Retake follows the journey of co-directors Gwaai Edenshaw (Haida) and Helen Haig-Brown (Tsilhqot'in) as they work to produce The Edge of the Knife, a feature-length film told entirely in the critically-endangered Haida language. The film tells the story of a traditional Haida legend, showcasing the Haida culture in many ways that have never been seen by a broad audience.

Edge of the Knife is a feature length Haida language film about pride, tragedy, and penance. Adiits’ii, the lead character in the film, is mentally and physically pushed to the brink of survival and becomes Gaagiixiid/Gaagiid - the Haida Wildman. The Gaagiixiid is one of Haida’s most popular stories, sustained over the years though song and performance. This project is a community initiative with strong support from the Haida people as well as from the Council of the Haida Nation.

Nalujuk Night is an up close look at an exhilarating, and sometimes terrifying, Labrador Inuit tradition. Every January 6th from the dark of the Nunatsiavut night, the Nalujuit appear on the sea ice. They walk on two legs, yet their faces are animalistic, skeletal, and otherworldly. Snow crunches underfoot as they approach their destination: the Inuit community of Nain. Despite the frights, Nalujuk Night is a beloved annual event, showing that sometimes it can be fun to be scared. Rarely witnessed outside of Nunatsiavut, this annual event is an exciting chance for Inuit, young and old, to prove their courage and come together as a community to celebrate culture and tradition. Inuk filmmaker Jennie Williams brings audiences directly into the action in this bone-chilling black and white short documentary about a winter night like no other.

On Canada's Pacific coast this film finds a young Haida artist, Robert Davidson, shaping miniature totems from argillite, a jet-like stone. The film follows the artist to the island where he finds the stone, and then shows how he carves it in the manner of his grandfather, who taught him the craft.

A short film about Lapland

In this experimental short film specially commissioned from celebrated Métis filmmaker Rhayne Vernette for Severin's All the Haunts Be Ours vol. 2, images from The White Reindeer are reanimated through contact printing and optical printing.

In a barren, snowy Lapland landscape a man in a reindeer sled escorts a shaman's corpse to its final resting place. In the pale moonlight the fear is starting to take over, since something has awakened the shaman.

The Finnish film 'White Reindeer' is marketed in the USA and Britain as a horror movie, but that's not precisely accurate. This is a stark, moody film but not a scary one. It purports to be an authentic Lapp folktale about a woman named Pirita who turns into a white reindeer in order to feed upon men.
This story has elements of both the vampire and the werewolf legend, as well as the succubus. Apart from reindeer being native to Lapland, I can't imagine why the reindeer was chosen as the species for this folktale's version of the shape-changer legend. Bats and wolves are predators, and therefore scary. The reindeer is a domesticated herbivore that serves humans ... not very spooky, is it? In one sequence, the were-reindeer woman sprouts fangs. Actual reindeer don't have fangs, so why should these be part of her transformation? Female reindeer have antlers, so why doesn't Pirita sprout antlers?
Speaking of superstitions and myths: early in this film, a black cat scurries across the path of an approaching sledge, but the director gives this so little emphasis that it appears to have no significance. In Cornwall, it's considered *good* luck to have a black cat cross one's path, and this same thing is considered *bad* luck in America. Do Lapps have any superstitions concerning black cats?
Mirjami Kuosmanen, the actress who plays the central role in this film, is quite pretty ... but her performance as a native of northern Lapland is weakened by the fact that she is clearly wearing makeup. Due to the low production budget, we never actually see Pirita changing into the reindeer ... but the director cleverly gets round this by having his leading lady lunge towards the camera, then cutting to a shot of a reindeer in the same position. Still, I was hoping we would see a shot of a woman's shadow changing shape ... or a series of human footprints in the snow abruptly becoming hoof-marks.
The Lapp landscape in this movie is starkly beautiful and awesome but never frightening. The photography is excellent. There are two impressive dissolve shots involving flames, and a splendid montage sequence. I was extremely impressed by a night sequence over a bonfire. During the Midnight Sun sequences, there are two shots featuring a weird colonnade of white pillars: these appear to be artefacts of the Lapp culture, but we never learn what they are. A sequence in which a carved vertrebra dances magically across a shaman's drum has an eerie pagan power that made me think of Nijinsky's staging of 'The Rites of Spring'.
My one complaint about this film -- a minor grievance -- is that we never learn the time period in which the main action occurs. These Laplanders possess milled coins, a rifle, and loomed curtains. One sequence takes place at a prayer service that is clearly Christian, featuring a minister in geneva bands. Are we watching scenes in the twentieth century, or some earlier time? I'll rate this moody, compelling (but not frightening) film 8 out of 10. Oh, my deer!

A roaming hillbilly, on a quest to defy the Devil, encounters several supernatural characters and does battle with his silver-stringed guitar.

Royce Hagan returns from the sea to claim and inhabit a 2000 acre ranch in one of the last wild places left in central Florida. Old family friend Booker T Robertson is welcoming but warns him not to get "too close" to a strange family living in the woods nearby. Royce falls in love with Twyla, the oldest daughter, and discovers the bizarre secret of the Hole in the Wall and the enchanted people who live there.

On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

A gang of young people call themselves the Living Dead. They terrorize the population from their small town. After an agreement with the devil, if they kill themselves firmly believing in it, they will survive and gain eternal life. Following their leader, they commit suicide one after the other, but things don't necessarily turn out as expected...

A rookie golfer must cope with the stress of fame after a marketing executive transforms her into a sports celebrity.

1985 film

A windswept ghost story set on England's southeastern coast.

‘Our Selves Unknown’ takes the book ‘Landscape in Distress’ as its raw material, reconfiguring its photographic illustrations, text and cover design into pencil and ink drawings, using a working process of self-enforced rules and restrictions, obstacles and chance.

In rural 17th-century England, a group of men gather to carry a coffin on the long walk to the local graveyard for burial. Much ancient folklore and superstition surround the pathway to the church, and several of the party are afraid to walk it after dark. Squire Marlow, the grieving father of the dead man, promises to double their wages if they agree to make the mysterious journey full of unexpected revelations.

1978 film by François Truffaut

Anchoress director Chris Newby documents the location of the real Christine Carpenter’s anchoress cell at St. James’ Church in Shere, England.

A look at the making of Popeye(1980) featuring interviews with Robert Altman, Stephen Altman, and Robin Williams