Vancouver artist Judy Radul presents Michael Snow’s Standard Time (1967) and La région centrale (1971), along with a recorded discussion between her and Snow, as part of the launch of the new location of Catriona Jeffries Gallery. Its inaugural exhibition on Cordova Street is structured as an Unexplained Parade, with each gallery artist inviting a companion artist to exhibit work. Radul’s invitation was to Snow, who has worked for decades at the leading edge of experimental film and visual art.

Although best known in the last century for his rule-breaking street photography — he’s been called “the poet of the epoch of McCarthy and the Bomb” (Max Kozloff) — William Klein became a prophet of this century through his filmmaking. Klein’s iconoclastic fiction films and expressionist documentaries had transported “the apocalyptic dreams and demagogic humours of the 1950s into the [mediascape] of the three subsequent decades” (Jonathan Rosenbaum). Who better, then, to usher in the millennium?

Before Wim Wenders’s Pina, there was Chantal Akerman’s — shot on tour with Pina Bausch’s legendary dance company in 1982.

Regarded in its time as one of the best documentaries of the New Left, Troublemakers, subtitled “a film about organizing people for change,” follows the frustrated efforts of community activists to put theory into practice in an African-American community in Newark, New Jersey, two years prior to the July 1967 uprising there.