My Winnipeg (2007) 1080p YIFY Movie

My Winnipeg (2007) 1080p

My Winnipeg is a movie starring Darcy Fehr, Ann Savage, and Louis Negin. Fact, fantasy and memory are woven seamlessly together in this portrait of film-maker Guy Maddin's home town of Winnipeg, Manitoba.

IMDB: 7.60 Likes

  • Genre: Documentary | Comedy
  • Quality: 1080p
  • Size: 1.53G
  • Resolution: / fps
  • Language: English
  • Run Time: 80
  • IMDB Rating: 7.6/10 
  • MPR: Normal
  • Peers/Seeds: 14 / 36

The Synopsis for My Winnipeg (2007) 1080p

Filmmaker was born, raised and has always lived in Winnipeg, Manitoba, a town where he says everyone sleepwalks through life. He is trying to escape Winnipeg, but isn't sure how as he isn't sure what's kept him there in the first place. Perhaps his parent's month long 65th wedding anniversary celebration (despite his father being dead for some years) where he will reenact his childhood (with actors playing his family, except his mother who plays herself) in the old family home at 800 Ellis Avenue, which was above the family's hair salon business, will provide some answers. He recounts some civic events which have affected him and the life of Winnipegers: the 1919 general strike, the destruction of the Wolseley Elm in 1957, and the replacement of the iconic Eaton's building for the new hockey arena in favor of the old Winnipeg Arena. The latter has an especially close connection to him because of a family tie and the rich history of hockey in the city (discounting what he ...


The Director and Players for My Winnipeg (2007) 1080p

[Director]Guy Maddin
[Role:]Amy Stewart
[Role:]Darcy Fehr
[Role:]Ann Savage
[Role:]Louis Negin


The Reviews for My Winnipeg (2007) 1080p


Our WinnipegReviewed byBandofInsidersVote: 7/10

In My Winnipeg Guy Maddin takes up the task of vicariously reliving his childhood though making a movie re-creating his childhood. Maddin's pseudo documentary is constantly unpredictable film about a constantly predictable city. Maddin's unconventional travelogue absurdly examines the local history and folklore of Winnipeg while investigating Maddin's personal choice to never leave this sleepy snow drenched city.

Maddin decides to begin the process of documenting his time spent in Winnipeg by subletting his childhood home and hiring a group of actors to play the roles of his family members. Ann Savage takes on the role of Maddin's mother and the wheels begin turning on our Freudian nightmare. Winnipeg has the same strange magnetic pull on Maddin as his mother does and he intends to find out why. Maddin leaves no stone unturned and investigates multiple aspects of life in Winnipeg no matter how strange or preposterous. In his quest to find himself and find what lies at the heart of "his" city Maddin paints a portrait of Winnipeg that is at one point full of contempt for his hometown and at another filled with enchantment for it.

An aspect of this film that makes it so interesting is the fact that Maddin decision to not change his longtime visual style actually works out for him even while working in a new "genre" for him. I use the word "genre" loosely. The characters and local oddities we encounter are constantly alluring and intriguing. While at times it may be confusing why Maddin decides to set his camera on certain subjects by the end of the film everything fits into place. At its best My Winnipeg is an oddly heartfelt tribute to a city that has burdened yet inspired Maddin for his entire life. At the least My Winnipeg is a testament to Maddin as a producer who by some miracle convinced the Documentary Channel to fully commission a film so unique and so unmarketable.

A haunting, humorous, and wholly wondrous dream of a documentary.Reviewed byHooper450Vote: 7/10

You could say that Guy Maddin makes films for the dreamers.

No other filmmaker alive puts so much effort into chipping away at the audience's sense of logic and running them through a grinder of their own twisted subconscious.

Beginning with his feature debut Tales from the Gimli Hospital in 1988, Maddin has remained furiously independent, the closest he's ever come to mainstream success being 2003's The Saddest Music in the World, which acted as a kind-of holy grail for film buffs and those obsessed with the days of cinema past. My Winnipeg may be the purest distillation of his unique aesthetic vision to date, almost surely because it's paradoxically the most personal and fantastical.

In essence, the film is a love-letter to Maddin's hometown of Winnipeg, Manitoba. It's a rueful love-letter though, because the film opens with the director hurriedly explaining that he needs to, has to leave forever. But he can't bring himself to do it. The solution? He'll hire actors to recreate scenes from his childhood, in a desperate attempt to attain some obscure kind of closure. In a fabulously inventive instance of casting, B-movie veteran Ann Savage (Edward G. Ulmer's Detour) plays his "real" mom playing herself.

