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Matthew Rankin’s first feature-length film, The Twentieth Century, looks like Guy Maddin’s The Saddest Music In The World and a Canadian Heritage Minute took acid and gave birth to a wombat in a powdered wig
Stranger Things star Gaten Matarazzo’s new Netflix show brings back the prank-based comedy format of Punk’d, Candid Camera and Just for Laughs Gags.
With a stroke of a pen, a talented author can turn blank pages and scribbles of ink into works of art, creating new worlds, life situations and more.
Stan Douglas’ Luanda-Kinshasa recreates a jam session in “The Church,” a legendary Manhattan recording studio that had musical giants such as Miles Davis, Billie Holiday and Aretha Franklin grace its booths from the late ’40s until 1981.
Romans/Snowmare, Cam Scott, 104 pages, ARP Books, September 2019
The Third Colour, which had its world premiere at the Prairie Theatre Exchange (PTE) on Oct. 2, addresses the history of Indigenous people, looking at the divide between pessimism and optimism in the struggle for justice and reconciliation.
Though often abstract and full of hidden meanings, art is also beautiful and meaningful in its simplest forms, which is something that Lucille Kim captures in Between Temporal and Permanent Histories of Pain.
The first feature film by documentarian Baljit Sangra, Because We Are Girls is an examination of how the devastating effects of sexual abuse can cross generations, cultures and continents.
Asako I and II stars Erika Karata as Asako, a university student who meets a dreamy club DJ named Baku (Masahiro Higashide) at an art gallery in Osaka. After a brief but intense whirlwind romance, Baku disappears.
Writer-director Joanna Hogg’s The Souvenir has many pleasures
Writer Jamie Michaels and artist Doug Fedrau’s graphic novel Christie Pits uses the comic book medium to explore racism in Canada.
