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illuminated by red when she is courted by Matt, "embodying the uncontained sensuality and sexuality of a noir vamp". Matt is also thematically connected to darkness because of his basement apartment and attitudes like sitting in the dark and jumping out of the darkness at Sandra leaving the funeral home. Stopkweich said, "Darkness too plays a part if only to differentiate from the 'light' of Sandra's experience". Paakspuu wrote that Matt's darkness is shown by his interest in alternative realities and his lack of own motives that makes him try to fill that gap by making Sandra's interest his own. While she is associated with nature, shyness, and virginity because of her pagan and ritualistic's world, Matt's one is linked to science and technology and is claustrophobic and distracting. As such, their soundscapes reflect a
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necrophilia". As such, she made cinematic choices that fit it; for example, she tried to create intimacy during the sex scenes so the audience would not feel like they are stalking her. Instead, the protagonist looks directly to the camera when she has an orgasm in a confrontational way. Stopkewich chose to have a white light in this moment to make it possible for people to see how others are reacting and discourage people from walking out in the middle of the film. The director also said she was confronted by people angry "with the fact we've created this character who is totally inaccessible from a male, heterosexual standpoint", and commented Sandra's sexual acts were not
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because she had never seen a woman director. After reading the script, Parker was interested in the role and performed it to
Stopkewich, who was impressed and cast her. By August 1994, all other main roles—Peter Outerbridge and Jay Brazeau—were cast. For Outerbridge's part as Matt, Stopkewich appreciated Fraser's help since the story was written and directed from a woman's point of view. Matt's character became a counterbalance in a female-centric world and Fraser's constat revisions were essential to create a "full-dimensional Matt". She dubbed him the
662:"the Disney version of a film about necrophilia", which Parpart agreed when she analyzed the different portrayal Sandra had in Gowdy's short story. Parpart said Stopkewich "de-radicalize" core aspects of the original story by removing its emphasis on middle-aged femininity, adding a spiritual tone that makes her sound inoffensive, making changes in her voice tone, and changing its ending to one that aligns Sandra with the domestic values of loyalty and monogamy. She also stated that the fact that the characters's deviant sexuality is contained within a
731:, in which blinding fades to white denote the protagonist's desire to be free from the constraints of social status. Sandra's necrophile acts are the moments in which fog filters are used to create a "spirit-filled glow or 'aura' around the characters" that "intensify the lyrical, dream-like quality of 'crossing over'", as described by Paakspuu. Lee Parpart argued that the use of fog filters, halo effects, beloweye-line shots, and the white light made
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film ends with the line "I still work at a funeral home, and I still cross over. But now I see Matt when I look at the centre". According to
Parpart, this ending diminishes Sandra's sexual extremism by "aligning her with the domestic values of loyalty and monogamy" because it portrays Sandra as Matt's soulmate even after his death, and as a kind of "necrophiliac widow who will forever be haunted by the memory of her favourite corpse".
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questions of sex and death, one's first date, and one's first sexual experience. By introducing her through flashbacks as a young girl, Stopkewich desired to create sympathy for the character in order to make her socially inappropriate, taboo passions more acceptable by the audience. Ultimately, Stopkewich described the film's focus as "really kind of a sweet emotional journey with this coming-of-age of this young woman".
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friend Carol. At one point, Sandra is reprehended by Carol when she thinks Sandra had rubbed herself with animal blood when it is actually menstrual blood. According to
Paakspuu, Carol's reaction could be interpreted as demonstrating a moral belief system that opposes a "good" blood (menstrual/life giving) to a "bad" one (from death/injury). By doing that, Stopkewich subverts what would be common and naturalizes the
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actually met a necrophile, nor did she research the topic extensively. She only visited one funeral home before the shoot, declaring it was not her aim to make Sandra "a spokesmodel for all necrophiles". Instead, she set out to create what she called an "unforgettable character," attempting to "put aside my own critical and moral judgments and allow myself to truly enter into the world of the characters".
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instead focused on her experiences as a child and young adult. Stopkewich stated "We So Seldom Look on Love" was an ideal story for a low-budget adaptation because it only featured two main characters and had few locations. The desired 1970s-like setting also helped in decreasing production costs due to thrift shops and garage sale scenarios being cheaper than a "contemporary look".
