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

  a quiet flamenco offers the audience an opportunity to reacquaint themselves with flamenco by presenting a different relationship between sound and dance. While flamenco is traditionally a cacophonous dance,...

• Stalking Our Doppelgängers: An Interview with Filmmaker Isaac Ezban

  *GM: The mirror is important in Parallel because it is the portal to other universes. But you also use mirrors in your earlier films to convey human identity...

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

  The emotional toll Love Me Like There’s No Tomorrow had taken on Ryan was easy to observe. After the record player’s needle finished tracing its way across the...

• What’s Found & What’s Wrought: On Abbas Kiarostami’s CLOSE-UP

  Images of flowers are repeated throughout the film. A man finds flowers in a pile of scraped up refuse on the road. We then see the flowers again...

• Our Lexicon of Dark Corners to Light Up is Always Expanding

  LUMA: This might be a good opportunity to speak about your current residency at Falaise Park Field House, which continues through 2017. IRIS: The Fieldhouse residency has really allowed...

• Every Movie is a Ghost Story: an interview with Gemma Files

  Murray Leeder: Experimental Film joins Walker Percy’s The Movie-goer, Theodore Roszak’s Flicker, Steve Erickson’s Zeroville and others in the peculiar category of literary fiction about cinema, and even invokes a kind of “cinematic” quality in its section headings. How...

• Double Visions: Stephen Broomer & Kyle Whitehead in Dialogue

  SB: Well, when I say singularity here, I don’t mean that the two actions join into a singular perspective, which is nowhere near my intention. Rather I mean...

• PORTABLE CLOSETS by Kyle Alden Martens

  Every individual/collective is welcome to participate. The rules are not set in stone, but rather in the turtlenecks. With turtlenecks the players will move forward as instructed by one...

• Machine Language Protocol: Jeremy Shaw’s QUANTIFICATION TRILOGY

  The three short films in Vancouver-born, Berlin-based director Shaw’s Quantification Trilogy, Quickeners (2014), Liminals (2017), and I Can See Forever (2018), look like documentaries dating from the near to...

• An object is a slow event.

  NW: But this is also an act of exercising your power over it too, right? Saying, ‘They can't exist on top of each other, but I'm going to...