Spectres of loneliness haunt this year’s Atlantic Auteurs program. The lineup dances between liminal scenes that study home and uprootedness, movement and stillness, and the body’s entanglement with landscapes; some are hopeful, and others are full of dread. The program opens with Ivy (dir. Sylvia Mok), delivering sweet contemplation as a young girl from Hong Kong adjusts to her new home. Endless Row of Trees (dir. Henry Colin) presents accelerating desperation trapped inside of a car as a man drives away from his problems. A universe appears and vanishes just upon its inception in Will O’Wisps (dir. Peter de Niverville), echoing the strange sadness of ephemerality. A backyard marsh becomes a nightmare landscape in marshlands (dir. Darcy Spidle), where visceral textures, banal repetition, and a devouring mud evoke quiet, psychic terror. Slave / Servant / Human (dir. Israel Ekanem) juxtaposes the idyllic images of Nova Scotia presented by tourism campaigns with its historically entrenched racism, calling attention to the histories suppressed and erased by those idealized narratives. Looking out a large window, A Place Called Home / The Wind (dir. Kennlin Lake Barlow) sits alone with the stillness of a frozen landscape as the light passes over it. JOLT (dir. Xavier Gould, Angie Richard) brings bodies together in dynamic motion, studying transformation, transness, yearning, and community to a pulsing techno beat. Time is both linear and cyclical in Moon River (dir. Misha Horacek), where the poetic connection between the body, the natural world, fertility, and cycles is expressed in fluid motions. Love in Quarantine (dir. Millefiore Clarkes) closes the program with reflections on love and loneliness in our contemporary moment. It studies the journey of finding connection in isolation and dreaming of the future while managing the everyday anxieties of a seemingly perpetual present. —Gen Oliver

Endless Rows of Trees

Will O'Wisps

I am troubled by recurring dreams of the marshlands.&nbsp;This landscape absorbs my consciousness.A&nbsp;doppelgänger&nbsp;nose flute&nbsp;allows me to transcend.&nbsp;Finally! I shall&nbsp;be erased.&nbsp;

marshlands

Is Nova Scotia beautiful? Yes. Does Nova Scotia have a dark past? Yes.

Slave/Servant/Human

A Place Called Home / The Wind

Jolt is a short experimental music video that showcases individual rebellion through the lens of an imagined techno nightlife. With erratic cuts, winding motions, and black and white imagery, we are slowly pulled into a hyper-imagined underground world. In this world, we meet people from various communities who show us stories of transness, self expression, and ancestral trauma. Unapologetically celebrating one's self is an act of rebellion in itself and with a strong and sensitive underbelly, Jolt ventures face first in acts of rebellion and healing.

Jolt

A female persona enters a new time, released from fertility. She negotiates her place between ironworks and a moss-edged river as she enacts a tender rite. She carries the blood, one last time, as her moon cycles recede into body memory. She invites new lunar relationship in. Moon River is visual poem about the female body and change.

Moon River

When COVID protocols impose restrictions on human interaction, Millefiore Clarkes seizes the opportunity to reflect on the nature of love itself, juxtaposing her own existential quest with those of a teenager grappling with identity and self-worth in a time of social distancing, and a woman who finds surprising new romance despite pandemic isolation.

Love in Quarantine

Atlantic Auteurs

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Halifax Independent Filmmakers Festival 2021

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