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Canada's Top Ten 2007: veterans Cronenberg, Arcand, Maddin and McDonald among this year's class

Posted by Eric Lavallee on Dec 12, 2007
Source: None
The Toronto International Film Festival Group (TIFFG) announced this year's top ten Canadian feature films including higher-profile pics and items from a set of new-comers. In addition, this year's group of 10 is actually a group of 20 - they've included a ten-list of short films as well. Chris Lavis and Maciek Szczerbowski's MADAME TUTLI-PUTLI (whom we featured here on IONCINEMA.com - read our Q and A with the pair of filmmakers here) is the short film that has fairly great chances at making an appearance at this year's Acamdey Awards. 

The top ten list is part of a series of Q&As by filmmakers and panel discussions to be held in Canada's cap - from January 25 to February 5 at Cinematheque Ontario in Toronto. 

In alphabetical order:

L’ÂGE DES TÉNÈBRES – Denys Arcand (Alliance Odeon Films)

AMAL
– Richie Mehta (Seville Pictures)

CONTINENTAL, UN FILM SANS FUSIL
– Stéphane Lafleur (Christal Films Distribution)

EASTERN PROMISES
– David Cronenberg (Alliance Odeon Films)

FUGITIVE PIECES
– Jeremy Podeswa (Maximum Film Distribution)

MY WINNIPEG
– Guy Maddin (Maximum Film Distribution)

A PROMISE TO THE DEAD: THE EXILE JOURNEY OF ARIEL DORFMAN
- Peter Raymont (Films Transit)

THE TRACEY FRAGMENTS
– Bruce McDonald (Alliance Odeon Films)

UP THE YANGTZE
– Yung Chang (National Film Board of Canada and KinoSmith)

YOUNG PEOPLE FUCKING
– Martin Gero (Christal Films Distribution)

The top ten Canadian short films of 2007 are (in alphabetical order):
CODE 13, Mathieu L. Denis
THE COLONY, Jeff Barnaby
DUST BOWL HA! HA!, Sébastien Pilote
FARMER'S REQUIEM, Ramses Madina
LES GRANDS, Chloé Leriche
I HAVE SEEN THE FUTURE, Cam Christiansen
I MET THE WALRUS, Josh Raskin
MADAME TUTLI-PUTLI, Chris Lavis, Maciek Szczerbowski
POOL, Chris Chong Chan Fui
TERMINUS, Trevor Cawood



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Review: The Kid With a Bike

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"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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