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A Powerful Audience
*Paige Boudreau: I always feel so conflicted when people ask me "the feminism question" because it always feels so clunky—you know—‘How do you feel about us having female film...
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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...
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A Powerful Audience
SS: When I was on a panel for Herland, a man approached me and said, ‘It would be great if you did this for men,’ and I said,...
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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...
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A Powerful Audience
ML: So first of all I think us as women should support these types of festivals, like genre festivals, and fuck what everyone else thinks. If they think...
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Without the river children cannot learn how to count
An ache, and a type of magical realism in Queyras’s work, resonates with a series of Holga photographs by Calgary-based artist, Kaylin Obst. A couple weeks ago, my poetry instructor,...
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The Wrong Side of the Tracks
It is 2002 in Sacramento, California, and Christine is in her last year of Catholic high school. Having unofficially re-named herself Lady Bird, she is a conventionally awkward, emotional,...
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The Wrong Side of the Tracks
The need to run away, to escape and be independent from others mixes with the desire for relationships, for sex, for friendship, for Lady Bird’s mother to talk...
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Creating a Baseline
*Ted Stenson: Can you tell me about the very beginning of this project? How long ago did you start working on it?* Gillian McKercher: The formal start was...
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Creating a Baseline
*TS: Was it hard to get rid of things because of the autobiographical aspect of the script?* GM: It’s a balance. The story is informed by personal experience, but...