
            This film is about the experience of dying. Five terminal patients in a Palliative Care Unit at Toronto's Grace Hospital share the last days of their lives and deaths with a film crew, having already given prior consent. They do so in the hope that their experience will be useful to the audience in managing its own fear of dying and death. Their families, friends and staff share in the task. Without narration or interviews, the camera simply and intimately observes the events that occur over the course of fourteen weeks as five people come face to face with the doorway through which we all must pass. While some pass suddenly, for others the process is unpredictable. Several die alone. The film traces equally the profound humanity, generosity and sensitivity of the staff at the hospital: with great gentleness and understanding they accompany each of the patients to their final moments. King's choice of subjects is equally moving: while the age of the individuals is hard to guess, most seem to be quite elderly, although ravages of their respective illnesses make it difficult to be sure: an Italian-Canadian grandmother, a stoic woman whose entire family has predeceased her, a former motorcycle gang member, a gay man, whose partner and mother and father comfort each other. Both the film and the hospital's staff allow every one of them to be themselves to the best of their ability and this aspect is one of the film's most moving qualities. It is a classic among the few documentaries that attempt to accompany individuals over their last days.
    

Dying at Grace


            The film unmasks myths about dementia. People do not lose their minds, feelings or identity. Residents at a Toronto Jewish sen-ior care home share their daily lives with three filmmakers for four months. Spontaneously and without direction they express with great power their feelings of love, hate, and humour; their happi-ness, anger and loneliness; and especially their need for love.
    

Memory for Max, Claire, Ida and Company


            Born of talks with four hundred disaffected teenagers in the suburban belt around Toronto, the film reflects their recurring theme: "Wouldn't it be great if we weren't hassled by parents and police, didn't go to prison-like schools and could just get out of this polluted city and into the coun¬try and hang out with a bunch of kids like ourselves." Would it? The filmmakers invited five boys and five girls ages 13 to 19 to live on a farm for ten weeks, to be filmed, and to see what might emerge for each of them personally. In often subtle ways, each of the explorers discovered something about themselves. And, in a gentle, funny and touching way, the audience is allowed to re-experience what it is like to go through the stress and alienation of adolescence and come out whole on the other side. The film vividly captures the seismic shift in persona, social values and power from parents who grew up in the Depression and World War II to baby-boomers, who created a counter culture that dramatically altered the way we look at the world. The reshaping of family life, which the pill, divorce and new sexual mores produced: women working outside the home, the dramatic increase in wealth, the explosion of new suburbs and housing all brought new freedom and disturb¬ing stress. We are digesting it still.
    

Come on Children


            
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Allan King

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