,

what they think of 70-year-olds—if

continues. “There’s the mythology

even moral; qualities not easily

they think of them at all—and

of age, the bearded elder, the

retained in that industry.

it’s Alzheimer’s, senile old people

wise old man. In some cultures

and Zimmer frames. Just, ‘Wow,

advanced age is very much revered,

It’s clear, too, that Cronenberg’s ambition is undimmed. “I can say,”

what a burden on the healthcare

the Chinese culture, Confucius

he goes on, “that the novel that

system.’ Three score and ten, that’s

and so on: you are supposed to

I wrote now, I really expected to

supposed to be it, that’s the biblical

gain in wisdom and experience

have written when I was 21 instead

age. So there are precedents

and therefore be quite a valuable

of 71, but it couldn’t have been

for considering 70 to be a major

member of society who should be

the same novel and I doubt that it

moment in your life.”

honoured and listened to. At the

would have been as good. I really

moment, in the west, we certainly

don’t think it could have been.”

Once he had come to terms with the shock, though, Cronenberg

don’t have that.”


D AV I D C R O N R N B E R G

INTERVIEW

10

Maps to the Stars, too, will also

Hollywood scrapheap. She has a

Cronenberg. “But both Bruce and

has actually filmed in Los Angeles;

surely go down as one of the

guileless personal assistant, or

I would resist calling it a satire.

he spent five days there mostly, he

finest films in a career that has

“chore whore”, called Agatha (Mia

Jonathan Swift’s A Modest Proposal

says wryly, shooting palm trees.

been both consistently surprising

Wasikowska) and a wild-eyed

is a satire, but this movie is too

But Cronenberg is not a total

but also relentlessly Cronenberg:

therapist, Stafford Weiss (John

realistic to be a satire. In fact, Bruce

outsider. Long ago, he was tapped

from the chaotic early body-

Cusack). A sprawling, nightmarish

has said that every line of dialogue

up to see if he might direct Return

horror flicks (Shivers; Scanners;

tale also swallows Weiss’s Bieber-

in the movie he has heard spoken

of the Jedi, and over the years he

The Fly; Dead Ringers) to slicker,

esque son, Benjie (Evan Bird), and a

by someone. He could probably tell

has had many involved, ultimately

more psychologically intense

limo driver, Jerome Fontana (Robert

you who.”

doomed discussions with several

recent movies (A History of

Pattinson), who is, of course, really

Violence, his most mainstream

an actor and screenwriter.

film to date; Eastern Promises;

“The movie is obviously a work

As an outsider Cronenberg is in

of the major studios about making

many respects excellently placed to

films, perhaps most intriguingly

take a swipe at the eccentricities of

a spy caper with MGM starring Denzel Washington and Tom Cruise.

A Dangerous Method). Maps

of fiction, it’s not a documentary

Hollywood. He has lived in Toronto

stars Julianne Moore as Havana

on how Hollywood works; it

—the backdrop for many of his

Segrand, an ageing actress

uses compression, exaggeration,

movies— his entire life and Maps to

desperate not to be tossed on the

all those techniques,” says

the Stars is the first time he

“You have to be outside water to know what water is.” — D a vi d Cr o n e n b e r g


D AV I D C R O N R N B E R G

“I’m 2,500 miles away from Hollywood and consider myself literally and figuratively halfway between Hollywood and Europe in terms of my cinema sensibility,” says Cronenberg. “And being a Canadian, being outside the mainstream of America – as Marshall McLuhan used to

INTERVIEW

11

switched to English literature and there he made friends who were shooting their own films. “I remember feeling that my writing was a pastiche of Nabokov and William Burroughs, or a combination of the two,” he says. “Of course,

say – allows you to have perceptions that you could not have otherwise.

they are very different writers, so that still created a new thing. But one

Like they say: ‘A fish doesn’t know what water is.’ You have to be

of the things about film-making was that I felt I had no influences. Not

outside water to know what water is.” Consumed, meanwhile, is as singular and idiosyncratic as any of

being arrogant, I felt I could invent myself as a film-maker from scratch. I had seen Bergman, but I wasn’t feeling I was making a Bergman film.

Cronenberg’s films. Any synopsis is woefully inadequate, but at the

I loved Fellini, but not being an Italian Catholic, I couldn’t possibly make

centre of the book is a pair of globetrotting journalists whose reporting

a Fellini film. Nobody in Canada was making genre pictures, so making a

embroils them in a horrific murder, organ trafficking and some kinky sex.

Canadian horror film, that was a pretty new thing.”

Cronenberg is not joking when he says that Consumed was half a century in the making. His father owned a bookstore in Toronto and wrote journalism and true-crime stories. “I used to fall asleep to the sound

And what about directing a film of his novel, Consumed? “Once I finished it, I thought that is what I’d really want to do,” says Cronenberg. “I had five producers who read it and said they would love to make it into

of his IBM Selectric and before that I would fall asleep to the sound of

a movie. But I don’t actually want to make it myself. I’ve already done it.

his Underwood typewriter,” Cronenberg recalls, sitting in his office at

It would be weirdly like doing a remake of my own thing.”

home in front of a wall of books, many inherited from his father. At the University of Toronto, he studied science, dreaming of one day being like Isaac Asimov, the scientist and sci-fi author. After a year, Cronenberg

With that, Cronenberg hunkers down and prepares for an inquisition on his seven decades of life from old friends and Observer readers.


D AV I D C R O N R N B E R G

Q & A by Tim Lewis September 13, 2014

Q&A

12

Although you are several years younger than I am, we both attended the University of Toronto in the early 1960s and we both have a background in the biological sciences. Was there anything in particular about the University of Toronto that might have suited you for an initial interest in horror films? Was it the pickled eyeballs, preserved foetuses, and venomous snakes simply my body, I discovered early on, does not respond well to alcohol. in the old, and very gothic, zoology building? They certainly made an impression on me! My mucus membranes don’t like it. I’ve only been drunk like three times Margaret Atwood, author

How do you survive the horrors of your own imagination? What is/are your favourite a) alcoholic drink b) other drugs? Matthew Hill, Lyon

My imagination is not full of horrors at all. This is the misunderstanding of what my movies are. First of all, I think all my movies are funny. Not everything in them is funny, but they

in my life literally. At the age of 71,

are full of humour. And second, it’s

I can count the actual times and I

not really my imagination. Anybody

wasn’t crazy about the experience.

looking at the news on the internet

That goes for the other drugs too.

Yes, I did my dissection of foetal pigs and a few other things, because I started off in organic chemistry. I think I would’ve ended up being a cell

or in a newspaper, there’s horror

Yes, in the 1960s I had experience

biologist. And it was pretty gothic, that’s true, and in fact it was the way

there every day—compared with

of various drugs as everybody did,

the science was being taught that drove me out of the field of science.

that, my imagination is a wonderful

but I didn’t really find anything that

I felt that the students around me were so different from me and I ended

playground! So I don’t feel that my

was congenial. I did one LSD trip,

up spending all my time hanging round with all the English language and

it was very potent but there were

philosophy students.

imagination is a place of horror at all.