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323:) who also must study corpses for his major. Matt and Sandra begin to date, and Matt is intrigued by Sandra's death fascination. Occasionally they spend nights together in Matt's basement apartment, but Sandra always leaves for late night visits to the mortuary to celebrate the dead bodies of young men with dance ceremonies which escalate into
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article described it as having "feminist intelligence". Stopkewich herself talked about not transforming the main character into an object; she instead wanted her to be the subject of the scenes she was in. She declared, "it was crucial to empower Sandra's sexuality when we finally see her engaged in
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type of character". She was having difficulty to find such an actress and was "desperately looking for someone to play that part" since the film was already in pre-production. By chance, main actress Molly Parker was friend of the film's cinematographer
Gregory Middleton and wanted to meet Stopkewich
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to the story for an undisclosed sum in May 1994. Stopkewich described her version as "an interpretation of the piece, not so much a literal translation", and stated the she did not include some details because of the film's low budget. Mainly, she omitted details about the main character's family and
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In college, Sandra studies biology, carefully dissecting the bodies of small animals, trying to avoid disfiguring them. She gets a job at a funeral home to be closer to dead bodies. The funeral home's janitor Jan (James
Timmons) believes, like Sandra, that dead bodies still have a soul in them. While
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As far back as Sandra Larson (Parker) can remember, she has been fascinated by death. As a child, she dances with the corpses of animals at night, rubbing them on her body, before giving them a funeral. She performs this dance in front of her only friend, a girl named Carol (Jessie Winter Mudie), who
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Parpart noted Sandra is portrayed as "unambiguously heterosexual" both in the short story and in the film. Although Matt suggests that Sandra might be lesbian, Sandra, surprised, dismisses it in the film, and "her blinking, startled expression at the thought of sleeping with a dead woman rather than
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reported it costed under $ 1 million. Some sources provide detailed numbers for some investors, but not all. For example, Parpart mentioned the
University of British Columbia contributed a grant of $ 3,400; the Canada Council Media Arts provided a grant of $ 47,000; British Columbia Film contributed
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There are divergent information for the film's budget by different sources. During a 2003 British
Columbia Supreme Court's case in which John Pozer sued Lynne Stopkewich over the film's rights, he affirmed the invested $ 20,000 of its $ 175,000 production budget. Scholar Lee Parpart said it was done
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rewrote the screenplay in August 1994, principal photography took five weeks between
September and October. To reduce costs during the filming, Stopkewich had the idea of using the company's production office as a film set; after painting and decoration, it became both the funeral home interiors and
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Her goal was to explore Sandra's "interior world" by focusing on the life experiences she had in common with the character—like growing up in the suburbs, burying dead animals, keeping secret objects hidden under the bed, disco dancing, facing one's mother after the first menstruation, dealing with
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About this topic, Stopkewich said: "I liked the idea of the white light, because I thought, 'If I have it at really critical moments where people might be walking out, then the theatre will be filled with bright light and you'll be able to see who's leaving—so they'll feel really embarrassed! It's
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commented that the film's opening voice-over "invit us to eroticize death in transcendent and spiritual ways" and that the light/darkness palette "symbolize the story's libidinal and spiritual forces". Similarly, Paakspuu said the voice-over was used to poeticize the narrative and express Sandra's
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Parpart further said
Stopkewich's Sandra never utters "necrophile" and "cunnilingus", both used in the short story. Also, Gowdy's story concludes with Sandra saying, "I am still a necrophile, occasionally and recklessly. I have found no replacement for the torrid serenity of a cadaver", while the
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Paakspuu analyzed that Sandra's obsession with death is associated with her first menstruation—an addition done by
Stopkewich that fills in details that have only been implied in Gowdy's story. One of the first moments Sandra realizes her passion is when she is playing with dead animals along her
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Generally, necrophiles most commonly present as single persons with an above-average IQ, a propensity for atypical belief systems, and who generally work in death-associated occupations. This is the inspiration behind the main character of the film, Sandra. Stopkewich expressed that she had never
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Matt becomes distraught when he discovers that he is competing with dead bodies. He tries unsuccessfully to get Sandra to talk about her necrophilia, so he starts visiting her at the funeral home, which upsets her. Matt has to go to an extreme to win Sandra's heart, as she struggles with choosing
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Paakspuu noted Stopkewich created a moral dichotomy through her symbolic use of lights, colour palette, scenarios, and sounds in the film. Sandra, presented as "a light-drenched angel" in Paakspuu's words, is shown in sparsely decorated grey-blue that mirrors the clarity of corpses. She becomes
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We were literally choosing or rejecting shots based on whether Molly looked good in them, whether she looked soft or empathetic, or whether she came off looking harsh, or if her delivery of a line was at all edgy … it all had to go in that direction. That was the task of the movie: getting the
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was meant to be symbolic by Stopkewich, who was influenced by Gowdy's description of Sandra's sexual acts as "being like being burned by a white light". Since necrophilia is usually seen as a morbid subject, Stopkewich tried to subvert this perception by making Sandra "a child of light (and by
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provided a 50 percent deferral of scale as part of an agreement with UBC. After receiving a $ 3,400 grant from UBC Film Department, Stopkewich invested $ 36,000 of her own money for a total of $ 80–100,000 raised with the help of co-producer Dean English, Pozer, family and friends. The main
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430:, while working on another film script in February 1994. The short story, itself inspired by the Greenlee's case, impacted Stopkewich because of its originality and non-judgmental tone, and it impressed her so much that it began to negatively affect her writing process.
735:"sells its blood-loving lead character as a sensitive figure whose stated motivation for sleeping with dead bodies ... becomes all the more believable and acceptable because she is lit and shot in a way that lends her a kind of otherworldly beauty and innocence".
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context helped its normalization. On the other hand, Parpart observed the film had a modernist desire to provide audience with intellectual discomfort as evidenced by Stopkewich's use of white light to constrain walking out people. She further declared it fit
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spirituality and worldview. Specific camera movement—swooping, spinning, and soaring—was also singled by Paakspuu because she considered it helped to contrast her necrophile acts as moments of "heightened sense of euphoria" in opposition to daily activities.
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stated that "There's much of interest here, and though it's rare and refreshing to find a film that genuinely tries to address the subject of death directly, Kissed is likely to leave its audience as cold as the objects of its heroine's desire".
