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• Women Extracting Ghosts: Mining Place and Time in Nicole Kelly Westman’s ROSE, DEAR

  The following day, we drive and walk the valleys of Wayne, Nicole collecting and adhering pieces of the past with the present on Super 8 film, way-finding through...

• Women Extracting Ghosts: Mining Place and Time in Nicole Kelly Westman’s ROSE, DEAR

  Temporality and the making visible of time are notions of particular relevance to the Super 8 film system, Nicole’s primary method for documenting our time spent in Wayne. Super...

• Nicola Waugh

  *Nicola Waugh* is an independent film programmer and communications professional based in Calgary. She holds a Master’s degree from York University and Ryerson University’s joint Communication and Culture program,...

• Editor's Note

  My family rented Spy Game (2001) from Blockbuster and took it back to our shitty townhouse at 5636 Pensacola Crescent, Calgary. I watched the whole film while smelling a...

• Of Love and Politics: Kiju Yoshida’s Love + Anarchy

  Kiju Yoshida was born in 1933 and, alongside fellow filmmakers Nagisa Oshima, Seijun Suzuki[mailto:https://www.criterion.com/explore/86-seijun-suzuki] and Masahiro Shinoda, was one of the key figures in Japan’s ’60s Nouvelle Vague, making films that, like their French counterparts,...

• Of Love and Politics: Kiju Yoshida’s Love + Anarchy

  The first film in the trilogy, Eros + Massacre (1969), is presented in two cuts, theatrical (running nearly three hours) and director (an hour longer). Unlike most directors’ cuts...

• Of Love and Politics: Kiju Yoshida’s Love + Anarchy

  Unlike the other two entries in the trilogy, Heroic Purgatory (1970) reads like science fiction, time traveling between eras of political agitation and history, and pushing the image ahead of ’70s dystopian tales like George...

• Of Love and Politics: Kiju Yoshida’s Love + Anarchy

  In the final film of the trilogy—the last film Yoshida ever made—Coup d’Etat (1973), Yoshida reaches back in history to February 26, 1936, when some 1,400 middle-ranking military officers,...

• Convictions: Rita McKeough's Veins

  Standing in the entrance of the room I sense a strong current of conviction. Rita McKeough's exhibition Veins is a carefully composed maquette of land, filled with sounds...

• Convictions: Rita McKeough's Veins

  The low growl escalates into furious barking. The music running through the installation sings a particular narrative of premonition: an ominous chanting, whispering, a chorus, burst of vicious growl,...