The largest social housing park in Austria, called Alterlaa, and its former promise of happiness to its residents is the subject of the humorous debut documentary 27 Storeys by Bianca Gleissinger. "Living like the rich for everyone" was the utopian premise in 1970 of the architect with the sonorous name Harry Glück. But what is left of that pioneering spirit? The director, who herself grew up there, meets its eccentric residents - in the shooting club, at the pool on the roof or on the balcony, and provides deep insights into a social biotope. Gleissinger herself appears in the film, ironically and at the same time hauntingly she enters into a place in her past that seemed to have become a stranger to her. This film is a witty, very personal approach to an obscure place and at the same time a confrontation with one's own roots. Generously sponsored by Number Ten Architectural Group

For the first time in its 100-year history, the fashion house Akris grants exclusive access to a documentary film. After more than four decades at its creative helm, Creative Director Albert Kriemler allows a camera into the atelier, offering a rare glimpse into a world usually hidden from view. The film tells the story of three generations of the Swiss Kriemler family, who, as owners and designers of Akris, run one of the last independent fashion houses in the industry. Director Reiner Holzemer accompanies Albert Kriemler and his brother Peter Kriemler, CEO and President of Akris, as they prepare for and celebrate the house’s 100th anniversary. The film captures the intensity of show preparations in Paris, journeys to New York and Washington, as well as a museum exhibition in Zurich. Rare behind-the-scenes moments include fabric sourcing, a fitting with H.S.H. Princess Charlène of Monaco, and an exchange with architect Sir David Chipperfield about his work for Akris. As Albert Kriemler sustains an ongoing dialogue with the worlds of art and architecture, the film explores his creative collaborations with artists and architects such as Imi Knoebel, Anton Corbijn, Thomas Ruff, Sou Fujimoto, as well as his long-standing partnership with renowned ballet director John Neumeier. Through insights into refined craftsmanship, in-house processes, and the master artisans working behind the scenes, Akris – Fashion With a Heritage immerses viewers in the inspired universe of Akris – a quiet powerhouse building its legacy with soul, sensuality, and craft. Generously sponsored by 5468796 architecture

ArchiShorts is a film contest celebrating the narrative potential of places, real and imagined. The contest is free and open to anyone interested in architecture and the built environment, and seeks to create opportunities for emerging filmmakers while building interest in the world around us. Winners of the annual 2-minute film contest will have films screened and a chance to speak about their films, and how they made them. Generously sponsored by Exchange District BIZ

Bauhaus emerged from the ruins after World War I, when visionary architect Walter Gropius set out to bring art, design, and architecture together in a utopian whole. Simplicity, function, and accessibility set new, modern standards for how life could—and should—be lived. The influence of Bauhaus cannot be overestimated. Today it stands as one of the most important cultural movements of the 20th century. The main character in Nico Weber’s cinematic essay is not a person, but a site. The combined Bauhaus-Archiv / Museum für Gestaltung in Berlin houses the world’s largest collection of materials on Bauhaus and is currently undergoing renovation, while a new extension is taking shape. The fact that the place is currently both an archive and a construction site is entirely in keeping with the original spirit. Here we meet the people who today manage Gropius’ legacy. And like the archivists and architects of the place, Weber does not compromise on integrity. Around the site, the rest of Berlin is also undergoing rapid change. Generously sponsored by Susan Algie and James Wagner

The narrow streets of the old city of Fez wind around walled houses, crumbling palaces and quiet courtyards. Rajae, a schoolteacher, reminisces about the gardens and streams–places once alive with mystery and discovery–that have now fallen into neglect or vanished entirely. She urges her students to remember the stories still living within the city walls. As architect Rachid Haloui uncovers the hidden network of waterways and springs that shaped Fez, Rajae sets out to develop a play, determined to revive these stories. On a rooftop, the rehearsal begins. Elsewhere in the city, a poet recalls an old poem, a gardener tends one of the last remaining plots, and a dancer encounters the spirit of water. Their stories, rituals and songs, as well as the daily care of the city’s fountains and parks, reveal Fez as a city at a threshold–where memory and imagination persist, deeply intertwined with everyday life. Generously sponsored by HTFC Planning and Design

