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• Don’t just sit, don’t just stop

  *LUMA: Yeah, I wanted to ask about that glitching. That sort of VHS-ization. I guess that's a new word…* [Laughter] AWB: Well Sabrina came to me, actually on Instagram,...

• Matthew Rankin Asks “Who Owns The Twentieth Century”?

  *GC: So, the history of Canada is fermenting in your mind, and then Mackenzie King comes along. When does everything begin to converge with film?* MR: Well, I read...

• Finding Community in Unfolding Spaces: An Interview with Vicki Van Chau

  *TT:* For you, what are some challenges you've had over the years, especially as someone who's an Asian woman? What are some things you wish you had known...

• Maybe We Should Have Made That Doc

  *BB: Did you write the script in terms of shots? * CC: I don’t write in terms of shots. I just can’t think about that until it’s done....

• Ektoplasm-o-vision! with Guy Maddin

  ML: Do you imagine “ectoplasmovision” as one long word, or with hyphens? GM: I sort of deleted it from my memory after attempting to coin the term. It seems...

• Fostering Women and Filmmaking: 30 Years of Herland

  The recent mentorship screening began with Lydia Adair's Errands, a multi-threaded film that examines the intersecting lives of people who meet in line at the bank. Adair’s narrative is...

• The Sounds and Sights of Dance: Rosanna Terracciano's A QUIET FLAMENCO

  Despite its title, this series of films is anything but quiet. Terracciano’s use of the adverb speaks more to her approach of capturing how each artist dances. She...

• Serenity, Destruction & Inauthenticity: The Transformation of Alberta in BROKEBACK MOUNTAIN and THE REVENANT

  Fitzgerald’s understanding is that the brutality of the world around them can only justify atheism: “In that moment, he told me, he found God. And it turns out,...

• 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...

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

  *GC: I think too, the choice of ending the film with collective hope rather than individual hope, can help. Especially because individual hope can be lonely, or even delusional....