Answer Print- Spring 2014 by Calgary Film

ANSWER PRINT SPRING 2014

INNER WORKINGS

STAFF Operations Director Bobbie Todd operations@csif.org Programming Director Nicola Waugh programming@csif.org Communications Director Nicola Waugh communications@csif.org Production Director Yvonne Abusow production@csif.org Programming & Communications Intern: Kerri Mcguire communications@csif.org Production Coordinator: Dan Crittenden production@csif.org Designed and Compiled by Dave Reynolds + Nicola Waugh Editor: Guillaume Carlier Cover Photo by: Scott Lutley Advertising Inquiries: communications@csif.org The Calgary Society of Independent Filmmakers (CSIF) is a non-profit, member-driven media arts cooperative that encourages the production and exhibition of independent film. Suite 103-223 12 Avenue SW Calgary, AB Canada T2R 0G9 Phone: 403.205.4747 Hours: Tues-Sat, 10am â&#x20AC;&#x201C; 5pm Web: csif.org

IN THIS ISSUE QUARTERLY MANIFESTO 4 MEMBER’S MISSIVES 5

7 IN CONVERSATION WITH ALBERTO MANGUEL 12 A DARK WINTER’S NIGHT 13 ON THE SLATE 15 KINETIC SCULPTURES

CSIF is grateful for the involvement of its members, the network of artist-run cooperatives throughout Canada and for the financial assistance of its funders: The Alberta Foundation for the Arts, The Canada Council for the Arts, Calgary Arts Development, and from its donors, members and individuals.

QUARTERLY MANIFESTO Thank you for checking out our new online edition of Answer Print. We are looking forward to exploring this new platform and figuring out how it can best be used to keep our readers both informed and entertained. It is, of course, hard to make a change when you have become used to something the way it is but for growth, there must be decay. When you find something is no longer meeting the needs that it once did it is time to take a look inside and decide what needs to be changed to get things back to optimal performance. In order to take a course of action, you need to take a look at what things have been working, what to keep and what to cast aside for the next stage of development to take place. That brings us to the theme for this issue of Answer Print, Inner Workings. This phrase came from the interview with Joe Kelly where he stated that he likes to work “using different technology, where the technology [is] exposed.” Finding out the inner workings of something is a huge part of working and creating in the film industry. Whether it be the inner workings of the camera, or the complexity of film development, you need to know how things work in order to get things done. In this issue we touch on both of those topics as well as the ideas of analyzing how stories are created and how people use many kinds of construction in building their films. This kind of in-depth exploration requires time, practice and patience in order to fully understand how things come into being. We hope to give you a glimpse into the ways people are making things and systems work for them. 4

In this issue, we give you four different view points to compare and contrast the different ways people are working, from a recent grad and emerging artists, to an experienced professional artist and a distinguished writer and film critic. Each of these four viewpoints offers a unique look into the various aspects of filmmaking not only in Calgary but also on an international level. Some are just starting out, exploring what it takes to make a film as you can see in Scott Lutley’s article A Dark Winter’s Night. On a similar track, others are looking to take their careers to the next level by developing larger more commercial projects. Scott Westby writes about his experience with the NSI Features First program and his journey toward commercial projects. As previously mentioned, Joe Kelly discusses his background, interests, process and art in the first of two articles by Guillaume Carlier. In Guillaume’s second article, he speaks with Alberto Manguel, the visiting Distinguished Writer in Residence at the University of Calgary for 2014 who discusses the literary quality of film as well as his favorite filmmakers. We hope you enjoy these articles on the topic of inner workings as well as the new Answer Print format. Leah Nicholson, CSIF President

MEMBER’S MISSIVES The NSI Features First Program By Scott Westby

In a nutshell, Features First is a 10-month training/mentorship program, done mostly on your own time with a few “boot camps” and other opportunities thrown in.You apply with a finished feature screenplay, a semi-detailed budget, resumes, letters, and other typical grant stuff. Four producer/writer teams from around Canada are selected every year to participate. Matt and I are Calgary-based Producers, Writers and Directors. We co-founded Full Swing Productions in 2008, and we make creative film/video content of all shapes and sizes. For NSI, we applied with Matt as Producer and I as Writer/Director for Synapse, a sci-fi thriller.