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said its shooting costed $ 60,000 and that Stopkewich raised alone $ 80,000, while scholar Kalli Paakspuu commented she invested $ 36,000 herself and that her company was $ 400,00 in deferals and investment recoupment before the film's release.
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would be "an act of interpretative magicry", scholars usually interpreted it as possessing "emancipatory narratives and allegories of women's empowerment" or at least "feminist ambiguities" that depicts "extreme female sexual transgression". A
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reports an 68% approval rating based on 22 reviews, with an average rating of 6.7/10. Mostly positive commentary was directed towards Stopkewich's capacity of handling such a subject in a subtle and sensitive way and to Parker's performance.
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noted that "it would be easy to snicker at this Canadian film, were its subject not handled with a delicacy and lyricism that underscore the mystical rather than gruesome aspects of what Sandra cooly acknowledges is a consuming addiction".
418:, a young California woman caught in a necrophile act with a male cadaver in the late 1970s, got her attention. Another reason that attracted her to the theme was the reading of "We So Seldom Look on Love", a 1992 short story written by
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association) of goodness". The director said: "We used burns to white whenever Sandra touches death to play against the idea of a cold so deep it is seen as a white light". The whiteness was also influenced by and a homage to German
873:, the film was seen by 77,887 people in the continent. The highest attendance occurred in Italy (over 19,000), the United Kingdom (18,000), and Germany (11,000). The film was described as "an art-house hit" and as a "indie hit" by
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story affirmed Stopkewich, English and Pozer, through her own money, family and friends, raise about $ 100,000; the Canada Council provided $ 47,500, Telefilm offered $ 25,000, while British Columbia Film paid about $ 45,000.
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features "contradictory impulses" in the simultaneous wish to have the audience sympathy and to keep them out of their comfort zone that make difficult to say if it is or not a feminist film. On one hand, Stopkewich called
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degree, an honor which she acquired in 1996. As such, the film was self-funded, Stopkewich mostly used UBC's equipments and several crew members were film students. Other crew included newcomer filmmakers such as
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films and the that white light was used to make the audience understand that it was a spiritual experience. Parpart declared Sandra "seek out a kind of sexual-spiritual union with the cadavers". Peter Bowen of
537:, Boneyard Film—a Vancouver-based enterprise incorporated with Stopkewich, Pozer, and English—went $ 400,000 into debt during the film's production, while Stopkewich herself had a $ 30,000 debt in 1996.
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called it "arguably the most provocative debut in the annals of Canadian cinema" and included both Stopkewich and Parker in a 1997's list of "100 Canadians to Watch". On the April 12, 1997 episode of
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on September 7, 1996. Although it has been described as "one of the most controversial films" at the festival by Ebert, it was acquired by commercial distributors in only few days. According to
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671:'s trend for female icons who balance empowerment with sexual availability and allure, and functioned as part of the debates within 1980s feminism in North America, including
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driving the hearse with a body in a coffin in the back through a car wash, Sandra looks at the body and finds a shining light, believing that body's soul is alive somewhere.
959:. Between the aftermath of its wide release and the end of 1997, Stopkewich was receiving a lot of potential scripts from Hollywood and elsewhere. Until acting as Sandra in
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under a budget of precisely $ 473,850, while coproducer Dean English declared the final budget was not yet determined by 1997 but that is should come around $ 750,000.
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said it "is about a necrophiliac, but in its approach, it could be about spirituality or transcendence." Totaro stated the film " not about necrophilia at all", but a
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Because of an eight-week opportunity to use equipment at discount, Stopkewich wrote the first draft in only a week to then start its filming. After Stopkewich and
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557:. Because of that, during the first week of shooting, only select rushes were processed to ensure the filming was good. In 1995, after editing was finished on a
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The film has been usually described as a drama, a romance, a dark romance, or an erotic story with black humor elements. Judy Gerstel of
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Parpart, Lee (2010). "Feminist Ambiguity in the Film Adaptations of Lynne Stopkewich". In Austin-Smith, Brenda; Melnyk, George (eds.).
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Matt's basement apartment. The initial sum of money allowed the film to be shoot, but was not enough to develop the film stock, so the
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article "Canadian Film History: Notable Films and Filmmakers 1980 to Present" highlighted it, calling it "a highly successful" piece.
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also stars as Matt, a fellow student who develops romantic feelings for Sandra, and so must learn to accept her sexual proclivities.
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642:-driven, free spirit, in touch with her feelings and emotions—a loner with the sensitivity of a poet", and said that her quest for
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Mr. Wallis apprentices Sandra in embalming. She starts studying mortuary science, where she meets a medical student named Matt (
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1323:, however, said it "fits no known genre", describing it as "something like a romantic comedy with a stake through its heart".
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Schaefer, Glen (November 5, 1997). "Kissed by good fortune: Director Stopkewich, film nominated for eight Genie awards".
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grossed $ 37,100 on eight screens. After 141 weeks in theaters in the United States, it grossed $ 329,211, according to
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reported it "caused a stir and a bidding war" at Toronto and that on October 4, 1996, at least 300 people could not see
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For the main role, Stopkewich originally desired to cast a blonde woman, since the original story described her as "a
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grant, which resulted in a $ 47–47,500 sum. Sound recording was done between November 1995 and March 1996. The use of
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was that it was so sensitive, so poetic and so strangely inoffensive". It has been described as bold debut film;
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475:(UBC); the first draft was written by her in July 1994, and it was shown as her thesis project under the title
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under the Unforscene Music imprint in 1997 and featured music appearing in and recorded for the film.
