This clip’s aim was to detail how easy to use this new email organizer from Bimixs is.
The idea of the software is to get rid of the chaos everybody has in their inbox.
Target groups are SMEs or project teams, which send thousands of emails and documents back and forth.
It’s tedious inbox organization made easy.
And Paul put his pencil to work to illustrate it all…
W+L is back from TIFF with a couple projects. We’ll let you know about them as they progress.
One sour note was the cancelled screening of Pen-ek Ratanaruang’s Headshot of September 12, which we did not get to see due to some technical problems.
We were able to talk to him. “We had this problem since our first public screening in Scotiabank 2. The picture was way too dark.” But the press and industry screening the following day was okay. “It was not too dark,” Pen-Ek says.
There have been a number of disruptions caused by digital issues at Scotiabank screenings such as for Fox Searchlight’s The Descendants.
Out of the three hundred or so screenings this is bound to happen.
A great festival all around. Thanks TIFF!
Joseph Israel Laban’s debut film is based on a documentary he shot two years ago about the “grim fate of low-rent drug mules” in the Philippines.
But one has to wonder if a similar film had been submitted by a Canadian, or an American for that matter, would the entry have been selected for competition?
Is the Festival that concerned with its international selection? At the cost of quality?
The folks at TIFF are touting this as a watershed film.
The film is amateurish at best.
Kudos for those who took a risk. But maybe this should have stayed a documentary
In his feature film debut, director Nathan Morlando chose to tell the disturbing life-story of the notorious Canadian bank robber from the 1940s and 1950s, set in post-war Toronto starring Scott Speedman.
Mostly shot in Sault Ste-Marie, the film is quite effective at portraying the troubling post-war years that Edwin Boyd wasn’t able to adjust to after returning from World War II duty. It would seem that being a part of stopping the spread of Nazism should come with some form of entitlement. In the dreary Toronto of the 1940s it does not. And Edwin Boyd is soon disillusioned.
Scott Speedman is Edwin Boyd. He plays this anti-hero caught in the allure of his own rising fame perfectly and without veneer. Edwin Boyd is a wannabe actor who can’t afford the fees for the Lorne Greene Acting School. After some unproductive meandering, he sets out to feed his family by donning makeup and playing another kind of role–public enemy number one.
The film chronicles how he became the head of the Boyd gang alongside small-time criminals he met in prison. Though this is a fast-paced bank heist flick, the tone is textured and unglamorous. It’s a distilled and compassionate portrait of a man who soon finds himself increasingly gratified by the attention he gets. The film is clear on this point. Boyd was drawn to fame and the excited press gave him the “moral validation” his criminal persona craved.
Even if his choices are far from enlightened, Boyd thrives on respect and gratification. And no one knows that more than his wife Doreen played wonderfully by Kelly Reilly. Especially during her radio address, publicly urging her husband to turn himself in.
This is where the film is at its unglamorous best. Never saccharine, Reilly plays the wife who soon finds herself in the conundrum of standing by the man she loves and leaving him to protect her children from cops invading their bedroom at gunpoint.
All to Nathan Morlando’s Credit.
This is not a good Canadian film. This is a very good film. Period.
This is an image by director Adam Wingard for his film You’re Next, which was part of TIFF’s Midnight Madness programme.
For the 1,200 or so horror aficionados gathered at Ryerson for last night’s late screening, there is no doubt the film had all it needed to please. The film was immense fun. And Sharni Vinson is stellar as she is forced into survival mode, the minute the first arrow flies through the window. This is great home invasion fare. It’s brilliantly funny and action packed. Wingard’s film is quite stylized. And writer Simon Barrett’s script rounds off some very cool, idiosyncratic characters before sending them to their deaths at the hands of a gang of killers in animal masks, armed with machetes, axes and a crossbow, who begin to hunt the family down with brutal precision.
Animals this Toronto crowd!
Woolf + Lapin was at this morning’s screening of French filmmaker Bruno Dumont’s latest film, Outside Satan.
This film, like Life of Jesus and Humanity tackles religion with a philosopher’s lens. It explores the idea of the sublime. Dumont emphasizes that he intentionally placed his nameless drifter protagonist above morality. And well above the concerns of good and evil.
Dumont says that whatever “is religious is invisible.” To render what is invisible and internal is virtually impossible. It is in the realm of the mystical. And film is mystical in that regard. It allows filmmakers to show that invisibility through metaphor.
Much of the location of Outside Satan, Côte d’Opale, is used to show the internal struggle of his characters. To Dumont’s credit this location, where he spends most of his time, does in fact “direct” the action.
Côte d’Opale’s sky, the rich evocative landscape, and the elements battering it, help to sustain this low-lying tension throughout the film.
Dumont also talked about his creative process. He says he doesn’t write scripts. His approach is more literary. He begins instead by writing a novella. And then sets out to capture its essence on the screen. A description of a hand knocking at a door, for example, may take up to four pages to produce the desired effect and meaning. But again he refers to the usual conundrum of attempting to fully bring what is on the page to the screen. Impossible, he says. This same hand knocking on the door resulted in a measly three or four seconds onscreen.
However, this scene and the characters kneeling and praying before the awesomeness of the landscape is of a rare beauty. There’s a quality of otherness to his films, outside of everything.
Voici une capsule Woolf + Lapin.
Cette fois mettant en vedette le danseur Bernard Martin dans une chorégraphie de Louise Bédard.
La scène : le Parc Lafontaine.
This is what Little Scream writes on her blog:
“I’ve been traveling for more than 2 months straight, but will be returning ‘home’ to Montreal next week for my record launch at Il Motore on May 25th.
Here is a Pitchfork review of that very album, The Golden Rule.
Woolf + Lapin is anxious to cheer her on with guest bandmates Kaveh Nabatian, Richard Reed Parry et al.
Here are more reviews including NY Times.
In other news, Kaveh’s Taxi Libre and Vapor, both shorts, will be at Toronto’s WSFF 2011.
Woolf + Lapin is proud to welcome director Patrick Péris to our roster.
As a director he is well versed in stop-motion as well as traditional animation. He is also quite adept at live action.
He comes from the Kino school of thought. Direct, direct, direct. No small wonder that he has amassed quite a number of short films under his belt.
Some of which have been selected at festivals such as the Melbourne International Animation Festival and the Muestra de Cine de animacion/Civican.
Here is a recent Kino outing of his. An altogether different Patrick (Watson, no less) collaborates on the soundtrack. Patrick Watson’s vocals are quite haunting and strengthen the longing feel of the piece.
Woolf + Lapin sera à la première montréalaise de Jaloux ce soir à l’Ex-Centris.
Il n’y pas que ça, Jaloux a aussi sa première américaine à 16h30 aujourd’hui au MoMA dans le cadre de Canadian Front 2011.
Le film fait penser à du Hitchcock, du Chabrol et du Haneke. C’est du solide. Vraiment.
Bravo à Patrick Demers et aux producteurs Cédric Bourdeau et Stéphane Tanguay de chez Kinesis.
Jaloux prendra l’affiche le 25 mars