By Tom McSorley
One among Canada's pre-eminent auteur filmmakers, Atom Egoyan has been celebrated across the world, incomes a number of awards from the distinguished Cannes and Toronto movie gala's and an Academy Award nomination. certainly one of his such a lot complete and arguable early works, The Adjuster, is a depressing drama in regards to the advanced and excessive dating among an assurance adjuster and his clients.
In this obtainable research, Tom McSorley strains the genesis, creation, and reception of Egoyan's fourth function movie, from its Cannes movie pageant most suitable to its North American advertisement free up. The publication locates The Adjuster within the greater context of Canadian cinema history's abnormal and infrequently afflicted evolution, and provides a provocative interpretation of the film's particular research of the malaise of materialism in North American tradition. Richly illustrated and that includes new interview fabric with Egoyan himself, this learn within the Canadian Cinema sequence bargains an insightful assessment of 1 of Atom Egoyan's so much looking, unsettling motion pictures.
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Additional resources for Atom Egoyan's The Adjuster (Canadian Cinema, Volume 3)
3 And so they were. Like the French or any other cinematic New Wave, these ﬁlms were made in a non-industrial, even artisanal production mode, formally daring or at the very least stylistically explorative, and produced under the total artistic control of their makers. Moreover, they were conﬁdent, unabashedly Canadian, and determined to discover and articulate in a ﬁlm style that spoke in its own Canadian voice. In Egoyan’s case, at least in the early years before his successes moved him into adopting more industrial-scale production frameworks, the 24 Out of the Ashes production model was that of the ‘team’: small and consistent crews (in particular, Mychael Danna, music; Peter Mettler and Paul Sarossy, cinematography; Steve Munro, sound design; Linda Del Rosario, production design; Camelia Freiberg, producer) and a repertory company of actors and actresses such as Arsinée Khanjian, David Hemblen, Gabrielle Rose, Tony Nardi, and, starting with The Adjuster and many Egoyan ﬁlms thereafter, Don McKellar, Maury Chaykin, and Elias Koteas.
For example, Peter Mettler shot Egoyan’s ﬁrst two features, Next of Kin and Family Viewing; Bruce McDonald edited Next of Kin, Family Viewing, and Egoyan’s third feature, Speaking Parts. There are numerous other examples. The work of this period is, in retrospect, surprisingly consistent in its aesthetic daring, its experimentation, and its unconcealed Canadianness. The accelerated, by Canadian standards, evolution of these ﬁlmmakers’ careers was also bolstered by the establishment of the Ontario Film Development Corporation (OFDC) in 1985.
Family Viewing. Courtesy Johnnie Eisen. © Ego Film Arts. 3. Sexuality and technology: Stan and Sandra. Family Viewing. Courtesy Johnnie Eisen. © Ego Film Arts. ATOM EGOYAN THE ADJUSTER tense and troubling case of a dissociative family unit whose psychological murk is both illuminated and rendered more complex by the forms and functions of technology in the lives of that family. In this ﬁlm we see surveillance video cameras in public spaces, cameras and recorders for Stan and Sandra’s home-made pornography, sequences shot and edited as though they were ‘real’ television sitcoms featuring Van, Stan, and Sandra.