Having left Canada’s most famous tourist attraction behind to make films about the nature of intelligence ( Intelligence, 1998) and media manipulation (Truth Merchants, 1999), he seems to have finalised the break with kitsch culture with his newest film, McLuhan’s Wake (2002). Less than a simple biography, this is a meditation on McLuhan’s ideas, and to a certain extent on the details of his life (especially his later years), rendered with a formal strategy that tries to echo his thoughts on complexity, interconnectedness and what we might now call virtuality.


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