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• 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...

• Editor's Note

  Katarzyna Kozyra’s The Rite of Spring (1999-2002) is a seven-channel video installation in which a group of older bodies, choreographed by Vaslav Nijinsky, dance to Igor Stravinsky’s ballet of the same title. As the...

• Is it finished.

  Later, I turned to Google to research these artists. Most of what came up were Facebook profiles, wedding photographers, and a lot of blank National Gallery profiles; only...

• If you tell yourself garbage is art, is it possible to be wrong?

  Film feels like an act of God, especially when you are using a half-broke camera because you are half-broke yourself. It giveth and it taketh away. Some memories...

• Behind the Screen: Lessons from Making IN PLAINVIEW

  *TH: No one denies that having more money can help you make a better film. But having a smaller budget shouldn’t limit you to making a lower-quality film....

• Bogdan Cheta

  *Bogdan Cheta* lives and works in Calgary. He hopes that one day, he can switch places with his writing: that his writing will leave the page and start living...

• A Powerful Audience

  SS: But then at the same time, you know, I was [also] on the panel for women. There was a live audience, really great conversations at CIFF this...

• Hopping for Hope: Ahreum Lee at The New Gallery

  The video incorporates footage of the East Asian pseudoscience Cheok Ji Beob, which translates to “the way to make the world smaller.”¹One of the principles of Cheok Ji Beob...

• Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW

  For years, Ryan and I had been on the peripheral of one another’s social and professional lives (we both attended the Alberta College of Art and Design and...

• PRAYER FOR A LOST MITTEN: An Interview with Jean-Francois Lesage

  *GC: What limitations from conventional documentary filmmaking are you resisting? I can feel that there are conventions that you are getting rid of. For instance, the lack of names,...