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The Best David Rimmer Directed Movies

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poster

60

11

6.1

/196/

46

/8/

61

/13/

3.6

/419/

David Rimmer's avant-garde classic takes a single film fragment of a factory worker unraveling a sheet of cellophane, and alters it through a mesmerizing series of spectral apparitions and alchemical and sonic permutations. Preserved by the Academy Film Archive in 2013.

poster

?

10

/1/

A video of a dance performance by the Karen Jamieson Dance Company.

poster

?

10

/1/

60

/1/

The basic image derives from a shot of women in (Edwardian era) dresses standing along the edge of the ocean. Within this eight-second loop, [Rimmer] cuts shorter ones. For example, the activity of a central group of three women is cut so that the figures repeat certain motions over and over and over again... Rimmer also chose to use the forms of surface imperfections, the scratches and dirt patterns, as bases for his loops... Although working in a disciplined style of re-structuring cinematic forms, his highly orchestrated creations have inspired great admiration both from cineastes and the more general public. Preserved by the Academy Film Archive in 2014.

poster

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10

/1/

Using fixed frame timelapse, 15 hours of a day in the mountains, showing the changes in the sea and sky, is compressed into eight minutes. Designed originally to be rear-projected onto a plexiglass screen framed in a false wall by a traditional wooden picture frame.

poster

?

5.8

/26/

50

/1/

Watching for the Queen continued Rimmer's investigations of minimal narrative and the anonymous/autonomous shot. Pattern recognition, saccadic eye movement and feature rings are well known phenomena in the behavioral sciences. However, in Watching for the Queen, Rimmer has succeeded in employing these mechanisms in the telling of a story, by employing mathematical ordering in an aesthetic manner. Preserved by the Academy Film Archive in 2014.

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10

/1/

Documentary about a collaboration between avant garde filmmaker David Rimmer and choreographer Paulo Ross.

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10

/1/

A film featuring sprocket holes and leader sections in montage.

poster

?

10

/1/

60

/1/

Variously relaxed, apprehensive, or relieved, the fractured gestures of a woman and a baby are played backward and forward, frame by frame, like a musical phrase. Preserved by the Academy Film Archive in 2014.

poster

?

10

/1/

20

/1/

With an irresistible humour, Rimmer speculates in The Dance on the nature of the film loop. We see a (1920s) couple whilring around a dance floor at a dizzying pace... Uncanny in its ability to evoke complexity of responses from a simplicity of means. Preserved by the Academy Film Archive in 2015.

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20

/1/

«CODES OF CONDUCT playfully upends the moral order by which man has historically seen fit to measure so called correct behaviour - by ironically re-positioning the rules, Rimmer uncovers their arbitrariness.» Osnabrück Media Arts Festival 1997. Preserved by the Academy Film Archive in 2013.

poster

?

26

/3/

60

/1/

"Treefall" was originally made for a dance performance at the Vancouver Art Gallery, April, 1970. Structured in the form of two loops of high-contrast images of trees falling, reprinted and overlapped. Preserved by the Academy Film Archive in 2014.

poster

?

60

/1/

One of Rimmer's early 2000s video works which he made by hand-painting 35mm film, running it on a flatbed viewer, and shooting it off the screen with a video camera to then subject it to further manipulation.

poster

?

10

/1/

45

/2/

Blue Movie was made for the international Dome Show where it was projected down onto the muslin surface of David Rimmer's geodesic dome. The audience lay on the floor looking up at it, the inside of each eye finishing the globe. Preserved by the Academy Film Archive in 2013.

poster

?

7.0

/16/

10

/1/

60

/1/

"Whereas SQUARE INCH FIELD was composed largely in the camera, Rimmer's next film, MIGRATION, made full use of rear-projection rephotography, stop-framing, and slow motion. The migration of the title is interpreted as the flight of a ghost bird through aeons of space/time, through the micro-macro universe, through a myriad of complex realities. A seagull is seen flying gracefully in slow motion against a grainy green sky; suddenly the frame stops, warps and burns, as though caught in the gate of the projector. Now begins an alternation of fast and slow sequences in which the bird flies through time-lapse clouds and fog and, in a stroboscopic crescendo, hurtles into the sun's corona. Successive movements of the film develop rhythmic, organic counterpoints in which cosmic transformations send jelly fish into the sky and ocean waves into the sun." - Gene Youngblood. Preserved by the Academy Film Archive in 2014.

poster

?