So I can’t say the University of Toronto led me to horror, but what it did

As for the second part, I actually

disturbing aspects that I didn’t enjoy.

don’t drink. The most I’d do is have

As an artist, one of the things I value

do was lead me to cinema, though I never studied cinema. There was a

a little bit of red wine while I have

most is clarity. You are constantly

student called David Secter who was making a movie called Winter Kept Us

a meal. Left to my own devices,

striving for incredible clarity, which

Warm, which starred some friends of mine. And it never occurred to me that

not going out with people who are

maybe you never achieve, but I

you could make a movie. It was unlike someone growing up in LA where

ordering wine, I would never even

have found that drugs and alcohol

everybody’s parents were in the business. In Toronto, no one’s parents were

think about ordering an alcoholic

derange that. So I’m boring, what

in the movie business because there wasn’t a movie business.

drink. It’s not a religious thing, or

can I say?

a question of morality or ethics,

So that was more influential in leading me to biological horror. I never thought of the biology part of it as horrific anyway. I thought that was all incredibly exciting, even dissecting the foetal pig, which if you shot that scene in a movie, it might be rather gross for people. To feel that you were really beginning to understand the form of life, how life came to be and exists, that was exciting. That’s not horror to me, that’s pure ecstasy actually.


D AV I D C R O N R N B E R G

Your films often contain loops: life and death, body and mind, the conscious and unconscious. What are the challenges in evoking endless returns within a medium that is experientially finite? Candice Breitz, artist

Q&A

Which philosophers, would you say, have the most impact on your work Howard Shore, composer

I consider myself a junior existentialist. When I started to read Sartre and by association Heidegger I thought,

I’m not sure that I quite understand! But for me, my movie-making is like a diamond, in the sense that it has many facets but when you look in each facet, you are looking into the inner core of the same

diamond. That diamond is really my experience of life, that’s all it is, and so it’s inevitable I return to the same themes and tropes and considerations but from slightly different angles.

“Oh wow, this is what I’ve been thinking.” There’s a great lecture Sartre gave called “Existentialism is a Humanism”. He basically said, “Look, we humans are really all we’ve got, forget about the afterlife, it doesn’t exist. Forget about God, there is no God. We should accept that and if we did and realised that compassion and humanistic empathy were valuable—more than valuable but crucial— then the world would be a better place.” So that’s really my approach to life. Cars have always represented almost flight, it’s like

Has something been lost with the move away from physical SFX to CGI?

being able to fly. And freedom, sexual freedom in the old

Archaen, posted online

it’s not so much the fast-ness, it’s the car-ness that’s the

days. So it depends how young this person is because issue, the essence. At the moment, I’m driving a Tesla,

CG, of course, can be overused and

is the director at understanding

it has been overused. You see that

his audience? I use a lot of CG in

in a lot of the superhero movies,

my movies, it’s just not obvious.

it’s just ridiculous stuff that’s going

You use it for small things, just

on. It’s amazing technically but it

heightening little moments, it’s

has lost its physical presence. But

pretty invisible the way I use CG.

that doesn’t mean that the answer

It becomes another very effective

is more physical effects. To me it’s

tool, no different from lighting or

not really a technological question,

costume or editing. That’s where

it’s a question of art: how good

it’s most effective.

it’s an electric car and I find it terrifically exciting and that has nothing to do with how fast it goes—although it is really fast. Nonetheless if you see a Lamborghini or a Ferrari driven at speed, it’s pretty impressive, it’s like an animal, there’s a beauty to it. I could go on and on about the beauty of the now-outmoded internal combustion car, but there was a prehistoric magnificence to them. If this person cannot respond to that I have no problem with that, but I need to know the experience this person had of so-called fast cars. If you are just watching them from your balcony on a highway then of course it’s boring.

13


— Jenny Holze r “E a t in g T h r o u g h Livin g ”


FESTIVAL FILMOGRAPHY


SHIVERS R e v i e w b y N a t e Ya p p March 17, 2008

Although Shivers is not technically

Came from Within) opens with a

were first molding what would

David Cronenberg’s first film

slideshow presentation extolling

become known as the “auteur

(he had made some art films

the virtues of Starliner Towers,

theory”—the idea that certain

previously), it should be considered

an isolated apartment complex/

directors are the single creative

his debut. Shivers boldly announces

community outside of Montreal that

force of their films —they couldn’t

the arrival of a creative mind able to

promises all the conveniences of

possibly have imagined a more

concoct horror movies layered with

modern living. Within this glass-and-

appropriate or perfect example

subtext and commentary that don’t

steel monument to the bourgeoisie,

than David Cronenberg. All of

forget to entertain at the same

however, parasites from an

his genre work is preoccupied

time. One can clearly recognize the

experiment gone wrong have

with the same themes—among

work of a mad cinematic scientist

escaped, infecting the populace

them the revolution/evolution of

with preoccupations never seen

one at a time. Those affected

the body, the confluence of sex

before (and only imitated since).

are stripped of rational thought,

and disease, and the banality and

However, Shivers also betrays a

becoming sexually crazed, zombie-

repression of modern society

shaky young gun whose bold vision

like madmen. It’s up to Dr. Roger

—yet each film explore these

is frequently undermined by his

St Luc (Paul Hampton), Starliner’s

ideas in different ways. Shivers

tenuous grasp of the tools at his

resident sawbones, and Nurse

acts largely as a primer to these

disposal. The result is a movie that

Forsythe (Lynn Lowry) to either

obsessions, introducing them to

fares better when submitted to a

contain the epidemic or escape the

the unsuspecting audience in bold,

literary critique than a standard

chaos.

unmistakable terms.

movie review. Shivers (also known as They

When the writers of the French film magazine Cahiers du cinema


F E S T I VA L F I L M O G R A P H Y

Certainly the infection gets more

to interest us in the plight of his

quality screentime than the normal

character. By the film’s middle, we

human beings, and Cronenberg

hope he does get a parasite in the

has stated that he sympathizes

stomach, because maybe he’ll liven

more with the characters in this

up a little.

movie after they are infected. It’s

Given the dichotomy of this

almost as if the human perspective

review, you wouldn’t be blamed to

is a perfunctory plot device, which

think that there are two completely

Cronenberg only added as method

separate perspectives you can take

through which to relay the disease’s

while watching Shivers – thematic

story to a human audience.

or entertainment. However, each

Truthfully, one might not mind

part of the film serves the other—

an all-parasite Shivers after dealing

the entertainment illustrates the

with the performances of the

themes and the themes enrich

human actors. With the exception of

the entertainment. Much like the

Barbara Steele (always magnificent),

parasites and human beings in the

the cast is almost unilaterally below

movie itself, theirs is a symbiotic

average. Particularly poor is Paul

relationship. It’s not often pretty,

Hampton as Dr. St Luc. Speaking in

but it does usher in a new vision of

a flat, unaffected voice and staring

society, undeniable and inescapable,

off at some nonspecific point off-

even if exists only in the head of

camera throughout the film, he fails

David Cronenberg.

SHIVERS

17


F E S T I VA L F I L M O G R A P H Y

SHIVERS

18

Indeed, violence is another target

at the beginning with Hobbes attack

coolly dispatch his adversaries from

of Cronenberg’s societal critique.

on the girl—although we can justify

a distance, usually with one more

Physical aggression runs rampant

that once we learn that the girl is

bullet than is absolutely necessary.

throughout the film, from both

Patient Zero in the parasite project.

the infected and the uninfected.