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a dead man arguably helps to further normalize Sandra's otherwise hugely unorthodox sexual aims".
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artist. Stopkewich gathered some money and experience with low-budget films from working as the
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informs a total gross of $ 465,417. The film was also marketed in Europe and, according to the
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2973:"Kissed (Original Motion Picture Soundtrack) - Original Soundtrack | Songs, Reviews, Credits"
399:"We So Seldom Look on Love", a 1992 short story about a necrophile written by Barbara Gowdy (
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reported it was acquired by U.S., Canadian and international distributors in one day, while
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cover, and attracted the attention of several directors and producers, including British
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The film opened in Canada on nine screens on April 11, 1997, where it was distributed by
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Birnie, Peter (April 11, 1997). "Stopkewich makes sense of what some moviegoers can't".
2002:. Department of Theatre and Film Studies, University of British Columbia. Archived from
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reported that, despite its taboo-subject, "what shocked many of those who actually saw
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Lacey, Liam (May 16, 1997). "Kissed stops the French press, cold dead controversial".
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considered acquiring its American distribution rights, but ultimately it was done by
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for completion money and $ 45–162,000 from British Columbia Film to adapt it to
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at a mortuary school, where in turn she finds herself drawn toward feelings of
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had no particular interest in death or necrophilia. However, an interview by
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Dafoe, Chris (April 10, 1997). "Filmmaker embraces necrophilia in person".
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Anaconda/Grosse Point Blank/Paradise Road/Keys to Tulsa/Kissed/Mabarosi
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feminist reconsiderations of the role of pornography and its censorship
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s Donato Totaro said that a metaphorical interpretation of the film as
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2365:"B.C. Scene: Hundreds of Vancouver film festival goers get Kissed off"
1457:"B.C. Scene: Kissed by success: Stopkewich film makes necrophilia pay"
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helped the Canadian film industry to acquire international notoriety.
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machine in Pozer's mother basement, the production team applied for a
1683:"Canadian Film History: Notable Films and Filmmakers 1980 to Present"
634:. Paakspuu, in the chapter "Lynne Stopkewich: Abject Sexualities" of
1508:"Special Report: Toronto International Film Festival: Diary: Kissed"
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Paakspuu, Kalli (2007). "Lynne Stopkewich: Abject Sexualities". In
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Gerstel, Judy (April 11, 1997). "New meaning for dearly beloved".
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Many film critics considered that necrophilia was not the subject
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Magder, Ted; Handling, Piers; Morris, Peter (November 29, 2019).
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276:'s short story "We So Seldom Look on Love". It premiered at the
3017:. Waterloo: Wilfrid Laurier University Press. pp. 43–66.
504:, 1994) contributing to the art direction, and her companion
2883:"Alt.sex.documentarie: Cristine Richey's Tops & bottoms"
843:. Although the company did not disclose box office numbers,
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received a warm reception and was the first sell-out of the
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3008:. Edmonton: University of Alberta Press. pp. 385–403.
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Canadian Cinema Since the 1980s: At the Heart of the World
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said it gained a commercial distributor within five days.
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The original soundtrack album for Kissed was released by
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reports it grossed $ 256,000 at the Canadian box office.
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Jessie Winter Mudie as Carol, young Sandra's best friend
1975:"The 1997 Genie Awards: The screenplays: paper movies"
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between the living or the dead, with tragic results.
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Don Macdonald – Opening in Darkness (Original Score)
967:. After receiving critical acclaim, she appeared in
2391:"Kissed draws sell-out crowd: Postcard from Cannes"
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646:and deviant sexuality made her "a woman to fear".
287:as Sandra Larson, a young woman whose fixation on
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1298:$ 162,000; and Telefilm contributed $ 25,000. A
857:. In its opening three-day weekend on April 18,
553:offered its facilities to process and print the
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3015:The Gendered Screen: Canadian Women Filmmakers
1226:Don Macdonald – Vanity Mirror (Original Score)
828:because it was crowded. Its exhibition at the
651:The Gendered Screen: Canadian Women Filmmakers
403:) was Lynne Stopkewich's main inspiration for
1196:Don Macdonald – Bird in Hand (Original Score)
747:and animals' sound effects stand for nature.
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1104:Performance by an Actress in a Leading Role
2920:Academy of Canadian Cinema & Television
2096:"Necrophilic Art: "Kissed" and "Aftermath""
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1247:Don Macdonald – Prep Room (Original Score)
1241:Don Macdonald – Graveyard (Original Score)
1205:Don Macdonald – Ambulance (Original Score)
1091:Performance by an Actor in a Leading Role
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1333:like 'You can run but you can't hide!'".
549:had to be concluded in December when the
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2443:"CFP infusion means more cash for prods"
2441:Armstron, Mary Ellen (October 7, 1996).
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1537:Johnson, Brian D. (September 16, 1996).
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433:She then contacted Gowdy, acquiring the
16:For the 1922 film of the same name, see
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2587:Nolen, Stephanie (September 12, 2000).
