Nathan Douglas

Member
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    560
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About Nathan Douglas

  • Rank
    Overeager beaver of the sacramental cinema.
  • Birthday February 28

Contact Methods

  • Website URL
    http://www.stoneridgefilms.com

Profile Information

  • Gender
    Male
  • Location
    Vancouver, BC
  • Interests
    Film Production
    Reading
    Running

Previous Fields

  • Occupation
    1. Film - Writer, director, producer. 2. Video (higher education) - cinematographer & editor
  • Favorite movies
    Andrei Rublev, Certified Copy, My Night At Maud's, The New World, Diary of A Country Priest, Army of Shadows, Lawrence of Arabia, The Insider, Speed Racer, In Praise of Love
  • Favorite music
    Victoria, Tallis, Palestrina, Buxtehude, Bach, Vivaldi, Vaughn Williams, Tavener, Gorecki, Part, Daft Punk, Arcade Fire, Joe Henry,
  • Favorite creative writing
    Dante, O'Brian, Waugh, Bernanos, Tolkien, Endo
  • Favorite visual art
    St. Teresa in Ecstasy (Bernini), The Last Judgement (Michelangelo)

Recent Profile Visitors

1,703 profile views
  1. How Green Was My Valley The Diary of a Country Priest Johnny Guitar Apu Sansar L’avventura Andrei Rublev American Graffiti A Brighter Summer Day In Praise of Love Certified Copy
  2. Congrats, liberty. I don't know much about the comedy fests, but you tend to see a fair amount of such listings on Film Freeway and Withoutabox. Best to set aside an evening and look at them in detail, as I bet more than a few of them are rip-offs. As for my film... a lot happened! Things picked up in the fall and the film had a modest but pleasant run - about 2 regional festivals a month from September to December. Then in December it got selected for competition at Clermont-Ferrand (in February), and that was a whole new experience. Thanks to that, interest in the film has remained pretty steady even a year after its premiere; it's set for a few more festivals this summer and fall. All told, I'm very pleased with its run, but my attention is now on my new short "Cave of Sighs," which has just been completed. Back to the starting line...
  3. I could drum up something for Diary of a Country Priest but I am pretty slammed at the moment. If anyone else is burning to do it, please feel free.
  4. Like Joel, I plainly found it to be about embracing suffering because Christ embraced it first and in its most total form. Not even the evil of suffering can defeat grace. Suffering in any form *can* be a participation in His suffering and a means to greater intimacy and identification with Him, even a way of comforting Him (depending on your acceptance of sacramental theology and all it implies about the operation of prayer outside of time). It's a more serious gloss on St. Teresa's wry comment: “Dear Lord, if this is how You treat Your friends, it is no wonder You have so few. Moreover, the moment is Malick giving voice to the deep interior suffering/depression Rick is undergoing through the whole film, the sort that asks "why this? Why so long?" in cycles of self-loathing. And yet it is this cycle that paves his path to peace.
  5. It's quite different from Ark - much more ruminative and ornery, without the unifying sweep of the one-shot to tie everything together at the sensory level. Ark is a journey in every sense of the word, right up to its stunning decompression of Russian memory and literal reveal at the end; Francofonia is much more of a rambling essay drawing from a number of eras captured in the Louvre. Its treatment of the Louvre doesn't achieve the same integration of setting and subject(s) that Sokurov found in the Hermitage, but I quite liked it and found it located the necessary melancholy the subject demanded. I wouldn't know where it ranks in the Sokurov hierarchy, though.
  6. What, exactly, makes this enabling instead of collaborating? Is it any more enabling than any other fruitful, long gestating director/DP combo? In the case of Lucas, there is video footage of collaborators actively going against their better judgement to realize his wishes (The Beginning - the blacklisted documentary on Phantom Menace), but in the case of Malick everyone seems onboard and in tune with what he wants, and they keep going back for more. Doesn't seem like an unhealthy creative situation at all. Your mileage may (does?) vary, of course, but the question of whether Malick has declined or not is nowhere near settled. Many critics of his late period seem adamant that it is.
  7. Title: Diary of A Country Priest Director: Robert Bresson Year: 1951 Language: French IMDB YouTube A&F thread Title: Pickpocket Director: Robert Bresson Year: 1959 Language: French IMDB YouTube A&F thread
  8. This was a big discovery at VIFF last year. At first glance it sounds like it would fit neatly into the Sensory Ethnography Lab niche, but it's covering some of the same territory (the human cost of globalism, late capitalism, etc) by way of hypnosis, kind of like if Antonioni ditched the humans from RED DESERT and sailed off on one of the ships. Highly recommended.
  9. Whoops, it's been awhile. We've already had OUT 1 screen in full here, but spring 2016 still has a couple of must-see retros up its sleeve: A Brighter Summer Day at the VanCity and The Long Voyage Home on 35mm at Cinematheque.
  10. Title: The ImmigrantDirector: James GrayYear: 2014Language: English, PolishIMDB Link: www.imdb.com/title/tt1951181YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one):
  11. Oh yeah, this is Telefilm's bread and butter, and their most promising route for getting awards bait films to their name. As others have noted, though, both Brooklyn and Room were directed by Irishmen, and that alone should disqualify them from being championed so hard with the Canadian #brand. I remember getting an email a couple years back excitedly announcing Jean-Pierre Jeunet's latest film as a Telefilm co-pro. Hooray for Jeunet, Canadian filmmaker!
  12. I wouldn't consider Room or Brooklyn representative of anything Canadian indie - they're international co-productions that scored some money from Telefilm (Toronto filmmaker Matt Johnson has some worthwhile comments about it in this interview). From what I can see, there is young support for indie cinema in the major centres but they tend to run in particular social enclaves. That, and a lot of the really interesting indie work doesn't get across-the-board support from Canada's major festivals (example: VIFF still has yet to screen a Kazik Radwanski feature; TIFF somehow ignored Alexander Carson's debut), leaving a lot of this stuff to a few days at the Lightbox or VanCity, or going the self-release/micro-cinema route.
  13. Just a heads up: spoilered-out block text still appears normally in the previews that show up in unread section. May want to push those blocks down further.
  14. For those who haven't seen it yet, THE KINDERGARTEN TEACHER is now streaming on Netflix U.S. Highly recommended.
  15. This would be a very, very long shot but: I would love to see this community curate a Top 25 Avant-Garde/Experimental list. I know there used to be discussions here on the spiritual properties of Brakhage, Dorsky, late Godard, etc, and that we have a wealth of knowledge on the topic amongst many members. Access to films would be a challenge, depending on the filmmaker, but at the same time there is a striking amount available on home video and Youtube (Criterion's Brakhage and Frampton sets, the Treasures sets, individual works by filmmakers like Godard, Bunuel, Akerman, Jarman, more obscure shorts, etc). It would also likely be a shorts-heavy list, which would be something we haven't tried yet (and perhaps easier to catch up with, as far as seeing new films). As I said, I imagine this will be a hard sell, but if any community has the chops to exegete experimental cinema from a grounded and curious religious perspective, it's A&F.