Later, the cool and rational Dr. St Luc

Shivers themes is not, as it would

However, the infected’s depiction as

becomes like an angel of death for

seem, an indication of a high level

Lynn Lowry

single-minded, driven animals acts

the infected, offing several of them.

of craftsmanship on the part of

Barbara Steele

as their absolution. They are merely

In one scene, he is attacked by one

all involved. Looking at the film,

following a biological imperative to

—a man—who proceeds to kiss him

whose individual parts work just

October 10, 1975 (Canada)

spread the parasites and grow their

on the back of the neck. The two get

about as often as they do not,

July 6, 1976 (United States)

population. Really, we can judge

into a scuffle which ends when the

simply indicates that Cronenberg’s

Running time 87 minutes

them no more harshly than the

doctor beats his assailant to death

thematic concerns and the force

average subject of an Animal Planet

with a crowbar, his face a portrait of

with which he states them manages

documentary. The rational, “normal”

disgusted desperation that seems

to overcome some inconsistent

humans don’t have any such excuse.

more like gay panic than self-

filmmaking.

Their violence is always more

preservation. For the rest of the film,

destructive. First, there’s the scene

he wields a gun with which he can

Cast and Crew Produced by Ivan Reitman Written by David Cronenberg Starring Fred Doederlin Paul Hampton

Release dates

Country Canada Language English

“You and me are going to make friends, good friends...”

That so much can be said about


F E S T I VA L F I L M O G R A P H Y

SHIVERS

First, though, let’s look at the production history behind Shivers,

to direct as he went.

19

Cronenberg ample time to develop

When one looks at Shivers, it

the confidence he needed for later,

because it largely acts as an

becomes apparent just how much

more difficult scenes. Alternatively,

explanation and (probably) an excuse

Cronenberg had to learn. Several

perhaps Cronenberg was simply

for its issues. In the early 1970s,

scenes throughout the film are just

more comfortable with the fantastic

Cronenberg—having made two

sloppy—poorly framed, visually

elements of the story and had trouble

short films and two features for

awkward, or just plain dull. I don’t

finding a creative voice for the human

the arthouse crowd—was trying

think it’s a coincidence that these

element. Either is likely and I believe

to sell a script called Orgy of the

are typically either talking scenes

it was probably some combination of

Blood Parasites. The trouble was,

(casual conversation, expository

the two factors, although I don’t have

he was in Canada, which was not a

dialogue) or silent business (walking

much in the way of proof.

country known for its horror films.

down corridors, entering a room).

Eventually he approached Cinepix, a

During scenes of horror, particularly

him plenty of those horror-action

company that mainly dealt in softcore

when free range parasites are

pieces to work with—too many,

pornography. Despite Cinepix’s

attempting to insert themselves

in fact. Nearly all of the thematic

attempts to surreptitiously offer the

into a new host, Cronenberg seems

goodness shows up in the first

Cronenberg’s own script gave

two-thirds of Shivers. After that, the film eases into a repetitive third act that follows Dr. St. Luc and his nurse as they alternately attempt to escape Starliner or hide from the crazies within. There are several effective moments in this section, as Cronenberg shows the different kinds of sexual proclivities that the parasites awaken—really taboo desires like incest and pedophilia (both, thankfully, suggested rather than shown). No one is immune— young and old, beautiful and ugly rut together indiscriminately. One just wishes these bits didn’t appera to exist purely for their shock value, project to other directors (including

to have a much better idea of what

that they added something to the

Jonathan Demme, later of Silence

he wants, utilizing low angles and

impressive ideas relayed earlier. Alas,

of the Lambs), Cronenberg was

tighter, more controlled shots. I

no. Cronenberg’s script seems to say,

eventually allowed to helm his own

can think of two possible reasons

“You’ve had your brain food. Now

project. On limited money and with

for the discrepancy. One, the easy

we’re just going to get weird.” It’s

no real experience in commercial

scenes that didn’t require a lot of

a disappointing turn that makes the

film, Cronenberg used Shivers as a

special effects or action choreography

film feel poorly structured.

learning experience, teaching himself

might have been shot earlier, giving


F E S T I VA L F I L M O G R A P H Y

RABID Review by Brett H. May 7, 2008

RABID

20

After his 1975 feature directorial

his guns and released a similar film

one. The backlash was old hat now,

debut involving parasites infecting

in 1977, Rabid, which Cronenberg

so a film more of the same is sure to

and taking over the tenants of an

considers a “companion piece” to

kick up less fuss. Then, Ivan Reitman

apartment complex, Shivers, was

Shivers, rather than a sequel. $560

suggested porn queen, Marilyn

a relative hit in the Canadian film

000 was the amount of money

Chambers, to play the lead. One

industry, David Cronenberg had

Cronenberg had to spend to birth

scandal to another, could it go any

a most interesting act to follow.

another violent opus, $200 000 of

other way with the artistic displays of

Funding wouldn’t be easy as Shivers

which coming from the Canadian

early David Cronenberg?

was critically blasted by many

government through “surreptitious”

important people in the industry

funding, as Cronenberg would tell

boyfriend, Hart (Frank Moore) cruise

and the Canadian government

in an interview on the Rabid DVD. In

down a Quebec highway on their

Rose (Marilyn Chambers) and her

motorcycle to destinations unknown. It’s never to be proven where they are headed because they never make it. An arguing family is lost on the highway and reluctantly the man of the house gives in and listens to his wife’s insistence that they missed their turn off quite a while ago. They stop and check the map, but when they try to fire their van up, it sputters. Travelling fast, Rose and Hart are stopped by the fender of the wasn’t exactly predisposed to being

a rare moment of intelligence, the

van and lose the battle, jettisoning

interested in genre films. In pure

CFDC invested in a film that was sure

them to the ground.

Cronenberg fashion, he stuck to

to make money and b-movie all in


F E S T I VA L F I L M O G R A P H Y

Hart, the driver of the motorcycle, staves off serious injury, but

RABID

end of Canada?

blood spawns a deadly disease that

Quite possibly the most Canadian

can be passed on to anyone who has

Rose is another story. She’s in

horror film ever made at the time

open wounds come into contact with

pretty bad shape and is in need of

of its release, Rabid is a unique and

infected saliva; something hard to

reconstruction surgery, pronto. Dr.

creepy spin on the undead with a

avoid when the insane zombie’s only

Keloid (Howard Ryshpan) decides to

prophetic touch regarding modern

thoughts are to eat you alive. This is

use Rose as a human guinea pig…

science and world issues. An

eerily similar to the AIDS virus, an

to disastrous results.

amazing horror film, it’s also a rather

example of every day occurrences

tragic tale of a lovely young woman

such as sexual contact and blood

technique that would allow skin and

who is forced to drink human blood

transfusions can have deadly results.

tissue to generate properly in the

for survival, completely against her

On a more tongue and cheek note,

side effect of the experiment. She

will. This would be touched later upon

the SARS scandal in Toronto is

now has a hunger for blood… and a

years later in Blood & Donuts with a

another similarity, except a virus is

new body part that allows her to suck

less serious tone and more artistic

actually being spread in Rabid.