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1862:"A Conversation with Lynne Stopkewich"
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1559:
366:James Timmons as Jan, Mortuary Janitor
312:ends their friendship soon afterward.
3080:Films based on Canadian short stories
2863:. Toronto International Film festival
2773:Pike, David Lawrence (January 2012).
2417:"CFFF benefits to West still unclear"
1900:
1898:
1896:
1894:
1892:
1890:
1888:
1886:
1884:
1882:
1855:
1853:
1851:
1849:
1847:
1845:
1843:
1841:
1839:
1738:Kelly, Brendan (September 16, 1996).
1532:
1530:
1528:
1265:Don Macdonald – Love (Original Score)
826:Vancouver International Film Festival
716:The display of light and darkness in
528:(1995). Canadian actor's trade union
7:
2615:"Behind the Scenes of Lilith on Top"
1800:Johnson, Brian D. (April 14, 1997).
1707:Schwarzbaum, Lisa (April 25, 1997).
1155:Achievement in Music/Original Score
444:audience on side with a necrophile.
1973:Hoffman, Andy (November 17, 1997).
1168:Achievement in Music/Original Song
805:Toronto International Film Festival
278:Toronto International Film Festival
264:is a 1996 Canadian romantic/erotic
3085:Films directed by Lynne Stopkewich
2470:Holden, Stephen (April 18, 1997).
1506:Edwards, Ian (September 9, 1996).
14:
2363:Edwards, Ian (October 21, 1996).
1401:"B.C. filmmakers in court battle"
919:, it received two thumbs up from
477:Wide Awake: That Necrophile Movie
3115:The Samuel Goldwyn Company films
2800:Walker, Susan (April 11, 2007).
2721:Phipps, Keith (March 29, 2002).
2706:; Siskel, Gene (12 April 1997).
2549:European Audiovisual Observatory
2389:Maheux, Michele (May 19, 1997).
892:at the time of its release. The
871:European Audiovisual Observatory
375:Annabel Kershaw as Mother Larson
3070:English-language Canadian films
2415:Edwards, Ian (April 16, 2001).
2000:"Faculty & Staff Directory"
1399:Edwards, Ian (March 31, 2003).
1860:Lee, Steven (April 23, 2018).
1244:Mark Findler – Train of Misery
1142:Achievement in Cinematography
473:University of British Columbia
346:Natasha Morley as young Sandra
1:
3075:Films about sexual repression
3006:Great Canadian Film Directors
855:Goldwyn Entertainment Company
636:Great Canadian Film Directors
551:National Film Board of Canada
369:Joe Maffei as Biology Teacher
169:Goldwyn Entertainment Company
3120:1990s English-language films
3055:1996 directorial debut films
1905:Bowen, Peter (Spring 1997).
1455:Edwards, Ian (May 5, 1997).
372:Robert Thurston as Detective
3065:Canadian erotic drama films
516:of Pozer's two first films
268:directed and co-written by
185:September 7, 1996
71:"We So Seldom Look on Love"
3141:
2861:Canadian Film Encyclopedia
1271:– Fumbling Towards Ecstasy
1208:The Ids – Locked in a Room
687:Light use and spirituality
638:, described Sandra as an "
15:
2915:"Canada's Award Database"
2710:. Buena Vista Television.
1687:The Canadian Encyclopedia
1117:Achievement in Direction
1067:
1048:
1033:The Canadian Encyclopedia
830:1997 Cannes Film Festival
810:The Canadian Encyclopedia
563:Canada Council Media Arts
40:Theatrical release poster
33:
3100:Funeral homes in fiction
1238:– Flowers Become Screens
723:Rainer Werner Fassbinder
703:Rainer Werner Fassbinder
649:Lee Parpart, writing in
360:as Mr. Wallis, Mortician
200:April 11, 1997
3105:Films about necrophilia
3090:Films shot in Vancouver
2947:"The 1997 Genie Awards"
851:Cinépix Film Properties
533:production company for
525:The Michelle Apartments
471:while studying film at
3095:Films set in Vancouver
2802:"Roles are Molly made"
2289:, p. 63, note 21.
2207:, p. 63, note 20.
2019:, p. 402, note 1.
1933:, p. 63, note 18.
1802:"Death and the maiden"
1436:, p. 61, note 14.
994:, 1999), and American
713:
585:Casting and characters
446:
407:
280:on September 7, 1996.
2573:– via ProQuest.
2038:– via ProQuest.
1600:– via ProQuest.
1574:– via ProQuest.
1539:"Catch a rising star"
1253:– Beach Party (remix)
957:William Morris Agency
796:Release and reception
741:nature–culture divide
694:
410:Originally, director
398:
3125:1990s Canadian films
3110:Orion Pictures films
2165:"Breaking The Mould"
1714:Entertainment Weekly
1128:Original Screenplay
1077:Best Motion Picture
976:Michael Winterbottom
951:hype", as described
834:Directors' Fortnight
775:Dellamorte Dellamore
607:Sexuality and gender
579:DuArt Film and Video
501:Highway of Heartache
2953:. November 17, 1997
2336:, pp. 390–391.
2301:, pp. 388–390.
2080:, pp. 394–395.
2051:, pp. 393–394.
