![]() She has tasted the forbidden fruit of dramatic features, celebrated the work of other artists in her own making, created a movie a day for an entire year for internet/cel phone perusals. Midi has dedicated herself for more than three decades now to opening doors which look like walls to most people. So it was doubly remarkable when she left behind the narrow guage formalisms that were the unspoken code for correct practice and produced Ten Cents a Dance (Parallax), a movie which combined the structuralist motives of a previous generation with queer sexual mores. Because I tried as hard as possible to imagine that no one else existed in the world, we didn’t speak much, but she was a reliable presence, at once equipment geek and hipster, adding a rare edge of glam to a dowdy east end haunt notable for its mirthless, uptight gatherings. She was in charge of the gear, and was the first person I knew whose hair colour came from a bottle, the first woman I knew who was romantically attached to another woman, all those facts arrived together somehow (yes, it was a long time ago). I met her at the Funnel, Toronto’s avant hope and movie theatre and sometime equipment co-op. ![]() Camera Obscura for Dreams: an interview with Midi Onodera
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