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Herewith the film’s medley of unusual visual tactics commences: superimposition, triptych photography, and interminable tracking shots, one of which will pivot fastidiously around a Doric column as though the film has become momentarily distracted by architecture. Put simply, Eisenstein in Guanajuato is a Peter Greenaway film, and another of the British expatriate’s biographical forays into art history.
John Paizss Crime Wave debuted at the 1985 Toronto International Film Festival to local acclaim. A Winnipeg-based filmmaker, Paizs had authored a work for which there was no clear precedent: it was decidedly less profane than David Cronenbergs body horror films, which were at the time Canadas most visible cinematic export.