Fall 2014
• Maiden: one of the most honest depictions of popular protest ever filmed
• Activist pasts, austere presents, queered futures: An interview with Emily Davidson
• Ethnography 101: La cour de Babel and La marche à suivre
• What does the word Polytechnique mean to you?
• The Look of Silence: breathtaking in every sense
• Daniel Higgs at Café Oto: a refuge of cultural integrity
Summer 2014
• Just For Laughs: Gregg Proops & Paul F. Tompkins
• Just For Laughs: Jerrod Carmichael, Nikki Glaser & Adrienne Truscott’s Asking For It
• Just For Laughs: David O’Doherty & What Would Beyoncé Do?
• Montreal Fringe: Hue Man & The Dysmorphia Diet
• Montreal Fringe: God as Drag Queen, Big Gay Weddings, and Peeing on Stage for Poverty
• Montreal Fringe: Chlamydia dell’Arte: A Sex-Ed Burlesque
• Montreal Fringe: Ginger Slurs & Slut Shaming
• Montreal Fringe: Kitt & Jane guide us through the ecological apocalypse
• Montreal Fringe: Our Creation, Existence, & Destruction in 55 Minutes
• My Playwright Sister: a play about a play about a transgender sibling
Spring 2014
• Engaging and Enraging: A Review of The Secret Trial 5
• An open letter to George W. Bush, the artist
• Hugs With Arms will put affordable art on your walls
• The Condemned exposes the dark lives of convicted murderers
• Asking the right questions: A review of Private Violence
• A soulful assemblage: A review of Come Worry with Us!
• Sheen and gloss, personal and political: A Review of We are the Giant
• A visceral, jarring work: A review of Children 404
• Transform This: iconic Johnny Cash photo used to protest Saskatchewan university cuts
• Abortion at sea: A review of Vessel
• Evaporating Borders explores asylum-seekers in Cyprus
• Hot Docs 2014 preview: politically punchy program, but diversity concerns persist
Winter 2014
• Should artists be able to pay taxes with artwork?
• Painting, Resisting, Giggling: An Interview with George Littlechild
• VoiceOver documentary reframes the 2011 London riots
• The Act of Killing: My family lived through it
• The Act of Killing: a step forward in a country that must look back
• Mars at Sunrise is a Cinematic Tone Poem
• The Act of Killing: Liberal Porn or Daring Activism?
• Gender Mender: XXY is a cinematic exploration of intersexuality
FALL 2013
• Remembering documentary film legend Peter Wintonick
• JFK after 50 years: Berlin to Dallas, Cold War to Camelot
• Children 404: film exposes Russia’s crackdown on LGBTQ youth
• P.ink takes healthcare to an unexpected place: the tattoo parlour
• Allegheny, BC: transformative theatre that shirks corporate culture
• Ian Kamau: artistic reflections on city life
• The Foodies vs. Miracle-Gro: bad advertising only perverted tomato squeezers could love
• Game of Thrones and racist fantasy
Summer 2013
• Things are different now
• Fearless photography explores the Egyptian women of the revolution
• Butch dykes: a herstory told in zines
• The Art and Money Project: exploring the nexus of creativity and capitalism
• Hungry planet pictures what we eat around the world
• Mapping the world’s largest solar farm with project 929
• Conservative christ illustrates america’s evil jesus
• Blood work: a conversation with the director of blood relative
Spring 2013
• Hot Docs turns 20
• Temps libre: an album filled with hope, inspired by the printemps érable
• Return to Gummo
• Print your own gun
• The Ghosts in Our Machine defends the animals on our screen
• Bowling for Columbine turns ten
• Weiwei-isms: the Coles Cotes of an infamous Chinese dissident
• Sonny’s happy future demands you perk up your ears
Winter 2013
• The documentary download dilemma
• Blown up: gaming and war
• London Triptych traces queer desire across the centuries
• Art at War surveys creativity under nazi occupation, from Picasso to Dubuffet
• A visit to Josh Keyes’ dystopian zoo
• On efficacy and ideology: Zero Dark Thirty and the ethical justification of torture
• Buying music online is a bad deal
• This art is all about anger: the Anti-Capitalist Resistance Comic Book
Fall 2012
• Scrap America: a conversation with Scrapper filmmaker Brian Ashby
• Do grassroots archives have a future?
