Terres en Vue / Land inSights and The Fantasia International Film Festival present:

Saturday August 6th at Blue Sunshine
3660 St Laurent, 3rd Flr
Doors: 8:15pm | Films: 9:00pm

“Jeff Barnaby says he makes “bare-knuckled cinema”… and he means it. His raw, gritty depictions of what he refers to as the post-apocalyptic culture we now live in bear little resemblance to the spiritually centred, sanitized image of Aboriginal peoples often seen in contemporary cinema.” (Indigenous Arts Network)

Jeff was born on a Mi’gmaq reserve in Listujug, Quebec. He has worked as an artist, poet, author and filmmaker. His work paints a stark and scathing portrait of post-colonial aboriginal life and culture. His third short film, File Under Miscellaneous (10), is currently playing the festival circuit. His previous films include From Cherry English (04) and The Colony (07). Jeff is currently in development on two feature films, Blood Quantum & Rhymes for Young Ghouls.

Program includes:

File Under Miscellaneous
(2010, 7min.)

Set in a dystopic metropolitan hellscape, a spiritually exhausted and destitute Mi’gMaq man has resolved to assimilate into the ruling culture. He visits a surgical clinic – the display window littered with skin and limb samples – and undergoes a gruesome procedure to rid him of his red skin.

The Colony
(2007, 24min.)

A bi-racial ménage a trois drenched in surrealist urban skank. Maytag, a reservation displaced Mi’gMaq, latches onto the only other Indian within light years of the city only to have her snatched away by his drug dealer and friend. Sadistically lovesick and drug addled, Maytag launches an insecticide on the cockroaches that have colonized his trailer convinced that they helped steal his fiancé. Heart broken and thoroughly crushed, he turns to his only friend for solace, his chainsaw. A demented allegory on miscegenation, the plight of modern native Canadians and their affinity for self-destruction.

From Cherry English
(2004, 10min.)

From Cherry English is a surrealist Mi’gMac allegory about the loss of language and identity to the anonymity of the urban wasteland. Traylor, a Mi’gMaq man being pulled between two worlds meets a non-native woman who sends him on a hallucinogenic journey of masochism and self discovery.

Red Right Hand
(2004, 9min.)

If you want to show skank, this is how you do it. A descent into the depths of degradation. A malicious work of cinematic beauty.

Black Out
(2003, 4min.)

Obsessed with her body, a young woman goes to violent lengths to fit into her favorite dress.

(student film, 2001)

A take on homophobia, a young man ventures into a public bathroom only to have his worst fears realized. Only Barnaby’s second student film, shot with a lo-fi modified analogue VHS camcorder, it is the first hint of the bio-centric horror, disdain for political-correctness and honed aesthetic that has made Barnaby one of Canada’s most promising young filmmakers.

About the author:

Kier-La Janisse

Kier-La Janisse is a film writer and programmer, Owner/Artistic Director of Spectacular Optical Publications and founder of The Miskatonic Institute of Horror Studies. She has been a programmer for the Alamo Drafthouse Cinema and Fantastic Fest in Austin, Texas, co-founded Montreal microcinema Blue Sunshine, founded the CineMuerte Horror Film Festival (1999-2005) in Vancouver, was the Festival Director of Monster Fest in Melbourne, Australia and was the subject of the documentary Celluloid Horror (2005). She is the author of A Violent Professional: The Films of Luciano Rossi (FAB Press, 2007) and House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films (FAB Press, 2012) and contributed to Destroy All Movies!! The Complete Guide to Punks on Film (Fantagraphics, 2011), Recovering 1940s Horror: Traces of a Lost Decade (Lexington, 2014) The Canadian Horror Film: Terror of the Soul (University of Toronto Press, 2015) and We Are the Martians: The Legacy of Nigel Kneale (PS Press, 2017). She co-edited and published the anthology books KID POWER! (Spectacular Optical, 2014), Satanic Panic: Pop-Cultural Paranoia in the 1980s (Spectacular Optical, 2015) and Lost Girls: The Phantasmagorical Cinema of Jean Rollin (2017), and is co-editing Yuletide Terror: Christmas Horror on Film and Television for release in late 2017. She is currently writing A Song From the Heart Beats the Devil Every Time: Children’s Programming and the Counterculture, 1965-1985, monographs about Monte Hellman’s Cockfighter and Patricia Birch’s Grease 2, and is in development on a TV series based on her book House of Psychotic Women with Rook Films.


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