Desolate interstitial spaces of a wintry, present-day Montreal—alleyways, bike paths, underpasses, skate parks—contrast with the livelier images of decades-old home videos in Tigers Can Be Seen in the Rain. Drifting between moving-image formats and collaging local textures and bygone voices, Oscar Ruiz Navia’s film reflects on loss and mourning as experiences of temporal dislocation.
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