A definitive feature-length documentary on a pivotal chapter of Modern architecture, this Design Onscreen production directed by award-winning filmmaker Jake Gorst explores the bold, exuberant world of Googie design. Emerging in mid-20th-century Los Angeles, Googie transformed coffee shops, bowling alleys, banks, churches, and car washes into futuristic icons, influenced by visionary architects such as Frank Lloyd Wright and John Lautner and propelled into the commercial mainstream by firms like Armet & Davis. With its sweeping rooflines, dramatic angles, and optimistic embrace of modern materials, Googie reshaped streetscapes across America and captured the spirit of a car-centered, postwar culture. Though many landmarks have been lost, a growing preservation movement now recognizes Googie as a vital and distinctly American expression of Modern design, a legacy this film celebrates through the voices of leading historians and cultural commentators. Jake Gorst is an award–winning documentary filmmaker and writer. Since 2002, Jake and his producing partner Tracey Rennie Gorst have created a body of work that explores architecture, art, design, and cultural history for theatrical, streaming, and public television audiences. He is the author of Andrew Geller: Deconstructed (2015, Glitterati, Inc.) and has contributed writing to The Architect’s Newspaper, VOX Hamptons, HOME Miami, Modern, and Modernism magazines. Generously sponsored by 1X1 architecture

In the heart of the Randstad lies a unique part of the Netherlands: Máximapark. Just 25 years ago, this area was home to greenhouse growers; today it is a vibrant green icon of contemporary landscape architecture and community spirit. From its roots in greenhouse horticulture and the remarkable archaeological discoveries dating back to Roman times, to the carefully designed landscape where rare flora and fauna have found their place, the park is a living mosaic of nature, history, and culture. Volunteers from diverse backgrounds work side by side to maintain and nurture this young yet meaningful place. Visitors to the park find tranquility, inspiration, and opportunities for movement and recreation. The film Máximapark is an ode to the power of collaboration, the importance of heritage, and the beauty of a landscape in which people and nature reinforce one another. Generously sponsored by Scatliff+Miller+Murray

For centuries women have designed spaces, built projects, and transformed architecture. Yet they remain largely invisible in official narratives. This film investigates: why this exclusion? Who organizes and perpetuates it? Through the voices and works of women architects, Out of the Picture explores the mechanisms of erasure at work within the profession. The film also questions the frameworks: those of history, the city, power, and image. It poses a central question: who is granted access to the frame? Generously sponsored by pico ARCHITECTURE Inc.

In the late ’60s and ’70s, a group of architects landed in Vermont with big ideas and a simple plan: to stop just designing buildings and start making them too. Drawing from Bauhaus ideals but rejecting the rigidity of academia, they built by hand, embraced mistakes, and turned architecture into a wild, creative experiment. More than just structures, they built a way of life—one rooted in community, empowerment through doing, and the belief that process matters more than perfection. Stitched into this story are the decades that shaped design/build, told through the houses that best captured each era. The film moves through the radical homes of the ’60s, where sculptural forms and bold ideas first took shape, into the ’70s, when creativity exploded alongside experiments in alternative energy and materials. By the ’80s, Yestermorrow Design/Build School was founded along with the crown jewel Waitsfield10 house. Allie grew up in the middle of it all, playing in half-finished houses where learning happened by trying and failing, and trying again. Years later, she picks up a camera to trace the movement’s history, only to find herself pulled back into its ethos—this time, by building a house of her own. Both nostalgic and full of momentum, the film is a celebration of making cool stuff, messing up, and making more cool stuff—a reminder that the best way to build anything is to just start. Generously sponsored by Public City Architecture

