WE MAKE COUPLES

by Mike Hoolboom
WE MAKE COUPLES

Informations

Nation: Canada

Year: 2016

Length: 59'

34° TORINO FILM FESTIVAL

Section:

Synopsis

This Marxist love story asks: could the couple also be a form of resistance? With guest appearances by Occupy, Pussy Riot, a runaway goat, two poodles, an army of street marchers, Mos Def, Frankenstein and cinema’s first kiss. [rm]

Director

Mike Hoolboom

Mike Hoolboom

Mike Hoolboom (Canada) has made over eighty films and videos. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival in Toronto, Visions du réel in Nyon, Cinema de Balie in Amsterdam, Vila do Conde Festival, Jihlava Documentary Festival and BAFICI. He is a founding member of the Pleasure Dome screening collective and has worked as the artistic director of the Images Festival and as coordinator at Canadian Filmmakers Distribution Centre. Since 2004 he has been working on “Fringe Online,” a web project which makes available the archives of forty Canadian media artists.

Filmography:
Song for a Mixed Choir (1980), White Museum (cm, 1986) Mexico (coregia/codirector Steve Sanguedolce, cm, 1992), Escape in Canada (cm, 1993), Frank’s Cock (cm, 1993), House of Pain (cm, 1995), Letters from Home (cm, 1996), Panic Bodies (doc., 1998), Tom (2002), Imitations of Life (2003), In the Dark (cm, 2003), Public Lighting (2004), Fascination (doc., 2006), School (cm, 2008), Mark (doc., 2009), Lacan Palestine (doc., 2012), Buffalo Death Mask (2014), Scrapbook (2015), Incident Reports (2016).

Cast and Credits

regia, sceneggiatura, fotografia, montaggio, suono, produttore/director, screenplay, cinematography, film editing, sound, producer
Mike Hoolboom

**
contatti/contacts
Mike Hoolboom
fringe@teksavvy.com
www.mikehoolboom.com

Director statement

“It took years to make because it had to be lived first.”

Synopsis Learn more

This Marxist love story asks: could the couple also be a form of resistance? With guest appearances by Occupy, Pussy Riot, a runaway goat, two poodles, an army of street marchers, Mos Def, Frankenstein and cinema’s first kiss. [rm]

Director All about direction

Mike Hoolboom

Mike Hoolboom

Mike Hoolboom (Canada) has made over eighty films and videos. His work has appeared in over four hundred festivals, garnering thirty awards. He has been granted the Tom Berner Award for community service and two lifetime achievement awards, the first from the city of Toronto, and the second from the Mediawave Festival in Hungary. He has enjoyed retrospectives of his work at the Images Festival in Toronto, Visions du réel in Nyon, Cinema de Balie in Amsterdam, Vila do Conde Festival, Jihlava Documentary Festival and BAFICI. He is a founding member of the Pleasure Dome screening collective and has worked as the artistic director of the Images Festival and as coordinator at Canadian Filmmakers Distribution Centre. Since 2004 he has been working on “Fringe Online,” a web project which makes available the archives of forty Canadian media artists.

Filmography:
Song for a Mixed Choir (1980), White Museum (cm, 1986) Mexico (coregia/codirector Steve Sanguedolce, cm, 1992), Escape in Canada (cm, 1993), Frank’s Cock (cm, 1993), House of Pain (cm, 1995), Letters from Home (cm, 1996), Panic Bodies (doc., 1998), Tom (2002), Imitations of Life (2003), In the Dark (cm, 2003), Public Lighting (2004), Fascination (doc., 2006), School (cm, 2008), Mark (doc., 2009), Lacan Palestine (doc., 2012), Buffalo Death Mask (2014), Scrapbook (2015), Incident Reports (2016).

Cast and Credits Discover the cast of the film

regia, sceneggiatura, fotografia, montaggio, suono, produttore/director, screenplay, cinematography, film editing, sound, producer
Mike Hoolboom

**
contatti/contacts
Mike Hoolboom
fringe@teksavvy.com
www.mikehoolboom.com

Director statement Read more

“It took years to make because it had to be lived first.”