• Breaching the foreclosure of critique
• The imagination, art, and activism of Herman’s House
• Public Access Design unites artists and advocates on urgent social issues
• Femininity, fantasy, and fever dreams: The Lava in My Bones by Barry Webster
• Skyfall a great romp but a gender bust
• Water Portraits brings water usage closer to home
• Una Noche a beautiful story of a challenging life
• Privatizing creativity: the ruse of creative capitalism
• Hacking the border to pieces: technology, poetics, and protest at the speed of dreams
Summer 2012
• Guernica brings Picasso’s grotesque cubist forms to life through theatre
• Why the Paul Frank powwow apology matters
• First Day Back tackles queer teen suicide
• Growing up in the muck-stream of America
• Play on human trafficking touches without playing the guiltcard
• Finding (Queer) Time: First Spring Grass Fire by Rae Spoon
• Montreal-North stand up: part two — an interview with MC Emrical
• Togetherness Supreme in East Africa
• Everyone Needs Their Heart: Vancouver’s Fugitives sing against Bill C-31
• Duets for Abdelrazik help keep human rights abuses in spotlight
• Walking as art to avoid global catastrophe
• Invocation of the Queer Spirits by AA Bronson and Peter Hobbs
• Love and death on the side of the road: a conversation with taxidermy sculptor Kate Puxley
• Russian LGBT Film Fest pushes ahead despite attacks
Spring 2012
• Pioneer Ladies of the Evening
• Pierre Leichner’s root sculptures celebrate local activists
• Ghosts with Shit Jobs: is this $4,000 “lo-fi sci-fi” the future of Canadian Filmmaking?
• Jonathan Alpeyrie: portraits of WWII Veterans From All Sides
• More houses, less prisons: a review of the compelling documentary Herman’s House
• Hot Docs 2012: preview — the good, the bad, the incomprehensible
• Hot Docs 2012: midpoint roundup
• One Month Later: How the 2012 Federal Budget Impacts the Arts
• Killing Saskatchewan’s film tax credit is economic nonsense
• Artistry flows from V6A, “Canada’s poorest postal code”
• Sonic solidarity for Ziba Kazemi
• Humour: The most vicious way to attack someone
• Managing Public Art: Bryan Newson of Vancouver’s Public Art Program
• Roots to Resistance project shares stories of courage
Winter 2012
• Animals in the Hen House
• KONY 2012 and the mischievous media habits of slacktivists
• Thomas Waugh flirts with fantasy while fucking reality
• Blackitude by Vox Sambou evokes the power of resistance
• Portraits of a young girl influenced by the mainstream
• Michael D’Antuono challenges US government’s monetary redistribution
• Nicolás de Jesús inks anti-colonial history
• Paint it or rape it: would the Group of Seven condone the tar sands?
• Groucho Marx: What this country needs
• Reclaiming the Mainstream: Comopolitan magazine gets the alt media treatment
• Is Enbridge using art to greenwash the Northern Gateway?
• Postcolonial politics threatens integrity of Documenta 13 art exhibition
• Let’s do this: Making is Connecting by David Gauntlett
• Diego Rivera and the aesthetics of appetite at the MoMa
• What’s the value of an art school? Contextualizing the crisis at NSCAD
Fall 2011
• Art and inspiration meet on Montreal streets
• Looking for the Political at Art Basel
• Why is CBC running sexist Volkswagen ads?