Rule of Stone is a documentary film that exposes the power of architecture and the role it has played – aesthetically, ideologically and strategically – in the creation of modern Jerusalem. In 1967, Israel conquered East Jerusalem, including the Old City, where the Western Wall and the Temple Mount are located. A few years later, the city was declared the united and indivisible capital of the State of Israel. The goal became to make a re-division of the city materially impossible. Architecture and stone are the main weapons in this silent, but extraordinarily effective colonization and dispossession process. At the center of the story is the narrative of Jerusalem Stone, the material decreed by law to give the city its aesthetic quality. The film takes the viewer on a journey seeing how design and the perception of beauty took part in the invisible war of annexation. Jerusalem stone and the way it has been clad on the exterior of every building in the city since the British mandate over Palestine shows how beauty and cruelty go hand in hand. Generously sponsored by Exchange District BIZ

The First Siza is a documentary about the Four Houses, the first project by Álvaro Siza, designed while he was still a student, and the impact of architecture on people's lives. Through the reunion, 60 years later, between the architect and Fernando Neto — his first client and owner of one of the houses in Matosinhos — the film reveals how this project was pivotal in Siza’s career. Featuring interviews with Siza, the residents, and critic Francesco Dal Co, as well as current and archival footage, the narrative explores how architecture and the lives of its inhabitants become intertwined over time. Generously sponsored by h5 architecture

1983. French President François Mitterrand decides to launch an international architectural competition for the flagship project of his mandate: the Great Arch of La Défense, aligned with the Louvre and the Arc de Triomphe. Against all odds, Otto von Spreckelsen, a Danish architect, wins the competition. Overnight, this 53-year-old man, unknown in France, arrives in Paris where he is propelled at the helm of this pharaonic project. While the architect intends to build the Great Arch exactly as he envisioned, his ideas quickly clash with realistic constraints and the vicissitudes of politics. Generously sponsored by Wolfrom Engineering

The House of Cini Boeri tells the story of the intense life and brilliant work of architect and designer Cini Boeri, through the places she lived, the testimonies of those who knew her well, and the works she created. The House of Cini Boeri is Milan—the city where Cini Boeri was born in 1924, where she studied, and where she opened her studio in 1963.. The House of Cini Boeri is also the architecture she designed—radical in form and evocative in name, always built in close harmony with the landscape, in various locations: the “Bunker House,” built for herself and her family in 1968 on the wild rocks of La Maddalena island in Sardinia; the “Round House” and the “Sbandata,” also on La Maddalena; and the “House in the Woods” in a birch forest in Osmate (Varese). The House of Cini Boeri is the home of a courageous protagonist of the 20th century—a pioneer, both in her choices and her designs, of a new way of living that helped revolutionize the role of women in the family, in work, and in society. Generously sponsored by Urban Idea

How do you go about merging three well established museums into one giant National Museum? When a new National Museum is being built in Norway, everybody does their very best to make the best museum possible. But what does "best" really mean? With unique access, this observational documentary from the construction of the largest museum in the Nordic countries points us to the question of what art really is, how the new museum will face the challenges of our times, and who an art museum really is for? Generously sponsored by Crosier Kilgour

A philosophical journey into the world of chairs: conversations with design icons about aesthetics and functionality. Generously sponsored by The Professional Interior Designers Institute of Manitoba

