Kissed

Réalisé par Lynne Stopkewich

Canada, 1996 (fiction, 78 minutes, couleurs, anglais)

Description du film [en anglais] :
« Sandra is a girl-next-door who is attracted to death. She lands a job at the local funeral parlour, headed by the troubled Mr. Wells. While studying embalming, she meets Matt, a medical student. Matt competes for Sandra's affection, only to find her passion for death is greater than her love for him. »
-- WorldCat (source)

Générique (partiel) :
Scénario :	Angus Fraser, Lynne Stopkewich
Source originale :	We So Seldom Look on Love, une nouvelle de Barbara Gowdy
Produit par :	Dean English, Lynne Stopkewich, John Pozer
Interprètes principaux :	Molly Parker, Peter Outbridge, Jay Brazeau, Natasha Morley, Jessie Winter Mudie
Images :	Greg Middleton
Montage images :	John Pozer, Peter Roeck, Lynne Stopkewich
Société de production :	Boneyard Film

(sources)

Prix décerné à Kissed

Prix Génie : Meilleure interprétation féminine dans un premier rôle -- décerné à Molly Parker

Notes sur Kissed

Nominé pour un Prix Génie dans la catégorie Meilleure réalisation.

Notes disponibles seulement en anglais :

The director had the male and female co-stars sign a 'nudity parity agreement'.

(sources)

Citations de la réalisatrice [en anglais]

« The first few days of the film were storyboarded and shot-listed, but after that, I threw it out the window. Our locations kept falling through, and I had to come up with something else on the spot. It's interesting for me when I look at the film now. Aesthetically, the structure of the movie is initially very montage-based, the camera is very static. As the film progresses, the camera work becomes looser. »
-- Lynne Stopkewich (source)

« One reason I got so excited about the material was that this characer seemed like a life-filled, intelligent girl-next-door, but she is also obsessed with death and the dark side. I liked that contrast. »
-- Lynne Stopkewich (source)

Citation sur Kissed

« Les scènes 'd'amour' nécrophile échappent [...] à l'obscénité grâce à de multiples stratégies de distanciation : des éclairages bleutés, le recours à des objectifs donnant une image 'soft', des surimpressions, des fondus et de la musique, tantôt new age, tantôt chansons pop, ou encore des jeux d'interaction entre la protagoniste et le public, tout comme entre les membres du public eux-mêmes. »
-- Marta Dvorak (source)

Citations sur Kissed [en anglais]

« [Lynne] Stopkewich felt that Gowdy's 'We So Seldom Look on Love' was an ideal story to be realized on a low budget because of two main characters and a minimum of locations. Told in flashback, a 1970s look was required and achievable in a small town or suburb with frequent interiors. Sourcing thrift shops and garage sales, the 1970s look was cheaper to realize than a contemporary look. »
-- Kalli Paakspuu (source)

« Sandra's vision is emphasized in ways that place viewers in radically new territory with respect to the capacity for a female gaze at the male body. »
-- Lee Parpart (source)

Bibliographie sur Kissed

Chapitres de livres

BURGESS, Diane. « Kissed (1996) » , dans World Film Locations: Vancouver, sous la direction de Rachel Walls, Bristol, Intellect Books, 2013, pp. 58-59. [en anglais]

Brèves parties de livres

MELNYK, George. One Hundred Years of Canadian Cinema, Toronto, University of Toronto Press, 2004. [en anglais] (pp. 218-219)
MONK, Katherine. Weird Sex and Snowshoes: And Other Canadian Film Phenomena, Vancouver, Raincoast Books, 2001. [en anglais] (p. 307)
PARPART, Lee. « Cowards, Bullies, and Cadavers: Feminist Re-Mappings of the Passive Male Body in English-Canadian and Québécois Cinema » , dans Gendering the Nation: Canadian Women's Cinema, sous la direction de Kay Armatage, Kass Banning, Brenda Longfellow et Janine Marchessault, Toronto, University of Toronto Press, 1999. [en anglais] (pp. 259-268)

Thèses

ŠAšINKOVÁ, Soňa. The Films That Made It: Independent Canadian Women Filmmakers and the Recipe for Success, 2011. Thèse de maîtrise, Masaryk University. [en anglais]