In the early 1970s, Toronto filmmaker Keith Lock moved to Buck Lake, where members of the Toronto art scene were undertaking an experiment in communal living. Lock filmed the achievements and daily rituals of his fellow communards, his camera bearing witness as a community assembled and dispersed. The resulting film uses poetic strategies, including logograms and other graphic disruptions, to extend its themes of renewal and rebirth, and to mark the encounter between reason and imagination, the concrete and the abstract. A landmark work of Canadian underground cinema, a film diary with mystic and symbolic overtones.
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Cassino
O Homem que Sabia Demais
Samaritan Girl
Procura-se Amy
A Mão Assassina
O Banquete de Casamento
Meu Pé Esquerdo
Fúria Mortal
A Casa dos Maus Espíritos
Grande, grosso e Verdone
Entre Deus e o Pecado
O Estrangulador de Rillington Place
Sangue Demoníaco
Os Olhos Sem Rosto
Sombras de um Desejo
Uma Janela Suspeita
Monstrolândia
Em Um Mundo Melhor
Death Bed: The Bed That Eats
A Boy Called PoIn the early 1970s, Toronto filmmaker Keith Lock moved to Buck Lake, where members of the Toronto art scene were undertaking an experiment in communal living. Lock filmed the achievements and daily rituals of his fellow communards, his camera bearing witness as a community assembled and dispersed. The resulting film uses poetic strategies, including logograms and other graphic disruptions, to extend its themes of renewal and rebirth, and to mark the encounter between reason and imagination, the concrete and the abstract. A landmark work of Canadian underground cinema, a film diary with mystic and symbolic overtones.
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