Fiercely independent 90-year-old Agatha Bock lives alone on her ancestral farm. Despite health challenges, she defiantly tends to her land, cultivating heirloom seeds passed down through generations. Employing antiquated techniques, Agatha plants and harvests her expansive field of watermelons, beans, flowers, herbs, and vegetables entirely by hand. Without a car, cell phone, running water, or even a functioning landline, Agatha’s meditative processes and daily rituals form a vivid counterpoint to the rapid pace of contemporary life. Made intentionally with sensory sensitive viewers in mind, the film carves out a (mostly) calm space in a chaotic world. Shot by an all-female crew—including director Amalie Atkins and cinematographer Rhayne Vermette— over six years on 16mm film, using a windup Bolex and an ArriSR2 studio camera, the project captures the handmade materiality inherent in both the medium of film and Agatha’s tactile world. Her century-old farmhouse, with its grey exterior, contrasts with the bursts of vibrant colour and texture inside. Unchanged since the 1950s, her home serves as a living archive of a vanishing era, rooted in her esoteric practices that predate modern conveniences. Agatha’s Almanac serves as a powerful conduit for often-overlooked stories, amplifying voices and rural perspectives. Agatha’s life offers a window into the experiences of a nearly lost generation, whose values and ways of living are at risk of fading as the world rapidly changes. Plays with Red Onion, Dir. Zachary Finkelstein, 2025, Canada, 8 min Red Onion is a formalist response to a structuralist question. This single-take film pays homage to Hollis Frampton’s Lemon (1969), addressing Frampton’s stated preference for his film to have been completed in a continuous take and my own cinematic obsessions.

A paranoid young man launches a bizarre crime spree against the citizens of Toronto in this psycho-spiritual thriller comedy starring Rishi Rodriguez, Spencer Rice (Kenny vs. Spenny), and Paul Bellini (Kids in the Hall). Content warning: This film contains scenes of violence and crude content. Welcome to Cult-O-Rama, our monthly screening series exploring beloved sleaze, trash, and underground cinema! A celebration of bad taste curated and introduced by Cinematheque Film Programmer Olivia Norquay. Presented in partnership with Sookram’s Brewing Co. Generously sponsored by IATSE 856 Manitoba. "A new cult classic" - The Toronto Star "Delightfully unlike anything you’ve seen before" - The Chicago Reader

In a dystopian near-future Japan, law and order is enforced by a brutal paramilitary police unit known as the Kerberos Panzer Cops aka ‘Watchdogs of Hell’, equipped with heavy weaponry and reinforced body armor called “Protect Gear.” However, when their extreme methods spark public outcry, the government moves to dismantle the unit. Disobeying orders to disband, a trio of officers stage a rebellion—but only one, Koichi Todome (Shigeru Chiba) escapes. Three years later, Koichi returns to Tokyo after living in exile, carrying a mysterious suitcase. He seeks to reunite with his former comrades and uncover the truth behind the crackdown, but he soon finds himself in a surreal and dreamlike city—a shadow of its former self, filled with strange characters, elusive memories, and Kafkaesque absurdity. As reality begins to unravel Koichi descends deeper into paranoia, unable to tell friend from foe, truth from illusion. A philosophical blend of film noir, political allegory, and existential mystery, The Red Spectacles is a visually striking black comedy that meditates on justice, memory, and the cost of loyalty. It also serves as Mamoru Oshii’s foray into live-action filmmaking and his first feature installment in the Kerberos Saga. Welcome to Cult-O-Rama, our monthly screening series exploring beloved sleaze, trash, and underground cinema! A celebration of bad taste curated and introduced by Cinematheque Film Programmer Olivia Norquay. Presented in partnership with Sookram’s Brewing Co. Generously sponsored by IATSE 856 Manitoba.

A lonely gravedigger who stinks of corpses finally meets her dream man, but their whirlwind affair is cut short when he tragically drowns at sea. Grief-stricken, she goes to morbid lengths to resurrect him through madcap scientific experiments, resulting in grave consequences and unlikely love. Dead Lover is a hilarious, delirious, beautiful, horny, and wholly original Frankensteinian tale about the limits one Gravedigger will go to hold onto love. It is the sophomore feature from Grace Glowicki, who directed and stars as the love-obsessed, shovel-wielding Gravedigger turned mad scientist. Ben Petrie, Leah Doz and Lowen Morrow comprise the colourful cast of supporting characters, each playing multiple roles in the style of great romps such as Monty Python and Dr. Strangelove.