In December, my co-Producer Matt Watterworth and I were told we’d been accepted into the National Screen Institute’s Features First program. We were stoked; we’d heard great things about the program and knew the Canadian Film Industry kept its eye on the filmmakers who attended it.

The program started with a 5-day “boot camp” where all teams came together (with two members from NSI as well as Super Channel’s director of Canadian Programming) to learn more than our brains could handle. Our boot camp was in Toronto at the end of March and took place almost entirely in one room.

NSI Features…what?

We spent the first 2.5 days reading through each script, chatting about them and listening to feedback from NSI. As a screenwriter, if you’ve never had your work read aloud, you need to. It’s a crucial step in the creative process. And don’t use actors; they can make any writing sound better than it is. Needless to say, this process and its notes are the biggest thing the screenwriter gets out of the first phase of the program.

A lot of people in Calgary haven’t heard of the program. Not surprising as it has historically favoured filmmakers from Ontario and BC — no Calgary team has been accepted into the program since 1997, the program’s first year, when Carolyn McMaster, Jason Long and Robert Cuffley attended with Turning Paige. So what is it? Features First is described as a “development training launch pad for producer/writer teams looking to produce their first or second feature film with strong commercial appeal”. Ok, sounds great. I think? Even going into the program, Matt and I didn’t really know what Features First ACTUALLY WAS. Hopefully I can shed some light on the program here, because it’s fantastic and I encourage every serious filmmaker to apply as they move forward in their careers. Plus, as Alberta’s film industry starts to enter a new era (call me an optimist), I believe we’ll see more Alberta representation in the program.

The other half of the week was spent welcoming working professionals from the Canadian Film/TV Industry to sit down with us and discuss their specialty. We met with producers, lawyers, broadcasters, talent agents, distributors, Telefilm reps, directors and marketers, all with amazing insight into the industry from all different perspectives. As a writer/producer/director, I got as much from the second half as I did from the first. I think I took about 50 dense pages of notes, and Matt and I blogged about the entire process. If you’re looking for more specifics from these meetings, check our articles out at FullSwingProductions.com. 5

The major throughline for the week was a focus on commercial appeal for our projects. Everyone we spoke to, including the other teams, were in the industry professionally… which means they need to make money doing it.

it! Features First isn’t for you, but you probably already knew that.

And how do Canadian filmmakers make money? By getting butts in seats (and government grants but don’t get me started that’s not the point here).

Once we wrapped up our week in Toronto, Matt and I flew back to Calgary with a ton of homework. All through the program, we’ll be fine tuning the script and building our development package, which can consist of anything you need to get your film financed and greenlit. Star attachment, one-sheets, concept art, broadcast letters, whatever helps.

Commercial appeal was the single most important thing to every person at the program. Is your project strong enough to sell a lot of tickets? Everyone, even the government, wants some sort of return on investment, so they need to be confident that your project will appeal to a paying audience.

I have the next draft of Synapse due soon for Phase II, which consists of a one-on-one meeting with script consultant Linda Seger. Matt’s further developing the budget, and is going back to Toronto with the other producers for a second “boot camp” in May to talk about producery things.

That’s why your audience should always be the top consideration in your process. When you’re writing, when you’re creating your development package, when you’re casting, when you’re designing, when you’re shooting, editing, marketing, all the way through: remember your audience. Is this film going to entice them enough to drive to the movie theatre? Is it going to keep them entertained? Is it going to make them tell their friends?

Phase III is where the fun begins. Each team is given $10,000 to spend however we feel is best. If we think the best route to getting Synapse made is by shooting a mock-trailer, it can be spent on that. Or we can fly to a film market, or make a short film, or hire a consultant. The only limits are that it has to be approved by NSI, and spent by the end of the program (November 30th).

Basically, is this film appealing to a wide enough audience to recoup the costs of making it? If the answer is no, you’re going to have trouble getting financing. Simple as that. This isn’t to say we shouldn’t try something daring and different, but we do need to stay grounded in the reality of needing to sell tickets. Self-indulgence has no place in the commercial filmmaking world (unless you’re Terrence Malick but don’t get me started that’s not the point here either). For the CSIF readers who focus more on the artistic nature of film production, it’s important to recognize this same thing. Filmmaking is storytelling. Storytelling is for the audience, not the storyteller. If, at any point, you want someone to watch your work, then you’re making it for an audience. If you’re truly making it just for yourself, then absolutely go for 6

