
Friday on My Mind: This weekend is all about festivals, starting with dance/theatre blowout Festival TransAmériques
Entertainment And Life
By
Friday on My Mind is a highly subjective, curated rundown of five of the cooler things happening in Montreal on the weekend.
Festival TransAmériques
All weekend at various venues
It is actually kind of nuts how many cultural festivals we have in Montreal, but what's even nuttier is the fact that almost all of them have a loyal audience that shows up every year. This week's column is devoted to four festivals (and one film series) and I'd bet you I could probably find five festivals to showcase every weekend between now and Labour Day. Oh and by the way, I'm not complaining!
Festival TransAmériques is the perfect example of our city's booming fest scene where there is something for everyone. It focuses on theatre and dance with a resolutely international bent. Half the shows are from other countries, the other half are Canadian and about 80 per cent of the Canadian fare comes from right here in Montreal. Every year they pull in around 40,000 spectators for their mix of ticketed indoor shows and free alfresco events. There are 21 shows this year, with artists from 23 countries.
The 19th edition opened Thursday with the North American première of Lacrima (running through Sunday), created by Caroline Guiela Nguyen, the head of Théâtre national de Strasbourg. It focuses on the entire behind-the-scenes process of a Parisian house of haute couture making a dress for a British princess, going from the high-stakes Paris fashion world to a workshop in Alençon in Normandy to an embroidery workshop in Mumbai.
The festival really 'looks at what the burning issues of our times are,' said Martine Dennewald, co-artistic director of the FTA with Jessie Mill. 'The pieces can be about the climate crisis or about all the different stories of the different diasporas, where people come from and what they bring to our modern metropolises. But it can also be about the form a show takes. Generally the FTA is bold, ambitious. Artists really try to break new ground here. And that's nice because you don't need to have a biography as a spectator. You don't need to have seen the classics. You don't need to be a regular theatregoer to appreciate what our artists are doing.'
All shows are surtitled in both French and English if they're in another language.
Mile End en Fête
Friday through Sunday at v arious spots in Mile End
There's all kinds of free fun stuff happening in the almost irritatingly hip neighbourhood on the weekend — everything from visiting the fire station on Laurier Ave. to face-painting for kids at the car wash just down the street from the firehouse.
There are shows with local artists at the site of the car wash, with a lineup including DJ Yuki, Laroie and Socalled.
Montreal Comic Arts Festival
Friday through Sunday on St-Denis St. between Gilford and Roy Sts.
This festival devoted to comics (called Festival BD de Montréal in French) features over 60 free activities with 320 creators and 170 exhibitors, all happening on St-Denis St., which will be closed to car traffic between Gilford and Roy Sts. for the weekend.
There will be panels, including one titled How to Kill a City on gentrification in comics, with acclaimed Montreal underground comic creator Rick Trembles. There are creative workshops open to all, including manga and zine-making conferences.
One of the themes this year is Swiss comics, with eight comic-book creators from Switzerland on hand.
NDG Art Hop
Saturday and Sunday from 11 a.m. to 6 p.m. at various artists' studios in N.D.G.
NDG Art Hop, which was created in 2017, is designed to help support local artists by having them open up their studios to the public for two days.
'Our mission is to share the importance of art in any community,' said Helen Fortin, one of the artists who is participating. 'Art gets everyone together. I've been in it for three years and for me it's been very successful. A lot of people come out. People do buy art. But I always emphasize it's not a sale. It's about underlining the importance of art.'
Fortin's paintings are mostly abstract landscapes.
The website includes a map showing the locations of the approximately 20 studios that are part of the festival.
Alphaville
Friday and Saturday at 9:30 p.m. and Sunday at 2:30 p.m. at Cinéma du Parc
The classic Jean-Luc Godard film Alphaville is screening as part of Cinéma du Parc's Dystopia series, which is a subset of the cool movie house's Parc at Midnight series — though just to complicate matters, the movies don't actually screen at midnight, because apparently people can't stay up as late as we used to back in the day when we caught midnight movies on a regular basis.
All you need to know is that Alphaville is one of the wildest, most fun movies I've ever had the pleasure of seeing. It's Godard at his 1960s best, mixing up wacky sci-fi with pulp film noir, and it stars the absolutely fantastic duo of Eddie Constantine and Anna Karina. Go see it!