• Russia co-opts radical shock art
• Oscar short list for best doc comes up short
• Two docs explore violence and resistance
• New Nordic Documentary Cinema: identity and belonging made visible
• Litter made lovely: Washed Up by Alejandro Durán
• Engaged devotion and care: the terrariums of Paula Hayes
• Us and Them: dialogue meets theatre in this look at how we create the other
• 10 documentary films on capitalism and economics
• Put the Pocahontas back on the rack
• Politics play prominently at the 54th Venice Biennale
• Persistence: All Ways Butch and Femme
• Understanding the Crash illustrates resistance to capitalism
• Art as a Weapon: Eric Drooker and the persistence of the committed artist
Summer 2011
• Althea Thauberger’s photo mural speaks of Vancouver’s darkness
• Art exhibit seeks to foster dialogue on 9/11
• Isabelle Hayeur’s Underworlds present views of the chemical coast
• The deserted but beautiful homes of Detroit: Kevin Bauman’s 100 Abandoned Houses
• Experimental guitarist Nick Kuepfer (free mp3 downloads)
• MC Emrical warns police and politicians on the anniversary of Fredy Villanueva’s death
• Stealing to save the world: Kenk is a dark graphic novel about Toronto’s notorious bike thief
• #Jan25: Omar Offendum’s soundtrack of the Syrian revolution
• China expands CCTV surveillance, camera theatre companies rejoice
• A new generation of threats to online freedom
• One play at a time: Teesri Duniya Theatre challenges the status quo
• How the audience disillusions itself
• Howl! live recording 1
• The beauty and agony of home: God’s Lake Narrows artist Kevin Lee Burton
• Viva Riva! revives Congolese filmmaking
• New old school: Rebel Diaz Arts Collective brings back NYC hip-hop
Spring 2011
• Toronto theatre fest gets funding pulled: a conversation with Michael Rubenfeld
• Paying for it: A review of the comics prostitution memoir by Chester Brown
• Michael Caines’ depictions of US leaders are sincere yet ridiculous
• Myth-busting the Internet: The truth about throttling, congestion and usage-based billing
• Breaking free of format and formula: Public Radio Remix’s Roman Mars
• Crowd-sourcing history with the Place and Memory Project
• Tapping into the treasures of fictional truths: an interview with Jonathan Goldstein
• Canada’s troublesome lack of a consistent satirical voice
• St-Henri, the 26th of August offers a cinematic look at a vibrant Montreal neighbourhood
• Walk the line in Palestine with Mark Thomas and Francis Alvos
• New Orleans and the culture of resistance: interview with Floodlines author Jordan Flaherty
• Hot Docs 2011 — A film festival grows up
• Hot Docs 2011 — Review: The Interrupters
• Hot Docs 2011 — Review: Better This World
• Hot Docs 2011 — Review: You’ve Been Trumped
• Hot Docs 2011 — Review: The Redemption of General Butt Naked
• Hot Docs 2011 — Review: Draquila – Italy Trembles
• Hot Docs 2011 — Review: Mama Africa
• Hot Docs 2011 — Review: The Black Power Mixtape 1967-1975
• Hot Docs 2011 — Review: POM Wonderful Presents the Greatest Movie Ever Sold
• A Conservative government: What now for the arts?
• Liberate Tate urges dialogue over public/private arts funding
• Nope! The Harper Government has got Bob Preson’s goat
• The arts are vital to our prosperity
• It won’t be the same without sculpture: Vancouver Biennale to auction public artwork
• Paint and piano reflect Mideast resistance
• Poet and performer Kaie Kellough on language, poetry & power
• Imaging Apartheid: poster project supports the Palestinian struggle against occupation
• Unsettling the settlers: an interview with Israel vs. Israel director Terje Carlsson
• The things they carried: photographer Brian Howell explores shopping cart culture
• Donald Trump goes to Washington: the dark side of TV ratings and presidential posturing
• Director of Vancouver’s W2 talks art cuts
• Konstantin Dimopoulos paints the world’s lungs blue
• Imagine & Canada’s Conservative nightmare
• Venus with Biceps: a pictorial history of muscular women
• Where are the women? Media conference asks why women are still scarce in the industry
Winter 2011
• Wafaa Bilal: a portrait of an Iraqi artist in a time of war
• Dave Estes thanks Lieberman, Monsanto, Gov. Scott Walker and more
• The Junos: Canada’s oldest teenager
• Canada’s “Harper Government” abandons poetry and literature
• Dan Tague shows money can speak
• Death to Knowledge: artists rally against cuts to the arts and culture
• The Oscars: a necrospective
• Who will save Charlie Sheen?
