Three young Inuits set off in search of a promised land to save their clan from starvation.
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Jack Frost (1979)
Pardon-me Pete, the official groundhog of Groundhog Day, tells the story of Jack Frost, who falls in love with a beautiful young woman and begs Father Winter to make him human so that she can see him. His request is granted, but only on the condition that by the Spring he has a house, a bag of gold, a horse and a wife. But Jack finds that life as a human is more complicated than he thought.
You Take Care Now (1989)
You Take Care Now, an early student film, is a perfect exemplar of Ann Marie Fleming's idiosyncratic vision and stands as one of her signature works. Made on 16mm, and incorporating found footage, original material, animation, and processed images (Vancouver's groundbreaking avant-garde cinema of the 1970s is a decided influence here), Fleming's film offers a visually dazzling, emotionally wrenching, oddly humorous account of two profound personal traumas.
Whaled Women (2013)
SchlopSchlop (SS) and KK are two annoying women who work at the Office of Development in Krabstadt, a small town located in an Arctic region of sorts where the Nordic countries have sent their unwanted people. One day a group of whaled women are stranded on Krabstadt’s shores, and it is now up to KK and SS to deal with the situation.
The Old Fools (2002)
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Newtonian I (1978)
An illusion of 3 dimensions is achieved by a blending of mathematics and physics to carry the spectator through a new range of audio and visual dynamics.
Newtonian II (1978)
This film is strongly rooted in its underlying mathematical structure which forms the basis for the images. The music by Jean Claude Risset is integral to the creation of this concert of space and time.
L'oiseau (1977)
A single bird in flight is transformed, enhanced and interpreted so as to present a unique visual experience. From its original inception in a 128 frame black-and-white sequence it evolves by programmed reflection, inversion, magnification, color transformation and time distortion into the final restructured film as art.
Bagatelles (1977)
Abstract images of frame-by-frame animation with subtle growing effects of crystals are enhanced by polarized colors.
La Spiritata (1976)
Music “Canzoni per sonar a quattro” by Giovanni Gabrieli, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz. Images generated by computer.
Fantasies (1976)
Computer generated images used as counterpoint to music “Fantasia & In Nomine” by John Ward, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz.
Kinesis (1975)
Escher-like images stepping through the frames to the music of a jazz group. Delightful–shows a depth in the imagery not accomplished by computer before.
Collage (1975)
A swift moving assortment of moving images. Filmed from a color TV monitor that was computer controlled.
Alae (1975)
Beginning with footage of sea birds in flight, the film image is then optically scanned and transformed by the computer. The geometric overlay on live random motion has the effect of creating new depth, a third dimension. Our perception of the birds’ forms and movements is heightened by the abstract pattern outlining them.
Metamorphosis (1974)
“Schwartz’ METAMORPHOSIS is a complex study of evolving lines, planes, and circles, all moving at different speeds, and resulting in subtle color changes. The only computer-generated work on the program, it transcends what many of us have come to expect of such film with its subtle variations and significant use of color.” – Catherine Egan