the cherished substance quickly and

feeling. Rabid proves to be somewhat

easily. Is this the beginning of the

of a prophecy, Rose’s craving for

Dr. Keloid is trying to accomplish a

21

way it is intended to, similar to stem cell treatments. This way, flesh meant to be from the face could generate as the flesh from the face would and so on. Rose’s friend, Lloyd, happens to be in the hospital when she wakes up from her coma. She wakes up cold and begs him to hold her topless body and he reluctantly agrees. Suddenly Lloyd feels a sharp pain stabbing into his side and begins bleeding profusely. His body reacts to this strange occurrence and he turns into a mad, blood-craving zombie, spreading this virus quickly throughout Montreal. Rose came out of her coma a bit different; a terrifying

“Mindy, I don’t want it to be you…”


F E S T I VA L F I L M O G R A P H Y

Cast and Crew D ire c t e d by David Cr onenber g P ro d u c e d by John Dunning Ivan Reitm an Writ t e n by David C r onenber g S t a rrin g Ma rily n Cham ber s Fra n k Moor e J o e S ilver H o wa rd Ryshpan P a t ric ia Gage S u sa n R om an R o n a ld Mlodzik R e le a se dates Apr il 8, 1977 R u n n in g tim e 91 m inutes C o u n t ry

Canada

La n g u a g e English

RABID

22


F E S T I VA L F I L M O G R A P H Y

RABID

23

One of Cronenberg’s original titles

a poster of this film is featured in

The infection aspect of the film,

probably won’t realize is this is art

for the film was “Mosquito”, a title

Rabid). Ivan Reitman suggested

which was borrowed from heavily in

somewhat reflecting the October

I prefer to Rabid. The reason being

Chambers, who had quit the porn

28 Days Later, is highly effective. The

Crisis of 1970 in which martial

is that I was entranced by the

industry to try her hand at real film,

body count mounts high from either

law actually was put into effect by

character of Rose and her sharp,

and it turned out to be the best

blood devouring or flesh munching.

legendary Prime Minister, Pierre

phallic blood-slurping growth more so

decision that could have been made.

There’s shades of Dawn of the Dead

Trudeau, in response to separatist

than the outbreak that really should

Marilyn Chambers had been cast in

as the frothing zombies terrorize a

terrorism. It’s great to see that

be the obvious, most concerning

Behind the Green Door due to her girl

shopping mall, at Christmastime no

the film makes no bones about

plot element to the viewer. This

next door attributes, bringing a trait

less. It all amounts to an intense,

its setting, Montreal and Quebec

is a testament to the wonderful

generally uncharacteristic of adult

claustrophobic feel in that the city

are referenced constantly. David

performance by Marilyn Chambers,

films into that world of cinema. The

of Montreal will be infested with

Cronenberg proves his directorial

who is one of the few porn stars to

same can be said for Rabid, Marilyn

these things in a short amount

excellence with wonderful

cross over to the world of feature

is a naturally innocent looking beauty

of time, and of course this would

cinematography and there should

films and actually work just as good

with the most amazing eyes and

spread throughout Canada quickly

have been no doubt that success

with her clothes on. Marilyn even

such a sweet voice, she’d never be

as well. You find yourself feeling for

would come his way in the future

gets a sort of role reversal, after she

suspected as a vampiric murderess

the citizens and then after a bit it

with his rich and obscure ideas. From

has enjoyed the blood of her victims,

capable of such inhumane acts.

becomes very apocalyptic. A vaccine

the opening credits, you appreciate

is developed, but a worldwide threat

the shots and care taken, especially

is very possible and it’s not easy to

on such a low budget film. The

vaccinate billions. It goes without

Somerville House DVD has a decent

mention that the vaccine means

transfer that reveals quite a few flaws

little to the zombies who will kill

and the audio is clear, it’s nothing

anything in their way, regardless.

to write home about but nothing

This is the true terror of the film,

to cry about, either. Somerville

underlying reality in the form of a

House treats fans to an interesting

deadly contagious disease wiping out

interview and feature commentary

millions rather than a supernatural

with David Cronenberg as well as a

force on a killing spree. Rabid could

trailer, biographies and still galleries;

really happen, but not too many

a wonderful package in the special

people are worried about Jason

features department, indeed. As

she holds them in her arms in a

You feel sorry for such a piece of

Voorhees winding up on their

realistic and tragic as it is haunting

strong state of orgasmic bliss. Sissy

saccharine being put through such

doorstep with an axe.

and gory, Rabid is not only a classic

Spacek was the actress of choice

anguish, while at the same time it’s

for the picture, but Cineplex had an

refreshing to see such innocence be

into effect up North is nice to see,

issue with Sissy’s accent and little

so deadly. Much like the character

it’s certainly not something generally

did they know how her career would

of Rose and real-life Marilyn,

acquainted with the quiet country

skyrocket with Carrie (ironically,

appearances deceive.

of Canada. What non-Canadians

The idea of martial law being put

of Maple Leaf Macabre, but an iconic piece of horror cinema as well.


F E S T I VA L F I L M O G R A P H Y

SCANNERS Review by Wikipedia

SCANNERS

24

Scanners are people with the

the banality of the process.

Ruth tells Vale about a secret

ability to “scan” other people.

Unfortunately his volunteer,

drug, ephemerol, which ConSec

This is explained as the ability to

Darryl Revok (Michael Ironside)

uses to suppress scanners’

connect two nervous systems

is a renegade with formidable

telepathic powers. This drug is

separated by space. This included

telepathic powers who has

very important to Vale as using it

the ability to involuntarily hear

declared war on ConSec and all

allows him to suppress the influx

people’s thoughts (telepathy)

scanners who voluntarily work for

of other people’s thoughts, thus

and control other functions

it. The demonstration does not

supplying him with it becomes

(heart beat). It also includes the

go well; the ConSec scanner’s

Ruth’s way of establishing trust

ability to telepathically control

head explodes. ConSec security

and dependency between him

computers and to start fires.

agents try to detain Revok but he

and Vale.

Most scanners are unhappy

escapes, killing several of them in

Vale tracks down Pierce after

people, condemned to “hearing”

the process.

locating a gallery exhibiting his

an unstoppable flood of strangers’ Dr. Paul Ruth (McGoohan), head

morbid sculptures. Pierce is

thoughts. Cameron Vale (Lack)

of ConSec’s Scanner Research

in hiding from Revok; he has

has uncommonly powerful

Section, meets with ConSec’s

rejected Revok’s offer to join his

scanning abilities but cannot

newly hired head of security,

renegade faction, which makes

handle the pressure and has

Braedon Keller (Lawrence Dane).

him a liability. Four of Revok’s

withdrawn completely from

Keller recommends shutting

men gun down Pierce. Vale

society. A homeless derelict, he

down their scanner program.

flings the four assassins into

lives in a shopping mall. When he

Ruth tells the head of the

unconsciousness, then scans the

psychically overhears two women

company he believes Revok has

dying man’s mind to learn what

denigrating him he inadvertently

his own scanner underground

he knows about the scanner

induces violent convulsions in

at work and that is why ConSec

underground.

one, which in turn attracts the

was attacked, because Ruth’s

Pierce’s dying thoughts lead Vale

attention of ConSec agents who

program was the only obstacle to

to Kim Obrist (O’Neill) who has

tranquilize and abduct him.

