Music did its best to try and apply soothing antiseptic to an otherwise frightening 2016. At least we had some sort of positive, yeah? The incredibly strong year for music has seen no issue carrying over, seamlessly, into the first three-plus months of the new year.
With the hauntingly layered and chaotically cool release of 9 Bed, No Bath, Megan Hattie has launched the most entrancing and inimitable compilation of the year.
Danièle Thompson’s Cézanne-Et-Moi is drenched with a self-importance that, though draining, is utterly fitting to the historical men it brings to life.
The incredibly funny, insightful, and steampunk-loathing tandem of Jamie Loftus and Caitlin Durante formed The Bechdel Cast in November of 2016. The show’s premise is to explore the disparity of roles played by women in cinema.
To describe Olivier Assayas’ slate, often times inscrutable Personal Shopper would be to hack into the growth rings of a perfectly opaque mystery.
Writer and director Julia Ducournau’s sticky, blood-flecked Raw doesn’t necessarily fall into the grisly chambers of body horror even though the film’s carmine color palette screams out to the genre.
The instrument jarring, floor stomping, guttural vehemence of Brooklyn’s Ex-Girlfriends — Tarra Thiessen, Heather Cousins, Christine Hill, Monika Knapp — create a landscape of circus mirrors and guitar eviscerating mayhem.
Caila Thompson-Hannant’s kaleidoscopic iridescence is both saltwater taffy and tall shadows. Operating as Mozart’s Sister, the Montréal-based artist draws wavy chalk lines that are hopelessly full of life.
“The Salesman” opens with the lighting and darkening of set pieces. Shadows of angled furniture, occasionally mixed with deep reds, come in and out.
Dealing in the currency of friendship, love, and mourning, the Canadian filmmaker’s second full-length feature is a beautiful depiction of what it means to be human.