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• Femme, Fierce, & f-stops: Women Working in Photography

  *CYG: Are there any factors (financial, age, gender, education, etc.) that help someone become a good photographer?* EB: The idea that you can’t be a real photographer unless you have...

• Behind the Screen: Lessons from Making IN PLAINVIEW

  But for filmmakers applying to the Talent to Watch program, there are a few deliverables you’ll need to keep in mind including a rough cut of the film,...

• The Monsters Are Due in Calgary: RED LETTER DAY and the Suburban Gothic

  There is a thread in Red Letter Day that critiques surveillance culture and violence in media, but it seems less effective to me than its commentary on Calgary...

• Don’t just sit, don’t just stop

  *LUMA: Yeah, that was one of my favourite parts—how it's so conversational... There’s a Romanian and then an English voice, and they’re all speaking really poetically, and whatever they...

• The Epic of THE IMPOSSIBLE BLUE ROSE

  Lipton works to give the viewer a brief glance into a world that is a little brighter, darker and stranger than the one we usually inhabit. In the beginning...

• Behind the Screen: Lessons from Making IN PLAINVIEW

  *TH: While you can easily access In Plainview anytime you want via Amazon’s streaming service, the road to getting it on there wasn’t nearly as quick as logging...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  In D.H. Lawrence’s novel Kangaroo he describes it perfectly. He says you’re totally by yourself in this vast emptiness and you think the landscape is watching you. And that...

• Editor's Note

  There is also much to be said for entering a darkened room in a gallery or museum to become completely absorbed in a large-scale projection with no distractions...

• A Powerful Audience

  *PB: Well, it was interesting, when I attended a festival recently I didn't even realize I was in a Women's Shorts package. I was racing right from another...

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

  *GC: What did you learn about Montréal when you made this film?* JL: I learned many things. I did a film before in Gaspésie, and the people who said...