1174:, "Bounds of Love"
1134:, Lynne Stopkewich
984:, 1999), Hungarian
762:exploration of the
669:third-wave feminism
644:forbidden knowledge
602:Themes and analysis
514:production designer
481:Master of Fine Arts
467:Stopkewich started
422:, that she read in
291:leads her to study
245:US$ 175,000–750,000
208: (wide release)
2749:"Suspicious River"
2593:The Globe and Mail
1654:(April 25, 1997).
1598:The Globe and Mail
1572:The Globe and Mail
1363:The Globe and Mail
1305:The Globe and Mail
928:The New York Times
882:The Globe and Mail
745:classical elements
714:
620:female empowerment
408:
23:1996 Canadian film
18:Kissed (1922 film)
2837:. January 2, 2022
2834:Sight & Sound
2672:. Rotten Tomatoes
2499:. Box Office Mojo
2277:, pp. 51–52.
2250:, pp. 48–49.
2195:, pp. 50–51.
2036:The Vancouver Sun
1368:The Vancouver Sun
1181:
1180:
1146:Gregory Middleton
1120:Lynne Stopkewich
1095:Peter Outerbridge
1071:18th Genie Awards
965:breakthrough role
923:and Roger Ebert.
894:review aggregator
764:mind–body problem
653:, commented that
519:The Grocer's Wife
449:—Lynne Stopkewich
424:The Girl Wants to
352:Peter Outerbridge
343:as Sandra Larson
321:Peter Outerbridge
301:Peter Outerbridge
257:
256:
115:Gregory Middleton
99:Peter Outerbridge
3132:
3060:1996 drama films
3018:
3009:
2987:
2986:
2984:
2983:
2969:
2963:
2962:
2960:
2958:
2943:
2937:
2936:
2934:
2932:
2923:. Archived from
2911:
2905:
2904:
2898:
2896:
2879:
2873:
2872:
2870:
2868:
2853:
2847:
2846:
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2120:
2118:
2106:(4). July 1997.
2092:
2081:
2075:
2069:
2063:
2052:
2046:
2040:
2039:
2031:
2020:
2014:
2008:
2007:
2006:on July 6, 2011.
1996:
1990:
1989:
1987:
1985:
1970:
1955:
1949:
1934:
1928:
1922:
1921:
1919:
1917:
1902:
1877:
1876:
1874:
1872:
1866:Montreal Rampage
1857:
1834:
1828:
1817:
1816:
1814:
1812:
1797:
1774:
1773:
1766:The Toronto Star
1761:
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1750:
1735:
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1354:
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1344:
1340:
1334:
1330:
1324:
1320:The Toronto Star
1315:
1309:
1286:
1262:– Bounds of Love
1190:Nettwerk Records
1082:Lynne Stopkewich
1046:
1037:
1019:David Cronenberg
973:
916:Siskel and Ebert
885:, respectively.
823:
617:
596:devil's advocate
567:Nettwerk Records
498:, Gregory Wild (
494:was in 1995) as
450:
412:Lynne Stopkewich
270:Lynne Stopkewich
207:
205:
192:
190:
132:Lynne Stopkewich
86:Lynne Stopkewich
63:Lynne Stopkewich
50:Lynne Stopkewich
38:
26:
3140:
3139:
3135:
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3133:
3131:
3130:
3129:
3040:
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2999:
2996:
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2979:
2971:
2970:
2966:
2956:
2954:
2945:
2944:
2940:
2930:
2928:
2927:on May 12, 2014
2913:
2912:
2908:
2894:
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2881:
2880:
2876:
2866:
2864:
2855:
2854:
2850:
2840:
2838:
2827:
2826:
2822:
2812:
2810:
2799:
2798:
2794:
2787:
2779:. p. 131.
2772:
2771:
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2757:
2755:
2746:
2745:
2741:
2731:
2729:
2720:
2719:
2715:
2702:
2701:
2697:
2689:
2685:
2675:
2673:
2668:
2667:
2663:
2653:
2651:
2650:. March 3, 2008
2640:
2639:
2635:
2625:
2623:
2612:
2611:
2607:
2597:
2595:
2586:
2585:
2578:
2568:
2567:
2563:
2553:
2551:
2539:
2538:
2534:
2524:
2522:
2519:"Kissed (1997)"
2517:
2516:
2512:
2502:
2500:
2497:"Kissed (1996)"
2495:
2494:
2490:
2480:
2478:
2469:
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2440:
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2084:
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2055:
2047:
2043:
2033:
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2023:
2015:
2011:
1998:
1997:
1993:
1983:
1981:
1972:
1971:
1958:
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1937:
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1504:
1475:
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1419:
1409:
1407:
1398:
1397:
1386:
1381:
1376:
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1361:
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1351:
1347:
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1331:
1327:
1316:
1312:
1287:
1283:
1278:
1269:Sarah McLachlan
1186:
1074:
1044:
1035:
1001:Waking the Dead
971:
945:
898:Rotten Tomatoes
863:Box Office Mojo
824:showing in the
821:
803:debuted at the
798:
689:
664:heteronormative
615:
609:
604:
587:
581:by April 1996.
