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  • Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

    In Michael Lyons’ Porto Landscape (2018), a “city symphony” film set in Porto, Portugal, various temporal devices are used to complementary effects. Lyons plays with mixing different “speeds” of...

  • Carbon Capture: Experimental Strategies for Re-Presenting the Anthropocene

    Sandy McLennan’s The Last Skate (2018) is a nearly opposite film, but one which is no less radical. McLennan abstracts the horizontal landscapes of a frozen Canadian lake, destabilizing...

  • About

    Mandate Luma is a quarterly online publication about independent film and media art published by the Calgary Society of Independent Filmmakers and EMMEDIA Gallery & Production Society. Luma includes critical...

  • Submissions

    Luma accepts pitches and previously unpublished finished works that aim to expand critical dialogue about media art and film. Submission formats can include, but are not limited to: critical...

  • Alana Conway

    *Alana Conway* is an independent researcher residing in Calgary, Alberta. She completed a Masters of Anthropology at Carleton University in 2011, with a thesis focusing on Roma Refugee Claimants...

  • Editor's Note

    I was recently left dead inside by “Longform Journalism in the Digital Age,” a panel discussion held at the Banff Centre a few weeks ago boasting the Online...

  • Ektoplasm-o-vision! with Guy Maddin

    Over the last five years, Maddin has obsessed over remaking lost and unrealized films from cinema’s early decades, a period from which only a small fraction of films...

  • Warp/Weft/Wept

    A three-part digital drapery study, Jasmin’s review of the word felt—as in haptic and emotive, tactile and affective—echoes triptych tradition. With what seem to be details of hair, oil...

  • A Failed Poet

    He was, by all accounts, an astounding polymath of a man. Passing him on the street, however, you might have mistaken him for a drifter: his teeth were...