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Indigo Nothing But Time: Conversations with Peter Mettler on Life and Cinema | Erin Mills Town Centre
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In the cosmology of Canadian cinema, Peter Mettler is our seeker. From his early experimental narrative feature, Scissere, to his inventive adaptation of Robert Lepage’s Tectonic Plates, from his sprawling, Genie Award-winning essay film, Gambling, Gods and LSD, to his god’s-eye survey of the Alberta tar sands, Petropolis, Mettler has maintained a constant forge into the terra incognita of the transcendental. Applying equal rigour to preparation and improvisation, Mettler's peripatetic lens is ever gravitating toward outsiders in search of ecstatic states, strange spectacles that defy straightforward documentation, and sacred places that promise some metaphysical deliverance. With the release of the auteur's latest and most ambitious film, While the Green Grass Grows: A Diary in Seven Parts, there has never been a better time to discover Mettler's singular body of work.
In the cosmology of Canadian cinema, Peter Mettler is our seeker. From his early experimental narrative feature, Scissere, to his inventive adaptation of Robert Lepage’s Tectonic Plates, from his sprawling, Genie Award-winning essay film, Gambling, Gods and LSD, to his god’s-eye survey of the Alberta tar sands, Petropolis, Mettler has maintained a constant forge into the terra incognita of the transcendental. Applying equal rigour to preparation and improvisation, Mettler's peripatetic lens is ever gravitating toward outsiders in search of ecstatic states, strange spectacles that defy straightforward documentation, and sacred places that promise some metaphysical deliverance. With the release of the auteur's latest and most ambitious film, While the Green Grass Grows: A Diary in Seven Parts, there has never been a better time to discover Mettler's singular body of work.
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