We’ve always touted Film POP as a festival that breaks out of the box, and never has that seemed more apt than this year, as we go on location for screenings of Jerzy Skolimowski`s Deep End with the audience in the water, and The Omen’s iconic film score reverberates throughout the Red canadian needs a prescription in us Roof Church for a Midnight Mass screening of the 1976 classic. This year’s lineup includes iconoclastic gender benders, English eccentrics and mail-order outsiders, metalheads and psychedelic hippie cults, riots, rappers, nightclubbers and cialis headaches a newly restored 16mm retrospective of pioneering computer animator Lillian Schwartz!

2012 World Premieres:
Bug, by ¡FLIST!, September 19th
Sweet Nothing (dir. Andi State, Canada, 2012), September 20th
Pas Gentille, by Jef Barbara, September 22nd

2012 Canadian Premieres:
From Montreal (dir. Yannick Gelinas, 2012), September 20th
Evidently…John Cooper Clarke (dir. John Ross, 2012), September 21st
Lawrence of Belgravia (dir. Paul Kelly, 2012), September 22nnd

2012 Special Screenings:
The Auroratone Project: New Frontiers in Psychiatric Cinema, September 21st
The Omen – Midnight Mass church screening, September 22nd
Deep End – pool screening, September 23rd
The Source (dir. Jodi Wille, 2012), September 23rd

2012 Artists in Attendance: Lillian Schwartz (via Skype), Brute Force, G.B. Jones, Kevin Hegge, Pat Ivers, Emily Armstrong, Rick Trembles, Leslie Supnet, Emily Pelstring, Walter Forsberg, Jaimz Asmundson, Cheryl Hann, Tamara Scherbak, Heather Rappard, Sabrina Ratté, ¡FLIST!, Jef Barbara, Robert Dayton, Andi State, Suuns

What can we say, Film POP has outdone itself yet again. From September 19th to 23rd, music lovers and film nerds are invited to come buy cheapest viagra online explore over 20 events which include workshops, exhibits and of course, a slew of mind-boggling premiere screenings.

Through a collaboration with the Cinémathèque québécoise and film preservationist Walter Forsberg, it is an honour to be able to present a restored collection of Lillian Schwartz’s 16mm films, with the cinematic multimedia pioneer herself present this retrospective event via a rare (yet appropriate) Skype appearance! Nightclubbing: New York Punk and New Wave 1975-1980 will present more restored magic from raw and unique videotapes taken in the late 1970s during the burgeoning of New York punk’s scene, compiled as the ultimate wish-I-was-there document of groundbreaking punk, new wave, and hardcore. Cable-access employees Pat Ivers and Emily Armstrong, who will appear in person, documented New York’s nightlife for their five part TV show Nightclubbing, which includes rare footage of The Talking Heads, Blondie, Destroy All Monsters, Erasers, Student Teachers, Pylon, Lounge Lizards, and more!!

 Music nerds will also be able to sink their teeth in the Canadian premiere of From Montreal (dir. Yannick B. Gélinas), a documentary on the city’s audacious music scene with interviews and/or performance footage of Besnard Lakes, Braids, Malajube, Karkwa, Patrick Watson, Arcade Fire, Random Recipe and Ariane Moffatt, as well as interviews with some of Montreal’s promoters, venue owners, radio and print and journalists.

Other highlights include a midnight church screening of The Omen (dir. Richard Donner, 1976), the original Film POP commission The Auroratone Project, which pairs Canadian experimental filmmakers with the music of 2012 POP artists, Andrew Bird: Fever Year (dir. Xan Aranda, 2011), Evidently… John Cooper Clarke (John Ross, 2012), Jason Becker: Not Dead Yet (dir. Jesse Vile, 2012), Lawrence of Belgravia (dir. Paul Kelly, 2011), Rhino Resurrected (dir. Keith Shapiro, 2011), Searching for Sugar Man (dir. Malik Bendjaloul, 2011), Turning: Antony and the Johnsons (dir. Charles Atlas, 2011) and the world premieres of videos by festival artists ¡FLIST! and Jef Barbara.

 It’s on folks! Get that popcorn ready.

Visit http://popmontreal.com/segment/film-pop/ for more info

About the author:

Kier-La Janisse

Kier-La Janisse is a film writer and programmer, founder of Spectacular Optical Publications and 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 (with Paul Corupe) and published the anthology books KID POWER! (2014), Satanic Panic: Pop-Cultural Paranoia in the 1980s (2015), Lost Girls: The Phantasmagorical Cinema of Jean Rollin (2017) and Yuletide Terror: Christmas Horror on Film and Television (2017). She edited the book Warped & Faded: Weird Wednesday and the Birth of the American Genre Film Archive (forthcoming), and is currently co-authoring (with Amy Searles) the book ‘Unhealthy and Aberrant’: Depictions of Horror Fandom in Film and Television and co-curating (with Clint Enns) an anthology book on the films of Robert Downey, Sr., as well as writing a monograph about Monte Hellman’s Cockfighter. She was a producer on Mike Malloy’s Eurocrime: the Italian Cop and Gangster Films That Ruled the ’70s and Sean Hogan’s We Always Find Ourselves in the Sea and her first film as director/producer, Woodlands Dark and Days Bewitched: A History of Folk Horror is due out from Severin Films in 2020.