Revok. Ruth claims Vale might be

formed a telepathic alliance with

Meanwhile ConSec is holding

the only scanner with sufficient

a group of other scanners. Vale

a conference where they are

psychic power to challenge

is invited to a meeting, but the

introducing their work with

Revok. Vale is reluctant; Revok’s

gathering is ambushed by more

scanners to 25 VIPs from all over

whereabouts are unknown,

of Revok’s assassins, who kill

North America. The company’s

and the only lead is Benjamin

Obrist’s scanner friends before

senior (and only) scanner (Louis

Pierce (Robert A. Silverman), an

Vale and Obrist can kill them.

Del Grande), offers to “scan”

artist and unstable scanner who

a volunteer to demonstrate

tried to kill his family as a child.


F E S T I VA L F I L M O G R A P H Y

SCANNERS

25

“You are not listening to me... Yor are not cooperating, Vale, you are not cooperating with me at all...�


Cast and Crew D ire c t e d by David Cr onenber g P ro d u c e d by C laude HÊr oux Writ t e n by David Cr onenber g S t a rrin g J e n n if e r O’Neill S t e ve n Lack P a t ric k M cGoohan La w re n c e Dane Mic h a e l Ir onside R e le a se dates J a n u a ry 1 4, 1981 R u n n in g tim e 103 m inutes C o u n t ry

Canada

La n g u a g e English


F E S T I VA L F I L M O G R A P H Y

SCANNERS

Vale regains consciousness in

27

to their pregnant mother, and saw

Vale infiltrates a company called

ephemerol shipments. Their

Biocarbon Amalgamate in place of

investigation takes them to the

Revok’s office. Revok begins asking

what it did to his sons. Revok’s plan

one of Revok’s men and learns that

office of Dr. Frane, an obstetrician on

Vale about his life, which Vale does

is to build an empire “so brilliant,

large quantities of ephemerol are

the list of recipients of ephemerol,

not remember. Revok explains that

so glorious we’ll be the envy of the

being manufactured and shipped

where Obrist becomes aware that

Ruth always knew where Vale was

entire planet” by finding and training

out in tankers under a program

the new generation of scanners - a

called “Ripe,” an operation that

new generation of which is just

appears to be run by Revok himself.

months from being born; the result

Vale and Obrist travel to ConSec

of the ephemerol shipment. He

headquarters to inform Ruth of this

invites Vale to join him, but Vale

development. Ruth tells a stunned

refuses, and a psychic battle ensues.

Vale that he founded the company

Visible physical changes result

himself and sold it to ConSec. Ruth

between Vale and Revok from the

is in disbelief that ephemerol is

battle; Revok’s forehead pulsates

being produced and insists Vale

with veins and his head swells. Vale,

get the information by scanning

less experienced than his brother,

the computer’s electronic nervous

uses his body more and veins

system and learn more about the

throughout his body emerge. Vale

‘Ripe’ program; but Keller, who is

begins bleeding and peeling flesh

actually a traitor working for Revok,

from his face involuntarily as Revok

attempts to kill Obrist. She escapes

pushes the advantage. Vale is able to

and Vale leaves Ruth to help her.

compose himself, his body ignites, and he focuses on Revok as his eyes

Keller kills Ruth, then attempts to capture Vale and Obrist, who escape

someone is scanning her. She

and what his life was like but only

explode and he leaves his body and

by scanning the ConSec guards.

realizes that she is being scanned

helped when he needed him as an

enters Revok’s mind. Revok’s eyes

Vale infiltrates Revok’s computer

by the unborn baby of a pregnant

agent against Revok. Revok tells him

turn white and he screams as Vale

network through a payphone. When

woman in Frane’s waiting room.

that they are brothers and that Ruth

takes control of his body.

Keller discovers this, he orders

Vale tells a stunned Obrist that is

is their father. According to Revok,

ConSec computer scientists to rig the

the purpose of the ‘Ripe’ program.

Ruth’s company created ephemerol

incinerated corpse on the floor and

computer to self-destruct while Vale is

Ephemerol doesn’t just help adult

as a drug aimed at pregnant women

begins to call out to Vale. In a corner,

plugged into it. The plan backfires and

scanners control their ability. It is

as a morning sickness sedative,

hidden under Vale’s jacket, is Revok,

the laboratory explodes, killing Keller.

creating new scanners. The two

but it had an invisible side effect -

his forehead scar gone and his eyes

are suddenly ambushed by Revok’s

creating scanners. Ruth had twice

the same shade of blue as Vale’s.

men, tranquilized, and abducted.

given the prototype of ephemerol

“We’ve won,” he says, in Vale’s voice.

Vale and Obrist pursue their only remaining lead: the mysterious

Obrist awakens to find an


F E S T I VA L F I L M O G R A P H Y

VIDEODROME Review by Wikipedia

VIDEODROME

28

Max Renn (Woods) is the presi-

O’Blivion (Jack Creley), a pop

to help him find out the truth about

dent of CIVIC-TV, a UHF television

culture analyst and philosopher

Videodrome. Through Masha, Max

station in Toronto that specializes

who will only appear on television

learns that not only is the footage

in sensationalistic programming.

if his image is broadcast into the

in Videodrome not faked, but it

Displeased with his station’s current

studio, onto a television, from a

is the public “face” of a political

lineup, Max is looking for some-

remote location. O’Blivion delivers

movement. Masha further informs

thing that will break through to a

a speech prophesying a future in

him that O’Blivion knows about

new audience. One morning, he is

which television supplants real life.

Videodrome.

summoned to the clandestine office

Max dates Nicki, who is sexually

of Harlan (Peter Dvorsky), who

aroused when he shows her an

office to a mission where homeless

operates CIVIC-TV’s pirate satellite

episode of Videodrome and coaxes

people are encouraged to engage

dish which can intercept interna-

him into having sex with her while

in marathon sessions of television

tional broadcasts. Harlan shows

they watch it.

viewing. He discovers the mission

Max tracks down O’Blivion’s

him Videodrome, a plotless show

Harlan tells Max that a signal

apparently being broadcast out of

delay which caused it to appear to

is run by O’Blivion’s daughter, Bianca (Sonja Smits), with the goal of

Malaysia which depicts the brutal

be coming from Malaysia was a

helping to bring about her father’s

torture and murder of anonymous

ploy by the broadcaster, and that

vision of a world in which television

victims in a reddish-orange cham-

Videodrome is being broadcast out

replaces every aspect of everyday

ber. Believing this to be the future

of Pittsburgh, Pennsylvania. Max

life. Later, Max views a videotape

of television—seemingly staged

informs Nicki, who excitedly goes

in which O’Blivion informs him that

snuff TV—Max orders Harlan to

to Pittsburgh to try and audition

the Videodrome “is a socio-political

begin pirating the program.

for the show under the guise of a

battleground in which a war is being

Appearing on a talk show, Max

business trip. When Nicki fails to

fought for control of the minds of

defends his station’s programming

return to Toronto, Max contacts

the people of North America”.