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Global News
2 hours ago
- Global News
Global streamers fight CRTC's rule requiring them to fund Canadian content
Some of the world's biggest streaming companies will argue in court on Monday that they shouldn't have to make CRTC-ordered financial contributions to Canadian content and news. The companies are fighting an order from the federal broadcast regulator that says they must pay five per cent of their annual Canadian revenues to funds devoted to producing Canadian content, including local TV news. The case, which consolidates several appeals by streamers, will be heard by the Federal Court of Appeal in Toronto. Apple, Amazon and Spotify are fighting the CRTC's 2024 order. Motion Picture Association-Canada, which represents such companies as Netflix and Paramount, is challenging a section of the CRTC's order requiring them to contribute to local news. In December, the court put a pause on the payments — estimated to be at least $1.25 million annually per company. Amazon, Apple and Spotify had argued that if they made the payments and then won the appeal and overturned the CRTC order, they wouldn't be able to recover the money. Story continues below advertisement In court documents, the streamers put forward a long list of arguments on why they shouldn't have to pay, including technical points regarding the CRTC's powers under the Broadcasting Act. Spotify argued that the contribution requirement amounts to a tax, which the CRTC doesn't have the authority to impose. The music streamer also took issue with the CRTC requiring the payments without first deciding how it will define Canadian content. Amazon argued the federal cabinet specified the CRTC's requirements have to be 'equitable.' It said the contribution requirement is 'inequitable because it applies only to foreign online undertakings and only to such undertakings with more than $25 million in annual Canadian broadcasting revenues.' Get daily National news Get the day's top news, political, economic, and current affairs headlines, delivered to your inbox once a day. Sign up for daily National newsletter Sign Up By providing your email address, you have read and agree to Global News' Terms and Conditions and Privacy Policy Apple also said the regulator 'acted prematurely' and argued the CRTC didn't consider whether the order was 'equitable.' It pointed out Apple is required to contribute five per cent, while radio stations must only pay 0.5 per cent — and streamers don't have the same access to the funds into which they pay. The CRTC imposes different rules on Canadian content contributions from traditional media players. It requires large English-language broadcasters to contribute 30 per cent of revenues to Canadian programming. Motion Picture Association—Canada is only challenging one aspect of the CRTC's order — the part requiring companies to contribute 1.5 per cent of revenues to a fund for local news on independent TV stations. Story continues below advertisement It said in court documents that none of the streamers 'has any connection to news production' and argued the CRTC doesn't have the authority to require them to fund news. 'What the CRTC did, erroneously, is purport to justify the … contribution simply on the basis that local news is important and local news operations provided by independent television stations are short of money,' it said. 'That is a reason why news should be funded by someone, but is devoid of any analysis, legal or factual, as to why it is equitable for foreign online undertakings to fund Canadian news production.' In its response, the Canadian Association of Broadcasters said the CRTC has wide authority under the Broadcasting Act. It argued streamers have contributed to the funding crisis facing local news. 'While the industry was once dominated by traditional television and radio services, those services are now in decline, as Canadians increasingly turn to online streaming services,' the broadcasters said. 'For decades, traditional broadcasting undertakings have supported the production of Canadian content through a complex array of CRTC-directed measures … By contrast, online undertakings have not been required to provide any financial support to the Canadian broadcasting system, despite operating here for well over a decade.' A submission from the federal government in defence of the CRTC argued the regulator was within its rights to order the payments. Story continues below advertisement 'The orders challenged in these proceedings … are a valid exercise of the Canadian Radio-television and Telecommunications Commission's regulatory powers. These orders seek to remedy the inequity that has resulted from the ascendance of online streaming giants like the Appellants,' the office of the attorney general said. 'Online undertakings have greatly profited from their access to Canadian audiences, without any corresponding obligation to make meaningful contributions supporting Canadian programming and creators — an obligation that has long been imposed on traditional domestic broadcasters.' The government said that if the streamers get their way, that would preserve 'an inequitable circumstance in which domestic broadcasters — operating in an industry under economic strain — shoulder a disproportionate regulatory burden.' 'This result would be plainly out of step with the policy aims of Parliament' and cabinet, it added. The court hearing comes as trade tensions between the U.S. and Canada have cast a shadow over the CRTC's attempts to regulate online streamers. The regulator launched a suite of proceedings and hearings as part of its implementation of the Online Streaming Act, legislation that in 2023 updated the Broadcasting Act to set up the CRTC to regulate streaming companies. In January, as U.S. President Donald Trump was inaugurated for his second term, groups representing U.S. businesses and big tech companies warned the CRTC that its efforts to modernize Canadian content rules could worsen trade relations and lead to retaliation. Story continues below advertisement Then, as the CRTC launched its hearing on modernizing the definition of Canadian content in May, Netflix, Paramount and Apple cancelled their individual appearances. While the companies didn't provide a reason, the move came shortly after Trump threatened to impose a tariff of up to 100 per cent on movies made outside the United States. Foreign streamers have long pointed to their existing spending in Canada in response to calls to bring them into the regulated system.


