Program 2012 - 7pm nightlyAdam R. Levine - A Life’s Work

Adam Huggins & Illana Fonariov - Someday All of This Will Be Yours “A surrealist documentary about a road-trip to the Alberta Oil Sands.”

Amy Belanger - Eat Cake

Hesam Hanafi - The third choice

Sandi Rankaduwa - Numbskull Numb Heart

Daniel Boos - Open

Tara Lee Reddick - Vanilla Sam

Chris Lockerbie - Spagottcha

Robert Drisdell - The Orientation of Snails

Allan Brown - Derby Jam

Anja Dornieden and Juan Monroy - Awe Shocks

Ben Popp - Clouds

Benjamin Hayden - TROBIA “Exploring fractal entities in a void unknown through the celluloid scope”

Brendan Prost - Transfixed; What’s Broken

Brian Ganong - Dumpster of Your Love

Christine Lucy Latimer - Focus

Christine Lucy Latimer - Fruit Flies

Danielle & Corey King - Infinite Struggles

David Domingo - Sound of the Sun “Last summer, the sun brights. A man is in danger, so he writes a postcard to Robocop asking for help.”

David Shushan - Lark’s Tongue in Aspics “Cubist cinema; the film depicts a deconstructed image of The Palace of Fine Arts in San Francisco.”

Eric Hill - Wind Up!

Frank Biesendorfer - Great Blue Heron

Gabrielle Provost - Love Is Colder than Steel “A quick look upon a man’s intimate relationship with his car.”

Gerald Saul - Rerun Amok

Ichiro Sueoka - Extreme Skiing in 1930

James Beattie Morison- Contingency “The history of the $100. Several times along the way, the idea for the festival nearly died in obscurity.”

Jodie Mack - The Future is Bright

John Cannizzaro - Let Me Try to Explain

Katherine Skelton - Waiting for Woody

Kelly O’Brien - SIX

Lisa Morse - The Importance of Hortense

Lori Felker - I Own a Carousel

Lori Felker & Robert Todd - Imperceptihole “A high contrast correspondence film, a science non-fiction fairy tale. Rolls of film were sent back and forth in the mail over the course of a year until the film began to reveal itself as a sci-ence non-fiction fairy tale, a speculative quest.”

Malena Szlam - Beneath Your Skin of Deep Hollow

Mark Fiorillo - Peninsula Valdes

Norbert Shieh - The Electric Embrace

Pablo Marin - Carta Austral

Paul Clipson - Caridea and Ichtyess (Compound eyes no.5)

Peter Stinson - Besty “A very short film that highlights the special personality of Calgary filmmaker, Don Best.”

Program 2012 - 7pm nightlyChloe Reyes - A Celebration of Corn

Robert Schaller - In the Shadow of Marcus Mountain

Robert Todd - Undergrowth “A blind predator dreams through its prey’s eyes - a study in falling and rising.”

Ross Meckfessel - He, She, I, Was

Scott Fitzpatrick - For Magicians

Sean Hanley - Hindsight

Sezen Turkmen - Walter

Shinya Isobe - EDEN “The ruins of the old Matsuo mine in Iwate Hachimantai. Once, the place was called “the paradise on clouds” and there was 10,000 people’s life.”

Stefan Mockel - What is this?

Tara Nelson - Hull “A journey between layers of corporal consciousness, Hull explores the physical memory of trauma, and the psychological repercussions of a surgical disaster.”

GAMA

Gallery of Alberta Media Arts (GAMA) - Feb 3 to April 29, 2012Exposed: 3 films by John Price

EPCOR CENTRE for the Performing Arts is proud to partner with the Alberta Me-dia Arts Alliance Society and the Calgary Society of Independent Filmmakers to present a selection of films by John Price as part of the $100 Film Festival. CSIF programmer, Melanie Wilmink cu-rates three films from well known inde-pendent filmmaker John Price who has produced experimental documentaries, dance and diary films since 1986. Price works with a wide range of motion pic-ture film techniques and camera formats to produce images that communicate a powerful subtext.

VISITING ARTIST WORKSHOP

$100 Film Festival presents: A Celluloid Treasure Hunt with Robert ToddJoin CSIF visiting artist Robert Todd (Boston, USA) as he runs a two day workshop/ treasure hunt adven-ture. Workshop participants will enact Todd’s unique experimental-documentary style by working with 16mm cameras, shooting images from the environment around them, and then returning to the studio to work as a team to discover the nar-rative out of their collective images. Participants will learn to hand process colour 16mm film, edit footage on the Steenbeck and create a final col-laborative project with other artists in the workshop. Participants will learn skills and techniques, but will also experience a completely unique working process and collaborative art-making. Cost TBA.

roberttoddfilms.com/

AFTER PARTY Join us for our Festival After-Party and GAMA reception on March 10, 2012: Cafe Koi#100, 1011 - 1st Street SW Calgary, AB10pm onwards

FESTIVAL TICKETS:Ticket sales at the CSIF Offices (NOTE: NEW ADDRESS - 223 12 Avenue SW) Cafe Koi - #100, 1011 - 1st Street SW Bogies Casablanca Video (Mission - Unit 12 - 2100 4St SW)

$12 General Admission; $10 CSIF Members, Students, Seniors; $7 ACAD Students

What is the $100 Film Festival?The Calgary Society of Independent Filmmakers (CSIF) was founded in 1978 by twelve local filmmakers and artists in response to a growing interest in film production and to meet an emerging need for equipment and resources. The CSIF was the first media arts centre established in Alberta that still exists, a testament to its ability to respond to its com-munity and evolve while remaining true to its mandate.

Over the years, CSIF has continued to stay ahead of technological chang-es. Editing facilities changed from a Steenbeck to digital suites in the late 1990’s. The combination of traditional and digital filmmaking facilities expanded to the inclusion of a 16mm optical workprinter and a Super 8 digital transfer machine. Both the traditional and digital equipment banks continue to be used extensively by CSIF members.

In response to the growing trend to video and digital technology, the CSIF created the $100 Film Festival in 1992. Intended as a showcase for film as an affordable and exciting medium, the popularity of the festival has grown year after year. The first year showcased eight short films on Su-per 8mm and the name sprung from the challenge to local artists to shoot a short film on four rolls of Super 8 – which tallied to the cost of $100 for film and processing. In following years, the festival dropped the budget-ary limit and allowed 16mm film into the festival, which shifted the focus of the festival from low-budget to the quality of the small-format film medium. The festival is now an international celebration of celluloid.

Small format film (like Super8 and 16mm) is much more accessible to independent filmmakers because of their lower cost relative to larger for-mat film (like 35mm). This makes the types of works showcased the festival more in line with underground independent cinema, with greater focus on creative storytelling, minimal sets and artistic intention than is usually seen in industry style cinema. The requirement to finish to film also means that the festival showcases mainly films where the artist pur-posely decides to finish to film as part of the artistic intent.

The focus on celluloid makes the $100 Film Festival one of only a handful of festivals in the entire world that exhibits exclusively on small-format film. There are very few festivals in the world that showcase their en-tire festival on film – we are one, 8fest (Toronto), the One Take Super 8 (Regina) and Straight 8 (UK) are the others. There are some festivals that showcase some of their programs on Super 8 & 16mm film, but also screen other formats as well. Festivals like Black Maria, The Rotterdam International Film Festival and Images Festival fall into this category, but once again are some of only a few festivals in the world left that screen on small format film.