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MUFF 2014 Jury Prizes

“We were so impressed by the quality, variety and sheer talent we saw in the nominated works that it was very hard to make the final decisions. In the end, the winners are strong examples of three very different types of filmic practices. We were especially impressed by the carefully considered relationship between sound and image in all three works.”

Nikki Forrest, Kandis Friesen and Dayna McLeod
(MUFF 2014 Jury members)

The MUFF 2014 winners are:

First PrizeFirst Prize
Raphaëlle Bilodeau
15:10 | Canada | 2013 | French | Vidéographe

Second PrizeSecond Prize
Allan Brown
5:23 | Canada | 2014 | English

Ex-aequo PrizeThird Prize
1:26 | Canada | 2012 | French
Le Groupe Intervention Vidéo (GIV)

MUFF 2014

9th Montreal Underground Film Festival
May 22, 23, 24 & 25, 2014


OPENING NIGHT, Thursday, May 22nd
BAR POPULAIRE (6584 St-Laurent, corner St-Zotique)
With DJ Ouija

FESTIVAL NIGHTS: Friday, May 23rd & Saturday, May 24th
MATINÉE: Sunday, May 25th

MICROCINEMA [   être] (6029A ave. du Parc)

See the complete schedule >



MUFF celebrates and promotes low-budget filmmakers who challenge the limitations of mainstream cinema, making the world a more exciting, engaging place to live.

We showcase inventive filmmaking that pushes the boundaries of independent film. We encourage experimental work that is radical, visionary, subversive.

MUFF is a small, dedicated collective of programmers in search of creative moving image work featuring any experimental combination of narrative, non-narrative, documentary, animation, sound, style, performance.

We are looking for films that highlight the power of the paracinematic to disrupt the status quo—deviant work, unafraid to challenge and enrich the spectator’s relationship to the everyday and to the medium itself.

MUFF is committed to the idea that some of the most unique and critical voices are those that come from the margins—artistic, social, cultural, political. Expose your vision to MUFF!

“I've never bought that cliché that you should never take people out of the narrative, take people out of that dramatic illusion. I'm more of a person who loves his grandmother. I'm thinking when a grandmother sits at the foot of your bed and tells you a bedtime story, you get absorbed into the story, you notice her style of telling a story. Some parts you should tell badly, other parts charmingly. You're totally sucked into the story. You've been scared, moved, engaged, and then every now and then you notice your grandmother has a dental whistle or a nose hair or that she's getting pretty wrinkly and that she's sitting on your foot, and then you go back into the story. I'm one of those filmmakers that likes to show the grandmother.” — Guy Maddin