Tangled Roots

Aug 18, 2022

0h 15m

★ 0.0

Not every tree grows the same.

Overview

An intimate look into Demers family's experience raising children while dealing with the societal stigmas around disabilities and the consequences of Alberta's forgotten experiment in eugenics.

Genres

Documentary

Production Companies

SAIT Polytechnic

Tangled Roots Trailers

No Trailers found.

Cast

Self

Réal Demers

Self

Blandine Demers

Self (archive)

Diane Demers

Self (voice)

Carter Hess

One Saturday morning, filmmaker Madison Thomas has a revelation: she’s just like her mother. As she thinks about a friend going through tough times, she feels the sudden urge to clean. Through the scrubbing and wiping and rinsing, Madison's thoughts drift to her mother — and her obsessive need to tidy. Madison’s mother survived a traumatic childhood: her own mother never reconciled what she went through at residential school. Cleaning offers moments of control that she didn’t have as a child. She’s fought hard, against all odds, to become a strong woman. They say trauma is in the genes, that it’s passed from one generation to the next. But strength is inherited too. Through rituals as simple as spending time together and smudging, Madison and her mother are beginning to mend the cycle of pain in their family. Declutter is an intimate look into a private moment between mother and daughter and the strength that carries them both.

0.0

Sound of the Soul

Oct 7, 2005

SOUND OF THE SOUL is a compelling portrait of an Arab country where Muslims, Christians, and Jews have lived together in relative peace for centuries. Beautifully photographed during the Fez Festival of World Sacred Music, the film presents unforgettable performances from groups from Morocco, Ireland, Russia, Afghanistan, Mauritania, the USA, Portugal and France, which carry viewers into what the film's Moroccan sufi guide calls "the hearing of the heart": the essential Oneness at the core of all religions and faiths.

5.0

The Dreamers

Feb 5, 1985

The Dreamers (1985) is a posthumous short film assembled by Oja Kodar from unfinished footage directed by Orson Welles in 1982. Edited after Welles’s death, the film derives from fragmentary material intended for an uncompleted adaptation of stories by Isak Dinesen. The 1985 version represents an editorial assembly rather than a completed work authored by Welles, presenting selected footage in a reconstructed form for archival circulation. (Note: This is a posthumous editorial reconstruction. The original 1982 project exists separately as an unfinished Welles work and was never completed or released by him.)

6.1

Mutts

Nov 17, 2019

For the 750 dogs that live in a Moroccan shelter, the daily routine consists of eating, resting, a bit of fighting and eating again. Could they possibly expect more from life? A pointed, cinematic commentary on mass confinement.

0.0

Screen Snapshots (Series 1, No. 20)

Feb 22, 1921

Intimate views of the movie stars of the Silent Era, at work and play; featuring Sessue Hayakawa, Lillian Gish and others.

10.0

Routine

Mar 30, 2025

An experimental half-documentary half-fiction about a young person’s routine of getting to sleep and waking up.

0.0

Red Girl Rising

Apr 30, 2025

Joyce Jonathan Crone—Mohawk matriarch, retired teacher, activist, humanitarian—reaches forward into her community of Huntsville, Ontario, opening hearts and bridging gaps for Indigenous education.

6.0

Granny's Sexual Life

Sep 1, 2021

A trip into grandma's intimate life shows the status of Slovenian women in the first half of the 20th century.

0.0

I Choose to Live

Sep 26, 2013

The documentary »I Choose to Live« presents a touching confession of a young girl who after losing her mother, tried to end her life. Later on she struggled with self-destructive behaviour and also an eating disorder. In this documentary the young girl is portrayed by the actress Nina Rakovec. The theme of mental health of youngsters is highlighted with the help of the professional counsellors.

7.0

Highway to the Arctic

Feb 21, 2017

Every winter for decades, the Northwest Territories, in the Canadian Far North, changes its face. While the landscape is covered with snow and lakes of a thick layer of ice, blocking land transport, ice roads are converted to frozen expanses as far as the eye can see.

7.6

The Corporation

Sep 10, 2003

Since the late 18th century American legal decision that the business corporation organizational model is legally a person, it has become a dominant economic, political and social force around the globe. This film takes an in-depth psychological examination of the organization model through various case studies. What the study illustrates is that in the its behaviour, this type of "person" typically acts like a dangerously destructive psychopath without conscience. Furthermore, we see the profound threat this psychopath has for our world and our future, but also how the people with courage, intelligence and determination can do to stop it.

7.7

The Silence

Jan 1, 2015

There are children. There are those who abuse them. And there are those who know, but never tell.

8.7

Femmes prêtres : vocations interdites

Jan 28, 2025

No overview available.

0.0

Hell

Oct 16, 2019

Chennu committed his first crime when he was 15 years old: being a street kid. And he entered hell: Pademba Road. The adult prison in Freetown. In hell, Mr. Sillah is in charge, and there is no hope. Chennu got out after four years. Now he wants to go back.

6.6

Stop for Bud

Dec 17, 1963

Stop for Bud is Jørgen Leth's first film and the first in his long collaboration with Ole John. […] they wanted to "blow up cinematic conventions and invent cinematic language from scratch". The jazz pianist Bud Powell moves around Copenhagen -- through King's Garden, along the quay at Kalkbrænderihavnen, across a waste dump. […] Bud is alone, accompanied only by his music. […] Image and sound are two different things -- that's Leth's and John's principle. Dexter Gordon, the narrator, tells stories about Powell's famous left hand. In an obituary for Powell, dated 3 August 1966, Leth wrote: "He quite willingly, or better still, unresistingly, mechanically, let himself be directed. The film attempts to depict his strange duality about his surroundings. His touch on the keys was like he was burning his fingers -- that's what it looked like, and that's how it sounded. But outside his playing, and often right in the middle of it, too, he was simply gone, not there."

Tangled Roots

Overview

Genres

Production Companies

Tangled Roots Trailers