60

/1/

An experimental film by David Rimmer (2003) which was influenced by or done to be performed at 'Rave' concerts which Rimmer was fond of attending in the 2000's. The relationship / resemblance of this film to 'light shows' (live projections) of the 1960's is unmistakable as an influence." -Al Razutis

poster

?

7.0

/19/

10

/1/

50

/1/

A TV movie sequence is repeated in slow motion: the sound gradually gets out of sync with the image. The point moves on the soundtrack while the viewer anticipates the meeting of the image and sound.

?

5.9

/18/

10

/1/

20

/1/

"Taken between September 1970 and May 1971, with the unmoving camera apparently bolted to the window ledge, this film, a ten-minute eternity, chronicles what takes place within view of the lens. The backdrop is a typical New York pizza stand, the actors are selected New Yorkers who happened to be there during the half year, the plot is the somewhat sinister aimlessness of life itself." - Donald Ritchie, Museum of Modern Art, NY. Preserved by the Academy Film Archive in 2014.

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5.4

/8/

50

/1/

Canadian Pacific II is designed as a companion piece to Canadian Pacific I. Shot from a window two storeys higher and in the building adjacent to the artists’s studio of the previous year, one enters into a dream state… an involvement with a vocabulary of seeing and feeling by subtle transitions of the passage of time

poster

?

5.5

/69/

42

/4/

45

/4/

Canadian Pacific I is made up of a series of slowly dissolved shots done from the same framing over several months. The camera frames a window with a railway yard in the foreground, a bay in the space behind it, and misty mountains in the extreme distance. Trains occasionally pass by in the foreground. Huge ships move across the bay. Blue mists hover over the mountain heads.

poster

?

4.8

/50/

10

/2/

45

/2/

‘A beautiful, mysterious yet satisfying optical illusion…celebrates the early passing of a steam on the Thames. Using freeze-frame techniques, elaborate dissolves, and most of the resources on the optical table, this picture is, amongst other things, a Turner come to life. Rimmer’s concern with the surface nature of the film is most evident in this work which, in spite of its filmic complexity, is incredibly simple.’ — Donald Richie. Preserved by the Academy Film Archive in partnership with Pacific Cinematheque in 2013.

poster

?

10

/1/

A rapid fire montage, a dynamic juxtaposition of the world’s vital and destructive forces, the title originating from a Chinese text which refers to the Third Eye. Close up shots of the various faces open and close the film, the very last shot holding on the innocent face of a young child. Preserved by the Academy Film Archive in 2014.

poster

?

8.9

/8/

10

/1/

"David Rimmer's film is at once a somber and celebratory meditation on time and place. Its title, 'Local Knowledge', is marine terminology for what a skipper must know when navigating dangerous waters. Rimmer is an experienced sailor and the film's spiritual and geographical center is aptly named Storm Bay, where he spends his summers. But it's a troubled site. The camera, moving with tide and swell, seems to strain anxiously at its anchor and it becomes clear from here on in nothing will ever be at rest. Local Knowledge won't save anyone anymore. Preserved by the Academy Film Archive in 2015.

poster

?

In this intriguing film, Jack Wise speaks very privately about his artistic process —'losing oneself in the language of the brush'— and what it means to be an artist. While at work in his studio, Wise talks about calligraphy being his freedom and the mandala his discipline. As he reveals his spiritual journey into Eastern religions and the importance of the mandala, we see the circle become a dominant motif in his art, and discern the influence of Chinese and Tibetan art on his own landscape-based work. Director David Rimmer's experimental voice asserts itself sensitively. Pace and imagery —water droplets, leaf and tree forms, a door which opens— sublimely convey the mystery and pulse of the artist's paintings, process, and perceptions.

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It explores the tension between age-old China and energy of the student demonstration in the spring of 1989.

poster

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A hauntingly beautiful film about the world's flight into chaos. Rimmer has taken McLaren's camera-less technique to new heights. He paints directly on clear 35mm leader, using odd materials such as household cleaners, varnish, inks and sometimes fish scales and ferns. He feeds the loops through a film editing machine, overlays them with music and records the result with a mini DV camera. A production of the National Film Board of Canada.

poster

?

An award winning 45-minute film portrait of Al Neil’s life, music and art. Preserved by the Academy Film Archive in 2013.

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