Canadian avant-gardist Joyce Wieland translates her favored themes—antimaterialism, Canadian nationalism, the sensitivity of women, and celebration of the natural landscape—into narrative form in this 1975 feature. A period costumer that begins in 1919 Quebec and soon moves to Toronto, it concerns a triangle involving a sensitive young woman; her husband, a crass businessman who purchases mining land in the north; and his friend (modeled on Canadian landscape painter Tom Thomson), who urges him to leave the land alone. As conventional drama the film is defeated by its cardboard characters (the husband actually argues that one can measure a painting’s worth by its size), yet Wieland has an eye for soft, liquid colors and for compositions that suggest nature’s gentleness and create a loose, open sense of space.