This episode highlights a session from our Lockdown Film School with writer-directors Mina Shum and Philippe Falardeau. In it, the two discuss their craft, compare notes on process, and discuss how they were inspired by each other.

Anne Émond is one of the most exciting Canadian directors working today and deserves wider international attention. Her films play with time and genre as they explore the connection between the physical and the emotional aspects of her characters.

Josephine Decker’s new film Shirley is the latest in the recent trend of films re-examining the lives of women artists, in the process questioning our ideas of history and truth. Join us for a wild ride exploring the connections between Shirley, Portrait of a Lady on Fire, The Souvenir, Wild Nights With Emily, and many more.

Take This Waltz and Paper Year are two standout Canadian films exploring the end of a marriage with empathy and emotional complexity. We discuss the film’s complex characters, considerate direction, and Canadianess

This episode compares recent hit Normal People and site favourite On Chesil Beach, which both feature couples failing to communicate.

This episode compares two political satires about nations on the bring of war, Armando Iannucci’s modern classic In the Loop and Canadian unseen gem Philippe Falardeau’s My Internship in Canada.

This episode is on Stories We Tell, Louder Than Bombs, and Mouthpiece, formally expressive explorations of grief, memory, and subjectivity.

This episode discusses Jeff Barnaby’s new Indigenous zombie film, Blood Quantum in conversation with his modern classic, Rhymes for Young Ghouls (2013)

In this episode, special guest Debbie Zhou joins us to discuss what defines the Australian Western, featuring True History of the Kelly Gang, Sweet Country, and The Dressmaker.

Kelly Reichardt has directed two films set in the 19th century American West, Meek’s Cutoff (2010) and First Cow (2019). To explore how she differs from the traditional Western genre, we compare her films with Oregon-set Bend of the River (1952) and cow film Red River (1948).

Inspired by Eliza Hittman’s new drama, Never Rarely Sometimes Always, we discuss various depictions of abortion on screen ranging from this year’s Saint Frances to Obvious Child and 4 Months, 3 Weeks, and 2 Days. For this discussion, Editor-in-Chief Alex Heeney is joined by Executive Editor Orla Smith and guest Lindsay Pugh of Woman in Revolt.

Leigh Whannell’s The Invisible Man re-imagines the Universal Monsters character as a stalker. The theme reminded us of one of Seventh Row’s favourite films, Stephen Soderbergh’s Unsane (2018), so we had to discuss them in conversation with each other.