The Gāyatrī mantra of the Ṛigveda sets-up the entire short film: it is the mantra itself that creates the atmosphere of darkness, followed by the first creation: the tree, which contains the identity of darkness as if it were its visible matter…. (see below)
“Deep 1” Ribalta Film Fest Review
`Deep 1′ preview
DEEP 1 (2023, 15 min, HDV or 35mm)
Hoffman on `Deep 1′
“across the window, birds and beasts look unaware of their decay”
…more on Hoffman’s films
Waterloo-born filmmaker receives Governor General’s Award
Martha Rosler on Hoffman’s Films
“Philip Hoffman is a precious resource, one of the few contemporary filmmakers whose work provides a bridge to the classical themes of death, diaspora, memory, and, finally, transcendence. As Landscape With Shipwreck makes clear, Hoffman explores these most Canadian of themes without grandiosity; instead they emerge from stories held close to the ground, the family, and personal experience, whether at home or in very unfamiliar places indeed. And he does so through a constant renovation of method that enriches the viewers’ ability to grasp how film form contains and conditions meaning. This is just the sort of human voice articulated through film that we desperately need amidst the thunder of corporate media in all forms.” (“Landscape with Shipwreck: 1st Person Cinema and the Films of Philip Hoffman”, Insomniac Press/Images Festival 2001)
VULTURE (2019)
Kim Knowles on `vulture’
“ Hoffman’s vulture” a beautiful and contemplative study of interspecies co-existence, where farm animals roam freely and the camera patiently observes their various interactions. Shot on 16mm film and processed with plants and flowers, it’s also an exercise in eco-sensitivity on so many levels.” Edinburgh International Film Festival, Blackbox
CHIMERA (1995)
Dirk de Bruyn on `Chimera’
“The film consists of collected, diaristic images amassed through Hoffman’s travels. Uluru… Russian shoppers, a Cairo market, and day to day images from home and away… make floating appearances. These have been gathered on the run, and then reconstituted with an uncanny ephemeral floating rhythm, a dance of light, and replaying, with commendable control, the idea of visual music, visual jazz. Though the method of collection may have had an air of arbitrariness about it, the meticulous construction and focus on rhythm in the finished piece suggest an artist who has learnt to master technique so as to let it speak for him about ‘other’ things.”
KOKORO IS FOR HEART (1999)
Liz Czach on `Kokoro is for Heart’
“Communication takes a poetic turn in Kokora is for Heart. Originating as a performance piece, the director, Phil Hoffman, screened segments of this film in a random order selected by the audience (Opening Series 3). Accompanying this was the sound poetry of Gerry Shikatani. From this process the film has found its organic and final structure.” (TIFF Program, 1999)
ALL FALL DOWN (2009)
Adrian Kahgee & Debbie Ebanks Schlums on `All Fall Down’
Released a decade before the Truth and Reconciliation Commission, Hoffman subtly questions how guests on Indigenous land, himself included, have come here to live. The film’s political-historical observations should feel like an anarchronism today…The lack of political progress regarding the Calls to Action, the effects and affects of migration, the struggles with the legal system, the impact of all of this on mental health and on future generations, are some of the pressing contemporary issues resonating today in All Fall Down.
Scott MacKenzie on `All Fall Down’
Michael Sicinski on `All Fall Down’
Stan Brakhage on `passing through/torn formations’
“passing through/torn formations accomplishes a multi-faceted experience for the viewer—it is a poetic document of Family, for instance—but Philip Hoffman’s editing throughout is true to thought process, tracks visual theme as the mind tracks shape, makes melody of noise and words as the mind recalls sound.”
PASSING THROUGH/TORN FORMATIONS (1988)
`passing through/torn formations’ preview
Mike Hoolboom on `passing through/torn formations’
Hoffman’s sixth film in ten years, passing through/torn formations is a generational saga laid over three picture rolls that rejoins in its symphonic montage the broken remnants of a family separated by war, disease, madness and migration. Begun in darkness with an extract from Christopher Dewdney’s Predators of the Adoration, the poet narrates the story of ‘you,’ a child who explores an abandoned limestone quarry….The film’s theme of reconciliation begins with death’s media/tion—and moves its broken signifiers together in the film’s central image, ‘the corner mirror,’ two mirrored rectangles stacked at right angles. This looking glass offers a ‘true reflection,’ not the reversed image of the usual mirror but the objectified stare of the Other. When Rimbaud announces ‘I am another’ he does so in a gesture that unites traveller and teller, confirming his status within the story while continuing to tell it. It is the absence of this distance, this doubling that leads the Czech side of the family to fatality.
complete Cinema Canada review by Mike Hoolboom on `passing through/torn formations’ Continue reading Ribalta Fest Review of Hoffman’s “Deep 1”
