Feuilles order viagra no prescription Mortes (Dead Leaves) wins the 2016 Barry Convex Award!

Dead Leaves

In 2015 Spectacular Optical initiated an annual film award to be given viagra 50 mg out at the Fantasia International Film Festival for the Best Canadian Feature making its World or Canadian Premiere at the festival. Named after the head of the fictional Spectacular Optical in David Cronenberg’s Videodrome, the Barry Convex Award is a physical award designed by renowned Canadian artist Gary Pullin, as well as a $1000 cash prize courtesy of the Paul A. Ray Memorial Fund.

The jury for 2016 consisted of Kier-La Janisse, Paul Corupe and Mario DeGiglio-Bellemare. As with last year (which awarded Larry Kent’s She Who Must Burn), we were very impressed with all the films in the competition, and would like to give an honorable mention to Lawrence Cote-Collins’ Ecartee, which was a close runner-up and a masterful exercise in voyeuristic suspense.

The film that won the award this year involved three directors who are no strangers to accolades at the levitra cialis viagra festival. Together they created a post-apocalyptic western with a unique structure that is at times fierce and confrontational and at other times heartbreaking, and featuring a great ensemble cast whose moving performances transcend their star power.

We are pleased to give the Barry Convex Award this year to Feuilles Mortes (Dead Leaves) by Thierry Bouffard, Carnior and Eduoard Tremblay.


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.


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