choices to Nicki Brand (Harry), a

Masha (Lynne Gorman), a softcore

sadomasochistic psychiatrist and

feminist pornographer with ties to

radio host, and Professor Brian

the porn community, and asks her


F E S T I VA L F I L M O G R A P H Y

VIDEODROME

29


Cast and Crew D ire c t e d by David Cr onenber g P ro d u c e d by C laude Hér oux Writ t e n by David Cr onenber g S t a rrin g J a m e s Woods S o n ja S m its D e b o ra h Har r y R e le a se dates Fe b ru a ry 4, 1983 R u n n in g tim e 87 m inutes C o u n t ry

Canada

La n g u a g e English

Shortly thereafter, Max begins experiencing disturbing hallucinations in which his torso transforms into a gaping hole that functions as a VCR. Bianca tells him these are side-effects from having viewed Videodrome, which carries a malicious broadcast signal that causes the viewer to develop a malignant brain tumour. O’Blivion helped to create it as part of his vision for the future, but when he found out it was to be used for malevolent purposes, he attempted to stop his partners; they used his own invention to kill him. In the year before his death, O’Blivion recorded tens of thousands of videos, which now form the basis of his television appearances.


F E S T I VA L F I L M O G R A P H Y

VIDEODROME

31

“What ever appears on the television screen, emerge into the raw experience to who is watching. Therefore, television is reality, reality is less than television.”

Max is contacted by Videodrome’s

the hope of destroying the project

it, he has to ascend to the next

producer, the Spectacular Optical

that led to her father’s death. On her

level and “leave the old flesh”. The

Corporation, an eyeglasses company

orders, Max kills Harlan, then tracks

television then shows an image of

that acts as a front for a NATO

Convex to a trade show, where he

Max shooting himself in the head,

weapons manufacturer. The head of

shoots him to death in front of a

which causes the set to explode,

murders his colleagues at CIVIC-TV,

horrified crowd. Afterwards, Max

splattering the deck of the ship with

and later attempts to kill Bianca,

takes refuge on a derelict boat in

bloody human intestines. Imitating

as Videodrome considered these

an abandoned harbour, where Nicki

what he has just seen on TV, Max

victims threats to its mission.

appears to him on a TV set. She tells

says “Long live the new flesh” and

him he has weakened Videodrome,

then shoots himself.

Spectacular Optical, Barry Convex (Leslie Carlson), has been secretly working with Harlan to get Max exposed to Videodrome and to have him broadcast it, as part of a crypto-government conspiracy to morally and ideologically purge North America by giving fatal brain tumours to “lowlifes” fixated on extreme sex and violence. Convex then inserts a brainwashing video tape into the “VCR” in Max’s torso. Under Convex’s influence, Max

Bianca successfully “reprograms” him to turn against Videodrome, in

but in order to completely defeat


F E S T I VA L F I L M O G R A P H Y

T H E F LY

32

THE FLY Review by Wikipedia

Seth Brundle (Jeff Goldblum), a

the strange, bristly hairs growing out

Tawny from being forcibly teleported

brilliant but eccentric scientist, meets

Brundle wants to spend a romantic

Flushed with this success,

of a previously-sustained wound in

by Brundle. After he angrily throws

Veronica Quaife (Geena Davis), a

evening with Veronica, but she

his back. Brundle quickly becomes

Veronica out and dismisses her

journalist for Particle magazine, at a

suddenly departs before they can

arrogant and violent, insisting that

concerns about his health, Brundle

meet-the-press event held by Bartok

celebrate. Brundle’s judgment soon

the teleportation process is like a

realizes that something went horribly

Science Industries, the company

becomes impaired by alcohol and

beneficial drug, and tries to force

wrong during his teleportation when

that provides funding for Brundle’s

his paranoid fear that Veronica is

work. Seth takes Veronica back to

secretly rekindling her relationship

the warehouse that serves him

with her editor and former lover,

as both home and laboratory, and

Stathis Borans (John Getz). In reality,

shows her a project that will change

Veronica has left to confront Borans

the world: a set of “Telepods” that

about a veiled threat, spurred by

allows instantaneous teleportation of

his romantic jealousy of Brundle, to

an object from one pod to another.

publish the Telepod story without

Brundle convinces Veronica to keep

her consent. Upset, Brundle hastily

the project’s existence quiet in

decides to teleport himself in

exchange for exclusive rights to the

Veronica’s absence, unaware that a

story, and she begins to document

common housefly has slipped inside

his work. Although the Telepods can

the transmitter pod with him. Brundle

transport inanimate objects, they do

emerges from the receiving pod,

not work properly on living things,

seemingly normal. Seth and Veronica

as is demonstrated when a live

reconcile, and, shortly after his

baboon is turned inside-out during an

teleportation, Seth begins to exhibit

experiment. Seth and Veronica soon

what at first appear to be beneficial

Veronica to undergo teleportation.

his fingernails begin falling off. He

begin a romantic relationship, and

effects of the process—such as

When she refuses, he abandons her

checks his computer’s records, and

their first sexual encounter provides

increased strength, stamina, and

to indulge in a barroom armwrestling

discovers that the Telepod computer,

inspiration for Seth, who reprograms

sexual potency. He believes this to be

match that leaves his opponent with

confused by the presence of two

the Telepod computer to cope with

a result of the teleportation process

a compound fracture, and casual sex

separate life-forms in the sending

living creatures. Shortly thereafter,

“purifying” his body. Veronica,

with a woman named Tawny, whom

pod, merged him with the fly at the

he successfully teleports a second

however, is more concerned about

he picks up at the bar. Veronica’s

molecular-genetic level.

baboon with no apparent harm.

Brundle’s growing mania, as well as

next-morning arrival at the lab spares


F E S T I VA L F I L M O G R A P H Y

“Be afraid, be very afraid...”

T H E F LY

33


F E S T I VA L F I L M O G R A P H Y

Cast and Crew Direct ed by Dav id C r onenber g Produced by S t uar t C or nf ield Writ t en by Charles Edw ar d P ogue Dav id Cronenberg Bas ed on The F ly by George L angelaan St arring Jef f Goldbl um Geena Davis John Get z Releas e da t es Augus t 1 5 , 1 9 8 6 Running t ime 9 6 m inut es Count ry

Unit ed S t at es

L anguage Englis h

T H E F LY

34


F E S T I VA L F I L M O G R A P H Y

T H E F LY

35

last-ditch plan to Veronica—he will use the three Telepods (the third pod being the original prototype) to fuse himself, Veronica, and their unborn child together into one entity, so they can be the “ultimate family”. Veronica frantically resists Brundle’s efforts to drag her into Telepod 1 and then accidentally tears off his jaw, triggering his final transformation into a monstrous combination of man and insect. The “Brundlefly” creature traps Veronica inside Telepod 1, then steps into Telepod 2. However, the wounded Borans uses his shotgun to sever the cables connecting Veronica’s Telepod to the computer, allowing Veronica to escape unharmed. Breaking out of its Over the next four weeks, Brundle

and that he is now being driven by

learned of the pregnancy, Brundle

own pod just as the fusion process

continues to deteriorate, losing

primitive impulses he cannot control.