Finally, an additional phase is granted to two of the four teams, who are sent to TIFF in September to promote/sell their project. Those teams are chosen based on the project’s fit for TIFF, it’s not a judgment on which projects are better or worse. So that’s the basics of the program. I learned the craft of filmmaking at SAIT, but I’m learning how to actually get a movie made at NSI. That journey is all uphill, but I feel much better equipped to embark on it, and look forward to the long road ahead as we continue turning Synapse from its 6-page beginnings into a finished feature coming to a theatre near you (fingers crossed). The call for applications to NSI Features First usually goes out in the summer, with application deadlines in the fall, so keep an eye out for it this year!

One of our mandates at Full Swing Productions is to help grow the film community in Calgary. Right now, we’re doing that by sharing as much knowledge as possible, wherever we can. If you want to know more about Full Swing, myself, Matt, Synapse, NSI, or filmmaking in general, we’re always happy to sit down for a coffee. Seriously. Fire us an email at info@fullswingproductions.com, visit us online, find us on Facebook, or follow us on Twitter.

KINETIC SCULPTURES An Interview with Filmmaker Joe Kelly

By Guillaume Carlier

Joe Kelly is currently the artist in residence at ArtBox, 17 ave SE. Recently, Joe finished a presentation incorporating multiple projections, animation, and film loops. We spoke in his studio above the workshop where a new instillation is currently being put together. GC: Let’s talk about your latest project with ArtBox, and then how it leads to everything else you’ve got. Is this project part of a look or a style, or a “thesis” you’ve been working on? JK: Well, I do sort of have a thesis that I’ve gone back to over the years. In terms of if I had to have a thesis, it would be based on a bunch of pieces I did a few years ago that were kinetic objects, or kinetic sculptures, that were media based. I’m going to continue to build on that series of pieces, so that would be a thesis of an exploration of precinema technology and thinking about ideas about the impact of the moving image. The original impact of the moving image, like the discov-

ery of when we created the moving image in precinema years, so around the mid 1800’s to about the turn of the century, just before film was developed. I’ve made a number of pieces based on those ideas. The really massive impact that the cinema had on our ideas about memory time and place. So that’s the thesis, I guess. But I’ve also made a lot of films and video pieces that just mess around with how film is presented and how video is presented. I’ve also been doing cameraless animation for a really long time. It was the first thing I ever did. That was almost twenty years ago now. I started making 16 mm, 35 mm, animation over at Quickdraw. GC: Do you remember what was the first thing that got you there, what the first exposure was to cameraless animation? JK: I’d have to say, when I was really young living in Newfoundland, there was no internet in the late 80’s and early 90’s. So with my library card and the National Film Board office in St. Johns, their library was free, so I’d sign out NFB films and I watched a lot of experimental animation films. The NFB being famous for developing their animation department with Norman McLaren, I ended watching a lot of animation that way, so that planted the seed in my head. Then I moved to Calgary and got involved with artist drawn culture, and that’s where I learned my film making skills. Then I studied film with CSIF, and of course Quickdraw. GC: What was it about Norman McLaren? Were you carrying him in your head for a long time at this point? JK: He was a versatile, huge figure. If you’re Canadian and you’re interested in cameraless animation you’re going to see, you’re going to know about Norman McLaren. He made a lot of films, he was very prolific, he never settled on one technique, he was exploring many many techniques and styles, not just camera less. He did amazing work with optical printing. And Neighbours, which works with pixilation, which is a kind of pre computer term, it’s a kind of stopmotion animation of humans.You just couldn’t avoid him. It was re7

