By Tom McSorley
Certainly one of Canada's pre-eminent auteur filmmakers, Atom Egoyan has been celebrated across the world, incomes a number of awards from the celebrated Cannes and Toronto movie gala's and an Academy Award nomination. considered one of his so much comprehensive and debatable early works, The Adjuster, is a gloomy drama concerning the complicated and excessive dating among an coverage adjuster and his clients.
In this available research, Tom McSorley lines the genesis, construction, and reception of Egoyan's fourth characteristic movie, from its Cannes movie competition optimum to its North American advertisement unlock. The e-book locates The Adjuster within the higher context of Canadian cinema history's extraordinary and infrequently bothered evolution, and gives 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 examine 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 info for Atom Egoyan's The Adjuster (Canadian Cinema, Volume 3)
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.
While relatively modest compared with its presence in later works, video technology in Next of Kin functions as a mode of introspection (videotaped family therapy sessions are watched separately by Peter’s family members), a portal into some kind of familial ‘knowledge’ and increased self-awareness, and the primary source of dramatic irony (Peter and the spectator are aware of his plan, the Deryans are not). The video camera is the engine of narrative action in this ﬁlm. Egoyan occasionally intercuts video images of Peter staring into the camera to underscore Peter’s consciousness of his pretence, his ‘performance’ of being a son and a brother.
26 3 Before the Fire Consider for a moment the narrative structures, thematic concerns, and philosophical questions posed by Egoyan’s three feature ﬁlms before The Adjuster. All three are set within the intense and idiosyncratic dynamics of ‘the family’; all three explore technology in these families and how it functions as an agent of memory and identity; all three incorporate passages shot on video and woven into the ﬁlmed sequences; all three revolve around benumbed, ambivalent, remote male protagonists lost in dubious quests for self-afﬁrmation in their lonely lives; all three examine and develop the notion, which is elaborated further still in The Adjuster, that empirical knowledge in an accelerating technological world cannot and even should not be trusted, as there is both more and less to the picture than meets the eye.