571:Telefilm Canada
465:
452:
448:
393:
388:
337:
309:
283:The film stars
253:US$ 330–465,000
218:
211:
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188:
186:
179:
172:(United States)
171:
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3042:
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3024:
3023:External links
3021:
3020:
3019:
3010:
3002:Melnyk, George
2995:
2992:
2989:
2988:
2964:
2938:
2906:
2901:TheFreeLibrary
2874:
2857:"Molly Parker"
2848:
2820:
2792:
2785:
2765:
2739:
2713:
2695:
2683:
2661:
2633:
2613:Heck, Angela.
2605:
2589:"Kissed again"
2576:
2561:
2532:
2510:
2488:
2476:New York Times
2459:
2433:
2407:
2381:
2355:
2338:
2326:
2324:, p. 391.
2303:
2291:
2279:
2267:
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2240:
2228:
2226:, p. 390.
2209:
2197:
2182:
2171:. July 1, 1997
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2134:, p. 385.
2124:
2082:
2070:
2068:, p. 393.
2053:
2041:
2021:
2009:
1991:
1956:
1954:, p. 387.
1935:
1923:
1878:
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1833:, p. 386.
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1251:The Aquanettas
1248:
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1212:Suzanne Little
1209:
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701:, directed by
695:The 1974 film
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416:Karen Greenlee
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111:Cinematography
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2740:
2728:
2727:The A.V. Club
2724:
2717:
2714:
2709:
2705:
2699:
2696:
2693:, p. 43.
2692:
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2583:
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2577:
2572:
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2562:
2550:
2546:
2542:
2536:
2533:
2521:. The Numbers
2520:
2514:
2511:
2498:
2492:
2489:
2477:
2473:
2466:
2464:
2460:
2448:
2444:
2437:
2434:
2422:
2418:
2411:
2408:
2396:
2392:
2385:
2382:
2370:
2366:
2359:
2356:
2353:, p. 45.
2352:
2347:
2345:
2343:
2339:
2335:
2334:Paakspuu 2007
2330:
2327:
2323:
2322:Paakspuu 2007
2318:
2316:
2314:
2312:
2310:
2308:
2304:
2300:
2299:Paakspuu 2007
2295:
2292:
2288:
2283:
2280:
2276:
2271:
2268:
2265:, p. 49.
2264:
2259:
2257:
2253:
2249:
2244:
2241:
2238:, p. 52.
2237:
2232:
2229:
2225:
2224:Paakspuu 2007
2220:
2218:
2216:
2214:
2210:
2206:
2201:
2198:
2194:
2189:
2187:
2183:
2170:
2166:
2160:
2158:
2156:
2152:
2149:, p. 50.
2148:
2143:
2141:
2137:
2133:
2132:Paakspuu 2007
2128:
2125:
2113:
2109:
2105:
2101:
2097:
2091:
2089:
2087:
2083:
2079:
2078:Paakspuu 2007
2074:
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493:
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488:(whose debut
487:
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482:
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178:Release dates
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153:Boneyard Film
151:
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140:Don MacDonald
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2994:Bibliography
2980:. Retrieved
2976:
2967:
2955:. Retrieved
2950:
2941:
2929:. Retrieved
2925:the original
2918:
2909:
2899:– via
2893:. Retrieved
2886:
2877:
2865:. Retrieved
2860:
2851:
2839:. Retrieved
2832:
2823:
2811:. Retrieved
2807:Toronto Star
2805:
2795:
2775:
2768:
2756:. Retrieved
2752:
2742:
2730:. Retrieved
2726:
2716:
2707:
2704:Ebert, Roger
2698:
2691:Parpart 2010
2686:
2676:November 12,
2674:. Retrieved
2664:
2652:. Retrieved
2647:Screen Daily
2645:
2636:
2624:. Retrieved
2618:
2608:
2596:. Retrieved
2592:
2571:The Province
2570:
2564:
2552:. Retrieved
2544:
2535:
2523:. Retrieved
2513:
2501:. Retrieved
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2479:. Retrieved
2475:
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2424:. Retrieved
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2398:. Retrieved
2394:
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2372:. Retrieved
2368:
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2351:Parpart 2010
2329:
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2287:Parpart 2010
2282:
2275:Parpart 2010
2270:
2263:Parpart 2010
2248:Parpart 2010
2243:
2236:Parpart 2010
2231:
2205:Parpart 2010
2200:
2193:Parpart 2010
2173:. Retrieved
2168:
2147:Parpart 2010
2127:
2115:. Retrieved
2103:
2099:
2073:
2044:
2035:
2012:
2004:the original
1994:
1982:. Retrieved
1978:
1931:Parpart 2010
1926:
1914:. Retrieved
1910:
1907:"Fuck death"
1869:. Retrieved
1865:
1809:. Retrieved
1805:
1768:– via
1765:
1759:
1747:. Retrieved
1743:
1718:. Retrieved
1712:
1702:
1690:. Retrieved
1686:
1659:. Retrieved
1652:Ebert, Roger
1597:
1571:
1546:. Retrieved
1542:
1515:. Retrieved
1511:
1464:. Retrieved