Toronto Star
3 hours ago
- Toronto Star
What does it take to portray the beautiful, tragic, complex heroine of ‘Anna Karenina'? It's physically and emotionally demanding for the National Ballet dancers sharing the role
Among Western literature's tragic heroines Anna Karenina surely ranks among the most famous. And, like so many literary heroines, the title character of Leo Tolstoy's 1878 door-stopper novel has been lifted from the page to become the subject of stage dramas, films, operas and, to date, at least seven noted ballet versions. Reputedly there has even been an ice-dance production. The National Ballet of Canada, under Karen's Kain's artistic direction, performed an adaptation by American-born choreographer John Neumeier in 2018. Now Kain's successor, Hope Muir, is introducing Canadian audiences to the work of acclaimed German choreographer Christian Spuck with the North American premiere of his more compact — two- as opposed to almost three-hour — version.


Japan Forward
13 hours ago
- Japan Forward
New Music Zine N.E.R.O. Launches June 19 with Shibuya Party and Three Cool Bands
When was the last time you picked up a really good music magazine? You know – a bound sheaf of pages filled with insightful interviews and striking photography of your favorite musicians? If you thought print was dead, now's your chance to witness the birth of a brand new zine: N.E.R.O. Chief Editor Yukiko Inoue is a veteran of the analog world. She began her career as a member of Flipper's Guitar, the seminal late-1980s/'90s Shibuya-kei band led by musicians Cornelius (Keigo Oyamada) and Kenji Ozawa. Later, in 2010, she founded the premium music magazine nero, whose pleasingly thick editions featured bilingual interviews with revered artists from Yoko Ono and Sean Lennon to Phoenix alongside a plethora of young up-and-comers. N.E.R.O. founder and Chief Editor Yukiko Inoue. Despite being an independent magazine, nero quickly attracted attention from music fans and fashionistas alike, with its glossy pages featuring exclusive shots from renowned photographers such as Ellen Von Unwerth and Autumn de Wilde. One issue even featured an exclusive cover illustration of French band Phoenix by artist Klaus Voorman, which referenced the cover artwork he made for the Beatles album Revolver in 1966. "I like print," says Inoue simply as we chat in a Shibuya cafe. "A lot of magazines have gone out of business over the years, and it has become tough, but I do believe that magazines, writing and photography will always remain. It's like fashion – the trends go round in circles." Borderless N.E.R.O. Now, Inoue is preparing to launch N.E.R.O., an English language publication made in Japan. It borrows from the aesthetics of fanzine culture to create bite-sized, carefully crafted issues themed around a different music artist each time. N.E.R.O. will launch with a party in Tokyo on June 19 that includes live performances from Melbourne band HighSchool, Paris-based Pol, and Tokyo's Luby Sparks. N.E.R.O. presents borderless night. The new zine's upcoming launch party will feature a live set by Melbourne band HighSchool. Inoue explains that N.E.R.O. was born from the ashes of her previous magazine nero, which faltered during the pandemic. "For various reasons, it felt like a good time to move on," she says. "I had some interviews already planned though, so I decided to find a new way to publish them, in a format that was more suited to the modern era. Magazines don't work the same way they used to, and a website didn't really appeal to me, as I am quite an analog person." With this in mind, Inoue settled on a zine format. While nero was presented as an aspirational magazine that made its bespoke photography look beautiful and timeless, N.E.R.O. will have a scrappier feel. It will be a series of zines devoted to one artist per issue, and readers can choose to buy just the ones they like or collect the whole set. Since each will have matching cover designs, they'll make a great collection. Countdown to the First/Last Issues Inoue is planning a set of around eight issues for this experimental first run – the first two of which feature interviews with HighSchool and POL. (Technically these are the last two issues, as they will count down backwards to zero, ending with an issue focused on Nick Knight.) Paris-based duo Pol will leave their first impression on Tokyo fans at the N.E.R.O. launch party in June. "In July, the next issues will be about Turnstile and Ca7riel & Paco Amoroso, who will be coming that month to play at the Fuji Rock Festival," says Inoue. "The great thing about doing separate issues about each band rather than one big magazine is that each issue can be timed to release when the band is in Japan, so fans can see their show and pick up the zine at the same time." The bands featured in N.E.R.O. are not exactly household names, as Inoue has a passion for discovering artists early in their career. Some of her discoveries have gone on to become relatively big, such as Sky Ferreira, The 1975 and Clairo. But more importantly, Inoue brings a sense of human curation that is essential in this digital world. The lineup for the June 