• Dancing in the immensity: Disappear by Ian Ferrier reflects on the impermanence of life
• Regretters: an intimate conversation about sex change
• Sexy béton: Quebec’s tale of carnage and corruption
• Making “pun” of lesbians: Illustrator Vainui de Castelbajac spreads love through humour
• Changes to Vancouver bylaws pave way for atypical venues
• Can the Yes Men fix the world?
• George Orwell’s 80s remix: themes of surveillance and censorship sounded out in Frakture
• Russian performance art troupe harassed, threatened, jailed
• Will Justin Bieber boycott Israel?
• The dreams of The Girls of Phnom Penh: doc explores the lives of three sex workers
• Of empires, power and poetry: why the language of poetry matters in politics today
• Multiculturalism, outcasts and superheroes: a survey of docs that explore education
• A modern reminder in the City of Glass: reading politics into Vancouver’s architecture
• Debate for nothing: Dire Straits censorship uproar paints consumers as victims
• The Moon Inside You: documentary explores one woman’s quest for a happy period
• Montreal’s Howl concert series builds bridges between art and activism
• 12th & Delaware is a window into the American abortion war
Fall 2010
• Rainmakers documentary profiles China’s warriors for the environment
• Indie doc Call Me Salma explores queer culture in Bangladesh
• No No Keshagesh by Buffy Sainte-Marie rebuffs greed during the holidays
• 9 amazing political art projects of 2010
• The best political films of 2010
• Gasland explains the the fracked-up truth behind natural gas
• Murdered Mexican women inspire exhibition
• Picking through the rubble of memory: a conversation with Joe Sacco
• Aisheen documents life and death beyond the Gaza barricades
• Tar on the Tusks: greenwash ads pollute The Walrus
• Documentary depicts Sahara’s modern slavery controversy
• Mapping Palestine as the world
• Bringing the war home through street art
• Freedom to Create honours art for change
• Ain’t no party in apartheid: a conversation with Invincible
• A ‘State of Emergency’ in Montreal as festival for the homless kicks off
• Feds slash funding for homeless festival
• Documenting the struggle against Shell: a conversation with Sandi Cioffi
• Mohan Makhmalbaf gives voice to a muzzled Iran
• Animal liberation at the movies: a conversation with Denis Henry Hennelly
• Reel Injun explores aboriginal cinema stereotypes
• Documentary exposes mining town’s resistance
• Two documentaries explore being gay in unfriendly countries
• The war on found objects: a conversation with Anthony Freda
• We are all responsible for Omar Khadr
• Chancellor Merkel mistakes labour policy for multiculturalism
• Picturing the world: reflections on the World Press Photo 2010 exhibition
• Along Bayou Road looks at Louisiana fishermen before and after the spill
• Banksy’s Simpsons opening: a failed cultural critique?
• 39th Annual Festival du Nouveau Cinema kicks off in Montreal
• First Nation artist shot dead by Seattle police
• Activist marching bands and the sounds of protest
• People Power play explores the 1986 Filipino revolution
• Soulful renaissance: Naomi Shelton sings of hope and struggle
• Prayer Room exhibit to commemorate 9/11
• Violent protest of Q!, Jakarta’s gay film festival
Summer 2010
• The Forgotten depicts BC’s missing women
• SFU fulfills promise to contemporary artists with Woodward’s
• The politics of the Polaris Music Prize
• Artists back the right to education in Palestine
• Whores, gore and killer fish: Piranha 3D is one big misogynist gorgy
• Activists replace street advertising with art
• Deep-tissue work: A conversation with filmmaker Rémy Huberdeau
• Peter, Paul & Mary tell homophobes to cease and desist
• Sam Shalabi: compositions across continents
• Triumph for BC arts community
• A Conversation with Return to El Salvador director Jamie Moffett
• Video installation infiltrates 6000 NYC taxis
• What’s at stake in Canada’s culture war?