1460:
1434:Parpart 2010
1408:. Retrieved
1404:
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1358:
1348:
1338:
1328:
1318:
1313:
1304:
1299:
1294:
1290:
1284:
1230:Tara MacLean
1223:– Come to Me
1187:
1132:Angus Fraser
1108:Molly Parker
1069:
1032:
1028:
1022:
1012:
1006:
999:
996:Jodie Foster
989:
986:István Szabó
979:
968:
960:
952:
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946:
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914:
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902:
890:film critics
887:
880:
876:The Province
874:
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844:
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610:
588:
546:
542:Angus Frazer
539:
534:
523:
517:
499:
489:
479:to obtain a
476:
468:
466:
457:
453:
447:
442:
432:
428:Lynn Crosbie
423:
409:
404:
400:
341:Molly Parker
329:
318:
314:
310:
285:Molly Parker
282:
260:
259:
258:
217:Running time
95:Molly Parker
84:Dean English
60:Angus Frazer
2957:January 11,
2895:January 11,
2867:January 11,
2841:January 10,
2813:January 10,
2758:January 11,
2654:January 11,
2626:January 11,
2598:January 11,
2554:January 11,
2525:January 10,
2503:January 10,
2452:January 10,
2426:January 10,
2400:January 27,
2374:January 27,
2175:January 27,
2117:January 27,
1984:January 11,
1916:January 10,
1871:January 10,
1811:January 10,
1749:January 10,
1720:January 10,
1692:January 11,
1548:January 10,
1517:January 11,
1466:January 10,
1410:January 10,
1232:– That's Me
1214:– This Time
1009:Atom Egoyan
1007:Along with
921:Gene Siskel
867:The Numbers
781:Nekromantik
756:Roger Ebert
728:Effi Briest
698:Effi Briest
522:(1991) and
463:Development
358:Jay Brazeau
325:necrophilia
297:necrophilia
272:, based on
129:Peter Roeck
103:Jay Brazeau
81:Produced by
46:Directed by
3050:1996 films
3044:Categories
2982:2020-03-06
1379:References
1221:Tom Hooper
1184:Soundtrack
1177:Nominated
1163:Nominated
1150:Nominated
1137:Nominated
1123:Nominated
1099:Nominated
1086:Nominated
981:Wonderland
577:format at
506:John Pozer
386:Production
266:drama film
250:Box office
221:78 minutes
204:1997-04-11
189:1996-09-07
146:Production
125:John Pozer
56:Written by
2169:Maclean's
2112:1712-9559
2100:Offscreen
1911:Filmmaker
1806:Maclean's
1543:Maclean's
1295:Maclean's
1202:– Far Out
1057:Category
1054:Ceremony
1004:, 2000).
911:Maclean's
903:Maclean's
788:Filmmaker
626:Maclean's
613:Offscreen
611:Although
591:Doris Day
559:Steenbeck
491:Live Bait
379:Tim Dixon
293:embalming
121:Edited by
2977:AllMusic
2951:Playback
2888:Take One
2753:Playback
2723:"Kissed"
2670:"Kissed"
2620:Herizons
2541:"Kissed"
2472:"Kissed"
2447:Playback
2421:Playback
2395:Playback
2369:Playback
1979:Playback
1770:ProQuest
1740:"Kissed"
1709:"Kissed"
1656:"Kissed"
1512:Playback
1461:Playback
1405:Playback
1300:Playback
1291:Playback
1236:Delerium
1063:Outcome
1021:'s 1996
1011:'s 1994
991:Sunshine
953:Playback
896:website
865:, while
846:Playback
841:Malofilm
815:Playback
760:New Agey
707:pictured
681:deviance
401:pictured
234:Language
166:(Canada)
163:Malofilm
137:Music by
91:Starring
68:Based on
3004:(ed.).
2931:May 12,
2732:May 12,
2545:Lumiere
2481:May 12,
1744:Variety
1661:May 12,
1049:Awards
1014:Exotica
969:Variety
778:or the
391:Concept
354:as Matt
237:English
226:Country
202: (
187: (
148:company
3030:Kissed
2783:
2110:
1200:Ginger
1042:Awards
1036:'s
1029:Kissed
972:'s
961:Kissed
949:Kissed
943:Impact
907:Kissed
859:Kissed
822:'s
819:Kissed
801:Kissed
752:per se
733:Kissed
718:Kissed
711:Kissed
660:Kissed
655:Kissed
555:rushes
547:Kissed
535:Kissed
469:Kissed
435:option
405:Kissed
261:Kissed
242:Budget
229:Canada
193: (
29:Kissed
1276:Notes
1060:Name
1024:Crash
947:"The
772:than
769:Ghost
616:'
530:ACTRA
510:Foley
289:death
3035:IMDb
2959:2022
2933:2014
2897:2022
2869:2022
2843:2022
2815:2022
2781:ISBN
2760:2022
2734:2014
2678:2022
2656:2022
2628:2022
2600:2022
2556:2022
2527:2022
2505:2022
2483:2014
2454:2022
2428:2022
2402:2022
2376:2022
2177:2022
2119:2022
2108:ISSN
1986:2022
1918:2022
1873:2022
1813:2022
1751:2022
1722:2022
1694:2022
1663:2014
1550:2022
1519:2022
1468:2022
1412:2022
1293:and
1112:Won
1017:and
879:and
575:35mm
335:Cast
307:Plot
195:TIFF
3033:at
508:as
73:by
3046::
2975:.
2949:.
2917:.
2885:.
2859:.
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2751:.
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2102:.
2098:.
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1977:.
1959:^
1938:^
1909:.
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1027:,
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640:id
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1988:.
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20:.
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