La Sala Rossa Gets Gruesome With Welsh Noise Pop Act
The black clad members of Joanna Gruesome stand against the red velvet curtains of La Sala Rossa like stitches on a wound.
Local Rock Outfit TOPS Shred Without Sacrificing Dancey Sensibility
As Montreal indie-rock band TOPS drove through the fall-coloured landscapes of Wisconsin, drinking coffee and tasting free cheese samples, singer Jane Penny got on the phone with The Link to talk about the band’s current tour and their creative process.
Concordia Student Celebrates Literary Debut with Metatron
Looking Good and Having A Good Time contains four stories, which share the Concordia student’s sense of humour, often focusing on small, mundane matters only to take off into hilariously surreal twists. The stories take place in different situations, but in each of them the indulgence of the characters transition into some bizarre feeling where occupation seems to be a recurring theme.
Film POP Opens With Screening and Concert Revolving Around French Coldwave
The attempt to trace the origins and influences of the French coldwave and post-punk movement shows such a vast net of convergences with other realms of art and society that it deserves its own movie.
Film Preservationist Mark Toscano Talks David Rimmer and Experimental Filmmaking
In anticipation of the series of screenings entitled David Rimmer: A Retrospective taking place at the Cinémathèque Québécoise on April 10 and April 11, The Link spoke with Mark Toscano from the Academy Film Archive, a film preservationist who worked on the restoration of Rimmer’s films.
The Cult Classic Returns for a New Generation of Acolytes
“I’ll see you again in 25 years.”
Seymour: An Introduction Screens at Docville, as part of RIDM
Ethan Hawke’s debut documentary film Seymour: An Introduction is a product of the actor’s own existential and professional crisis, as he tells the camera early on in the movie—before stepping back to leave the scene to his friend and mentor Seymour Bernstein.
Themes of perception, sight and voyeurism have been at the centre of Sophie Calle’s work ever since her 1979 photographic series Suite Venetienne, where she disguised herself to follow a man and document his walks around the city of Venice. Much like a detective, she can establish an intimacy with her subjects through close, attentive observation.