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  • Women Extracting Ghosts: Mining Place and Time in Nicole Kelly Westman’s ROSE, DEAR

    Temporality and the making visible of time are notions of particular relevance to the Super 8 film system, Nicole’s primary method for documenting our time spent in Wayne. Super...

  • Nicola Waugh

    *Nicola Waugh* is an independent film programmer and communications professional based in Calgary. She holds a Master’s degree from York University and Ryerson University’s joint Communication and Culture program,...

  • Lindsay Sorell

    *Lindsay Sorell* is an artist and writer in Calgary, Alberta. With a special interest in relationships, art ethics, and the implications of digital media, she has participated in numerous...

  • Sally Raab

    *Sally Raab* received a BFA in drawing from the Alberta College of Art and Design in 2010,and currently resides in Halifax, NS. She has curated a small handful of...

  • Editor's Note

    My family rented Spy Game (2001) from Blockbuster and took it back to our shitty townhouse at 5636 Pensacola Crescent, Calgary. I watched the whole film while smelling a...

  • 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...