Midi Onodera

Midi Onodera is an award-winning Canadian filmmaker who has been directing, producing and writing films for over twenty years. She has over twenty-five independent short films to her credit as well as a theatrical feature film and several video shorts. Her recent works feature a collage of formats and mediums -ranging from 16mm film to Hi8 video to digital video and “ow end digital toy formats such as a modified Nintendo Game Boy Camera, the Intel Mattel computer microscope, the Tyco and Trendmasters video cameras.

Midi’s films have been critically recognized and included in numerous exhibitions and screenings internationally. Some highlights include the Andy Warhol Museum, the International Festival of Documentary and Short Films, Bilbao, Spain; the Rotterdam International Film Festival; the Berlin International Film Festival; the National Gallery of Canada and a number of screenings at the Toronto International Film Festival. (8/14)

Available Title(s):

The Basement Girl

A film by Midi Onodera, 2000, 12 min, Color

Abandoned by her lover, a young woman finds comfort and safety in her basement apartment. Mundane routines, a diet of junk food and the warmth of the television insulate her from the pain and betrayal of her ill-fated relationship. Eventually, THE BASEMENT GIRL emerges—transformed and ready to "make it on her own". This latest film…

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The Displaced View

A film by Midi Onodera, 1988, 52 min, Color

THE DISPLACED VIEW is a film that movingly depicts the odyssey of an American-born Japanese granddaughter in search of her identity through her grandmother who is the last of the family born in Japan. The sense of isolation the granddaughter feels as a Japanese woman who cannot speak Japanese is skillfully evoked in a montage…

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Ten Cents a Dance (Parallax)

A film by Midi Onodera, 1986, 30 min, Color

Onodera's three-part reflection on contemporary sexuality and communication uses a split screen device with a new twist. In the first segment, two women awkwardly discuss their mutual attraction; the second depicts anonymous bathroom sex between two men; the third is an ironic episode of heterosexual phone sex.

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