ally inspirational to see all that work. If you’re going to study film, if you’re going to study animation, you have to study the history of film and animation. And you have to eventually study the devices and equipment before the cine camera. So you’ll get into Muybridge and Etienne Marrey, who broke down what our eyes can’t see, what our eyes can’t detect, the things that our brain can’t detect. They were the original pioneers for the original media. It was the beginning of time-based art. GC: And that’s sort of where you come in, if you were to put your work anywhere on this timeline, that’s where you’d like to point to. JK:Yeah, I really like the early stuff, and the big thing for me is the sense of magic and wonderment, for those people who saw the first moving image.You obviously can’t re-create that completely, I mean everyone’s face is attached to a screen. Some people are getting seven to eight hours a day, too much I think. But that’s something I’m trying to do. I do that by using different technology, where the technology exposed.You can see the inner workings; you can see the machine working. It becomes kind of sculptural as well, as opposed to an iPad. Which is kind of like a sausage. It’s solid technology, it’s very hard to just take it apart and subvert it into something else.You just take and eat it, I suppose. 16 mm camera, or 16 mm projector, you can modify or enhance this technology, or take it apart and hack it or whatnot, also with the precinema technology you can modify it with you’re own two hands, like with motorized parts you might have. Or even Zoetropes, I’ve taken them up in scales and worked with those, making seemingly novel ways of presenting work. Film itself, you know, actual emulsion on acetate, hopefully will be around long enough so that artists can use it. And there are still a few advocates of actual film making in the industry, like Chris Nolan and Quentin Tarantino still use film. Tarantino said that if he can’t shoot on film, he’ll stop making films. And if you watch his films, you can see that in the filmmaking. It’s all analogue, he’s got that focus on character and dialogue and beyond. 10

GC: We were talking earlier about how there came a point where that wasn’t you. JK: Exactly, in my late teens and early twenties, I was really interested in those kinds of films. I would learn directors and watch foreign films and styles. I thought that was the kind of filmmaker I wanted to be. And then I discovered that I’m not much of a writer, that I can’t sit down and write. I like to sit down with devices and fiddle around. And shoot. I could go out and shoot all day long. And I have a large collection of cameras and projectors, everything from DSLRs to Super 8 and everything in between. I’m not a purist when it comes to film, like with the protocinema things that I’ve been doing, I’ll integrate new digital technology as an ends to creating the final piece. Like an inkjet printer, or to capture a projection. It’s there and it’s a tool. I’m using it appropriately. GC: Where do you think, right now with ArtBox, things are headed? Is there a goal? JK: I like to have several pieces on the go. I have a very short attention span, which is another reason why I never became a writer. You have to be really focused and disciplined. I like to work a lot, but I’m undisciplined, I can drop a project for a while, even years, and then pick it up again. Even the mechanical piece over there on the table, I built that part two or three years ago and never made an image to go with that device until now. So I like to go from thing to thing, just continuously work. But when opportunities come up I’ll race for a deadline, like the group show we just did at ArtBox. The idea was there, and then I was able to race it to the end. One of the goals aside from my art practice is to foster art practices in the Forrest Lawn area and to make a lot of contacts and then help people with their work. Like I’ve done some professional development stuff with artists in Forest Lawn, and I’ll do more. Hopefully the ArtBox will continue to exist. Like all artist groups, you get booted out, so you’re always looking for money for the space. That’s what’s happening here; we’ve got a space that’s temporary. The owner probably

wants to turn it into something that makes money. Hopefully we’ll continue working as the ArtBox, maybe in another space. GC: Space is hard in Calgary. There’s never enough. There’s talent, but no space. Are you mostly working out of your own home? JK: I’ve done residencies, like the Banff Centre. But that’s only a few months. GC: Are you working very much with young people? There’s a whole generation coming up who only know digital. JK: I did a brief stint with this organization called Learning Through The Arts. That was created by the Royal Conservatory of Music. They wanted to take artists and integrate them into the classroom, and take your discipline and integrate it into the curriculum. In my case, as a media artist, I developed a media literacy program for grade five and six. I did that a number of times, and I thought it was interesting. It was basically media literacy, like what is media and what is the impact on your everyday life. And these are all kids, so the first thing we did was identify media. They didn’t realize that all this stuff they know is media.

incredible scenes and award winning crews fuel our creative energy.

GC: They never were asked to ask the question. JK: Exactly. They’ve got to understand being aware to media. Is the radio media, the iPhone, the computer, TV, a sign on a side of the road? And we looked at what that does to your brain and how that influences you. We looked at camera less animation too, and that was really fun for them. It’s really fun to draw on film and then project it right away. GC: What were their reactions? JK: They thought it was really cool. But you have to really explain everything, because they can get the wrong idea about what they’re looking at. One kid asked if this was how all animation was done. And I had to explain that it was a very specific, relatively obscure type of animation. And you tell kids you’re a filmmaker they think, “Oh did you work on Transformers?” They need to have a broader concept of media art. That art isn’t just a painting on a wall. Joe Kelly is a media artist who works, lives, and teaches in Calgary. More info about his work at www.joekelly.ca