A lonely gravedigger who stinks of corpses finally meets her dream man, but their whirlwind affair is cut short when he tragically drowns at sea. Grief-stricken, she goes to morbid lengths to resurrect him through madcap scientific experiments, resulting in grave consequences and unlikely love. Dead Lover is a hilarious, delirious, beautiful, horny, and wholly original Frankensteinian tale about the limits one Gravedigger will go to hold onto love. It is the sophomore feature from Grace Glowicki, who directed and stars as the love-obsessed, shovel-wielding Gravedigger turned mad scientist. Ben Petrie, Leah Doz and Lowen Morrow comprise the colourful cast of supporting characters, each playing multiple roles in the style of great romps such as Monty Python and Dr. Strangelove. Join us on April 11 at 7pm for a virtual Q&A with filmmakers and stars Grace Glowicki and Ben Petrie! Join us on April 23 at 7pm for an in-person Q&A with cinematographer Rhayne Vermette and camera assistant and gaffer Ryan Steel! Presented in Stink-O-Vision, a scratch-and-sniff version, featuring a special recorded introduction from the Gravedigger! The Dead Lover Stink-O-Vision screenings turn cinema into a full-body experience. Each audience member receives a scratch-and-sniff card created by scent artists, unleashing a carefully choreographed bouquet of aromas—funky, foul, seductive, and downright unholy—that sync with key moments in the film. From grave-dirt rot to dandy cologne, ghost puke to BBQ stank, the smells guide viewers through a journey of fetid, funky love where romance and revulsion collide.

Frantz Fanon, a French psychiatrist from Martinique, has just been appointed head of department at the psychiatric hospital in Blida, Algeria. His methods contrast with those of the other doctors. A biopic in the heart of the Algerian war where a fight is waged in the name of humanity.

Adaptation of the first 100 pages of Victor Hugo's "Les Misérables", where Jean Valjean encounters goodness for the first time.

Elsa, a doctor, hides from the world the fact that she can see the dead and help them cross to the other side. Convinced that her gift leads to rejection, she has given up on love, retreating into solitude and her work. That is, until she meets Oscar - a dead man who doesn’t know he’s dead…

In a kind of philosophical dialogue, Doctor Augustin Masset and renowned writer Fabrice Toussaint discuss life and death… A whirlwind of encounters in which the doctor is the guide and the writer, his passenger, led to confront his own fears and anxieties.

In 1930s Algeria, the daily life of an indifferent Frenchman is shaken by the death of his mother and a fateful encounter on a beach.

After being sent to his grandmother's house because of bad grades, a boy finds a panda cub and begins a summer of friendship and adventure.

A French chef in search of fame tries to help the young Lili-Beth win a culinary competition. But to do so he must contend with the hostility of an entire village towards Sonia, the local customs officer.

Every day, Jay travels the length and breadth of Tokyo in his taxi, looking for his daughter Lily. Having given up hope of ever seeing her again, he is about to move back to France when Lily hops in his cab.

Developed from a script of poetry and filmed on location throughout the Red River Valley on some broken Bolex cameras, Levers is a story about the act of the human hand which turns rock into stone. The film begins with a bang as a crowd gathers at the municipal grounds of an unnamed Manitoban city for the unveiling of a new sculpture. Later that evening, a large blast erupts in the sky, giving rise to a global day of darkness. Worldwide, people huddle around the warm glow of their television sets eagerly awaiting a new sun to rise, yet in the Red River Valley, life carries on as usual. But death is an unstoppable force, made evermore apparent under the clear light of the sun’s return. Determined to satiate her curiosity surrounding recent events, an intrepid civil servant undertakes an odyssey into the gritty, yet seemingly benevolent sculptor, whose world is shrouded in mystery. Relationships criss-cross throughout the film acting as the glue that holds together a vibrant array of elemental imagery: A fiery sunrise that is as frightening as it is beautiful, and the fringe of a buckskin jacket billowing in a flurry of incandescent snow. Indigenous cultural markers intermingle with Catholic and esoteric symbolism, exemplifying the religious syncretism emblematic of many Métis people. Mixing in-camera fx with a delicate eye for beauty, Levers portrays an ominous story conveyed through a potent mixture of the rarity of fantasy and the idleness of the everyday.

