Reimagining Humanity and Art in the Age of AI: Korea–Canada Convergence Art Exhibition Spectrum of Humanity to Take Place in Montreal and Ottawa
-Presenting a variety of exchange programs, including screenings of works by leading Korean convergence artists such as Tae-kyung Yoo and Heung-soon Im
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Calgary Herald
17 minutes ago
- Calgary Herald
CPO gets early start on its jam-packed 70th season
Article content Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Article content It promises to be a big bash this year as the Calgary Philharmonic plans an epic dance party, outdoor events and a travelling roadshow to celebrate its 70th season. Article content It all kicks off Sept. 5 at the Big Four Roadhouse on the Stampede grounds with a premiere of SYNTHONY: EDM Meets Orchestra. Guest DJs and vocalists join Calgary Phil in a fun mashup of electronic anthems. Article content The CPO begins its Jack Singer Concert Hall appearances on Sept. 12-13 with Grammy Award-winning conductor Karen Kamensek leading Grammy winner Gil Shaham playing Beethoven. Shaham is considered one of the foremost violinists in the world, and this will be his first Calgary performance. Article content Article content The CPO brings back its popular Pops and Symphony Sundays for Kids series, with The Music of Sting + The Police (Sept. 19 and 20) and The Gruffalo (Sept. 21). Article content The busy month wraps up on Sept. 27 with one of the most anticipated concerts of the season as international piano superstar Lang Lang — also making his Calgary debut — joins the orchestra and conductor Ramón Tebar at the Jack Singer. Article content This season, the CPO will branch out across the city, performing 70 concerts in seven venues across the city, such as the Jubilee, the Bella and the Grace Presbyterian Church. And it's bringing in big talent, with 29 conductors from around the world to lead the orchestra, including Yue Bao, Jessica Cottis, Calgary's own Daniel Bartholomew-Poyser, Calgary Phil music director laureate Hans Graf, and Calgary Phil resident conductor Juliane Gallant. Article content Article content Some of the guest artists expected this year are guest artists such as Alberta's country star Tenille Townes, former Barenaked Lady and Canadian rock icon Steven Page, rising star Amaryn Olmeda (violin), Canadian luminary Stewart Goodyear (piano), multi-disciplinary artist Vivek Shraya, and the renowned Steven Isserlis, one of two living cellists inducted into the Gramophone Hall of Fame. Article content Article content The CPO will also continue its tradition of collaboration, with the Calgary Youth Orchestra in January, with the Edmonton Symphony Orchestra in April and Baroque fall and winter concerts with Mathieu Lussier and Camillie Delaforge, respectively. Article content Always trying to reach new audiences, the CPO will bring back popular additions such as Rockin' Pops (including the music of Prince, disco, Latin pop, Sting and the Beatles), and blockbuster movies accompaniments (Home Alone in Concert, The Princess Bride, Harry Potter and the Half-Blood Prince and Star Wars: Return of the Jedi). Article content And it wouldn't be Christmas without the annual musical tradition of Handel's Messiah.
Winnipeg Free Press
8 hours ago
- Winnipeg Free Press
Nuanced 1965 drama delicate romance in complicated time
This groundbreaking queer film, now available in a 4K restoration that revives its original black-and-white esthetic, never uses the words 'gay' or 'homosexual.' It's a marvel of subtext, a coming-of-age story in which the relationship between the two main male characters is kept quietly coded. This discretion is understandable: Winter Kept Us Warm, written and directed by Brandon-born, Winnipeg-raised David Secter, was first released in 1965, when homosexuality was still a criminal offence in Canada. In 2025, the film functions as a fascinating historical document, a significant marker in the long journey from the celluloid closet to contemporary queer representation. Winter was also the first English-language Canadian work to screen at Cannes, and became an important (but often overlooked) influence on a generation of independent Canadian filmmakers, not just because of its radical subject, but because it managed to get made at all. Modest but often ingeniously artful, Winter was filmed on a shoestring budget by a mostly student cast and crew who were basically learning on the job. Beyond its considerable historic value, though, the film holds up because the story's enforced subtlety shapes a delicate and deeply affecting character study. Our two protagonists, both students at the University of Toronto, are presented in the opening sequences as a study in contrasts. Doug (John Labow, who later became a documentary producer) roars toward campus in a cool convertible, wearing sunglasses and accompanied by a jazzy score. He walks into the college residence like he owns the place. Peter (Henry Tarvainen, who also went on to work as a producer) arrives by cab, awkwardly lugging a big cardboard box, rubbernecking at the big city and all its tall buildings. He's unsure of where to go or what to do. Doug is an extroverted senior, charming and popular, always surrounded by a gang of admiring male friends and often accompanied by his beautiful girlfriend, Bev (billed here as Joy Tepperman, she became the prolific Canadian novelist Joy Fielding). Peter is an introverted, bookish junior, a scholarship boy from an immigrant Finnish family and a small Ontario town. He spends a lot of time alone in the library, and that's where he and Doug get into a conversation about T.S. Eliot's The Waste Land, the poem that lends the film its title. Over the course of the school year, the two men's seemingly unlikely friendship grows in intensity, but the dynamics shift, ever so finely, when it seems they might want different things. Secter's approach to the story's queer undercurrents is necessarily oblique. It comes out in a certain way of framing collegiate roughhousing and locker-room towel-flicking, in a shower scene that fades to black, in a sentence left unfinished. 