ARTPOINT

GALLERY & STUDIOS SOCIETY

photo courtesy of A Bit of Awe Photography

3 GALLERIES NEW SHOWS EVERY MONTH 23 ON-SITE ARTIST STUDIOS 1139 - 11 St. (Adelaide St.) S.E. Calgary, AB Phone: (403) 265-6867 Email: info@artpoint.ca www.artpoint.ca

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IN CONVERSATION with Alberto Manguel By Guillaume Carlier Alberto Manguel was the visiting Distinguished Writer in Residence at the University of Calgary for 2014. After finishing his position, Manguel gave a insightful speech about literature, reading, writing, and the general Canadian sense of art in a society at the central Calgary Public Library on March 27th. Manguel has also explored the world of film criticism and theory, starting with his fascinating book The Bride of Frankenstein (1997). More recently, Manguel was invited by the Centre Pompidou to create a series of lectures on film and literature. He was able to offer his thoughts on film before heading back to France, where he currently lives now. GC: I remember one day back in university I stumbled on your book “The Bride of Frankenstein.” My first reaction was, “the guy about books? What’s he doing here?” But it was an engaging work, and I think now I can see a little better how you might have chosen the Frankenstein myth in general. But why film? Has cinema always been something of a source of pleasure for you? AM: Cinema has long been, as you say, “a source of pleasure” for me. The first films I remember are the Chaplin and Laurel & Hardy shorts, projected on a home screen with a small projector my father had brought home from one of his travels. I think I learned something about tone and narrative from watching these. My nanny was a GermanCzech refugee with no sense of humour, so she would make comments such as “Why did he not see the banana peel?” or “Why didn’t measure the ladder first?” I learned quickly not to try to explain the gags to her, but at the same time I understood that something that was not being explicitly shown was the point 12

of the story. Reading the reader lends the text a particular tone; watching a film, the tone is set by the director, the actors, etc. Also: a text unfolds in the time allotted to it by the reader, and follows the sequence determined by the reader (as Cortazar made explicit in Hopscotch); a film (unlike other visual media, such as painting) has a pre-determined time flow independent from the audience’s will. GC: People sometimes describe a film as “literary”. It’s a strange description. What makes one film more literary than another? I think what people mean when they say this is that the film really got inside the character’s heads, but with cinematic techniques. And people often use cinematic techniques when they describe books,” then Virginia Woolf zooms out from the room and describes the house.” “Flaubert makes these large panoramic views of Paris.” I find I see this more between fiction and film, more than any other two mediums. AM: Every art elicits certain vocabularies from the reader or viewer, and each new technology borrows vocabularies from those that preceded it. Reading, we sometimes use the vocabulary of painting (“this is well depicted”), gastronomy (“this character is delicious”), sculpture (this character is three-dimensional”) or film and photography (as you say, “zooming in on a scene” or “focusing on this or that.”). I don’t think this indicates a particular association of the art forms (unless that they are all Art) but rather that the vocabularies our imagination uses are varied: we get whatever we can from whatever is at our disposal. Words are a poor tool, so we have to resort to metaphors to try to put something into words, and the metaphors we borrow come from all the arts (but also from activities as varied as fishing or love-making.) GC: Do you have many memories of Argentinian cinema? I’m curious how the transition from Latin-based cinema felt coming to Canada, to a North American model.You are

a multi-lingual person yourself. I’m sure you know that languages imbue certain characteristics on an everyday interaction level. If anything, we can see this in films from different countries. Are you perhaps more sensitive to this? AM: During my adolescence in Argentina, we tended to snub Argentinian film: nothing was as good as Godard, Satyajit Ray or Bergman. Later, I came to appreciate a few things by Leopoldo Torres Nilsson or Leonardo Favio. Now I think very highly of Edgardo Cozarinsky and Lucrecia Martel. And when I came to Paris in 1969, I would spend whole days at

the Cinemathèque watching anything that was being shown, for 1 franc a ticket... GC: I also have to ask, do you have any favorite “book” movies? I don’t know if you seen this, but that Roman Polanski film, “The Ninth Gate” about the rare book investigator has a great premise, but a lousy ending. AM: “Book” movies? None comes to mind, but I’m always looking to see the title of any books shown in a film, read by the characters or placed on a shelf. I like to think that they’re there as a wink to the reader in the audience.

