Everything Everywhere Again Alive
Curated by Panorama-cinéma, in collaboration with Festival Accès Asie, this retrospective explores the work of Keith Lock, Michael Snow’s former director of photography. His contribution to Canadian documentary filmmaking is now regarded as pivotal, particularly because it sheds light on a little-known chapter in the history of the Chinese diaspora in Canada.
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Preceded by short film Going
In the presence of Keith Lock
During a train trip from Toronto to Moose Bay with his mother and two friends, Keith Lock—then Michael Snow’s assistant—created an impressionistic travelogue using in-camera editing.
In the early 1970s, Keith Lock moved to the hippie community of Buck Lake, north of Kingston, Ontario. He went there to join members of Toronto’s underground scene, capturing the daily life of a horizontal, ideal society, free from urban oppression. The result is one of the masterpieces of Canadian experimental cinema, but above all a free-spirited film that challenges the very idea of freedom.
Keith Lock
Canada’s first Chinese Canadian filmmaker, Keith Lock, has an MFA in film from York University. His high school film, Flights of Frenzy, won Best Super 8 Award at the UNESCO 10th Muse International, Amsterdam, 1969. His experimental feature, Everything Everywhere Again Alive (1975) screened in TIFF’s Retrospective of Canadian Cinema,1984. In 2020, it was selected one of “100 Best Canadian Films of All Time”, by AGO Film Curator, Jim Shedden. Keith is the inaugural winner of the Reel Asian Film Festival’s Firehorse Award, 2022. He is the Executive Producer of the feature film, Café Daughter, 2023, Winner of Audience Choice Award at the ImagineNative Film Festival. His documentary, Relics of Love and War, 2023, tells a little known Chinese Canadian history and screened internationally in many film festivals and independent venues.
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