“… I love the contrapuntal structure of your movies – and you’ve gone farther than ever with this one.  The narrative seems to be creating itself spontaneously, so the movie has a lovely “natural” flow, but at the same time there are the delights of the deep structure – the fugal counterpoint – in how your themes progress and comment on each other.  Your movies wear their structure so gracefully that one doesn’t feel ever overwhelmed or beaten about the head with a theme or an idea.  For example, your use of trees in “Winds of Heaven” – trees as raw material for commerce or art – trees as a silent commentary on the passage of time and the encroachment of immigrant Canada on the First Nations – and then to realize that the native carver we’ve seen shaping the tree is the descendent of the Russ family, and the way that realization closes a circle of time like the clasp on a bracelet, while at the same time proving that First Nations culture has defied Carr’s own assumptions and survived…..this is Joycean richness.  And it’s always going on, ultimately uniting all the themes in the movie and making us reflect on how all issues ultimately touch.”

– Stephen Hatfield, composer.

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