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• Paint and Popcorn

  Katsushika Hokusai fares much better in the documentary Old Man Crazy to Paint (an epithet the Japanese painter and printmaker gave himself in his later years), produced in conjunction...

• 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...

• 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...

• 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,...

• 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...

• 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...

• 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,...

• The Wrong Side of the Tracks

  Piquant call-back moments of nostalgia, along with brick-sized flip-phones and the school’s overhead projector, disarm the audience with their familiarity and accuracy, until you may be left shaking with...

• 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...

• Creating a Baseline

  *TS: Never having written a feature before, how did you approach the writing phase? Did you just say, ‘I’m going to write a script and that will be...