abducts Veronica before the abortion

is activated, Brundlefly is gruesomely

various body parts and becoming

Attempting to find a cure for his

can be carried out, and begs her to

fused with chunks of metal and

progressively less human in

condition, Brundle installs a fusion

carry the child to term, since it could

other components from Telepod 2.

appearance. He eventually reaches

program into the Telepod computer

potentially be the last remnant of his

As the mortally wounded Brundlefly-

out to Veronica, and theorizes that he

in order to dilute the fly genes in his

untainted humanity. Veronica sadly

Telepod fusion creature crawls out

is slowly becoming a hybrid creature

body with pure human DNA. To her

refuses, afraid that the child will

of the receiving pod, it silently begs

that is neither human nor insect

horror, Veronica learns that she is

be a hideous mutant. Meanwhile,

Veronica to end its suffering with

(which Seth begins referring to as

pregnant by Seth, and cannot be sure

Borans breaks into Brundle’s lab with

Borans’ shotgun. Veronica hesitates

“Brundlefly”). Brundle soon starts to

if the child was conceived before or

a shotgun and comes to Veronica’s

for a moment, then pulls the trigger,

exhibit fly-like characteristics, such as

after his fateful teleportation. After

rescue, but is seriously injured and

killing the creature that was once

vomiting digestive enzymes onto his

she dreams of giving birth to a giant

nearly killed by the almost fully

Seth Brundle, before falling to her

food in order to dissolve it, and the

maggot, a terrified Veronica has

transformed Brundle, who dissolves

knees and weeping for her deceased

ability to cling to walls and ceilings.

Stathis Borans persuade a reluctant

Borans’ left hand and right foot with

lover.

He also realizes that he is losing

doctor to perform an abortion in the

his corrosive “vomit-drop” enzyme.

his human reason and compassion,

middle of the night. However, having

Brundle then reveals his desperate,


—David Cronenberg


SCHEDULE


SCHEDULE

OVERVIEW

38

SCHEDULE

OV E R V I E W

Opening Party

O c t 10 , S a t u r d a y

We mark the opening celebration of David Cronenberg: DECONSTRUCTIVE

17:00 Opening Night (for both Exhibition and Film Festival )

through the mind of this prolific Canadian filmmaker.

19:00 Shivers

EVOLUTION on Saturday, October 10 with a delightfully disturbing trip We are honoured to have David Cronenberg, his wife Carolyn and daughters Cassandra and Caitlin join us at our VIP reception along with a few of his closest collaborators: Producers JStuart Cornfield (The Fly)

O c t 11 , S u n d a y

and Claude HĂŠroux (Scanners), and production designer Stephan Dupuis (Videodrome). DJ Tony Haze will set the mood with samples and mixes from

13:30 Elijah Siegler on Shivers

Cronenberg films and Oliver & Bonacini Chef Jamie Meireles will serve a

19:00 Rabid

delicious Canadian feast. Kick off the DECONSTRUCTIVE EVOLUTION film festival with worldclass cinematic events , special guests and a festive celebration with live

O c t 12 , M o n d ay 14:00 Piers Handling on Videodrome

entertainment, dancing, amazing food, fabulous drinks and a complimentary gift bag. After the film, celebrate Opening Night at the Zazou Lounge. You must be 21+ to attend the party.

19:00 Scanners Zazou Lounge 315 King St W, Toronto, ON M5V 1J5, Canada

O c t 1 3 , Tu e s d a y 13:00 Noah Cowan on Scanners 19:00 Videodrome

O c t 14 , We d n e s d ay 19:00 The Fly 21:30 Closing Night and Party

+1 416-591-8800 http://zazoulounge.com/


FILM SCHEDULE

39

IVERS SHIVERS SH

Oc t o b e r 10 19 : 0 0 - 2 1 : 0 0

A sluglike parasite transforms the swinging residents of a Montreal condo into a legion of sex-crazed zombies, in David Cronenberg’s controversial first professional feature.


FILM SCHEDULE

O ctober 11 19:0 0- 21:0 0

40

Porn star Marilyn Chambers stars in David Cronenberg’s second feature as a young Quebec woman who undergoes an experimental plastic surgery treatment that transforms her into a blood-lusting, sexually insatiable disease-spreader.


FILM SCHEDULE

O c t o b e r 12 19 : 0 0 - 2 1 : 0 0

41

A powerful telepath (a.k.a. “scanner”) finds himself caught in the middle of a war between a sinister weapons firm and a scanner renegade, in David Cronenberg’s slick (and memorably gory) sci-fi thriller.


FILM SCHEDULE

October 13 17:0 0- 19:0 0

A mysterious pirate station lures a cocky Toronto cable entrepreneur (James Woods) into the reality-warping world of the “new flesh,” in David Cronenberg’s prescient and vastly influential vision of a media age run amok.

42


FILM SCHEDULE

43

O c t o b e r 14

The Academy Award-winning special effects and prosthetics designer

17 : 0 0 - 19 : 0 0

discusses his work co-creating the memorably gruesome effects for David Cronenberg’s brilliant remake of the 1950s creature feature.


See More:

deconstructive-evolution.com


INTRODUCTIONS TO SCREENINGS

45

I N T R O D U C T I O N S TO S C R E E N I N G S Shivers introduced by Ivan Reitman + David Cronenberg

O c t o b e r 10 , 1 9 : 0 0 We are honoured to welcome the producer Ivan Reitman of Shivers to introduce our screening of his first collaboration with David Cronenberg.

Rabid introduced by Marilyn Chambers + David Cronenberg

O c t o b e r 11 , 1 9 : 0 0 David Cronenberg and Rabid actress Marilyn Chambers introduce our screening of their sucessfully massive hit.

Scanners with Mark Irwin

O c t o b e r 12 , 19 : 0 0 Cinematographer Mark Irwin introduces Cronenberg’s ambitious body horror.

Videodrome introduced by Howard Shore

O c t o b e r 13 , 19 : 0 0 Academy Award–winning composer and longtime Cronenberg collaborator Howard Shore introduces our screening of Videodrome.

The Fly introduced by Stéphan Dupuis

O c t o b e r 14 , 19 : 0 0 The Academy Award-winning special effects and prosthetics designer discusses his work co-creating the memorably gruesome effects for David Cronenberg’s brilliant remake of the 1950s creature feature.


SCHEDULE

R O U N D TA B L E S & TA L K S Elijah Siegler on Shivers

O c t o b e r 11 , 13 : 3 0 *David Cronenberg will be in attendance for this event. Religious Studies scholar Elijah Siegler considers the place of religion and its felt absence in Cronenberg’s oeuvre prior to the screening of Shivers, and will be joined by the director himself for an onstage dialogue following the film.

Piers Handling on Videodrome

O c t o b e r 1 2 , 14 : 0 0 In his introduction to this pivotal film in the Cronenberg canon, TIFF Director and CEO Piers Handling considers how the role of the Cronenberg protagonist changes as they began to wrestle with issues of control over their lives.

Noah Cowan on Scanners

O c t o b e r 1 3 , 13 : 0 0 TIFF Bell Lightbox Artistic Director Noah Cowan considers the intertwining of evolution, desire and contemporary science fiction in his introduction to Cronenberg’s envisioning of the notorious telepathic and telekinetic powers.