'If I didn't know better, I'd swear you and Pete are…,' Joy says to Doug at one point. That's about as explicit as things get. There are a few clunky moments from inexperienced cast members in minor roles, but the lead performances are remarkably assured. As we follow Doug and Peter's relationship, our initial impressions shift. Doug's brash assurance could be a screen for a deeper insecurity, while Peter ends up being tougher and more confident than he initially appears. The nuanced approach to character extends to the young women. Joy, who senses Doug's declining interest without being able to pinpoint its cause, is given sympathetic treatment, as is Sandra (Janet Amos), a theatre student Peter meets during a production of Ibsen's Ghosts. Secter, who now lives and works in Hawaii, is clearly dealing with an almost non-existent budget and severe practical constraints. (Remember, this was long before struggling cineastes could shoot films on their iPhones.) He has a clear gift for working with actors, and his thoughtful framing and careful camera placement keep things visually interesting, so that even seemingly simple scenes are layered with meaning and intent. The film catches a key juncture in the mid-1960s, poised between tradition (the young men attend dining hall dressed in academic gowns and often socialize in suits and ties) and coming social changes (they also go to coffeehouses and talk about the Vietnam War). The film's open-ended conclusion suggests that Doug and Pete are, like their era, at personal turning points. We are left to imagine each man's future, and even how each might look back at this brief, poignant moment in their lives, with T.S. Eliot once again coming in, speaking of 'memory and desire.' Alison GillmorWriter Studying at the University of Winnipeg and later Toronto's York University, Alison Gillmor planned to become an art historian. She ended up catching the journalism bug when she started as visual arts reviewer at the Winnipeg Free Press in 1992. Read full biography Our newsroom depends on a growing audience of readers to power our journalism. If you are not a paid reader, please consider becoming a subscriber. Our newsroom depends on its audience of readers to power our journalism. Thank you for your support.
Vancouver Sun
13 hours ago
- Vancouver Sun
TIFF reverses course, announces it will now screen controversial October 7 film
After two days of intense controversy, the Toronto International Film Festival has not only reversed its decision to disinvite an October 7 documentary, but has made it an official festival selection. Earlier this week, the festival outraged the filmmakers and Jewish groups when it rescinded an invitation for The Road Between Us: The Ultimate Rescue to screen at this year's festival, which kicks off Sept. 4. The festival backtracked late Thursday evening, issuing a joint statement from Cameron Bailey, TIFF's CEO and Barry Avrich, the filmmaker. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. '(The film) will be an official TIFF selection at the festival this year, where we believe it will contribute to the vital conversations that film is meant to inspire,' the festival said. Please see the following statement from TIFF and the Filmmaker regarding The Road Between Us: The Ultimate Rescue. The film, produced by Melbar Entertainment Group and directed by Avrich, a Canadian, tells the story of retired Israel Defence Forces Gen. Noam Tibon, who raced from Tel Aviv to Kibbutz Nahal Oz near Gaza on October 7 to save his son Amir's family. TIFF had originally said the filmmakers did not secure 'legal clearance of all footage,' which was among the conditions the festival requested to mitigate 'known risks around the screening of a film about highly sensitive subject matter, including potential threat of significant disruption.' The Centre for Israel and Jewish Affairs said in a statement Thursday that TIFF 'ultimately made the right call.' 'Tens of thousands of Canadians — including civic leaders, elected officials, artists and people from all backgrounds—spoke out against TIFF's shameful decision to cave to extremist pressure. Their voices were heard,' CIJA said. 'Let's make it the most-watched film at TIFF and, eventually, on screens across the country. Everyone needs to see the real cost of unchecked extremism—and the bravery of those who stand in defence of human life and our shared values.' The initial decision drew condemnation from a number of figures, including Idit Shamir, Israel's consul general for Toronto and western Canada, who called the film festival's Wednesday apology — in which it denied that 'censorship' had played a role in the decision — 'PR perfume on institutional moral rot.' 'They called it important. Then they withdrew it for phantom legal reasons forcing October 7th survivors to seek Hamas permission for massacre footage. Zero transparency on core outrage,' Shamir said. Excellent news. I am thrilled that Barry Avrich's important work will be showcased at this year's Toronto International Film Festival. Stan Cho, Ontario's Minister of Tourism, Culture and Gaming, called the film 'a crucial medium of dialogue.' 'I believe freedom of expression is integral to the arts,' Cho said. On Thursday evening, Cho called TIFF's decision 'excellent news.' 'I am thrilled that Barry Avrich's important work will be showcased at this year's Toronto International Film Festival,' Cho wrote on X. — With additional reporting by Chris Knight Our website is the place for the latest breaking news, exclusive scoops, longreads and provocative commentary. Please bookmark and sign up for our newsletters here .