A DARK WINTER’S NIGHT SAIT graduating class of 2014

by Scott Lutley

The story begins with gunfire - the proverbial Stranger In Town has spilled blood in a showdown befitting any self respecting Western. The Gunslinger hero, however, soon learns that something darker, more sinister is at work. The Hero, as well as the film, descends into horror to do battle with evil incarnate. This is the story of ‘A Dark Winter’s Night’, a short Western-Horror and one of the capstone projects of the graduating class of SAIT Polytechnic’s Film and Video Production program. When sitting down to write ‘A Dark Winter’s Night’, Eric Durnford (director, co-writer) and Scott Lutley (1st A.D., co-writer) found that the story naturally wanted to wander down a more surreal path that ended in pure supernatural horror. Upon realizing they had

written a cross-genre Western-Horror, the pair decided that it was important to stay true to both genres. Subsequent drafts were carefully worked to balance the charisma and mystery of a Western without cheating the audience out of the inescapable doom of the Horror. Thus, they incorporated a fairly palpable tonal shift that translated well in the cinematography. Charles Hamilton (cinematographer) attempted to gradually shift the visual style alongside the narrative, driving the genre shift with a deliberate but subtle hand. The film opens with wide, sweeping landscapes typical of Westerns. The shots are stable, paced, and complement the 2.40:1 aspect ratio. Hamilton utilized natural light and the beauty of the location to help set the first stage in a less ominous environment. The audience will notice, however, that as the film runs, the shots get closer and closer and scenes get progressively darker. Handheld replaces tripod 13

to capture the panicked motions of the cast. The final scenes were inspired by the English poet Milton’s words to achieve, “not light, but rather darkness visible.” With the final shot fading to total black, the transition to Horror was complete. Of course, shooting is only half the battle. Under the lead of Diana Pacheco (editor), the post production team added their own layer of style to the film. Numerous grading sessions shaped the colour to reflect the shift in cinematography; initial natural tones were slowly replaced with surreal, high-contrast visuals. The sound design was painstakingly crafted, thanks in part to an army of volunteer foley walkers, and also features an original, custom scored soundtrack that drives the scenes with intensity. As it is with many short films, the class had a limited budget and had to work within their means. Luckily, SAIT boasts an impressive selection of gear, including items such as a set of Luma Tech Illumina prime lenses and an Arri

Alexa camera body. Also, thanks to some very generous individuals in the local filmmaking community, the students were able to secure and dress idyllic locations which included a full Western town. Making a period piece of any variety is a financially challenging endeavour; the donations and support in the form of wardrobe, props, set decoration, and locations not only exploded the production value but made the movie, in every sense of the term. The graduating class would like to extend an enormous “Thank You” to supporters of the film, that are far too numerous to list.Your contributions were immeasurably valuable.

ON THE SLATE PROGRAMMING On Location: Members Screening & Directors Talk

May 15th 7:00pm at CommunityWise (223 12th Ave SW) Come see what our member filmmakers have been up to! New films from Hussein Juma, Kyle Thomas, Cameron MacGowan, Nick Haywood, Brett Ferster, Kaz Nagao, Luis Gonzales and Candice Schmidt. Q & A and discussion with directors will follow the program. Secret Cinema 2014

An outdoor screening series of films from our 16mm library, curated by members in the CommunityWise courtyard (behind 223 12th Ave SW) May 20th 9:00pm – Curated by Carl Spencer June 10th 10:00pm – Curated by Guillaume Carlier July 15th 10:00pm – Curated by Jacob McConnell

UPCOMING WORKSHOPS After Effects Basics with Mitch Barany

Sat May 24 & Sun May 25 Members: $190 Non Members: $240 Basic Camera with Philip Letourneau

Sat May 31 Members: $200 Non Members: $250 Cinematography with Philip Letourneau

Sat June 21 Members: $95 Non Members: $145 Grant Writing for Filmmakers with Sandi Somers

Sun July 13 Members: $95 Non Members: $145 Email Yvonne or Dan for more info or to register production@csif.org

CALL FOR SUBMISSIONS CSIF is always looking for engaging stories by new and experienced members for upcoming issues of Answer Print. We welcome critical essays, film reviews, personal reflections, and visual works. Please contact Guillaume Carlier at answerprint@csif.org to get involved.

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