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• Culture & Capital: “Real failure needs no excuse” at the Esker Foundation

  A REAL JOB  A major reason that Ibghy and Lemmens have chosen to focus so intently on non-productivity in their studio practice is to disrupt the enormous external and...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  Despite a highly acclaimed Cannes debut, the film struggled to find an audience and disappeared into total obscurity, unavailable for over four decades. In 2009, a restored version (selected...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  In D.H. Lawrence’s novel Kangaroo he describes it perfectly. He says you’re totally by yourself in this vast emptiness and you think the landscape is watching you. And that...

• Totally By Yourself In This Vast Emptiness: Ted Kotcheff on "Wake in Fright"

  TS: Wake in Fright has been described as a horror film or a sort of horror-western. Was your approach to make it as a genre film?  TK: No, I...

• Re-presentations, Adaptations, and VARIATIONS

   Canadian artist Michael Snow once described his own experiments with moving images as an attempt “to make a definitive statement of pure Film space and time, a balancing of...

• Re-presentations, Adaptations, and VARIATIONS

  Although it is actually quite boring and reductive to do so, we still tend to cling to the idea of an artwork as a unique, singular, and exclusive...

• Who Can Save the Brides of Billy?: Horror and Gender in "Black Christmas" and "The Bloody Chamber"

  The killer is in the house.  It's a classic trope that's been around since baby sitters started babysitting, since the earliest days of horror films. The underrated classic, Black...

• Christopher McKinnon

  *Christopher McKinnon* is a writer and community organizer who lives in Toronto.

• 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...

• Black box, white cube, and something in the middle

  Meet in the Middle uses the central theme of trauma as it relates to migration and memory reflected through film, art and the work located at their intersections. Twinning Saskatchewan...