19 launch event at Shibuya WWW is a great example of this approach, with three bands whose sound is individually unique yet who complement each other perfectly. If you like one of them, you'll probably like all three. Advertisement First Invites Melbourne band HighSchool "The first band I invited to join the party was HighSchool," explains Inoue. "They first came to play in Japan last year (2024), and I love their music and live performance. They have a nostalgic sound that reminds me of New Order and Joy Division, so I think they'll appeal to fans of that kind of music." HighSchool's bright guitar tones, downbeat vocal delivery and confessional lyrics recall classic British bands like The Smiths and New Order, while their live shows carry an intensity that is electrifying. Luby Sparks The next addition to the lineup was Luby Sparks, a Tokyo-based band. "I don't listen to much Japanese music, but I'm good friends with the band, and I thought they would be a good match for HighSchool," says Inoue. While Luby Sparks hail from Japan, their music homages the dreamier end of the '90s Britpop scale, underpinned with a US alternative-rock heart. The music video for their single One Last Girl featuring bedroom-wall posters of Echobelly alongside raunchier artists like Hole and Joan Jett, giving a clear indication of their influences. French band Pol Adding Goth and a Touch of France Deciding that inviting only one foreign band and one from Japan was not quite enough of a challenge, she added Pol to the lineup, flying them in from France. The band's music takes things a little further back to the '80s, with their guitar and synth combo drawing from the well of Gary Numan and the Human League. "Pol are not very well known in Japan yet, but they have a great visual style and their music has so much potential, especially since the type of new wave music they make is due a resurgence," says Inoue. Lillies and Remains vocalist Kent will perform a special DJ set. In addition, Kent, the vocalist from cult Japanese band Lillies and Remains, will also appear as a guest DJ, adding a ripple of Goth to the event. "There will be elements of guitar-pop and Goth, but it's all through the filter of just one person – me – so even if you don't know all the bands, I'm sure you'll enjoy it as an event," says Inoue. "People who love music and beautiful things, and people who want to meet likeminded people – give it a chance and come check out the show!" Advertisement Representing Asia's Music Scene The HighSchool and Pol issues of N.E.R.O. will be available to buy at the launch party. All the issues will also eventually be available to order online, with overseas delivery likely available too. Each issue will be published in English, with a foldout insert that includes Japanese translations. Melbourne band High School. Inoue writes the bilingual versions of her interviews with the help of a translator and an interpreter. For now, the majority of the musicians she interviews are from the West. However, she originally envisioned nero as a magazine that could represent Asia's music scene and which could be read in English around Asia and elsewhere around the world. Her new zine takes a similar approach, embracing a "borderless" concept. Inoue's selective approach means she is able to channel her passion for each artist into her interviews. In turn, that encourages them to open up. For example, in Volume 8 of nero magazine, Yoko Ono and Sean Lennon spoke in detail about personal topics such as their family dynamic, making for an unusually engaging article. Tokyo band Luby Sparks round out the bill at N.E.R.O.'s launch event. Inoue's Secret: Listening "I've been told that I'm like a counselor," she says. "With Sean Lennon, he was a fan of my magazine, and he offered to pay a photographer he liked (Greg Kadel) so we could do a cover shoot together. I don't know why, but music producers like Mark Ronson seem to connect with what I do as well, and they really open up to me. Maybe it's because I'm a good listener." As someone who has interviewed hundreds of creative people myself over the past couple of decades, I know how hard it is to build a rapport with someone in the few minutes before you hit record, and to have them forget their media training and speak from the heart. So I ask Inoue her tips for getting the best out of her interviewees. "The most important thing is to listen to their music over and over beforehand," she replies. "If you love their music, you'll have no problem finding questions to ask them, because you're naturally interested in what they have to say. "And then you have to listen carefully to their responses and follow up with deeper questions. If you do it with love, they can tell." Advertisement Interested in the June Event? N.E.R.O. presents borderless night takes place on June 19 at Shibuya WWW in Tokyo. It includes live performances from HighSchool, Pol & Luby Sparks. For tickets and further information about the show and the first issues of N.E.R.O., visit or RELATED: Interview by: Daniel Robson Read Daniel's artist interviews and his series Gamer's World on JAPAN Forward, and find him on X (formerly Twitter).