Willing Voyeur..., The
- Budget
- Actual cost: $600,000
- Distributors
Production Details
- Executive Producer
- Michael Burns
- Producer
- Michael Burns
- Michael Burns
- Michael Burns
- Richard Kerr
- Richard Kerr
- Rhonda Baker
- Richard Kerr
- Richard Kerr
- Alan Zweig
- Line Producer
- Rhonda Baker
- Director
- Richard Kerr
- Richard Kerr
- Richard Kerr
- Richard Kerr
- Richard Kerr
- Richard Kerr
- Richard Kerr
- Richard Kerr
- Alan Zweig
- Alan Zweig
- Alan Zweig
- Alan Zweig
- Director of Photography
- Todd Irving
- Todd Irving
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Gerald Packer
- Writer
- Jake Roberts
- Richard Kerr
- Richard Kerr
- Patrick Butler
- Richard Kerr
- Richard Kerr
- Patrick Butler
- Alan Zweig
- Alan Zweig
- Jake Roberts
- Cast
- Sarah Thurmeir
- Harry Aaron Walker
- Kim Wall
- Gwen Flaman
- Dan Warren
- Curtis Galindo-Orozio
- Colleen Kennedy
- Zach Worton
- Amanda Davies
- Eden Philp
- Dean Cooney
- Michael Burns
- Michael Burns
- Kaya McGregor
- Kaya McGregor
- Hadley Obodiac
- Jake Roberts
- Jake Roberts
- Coe Kerr
- Alan Zweig
- Jake Roberts
- Jake Roberts
Two women friends travel together on a train from Washington, D.C. to an unidentified destination. At that destination, a large, near deserted, railway station, body bags, presumably containing the victims of a gunman, are being hauled from the basement and placed in the cavernous main hall for disposal. In the basement young people are seen running for their lives. The two women will enjoy a night of love making together while the lone gunman will commit suicide. The persons charged with assembling the body bags make wry, faux-philosophical observations, including the comment that gun control would not have prevented what has happened.
A voice over, often heard at the same time as the voices of the on screen characters, recounts a version of events often at a variance with what is shown, sometimes repeating word for word what the on screen characters are saying. Oblique and elliptical, the dialogue never reveals the connection between the various situations presented. In this examination of the theme of central power and its influence conventional narrative structure is totally disregarded allowing no clear conclusions to be drawn.
Source: Library and Archives Canada - Canadian Feature Film Database (LAC)