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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Casino
The Man Who Knew Too Much
Samaritan Girl
Chasing Amy
Idle Hands
The Wedding Banquet
My Left Foot: The Story of Christy Brown
Out for Justice
House on Haunted Hill
Grande, grosso e Verdone
Elmer Gantry
10 Rillington Place
Pumpkinhead
Eyes Without a Face
Possession
The Bedroom Window
All Monsters Attack
In a Better World
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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