Maddin augments the often hilarious film-within-a-film with bizarre "facts" about Winnipeg, like how it has the 10 times the sleepwalking rate of any other city or that Maddin himself was born in the locker room of the local hockey arena only to return three days later as a newborn to attend his first game. These half-truths attain a kind-of mythic status when combined with Maddin's haunting visuals that, like most of his filmography, harken back to the choppy, rapid-fire pace of German expressionism and the heart-on-sleeve emotion of '40s and '50s melodrama.

It shouldn't be surprising how funny My Winnipeg is, considering that Maddin might be the most unpretentious avant-garde filmmaker of all-time. His casual, matter-of-fact narration blends perfectly with the film's stark poetic images, making the many leaps of fancy that much more potent. When he describes a "secret" taxi company that operates only on Winnipeg's darkened back streets or ruminates on the beauty of "snow fossils" caused by plodding winter footsteps, it's downright impossible not to be overcome with feelings of deep nostalgia and wonder.

Maddin has made faux-biographical films before, 2006's Brand Upon the Brain the most notorious example, but with My Winnipeg, it feels like he's finally letting us in. Of course, it's just as likely that he's putting us on, and if he is, it's one of the most staggeringly beautiful con games ever committed to celluloid.

a hybrid to end all hybrids (?) with documentary, memoir, poetry all wrapped into another MaddinReviewed byQuinoa1984Vote: 9/10

Stanlkey Kubrick once said that Bergman, Fellini and De Sica were the only filmmakers who he thought weren't "artistic opportunists", meaning that whatever they made they had to make, not for any real financial consideration and that either they wrote or had other people write films for them. While I might not yet put Maddin quite as high in the ranks of masters as those Kubrick mention (albeit I've yet to see some of Maddin's obscurer efforts like Careful), I would add Maddin to that list of those in terms of never making a film to sell out or go for commercial pursuits. He has to make films like My Winnipeg just as Allen Ginsberg would have to pick up a pen and write about the city. And every time he makes a film it's about film-making, about himself, about life and history and family and finding oneself over and over. Maddin is more accurately like Fellini in that if one were to ask "are you self-indulgent" they would say (maybe deadpan maybe not) "Yeah... And?"

In the case of My Winnipeg he takes a character on a train as the centerpiece (very loosely one at that) and transposes on him going through history - of the city of Winnipeg, of childhood, of and of his own sort of mental state connected to both. This "character" of sorts, if he even is one, is making a film about his family (because nothing says self-portrait like that) casting actors in the roles of his brothers and sister (even if one of them has been deceased for decades) and Ann Savage as his "mother" who in the film within My Winnipeg is a slightly loopy actress who can't always remember her lines. But for Maddin this isn't enough, of course, so he puts in folklore, the lineage of hockey in the city, of the tragedy of the hockey arenas (one being demolished the other sprouting up like a corporate weed), of what the city is like in January, what it's like to go to the local three-tier swimming pool, or the mystical power of forks - not silverware, like forks in the road.

As with other Maddin works like Brand Upon the Brain, one cannot really see My Winnipeg as classifiable. You just have to see it for yourself. I'm not sure if this is the best place to start with My Winnipeg, but it couldn't hurt. The only very slight thing, not exactly a downside, is that the completely and wonderfully cracked sense of humor Maddin has is not quite as in full force as in his masterpiece Brand Upon the Brain. And while the scenes with Ann Savage are rather incredible just for their 'is-it-or-is-it' sense of autobiography (maybe the deer scene is based on a real thing and the 'give-us-dinner-or-parakeet' isn't is a juicy question), they don't quite strike the same person chord as when Maddin goes into, oddly enough, documentarian mode with the city.

In part this is through him talking, as if in a mode not too unlike Michael Moore in Roger & Me on Flynt, to begrudge something like the old department store being demolished into a gaudy hockey arena that barely even counts as anything, in his eyes. It's moving to see him, as narrator, describe what happened to the hockey teams, those arenas, and then how one level didn't demolish since it was added on by the NHL in the 70s. Even better still is to see him insert "footage" of an senior-citizen hockey team that continues to play even as demolishing is taking place in the old Winnipeg arena. It all gets capped with a reminiscing of his father, who he says died a slow death, "shrinking in smoke until he was gone" once he lost his job at the hockey arena.

My Winnipeg is loaded with visual wonders that include the three "symbols" that seem to overlap the dreamer on the train (one of these might be a woman's crotch, I still can't be sure), the images of Ann Savage as a super-omniscient Mother of Winnipeg, and that pug, apparently a girlfriend of the director's, wandering around in the snowy January nights. My Winnipeg is epic poetry and epic film-making, but compact and made personal and warped, like digging through a wizard's scrapbook. 9.5/10

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