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  • 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,...

  • Prayer and Ritual in Cinema

    A filmmaker based in Calgary, AB, Guillaume Carlier’s interest in the presence of religion and prayer in film comes from the meeting of two paths: his Catholic background and his...

  • On Context

    Searching for territory beyond the classic “puff piece” directive, Dan Olson wears in a free press pass to the 2016 Calgary Underground Film Festival, takes Harrison Atkins for waffles...

  • First Nations Involvement in Alberta’s Film Industry

    When Graham asked if anyone recognized the clothing, face paint, horses, or patterns on the teepees in Little Big Man, the elders agreed that these costumes and props...

  • 005 Summer