The film farm will be represented at Alchemy Film Festival in Scotland in a program curated by Sarah Bliss. Details on the program can be found here.
By The Time We Got To Expo at the Musée d’art contemporain de Montréal “In Search of Expo 67”. The film has recently screened at the Alchemy Film Festival in Scotland, in the “Rhythms Crackle” program – check out the full list here.
Philip Hoffman will be conducting a Masterclass in Helsinki at Docpoint, in accordance with 5 screenings of his work in a special “Introspective” programme
See more at Docpoint’s website for the masterclass, and the blog:
As well as the 5 screenings:
Take a look at the review Justine Smith wrote for By the Time We Got to Expo in The Globe and Mail:
“Using Expo 67 as a backdrop, the experimental By the Time We Got to Expo (directed by Eva Kolcze and Philip Hoffman) uses 8mm footage to expose the decay of physical materials and, as a result, the decay of Montreal itself. The concrete modernist architecture built during this era is rendered cracked and apocalyptic under the scratches of the damaged film.”
Philip Hoffman and Eva Kolcze will be conducting a touring process cinema workshop based on the Film Farm, one in Northern Ontario and one in London in association with the Liaison of Independent Filmmakers of Toronto.
“Process Cinema explores a creative tradition in alternative filmmaking that is improvisational and interactive. Through this process-driven methodology, the screenplay as governing document is replaced by a fluid integration of writing, shooting and editing, not necessarily in that order.This way of working ‘through’ process has a comparative body of work in music, through jazz, in art, through ‘action painting’, in the performative aspects of the sketchbook or through ‘spontaneous prose’ in beat poetry.”
By the Time We Got to Expo will be screening at Festival du nouveau cinéma in Montreal this October.
From the catalogue: “A meditative journey through Expo 67, re-visiting a significant moment in Canadian history using manipulated imagery taken from educational and documentary films. Footage has been re-worked using tints, toners and photochemical techniques to create a vibrant collision of colours, textures and forms.”
Philip Hoffman has been developing a hands-on, artisanal approach to filmmaking for more than 20 years in Canada at his summer workshop, the `Independent Imaging Retreat’ or `Film Farm’. Now this process-oriented workshop comes to the UK with a 2-day intensive project, ‘the Lux Film Farm’ hosted by Lux and the Double Negative Dark Room in proximity to the Hackney Marshes in East London.
Read more at LUX’s site for PROFESSIONAL PRACTICE: LUX FILM FARM A Hand Processing Film Workshop with Philip Hoffman, 20-21 June 2015
WINNIPEG’S FESTIVAL OF FILM AND VIDEO ART
Wednesday October 7 – Saturday October 10, 2009
Curated by Cecilia Araneda
Introduced by Philip Hoffman
DEATH, LIFE, LOVE, MEMORY AND LOSS TOGETHER COMPRISE THE ESSENTIAL STUFF THAT FORMS THE OEUVRE OF CANADIAN EXPERIMENTAL DOCUMENTARY FILMMAKER PHILIP HOFFMAN
“Indeed, in an interview with Barbara Sternberg, Hoffman acknowledges that “not all filmmakers deal with death so directly, or so often” as he has within his body of work. And yet, this is just the start, because there is no single way to merely ‘watch’ a Hoffman film; when you enter the darkened space of the cinema, you become a participant within Hoffman’s memories and you come to know Hoffman as a person perhaps better than you know yourself.
Hoffman hands down film in a very personal and transformative way, without much fanfare, but in a way that indelibly impacts the receiver. If documentary is “the telling of a story or illumination of themes, as poetry is a story or theme told by images,” as defined by John Grierson – long recognized as the ‘father’ of documentary in Canada through his influence in the establishment the NFB – and poetry “uses many effects of sound, imagery and vocabulary to achieve a heightened, intensive form of expression,” as the Gage Canadian Dictionary posits, then Hoffman is indeed a master documentarian through his poetic diary cinema experimentations, even as he actively seeks to purge “the ghost of Grierson” with his work at the same time, replacing the traditionally strong educational leaning of the documentary form with something that is far more personal.
Philip Hoffman is well recognized as one of the most influential filmmakers working in Canada today, not only for the exceptional quality and depth of his own body of work, but also for his 15 year old Independent Imaging Retreat – or Film Farm, as it is better known. Even in Winnipeg, Hoffman’s Film Farm was the integral underpinning to a new do-it-yourself aesthetic that emerged in the early 2000’s through the Winnipeg Film Group’s Film Experiment workshop series initiated by Film Farm alumnus Solomon Nagler. This series saw as its direct legacy a new generation of film craftspersons and curators emerge in the city, including such notables as Mike Maryniuk and Jenny Bisch, along with countless others, and transformed the directional path of filmmakers such as Carole O’Brien, who evolved from a traditional narrative approach to working to becoming one of the most accomplished experimenters in film working in Winnipeg today.
— Cecilia Araneda