FNC LAB

Shot in deserts of the American Southwest, Kerr’s The Last Days of Contrition is a poetic, harrowing vision of the apocalyptic consequences of militarism and the bankruptcy of the American ideal. The film is set after the fall.Disembodied voices prophesize and attest over a swirling me?nage of unsettling desert landscapes, weaponry and dystopian nationalist symbolism. Richard Kerr’s film is followed by shorts by Emmanuel Lefrant and Michaela Grill. Lefrant’s film work is based on abstraction being apprehended as landscape — a landscape that is the actor or producer of emotions and subjective experiences. The films are based on the idea of repre- senting or revealing an invisible world, a nature that one does not see, through the secret forms of the emulsion. Michaela builds her work via the digital format, which she considers the most radical form for rethinking the film image. Her videos, a skilful synergy between image and sound, address the question of cinematic perception and its reduction into abstract forms. Founded by Benjamin R. Taylor, Visions is a monthly screening series of experimental documentaries in Montreal. The series hosts under-represented and unconventional works that look at reality from a different angle.“One must first understand how to see in order to understand what is seen.”