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• Desolate Stillness, Infectious Creativity: Polina Teif at WRECK CITY

  In Eulogy for the Dead Sea, Polina’s lens follows the falling of the sun and the rolling saline lake from the sky. Text across the bottom of the...

• Desolate Stillness, Infectious Creativity: Polina Teif at WRECK CITY

  Between voice-overs, a soundtrack of solemn string instruments creates tension, a tightening, until eventual silence; an exhale. Polina uses the camera’s perspective to move us through a broken landscape—dry,...

• Desolate Stillness, Infectious Creativity: Polina Teif at WRECK CITY

  Although there are some thematic similarities,—abandoned buildings, places in transition—the energy of the two projects couldn’t be further from one another. Where Eulogy documents the desolate stillness and deterioration...

• Desolate Stillness, Infectious Creativity: Polina Teif at WRECK CITY

  Among the eccentric programming, artist collective WYRDOS dressed as Charlie Chaplin, performing silent comedy acts through the glass of a vacant radio recording booth inside one of the exhibition’s...

• Navigating History, Memory, and Mythology: The Challenges of Depicting the 1919 Winnipeg General Strike

  While Foote’s photos have stood the test of time, films shot during the strike have largely been relegated to obscurity, and many of them have been lost forever. According...

• Navigating History, Memory, and Mythology: The Challenges of Depicting the 1919 Winnipeg General Strike

  From Arsin to Gonick, Kelly to Schur, the past 100 years of films about the Winnipeg General Strike reveal as much what we don’t know about the strike...

• 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...

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

  Despite its title, this series of films is anything but quiet. Terracciano’s use of the adverb speaks more to her approach of capturing how each artist dances. She...

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

  The years between the Mansfield footage being taken, Mercury’s career and death, and Ryan’s M:ST performance can serve as a timeline for the different ways that queer people have...

• Navigating History, Memory, and Mythology: The Challenges of Depicting the 1919 Winnipeg General Strike

  It’s a surprisingly slippery story for such an important moment in Canada’s labour history, but that hasn’t prevented filmmakers from taking a stab at telling the strike story over...