A pharmaceutical scientist creates a pill that makes people remember their happiest memory, and although it’s successful, it has unfortunate side effects. Join us for McDonald at The Movies, where comedian, star and co-founder of Kids in the Hall, Kevin McDonald presents a film handpicked from the archives of comic history. Generously sponsored by IATSE 856 Manitoba.

Our Hospitality (1923) broadened the boundaries of slapstick and proved that Buster Keaton was not just a comedian, he was an artist. Keaton stars as youthful dreamer Willie McKay, who travels westward on a rickety locomotive to claim his birthright, only to find that his inheritance is a rundown shack. On top of that he learns that the object of his affection (Keaton’s real-life wife Natalie Talmadge) is the daughter of a man with whom his family has been engaged in a long, violent feud. McKay’s personal struggles are punctuated by brilliant slapstick setpieces that involve an exploding dam, raging waterfalls, and a primitive steam engine. Plays with One Week Dir. Buster Keaton and Edward F. Cline 1920, USA, 25 min A newly wedded couple attempts to build a house with a prefabricated kit, unaware that a rival sabotaged the kit's component numbering. Join us for McDonald at The Movies, where comedian, star and co-founder of Kids in the Hall, Kevin McDonald presents a film handpicked from the archives of comic history. Generously sponsored by IATSE 856 Manitoba.

On a weekend trip to the countryside, Laura miraculously survives a car crash. Physically unhurt but deeply shaken, she is taken in by a local woman who witnessed the accident and now cares for Laura with motherly devotion. When her husband and adult son also give up their initial resistance to Laura’s presence, the four of them slowly build up some family-like routine. But soon they can no longer ignore their past…

Amy Davis and James Duval play a pair of rival conceptual artists battling for fame and funding in the near-future dystopia of Shitville, Earth. As one ascends the heights of neoliberal capitalist success, the other seeks inspiration and solace in the euphoric waves of a new cyber drug called Skullfuck. Ingenious production design and savvy location shooting evoke the urban sprawl and rural industrial collapse against which the filmmakers frame this scathing satire of art world pretension. Ostensibly a riff on the absurdity of art, warfare of people, material control/secular terror, addictions of every genre, and self-actualization thru internal Jungian conflict, the movie - at its most base level - is a full-on and mega-entertaining cinematic odyssey tinged with ludicrous sci-fi, raw poignancy, and utter brutalism. A Punk Rock Blade Runner for Artists! Featuring a special pre-recorded introduction from director Jon Moritsugu! “Overflowing with eye-popping production design, eardrum-destroying rock ’n’ roll, gross-outs aplenty and deadpan one-liners you’ll be quoting for weeks.” – Wall Street Journal “One of the 25 Greatest Punk Rock Movies of All Times” (My Degeneration, Moritsugu’s first feature that Roger Ebert walked out of after seven minutes at its Sundance premiere) – Rolling Stone

Powwow People is a vérité-style documentary grounded in the rhythms, relationships, and lived experience of a contemporary Native gathering. Rather than entering as outside observers, the filmmakers organized the powwow itself, inviting dancers, singers, vendors, and community members to participate in the making of this film. Structured around the arc of a single day, the film follows four central figures: Gina Bluebird, who frames the powwow’s shape and guides its setup; Ruben Littlehead, the MC whose presence anchors the present moment; Jamie John, a non-binary dancer imagining the future of these traditions; and Freddie Cozad, a singer and drummer who considers the past. The film culminates in a 30-minute unbroken shot of a Northern Traditional dance special, drawing the viewer into the textures, movement, and collective presence of the powwow. It is both a reflection of a beloved and complicated community and a gesture toward the continuities of Native life.

