A Night Under The Stars with WUFS


Come cuddle under the stars with the Western Undergraduate Film Society for their first outdoor screening on UC Hill this Wednesday!

We’ll keep the warm and fuzzy feelings going by screening the Pixar classic, “UP”! Screening opens at 7pm, with the film starting at 7:15pm and ending at 9pm.

Feel free to bring your own blankets, food or hot beverages and dress warm (hoodies and sweatpants are highly encouraged)

Don’t forget to use the hashtag #bringyourownblanket before and during the event!

Please check out our Facebook event page for more information:
Facebook Event Page

Annabelle – Advanced Screening !

Dear Film Students and Faculty,

Do you like horror movies? Do you like free movies?

Warner Bros. Pictures Canada has offered the Western Undergraduate Film Society (WUFS) the opportunity to attend a free advanced screening of the horror film “Annabelle”. You can find the film’s trailer and more information at www.annabellemovie.com

The screening takes place this Wednesday, October 1 at 9pm at SilverCity London. If this is something you or your friends would be interested in email uwo.wufs@gmail.com for further details.

We hope to see you there!


WUFS Executive

For more information about the movie please visit:

Welcome Back!

Welcome back WesternU film students! We’re excited for another awesome year and for you to experience it with us. WUFS is busy planning the year ahead and some of the members are in the Old Ivey building atrium for Faculty Day so come by and say hi! Also, the Old Ivey building is our new home for this year so check your Western email for more info

The Western Film Festival – Friday March 28th, 2014


Welcome to the most momentous and generation-defining event you’ve all been waiting for: The WUFS 2014 Western Film Festival! We’re gonna have some awesome films this year made by some our own very talented Western students! Tickets are only $10 and that is a small price to pay considering the priceless cinematic experience! Bring all your friends! Most importantly, bring your all your Oscar-winning smiles!

PS: If you want to submit your film to the festival, be sure to drop off a copy of your film at the WUFS office in University College by Friday March 21st!

Touch of Evil on 16MM – March 20th, 2014 – UC 84 @ 7:30

touch of evil poster_revise

In “Notes on Film Noir”, Paul Schrader refers to Orson Welles’s film Touch of Evil (1958) as film noir’s epitaph. It is significant to look back on such a film, as it marks the end of an era of filmmaking that was not defined until several years after its life cycle. Welles’s contribution to film noir is marked by a sense of pessimism that seemed to surpass the postwar disillusionment found in the noir film of the 1940s. This is perhaps in line with the increasing sense of discontent in the middle of the Eisenhower administration, as the film’s racial themes clash with the administration’s passivity during the early years of the civil rights movement. In this regard, students will come to understand the context of the increasing sense of disenchantment in the final years of film noir.

While American audiences were not receptive to Touch of Evil upon its release, the film was well received in France, which was approaching its own era of disillusionment with the collapse of the Fourth Republic and the return to conservative politics. In his review for the film upon its initial release, Francois Truffaut praised Touch of Evil as an antithesis to “incompetent” films “designed to flatter a public which is supposed to leave the movie house feeling better or thinking it has learned something”. Orson Welles’s auteur trademarks would influence several filmmakers of the French New Wave, and it was only a year later that Truffaut would release his first film The 400 Blows (1959). Welles’s film, then, is significant not only as the concluding film of the noir era, but also as a precursor to the aesthetics and attitude of the French New Wave.

Touch of Evil was marketed as a star-studded thriller with provocative content, yet it was received under a range of categories that did not quite match its marketing classifications. The unique visual style of the film that bore the aesthetic trademarks of film noir were seen by reviewers as little more than a byproduct of Orson Welles’ unorthodox techniques. The disparity between how Touch of Evil was marketed, and how it was received by critics in the United States displays a portrait of a film with a muddled identity within American Cinema that would eventually find its place as a transitional piece between American film noir and the French New Wave.