Panel Discussion: The Fly

O c t o b e r 1 4 , 16 : 0 0 David Cronenberg and four of his longtime collaborators — producer Stuart Cornfield and Ivan Reitman, editor Charles Edward Pogue, composer Howard Shore and cinematographer Mark Irwin — take the stage following the screening of The Fly to discuss those memorably gruesome effects.

RO U N DTA B L E S & TA L KS

46


LOCATION


L O C AT I O N

TIFF Bell Lightbox

TIFF Bell Lightbox is located at Reitman Square on the north-west corner of King and John Streets (350 King Street West), TIFF Bell Lightbox occupies an entire city block in the heart of Toronto’s media and entertainment district. All spaces, including the cinemas, are wheelchair accessible to the public.

By Car From The Gardiner Expressway Take the Spadina Ave. Exit Turn north onto Lower Spadina Ave Turn east onto King Street West For updated road restrictions, please see the following site www.toronto.ca/torontostreets/

Parking Parking is available at TIFF Bell Lightbox. The closest parking garage is owned by Precise Parklink which is located off of Widmer Street.

B y T TC The closest subway stop is St Andrew. TIFF Bell Lightbox is a 5 minute walk West of St Andrew subway station on the north-west corner of King Street and John Street. Alternatively, the King Street Car stops at John Street in front of TIFF Bell Lightbox.

Bike Racks There are bike racks installed on Widmer Street as well as bike racks on P1 of the parking lot.

TIFF Bell lightbox

48


L O C AT I O N

TIFF Bell Lightbox


—David Cronenberg


SPECIAL EVENT


EXHIBITION

TIFF Bell lightbox

52


EXHIBITION

ABOUT

53

E X H I B I T I O N

Th e S c i e n c e o f t h e S p e c i a l E ffe c t s

Special Guests

TIFF’s first major touring exhibition, followed the DECONSTRUCTIVE

Stephan Dupuis

EVOLUTION film festival, the flagship of our multi-platform initiative The Cronenberg Project, explores the mysterious and fascinating world

Stephan Dupuis is one of David Cronenberg’s most frequent collab-

of Canada’s most influential and internationally acclaimed filmmaker.

orators, having contributed makeup and special effects to Scanners, Eastern Promises, Naked Lunch, Crash, eXistenZ, Spider, A History of Violence and The Fly, for which Mr. Dupuis was nominated for a BAFTA Award and won an Academy Award (shared with Chris Walas). Largely self-taught, he began experimenting with foam latex makeup in his parents’ basement in his native Montreal. He received his first big break when he was hired to assist the head makeup artist on Alvin Rakoff’s City on Fire, and ultimately captained the FX makeup department on the project. Dupuis has since worked on many notable films, including RoboCop, Total Recall, Indiana Jones and the Last Crusade, Cape Fear, The Man Without a Face, Mrs. Doubtfire, Confessions of a Dangerous Mind, and Milk.

Rick Baker (makeup artist) Rick Baker and his team successfully produced the complex makeup effects in David Cronenberg’s masterwork Videodrome.


—David Cronenberg


DINING & DRINKING


DINING & DRINKING

R E STAU RA N TS

56

TIFF Bell Lightbox

Looking to spot some of the world’s most fabulous people during TIFF? Then these hotspots need to be on your list. From luxurious restaurants in Yorkville to the city’s best hotel bars, we’ve got the top joints for you to catch a glimpse of your favourite celeb during Toronto’s biggest festival!

Montecito Newly opened, Montecito is the perfect place to stalk a few celebs and socialites alike. A collaboration between Hollywood royalty/director Ivan Reitman (Ghostbusters) and Master Chef Jonathan Waxman, Montecito just might find Bill Murray wining and dining at the restaurant. Plus, being so close to TIFF Bell Lightbox, it’s only fitting that a few after-premiere dinners may take place at this new restaurant.

Victor Restaurant & Bar Located at 30 Mercer Street, Victor Restaurant & Bar is only steps away from the hub of TIFF on King West. Whether you’re catching a potential Oscar-nominated flick at TIFF Bell Lightbox, The Princess Of Wales Theatre, or even Roy Thomson Hall, be sure to head on over to Victor for nibbles and libations with a few film buffs like yourself. Plus, they’ve got some fine dishes… Blackened Blue Goose Organic Trout, anyone…?

The Shore Club Another hotspot for the rich and famous is none other than Toronto’s famed Ritz-Carlton! However, Hollywood’s elite may find the Ritz to be an obvious choice and may feel the need to venture somewhere different, but just as classy. And because we know all celebrities are divas, The Shore Club – only one and half steps away from the Ritz and two steps from Roy Thomson Hall – may just house a few pre-flick dinners. If you’re planning on checking out The Shore Club during the festival, there’s potential to be dining in the same room with Robert Downey Jr., who is rumoured to be in attendance for the premiere of his film, The Judge, at the Roy Thomson Hall.


DINING & DRINKING

BARS & LOUNGES

57

T h e R o o f L o u n g e a t t h e P a r k H y a t t To r o n t o The Park Hyatt, though not in the heart of all the TIFF buzz, is still a great spot to get your people-watching on. This Avenue Road rooftop patio is the perfect spot to kick back and take a break from all the Festival rush. Sit back, enjoy the view and drink the (rest) of the night away. With their late night menu, you just might find a few celebs looking to get in a couple bites after their after-parties! If you do find yourself seated next to Jennifer Aniston or Channing Tatum, recommend the Hyatt’s signature Mango Fizz for extra brownie points!

Brassaii The King West hot spot is yet again host to the Hollywood Reporter Lounge (Sept. 5-9) therefore hosting the many celebrities that will go through. Lucky for us, they are opened to the public simultaneously and offering a 30-minute prix fixe lunch so you can star gaze and eat quickly in between meetings (or movies). Last year, Scarlett Johansson, Julia Louis-Dreyfuss, Nicole Kidman, and Matthew McConaughey were amoung some of the A-listers who stopped by. Just sayin….

F i r k i n O n Yo n g e Only a true TIFF fan will know that King West isn’t the only spot to people-watch during the festival. Jake Gyllenhaal’s Nightcrawler will be premiering at the Visa Screening Room in the Elgin Theatre on September 5th, and instead of trying push through a crowd to get in on the action, seat yourself near the front window at the Firkin on Yonge so you can enjoy all the red carpet hoopla while you throw back a few beers!

O&B Canteen If you’re looking to situate yourself right at the heart of all the TIFF action, the O&B Canteen is your go-to hotspot. Located at ground level in TIFF Bell Lightbox, your celeb sightings will definitely sky rocket. Get there early for brunch on their streetside patio and watch all the TIFF happenings unfold before your eyes.


—David Cr onenber g


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Deconstructive Evolution Film Festival catalog  

Project link: http://leepeihua.com/design2017/filmfestival.html Deconstructive Evolution film festival is a student project basic on the wor...

Deconstructive Evolution Film Festival catalog  

Project link: http://leepeihua.com/design2017/filmfestival.html Deconstructive Evolution film festival is a student project basic on the wor...

Profile for leepeihua
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