Eleven Moving Moments with the NFB: Volume 1
Eleven Moving Moments with the NFB: Volume 1

2019 is both the 80th Anniversary of the National Film Board and the occasion of its move from its suburban Montreal home of 63 years to the heart of Montreal. So, in celebration of both events, the OIAF presents Eleven Moving Moments with The National Film Board of Canada compiled by Donald McWilliams. Not the “greatest hits”, but rather two programmes which exemplify the multi-cultural nature of the NFB and Canada; and the belief of John Grierson, Norman McLaren and René Jodoin – that at the NFB one can be both a public servant and an artist. (Don McWilliams)
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2019 représente à la fois le 80e anniversaire de l’Office national du film du Canada et l’occasion de son déménagement de son foyer en banlieue de Montréal, qu’il occupa pendant 63 ans, au cœur de Montréal. C’est donc en célébration de ces deux événements que le FIAO présente Onze moments émouvants de l’Office national du film du Canada, une compilation de Donald McWilliams. Il ne s’agit pas des « numéros un », mais plutôt de deux programmes qui illustrent la nature multiculturelle de l’ONF et du Canada; et la croyance tenue par John Grierson, Norman McLaren et René Jodoin — qu’à l’ONF, on peut être à la fois fonctionnaire et artiste. (Don McWilliams)


Thursday, September 26 — 9:15 pm

Saturday, September 28 — 3:00 pm

Screening List:

Volume 1:

Canada Vignette: Countdown | Veronika Soul | 1981 | 0:50

This one minute vignette illustrates the variety of people, professions, and technical procedures required by the filmmaking process.

Tower Bawher
Tower Bawher | Theodore Ushev | 2005 | 3:35

Like a whirlwind tour of Russian constructivist art, Ushev’s short is full of visual references to artists of the era, including Vertov, Stenberg, Rodchenko, Lissitsky and Popova.

Animando (excerpt) | Marcos Magalhães | 1987 | 1:09

An animated figure is brought to life on the drawing board. Using different materials and techniques, he walks, jumps and interacts with his surroundings.

Why Me?
Why Me? | Janet Perlman, Derek Lamb | 1978 | 9:11

After his doctor informs him he will soon die, Nesbitt Spoon runs the gamut of emotions commonly experienced by people trying to deal with this devastating yet universal situation.

Ballad of Crowfoot
The Ballad of Crowfoot | Willie Dunn | 1968 | 10:13

The first Indigenous-directed film made at the NFB, and often referred to as Canada’s first music video. Directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB. A powerful look at colonial betrayals, told through a striking montage of archival images and a ballad composed by Dunn himself.

Tragic Story with a Happy Ending
Tragic Story with Happy Ending | Regina Pessoa | 2005 | 7:16

A little girl finds acceptance in embracing her own difference. Through images evoking the rich texture of a woodblock print, the filmmaker has created a world of contrasts complemented by a lively soundtrack with a rhythmic beat.

Where There’s Smoke
Where There’s Smoke (excerpt) | Multiple directors | 1970 | 0:59

A compilation of satirical clips that demonstrate both the dangers and unexpected consequences of smoking.

cNote | Chris Hinton | 2004 | 6:47

Leaping back and forth between picture and sound, the dynamic movement of Hinton's visual art dances in syncopation with the bold musical strokes of an original modern classical composition. Without words.

Prologue How Wings are Attached to Angels
How Wings Are Attached to the Backs of Angels: Prologue | Donald McWilliams | 1996 | 3:02

How Wings Are Attached to the Backs of Angels
How Wings Are Attached to the Backs of Angels | Craig Welch | 1996 | 10:54

The main protagonist of this short, surreal film is a man obsessed with control. In an automated world drained of all emotion, he is tortured by vague longings. Will he be able to transcend his obsessions and fears?

Three Thousand
Three Thousand | Asinnajaq | 2017 | 13:51

In this short film, Inuk artist Asinnajaq plunges us into a sublime imaginary universe—14 minutes of luminescent, archive-inspired cinema that recast the present, past and future of her people in a radiant new light.