• A Short History of the BC Spirit Festival
• Artist Profile: Nicholas Hlobo
• “David Cameron endorses criminal graffiti vandal?” A conversation with Ben Eine
• Chinese artist Wu Yuren beaten and jailed for land protest
• UK Film Council disappears with extreme cuts to the arts in Britain
• Four great summer flicks with political punch
• Propaganda, racism and censorship at play over the Woods Hole Cinema Politica fracas
Spring 2010
• The G20 summer blockbuster
• Free MP3 download: Dear Ocean commemorates those killed on Gaza flotilla
• Mobilizing social imagination: Broken City Lab’s reconstruction of Windsor
• On the trail of women boxers in India: A conversation with the makers of With This Ring
• Filling your head with “Stuffed”
• Infringement Festival marks 7 years of artistic resistance
• A conversation with the director of the powerful doc Bas: Beyond the Red Light
• The Yes Men can’t corrupt the news, the mainstream media has done it for us
• For Angela confronts Aboriginal stereotypes
• What’s the status of guerrilla street art in Vancouver?
• Fact not Fiction: Women Documentary Directors of the Americas
• The animated chic of radical cats: The Pinky Show ascending
• Elvis Costello cancels shows in Israel
• Finkelstein fury: A conversation with American Radical’s directors
• Giant plastic six-pack rings strangle public sculptures
• 500 Years of Resistance comic book documents aboriginal resistance
• Public consultations on Canada’s digital future
• Bélo sings for justice in Haiti
• Report from Hot Docs: Bhutto, Budrus, and a questionable contract with Coke
• Ronnie Burkett’s search for meaning in marionettes
• Looking for truth’s ghost in the haunted house of journalism
• The water agenda: an interview with filmmaker Liz Marshall
• Kolkata Dreams: A poet’s eye in India
Winter 2010
• Crude, sublime power: artists make unnerving points about environment
• Palestinian poetic inspiration: Rafeef Ziadah
• Ethnic cleansing of the Serengeti documented in new film
• An interview with the directors of the haunting documentary A Tent on Mars
• Beyond the textbook: documentaries as a tool for teaching
• Olympic Mascot Mayhem: a conversation with photographer Jay Black
• A Guernica for Gaia: the UK art world gets serious about climate change
• The semiotics of protest and ethnographic violence at Vancouver 2010
• Yuri’s Red Tent helps the homeless
• Violence or vandalism: Safe Assembly at Vancouver 2010
• Playing with fire in Vancouver’s Downtown Eastside
• A World Without Water at the Olympics
• Photos reflect on movements in Manila
• One of the best environmental films ever made, Dreamland shakes the soul
• Coca-Cola intimidates student group over film screening
• Avatar: The new Dances with Wolves, now in Imax 3D
Fall 2009
• Vox Sambou confronts AIDS through hip-hop
• Racist docs! Punk Islam! Fake orgasms! Report from the Amsterdam Documentary Film Festival
• Documents show university spied on novelist
• Public tragedy, corruption and the news: Sexy beton II opens in Montreal
• One slick mess: An interview with H2Oil’s Shannon Walsh
• Artists Against Apartheid play for Palestine
• Queer love in a concentration camp
• Community television is up for grabs
• Opensourcing GM flowers: “Biopiracy” in the name of art
• Artistic hammering: An interview with Donovan King
Spring/Summer 2009
• Should we boycott TIFF?
• Uighur doc spurs online attack on film festival
• The Bible as bathroom stall
• Saving local culture one witness at a time: inside the struggle to rescue Canadian TV
• Living without Money: a timely new doc from Germany
• The Free Music Archive: Collaboration in the cultural frontier
• Acoustic ecstasy at Boston’s Megapolis
• The new business of democracy: Low-profit limited liability as media reform
• The Dictatorship of Debt: A funny and rowdy political play
Winter 2009
• Remixing RiP: Two blogs debate the hit copyright documentary
• Breaking the Sound Barrier: An Interview with Nancy Tobin
• Opie in NY: an interview
• The Be(A)st of Taylor Mac
• Is new Middle Eastern art too political?
• UK documentary probes The Age of Stupid
• Molora: a Greek tragedy for the South African stage
Earlier
• 2008: all articles and blog posts
• 2007: all articles and blog posts
