After the Dark Knight trilogy, director Christopher Nolan plunges us into the dark matter of time, space and the end of the world. But does Interstellar achieve lift-off?
In the season of literary prizes, Marianne Ackerman reflects on why culture vultures must curb their craving for winners and listen to their friends.
Earnestness, formula and the inimitable Bill Murray in Theodore Melfi’s St. Vincent.
Danish company Granhøj Dans return to the Centaur this week and try, in their own way, to be free.
Abandon all hope of getting a straight rendition of Hamlet, ye who enter here.
The Opéra de Montréal gets a little too amped up in their production of The Barber of Seville
Does Social Studies succeed in its own social studies?
Em is a big personality, wild and complex. Her wit is the bright spot in this contemporary tale of a Mumbai family coping with Em’s illness.
Kiran Ambwani’s Lumière infinie/Infinite Light exhibit applies analogue techniques to digital production – and the results are magical.
A new theatre piece takes us deep into the southern American woods to the bodies of five dead children.
Sensual and fun, Lois Leveen’s novel Juliet’s Nurse is a bold reimagining of an iconic love story.
Alejandro González Iñárritu’s new movie Birdman or (The Unexpected Virtue of Ignorance) is a deliciously messy foray into meta-cinematic meta-theatre.
A review of Donna-Michelle St. Bernard’s Governor General Award-nominated, Dora Mavor Moore-prizewinning play, Gas Girls, now playing at the Segal Centre.
A review of Belles-Soeurs – The Musical, playing at the Segal Centre
Writing about a city which has been the subject of not just modern literary narratives but of the subcontinent’s centuries-old erudite Urdu and Persian poets such as Ghalib, Mir and Amir Khusrow, could not have been easy. With diverse characters — from rich businessmen to aspirational, middle-class youth working and call-centre agents, Dasgupta manages to foreground, in original ways, Delhi’s transformational and often contradictory modernity.