By: Jolie Featherstone Red Rover is a story for anyone who has felt unseen, unloved, and unworthy in a world where artifice and branding are systemically rewarded.
Writer/director Geordie Sabbagh, as a storyteller, has a real grasp on the importance of conversations and, as a filmmaker, he’s figured out how to convey these discussions with flavour.
Canadian Strain takes place during a recent and specific tipping point in our country – the legalization of cannabis. Through the eyes of Torontonian drug dealer Anne Banting (Workin’ Moms’ Jess Salgueiro), movie goers observe how newly implemented policies (with various asterisks) can transform a society; even if that change happens over the course of a brief time span.
By: Trevor Chartrand An adaptation of the stage play Pornography (written by Jeff Kober), Lie Exposed explores a series of relationships on the edge of ending, following each couple’s attendance at a controversial art installation. The art in question features tintype photographs of vaginas, which for most of the couples sparks a conversation about their own sex lives as well as the objectification of the female form. Thematically, the film explores the definition of art…
Run This Town, writer/director Ricky Tollman’s exceptional and intelligent feature-length debut, isn’t just about Rob Ford and and his public busts. It’s not just about Ford’s team of “special assistants”, or the eager journalists who want a big break and be the first to report breaking news. Run This Town is a magnetically contemplative film about the ethical decisions within these careers that jeopardize the integrity of these people.
What role does the precarity of labour play in young people choosing to take on dangerous jobs? In the #MeToo era, how does one go about separating an artist’s actions from their work? Is anonymity possible in the 21st century? What is the difference between violence and a simulation of violence? If unethical acts lead to brilliant art, is it ethical to consume the art? What do these questions have in common? Well, for one, they…
At the same time John Turturro’s Big Lewbowski spin-off The Jesus Rolls bowls into theatres, a more faithful adaptation of the Coen Brothers’ style and wit is released – Albert Shin’s Disappearance at Clifton Hill.
Code 8 is an Indiegogo funded passion project from actors Robbie and Stephen Amell that raised over $3,000,000 (Canadian) crushing the campaign’s $200,000 goal – that’s impressive. I learned about the crowdfunding after watching the movie, which made my appreciation for the film grow. But, I still think Code 8 is both a tedious action/thriller and a mishmash of too many observational social commentaries.
Caley Wilson’s Luba explores the intersection of single motherhood, addiction, and abuse. While its heart is in the right place, Luba struggles to give equal and equitable attention to all of these issues, earnestly yet questionably prioritizing some over others.
Walking home on a dreary day in Vancouver, Áila (Elle-Máijá Tailfeathers) finds herself in the middle of an altercation between a surly man and a meek Indigenous woman. The woman, Rosie (Violet Nelson), has been roughed up. With instinctual grace and with Rosie’s permission, Áila steps in and separates Rosie from this argument, and invites the stranger into her house for safety and comfort.