When public access television became institutionalized through Canadian telecommunications policies, it was presented as a model of media democracy – guaranteeing space within cable systems for citizen-produced programming. The idea evolved from educational media and experimental uses of early communication technologies, and would be proposed as a community service counterpoint to commercial entertainment. Natalie Pollock was initially in alignment with this model when she launched her public access TV show on VPW - informing the Winnipeg public with interviews with local politicians and business leaders. It was in 1987, when a guest bailed, that Natalie invited her brother and musical collaborator, Ronnie to appear instead. The standard interview program evolved overnight into a variety show - incorporating elements of vaudeville, music hall, and unrestrained dance. Over the next two years, “The Pollock & Pollock Gossip Show” would become increasingly and prankishly aimed at the tidy conformism, and homophobic prudery of 1980s Winnipeg. Ronnie would act as the empresario and host – cultivating a persona based on a 1950s “sock hop” DJ. Natalie was the co-host, and star spotlight dancer – often writhing on the floor in spandex, ripped panty hose, and the “Red Shoes of Human Rights!” Her ample breasts, often on prominent display, would become the focal point of the show’s instant and tremendous notoriety, fandom and public scorn. Media coverage of the show led with sexist headlines: “The Pollocks Get Bounced,” “Boob Tube Bust Up,” and “Big and Proud of It.” The local Winnipeg Free Press, would describe the Gossip Show as “pointless, vacuous…. and stomach-churning”. The Winnipeg Sun ran a public poll asking Winnipeg readers if Natalie should be allowed to tell people she is from Winnipeg. In 1989, the show would be cancelled by Videon’s program director for being “below the normal standards of the community.” The Pollocks paid a heavy price for their unconventional approach to surrealist, sex-positive, community-engaged, queer art and being radically ahead of their time. Today the Pollocks are prolific “Art Brut” filmmakers, and insuppressibly unhinged artists in their early 80s. They have worked for decades under extreme material constraints – using only free online software (which means every video they release is restrained by 500 MB). They have not had access to professional recording or production equipment since their days at VPW. Still, they release new videos on their various YouTube channels on a monthly, if not weekly basis, and have recently surpassed 10 million accumulated views. The work in this program is joyful, complicated, disorienting, exhibitionist, vigorously independent, and undeniably compelling. The work of Ronnie and Natalie Pollock challenges and stretches our assumptions about feminism, art, gender, identity, and Winnipeg as a creative space. (Daniel Barrow) Curated by Daniel Barrow. This program is 60 minutes long.

Maria, a young woman finds refuge in a house in the south of Chile after escaping from a sect of German religious fanatics. She is welcomed into the home by two pigs, the only inhabitants of the place. Like in a dream, the universe of the house reacts to Maria’s feelings. The animals transform slowly into humans and the house becomes a nightmarish world. Inspired on the actual case of Colonia Dignidad, The Wolf House masquerades as an animated fairy tale produced by the leader of the sect in order to indoctrinate its followers. Content warning: This film contains distressing scenes and references to violence, abuse and torture. Join us for our Staff Picks series, where our Winnipeg Film Group staff select and introduce new and old favourites. This month’s selection was chosen by Executive Director Leslie Supnet. Generously sponsored by IATSE 856 Manitoba.

Through loss, love, and self-discovery, a woman transforms pain into art—and writes a life on her own terms. Based on the beloved memoir by Lidia Yuknavitch and marking the directorial debut of Kristen Stewart, The Chronology of Water is a raw and unflinching portrait of survival, sexuality, and self-invention. The film traces Lidia’s life from her earliest memories in the Pacific Northwest, as a promising swimmer, through fractured relationships, near-motherhood, addiction, and encounters with artistic heroes. Told as a fluid memory wash, the story transforms trauma into art, embodying Yuknavitch’s defiant voice that made her work a modern cult classic. It is not only a chronicle of a woman becoming a writer, but a visceral journey through the wreckage and resilience of a life lived against the grain. Content warning: This film contains scenes of sexual violence.

An immersive archival documentary that reanimates the clash between the then-emerging World Trade Organization (WTO) and the more than 40,000 people who took to the streets of Seattle to protest the WTO's impact on human rights, labor, and the environment.