Mike McKinlay

An intimate look into the mind of Niall McNeil, an artist and performer with Down syndrome, and his unique chosen family. In Lay Down Your Heart, Niall introduces us to his many “family members,” his multiple “children,” his renowned “ex-wife” and director of the film Marie Clements, and other bonds forged through open-hearted creativity.

A short, expressionist documentary, exploring the relationship between Cedar and three Indigenous women who work with it, weave with it, and live with it.

A choreography to cracked linear textural sound. Elements of classical and neoclassical ballet used to choreograph a dancer's movements to jagged lines of sound.

The Road Forward is an electrifying musical documentary that connects a pivotal moment in Canada’s civil rights history—the beginnings of Indian Nationalism in the 1930s—with the powerful momentum of First Nations activism today. Interviews and musical sequences describe how a tiny movement, the Native Brotherhood and Sisterhood, grew to become a successful voice for change across the country. Visually stunning, The Road Forward seamlessly connects past and present through superbly produced story-songs with soaring vocals, blues, rock, and traditional beats.

An intimate look into the mind of Niall McNeil, an artist and performer with Down syndrome, and his unique chosen family. In Lay Down Your Heart, Niall introduces us to his many “family members,” his multiple “children,” his renowned “ex-wife” and director of the film Marie Clements, and other bonds forged through open-hearted creativity.

An intimate look into the mind of Niall McNeil, an artist and performer with Down syndrome, and his unique chosen family. In Lay Down Your Heart, Niall introduces us to his many “family members,” his multiple “children,” his renowned “ex-wife” and director of the film Marie Clements, and other bonds forged through open-hearted creativity.

Director Murray Siples' love/hate letter to Vancouver weather captures both the mundane and the thrilling experience of living on the West (wet) Coast. The winter rain colours every aspect of city life, but people cope, wielding umbrellas like swords, clutching coats and hats against the constant deluge.

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).

The film traces Sam McKinlay’s early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the ‘masks’ created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco’s Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).

For thousands of years, Indigenous peoples have governed their territories according to their own laws – safeguarding land, air, water and communities to sustain their cultures and economies. Drawing on the lessons learned over two decades of work with Indigenous peoples on Indigenous law-based approaches to land use planning, impact assessment and other aspects of environmental governance, in 2016 West Coast launched the RELAW program (Revitalizing Indigenous Law for Land, Air and Water).

Larry Grant and Sonny McHalsie share their stories of the River.

Director Kamala Todd reflects on the land she is occupying and notions of livability.

Cedar and Bamboo is a thought-provoking documentary about the unique relationships shared by early Chinese immigrants and Aboriginal peoples on Canada’s west coast. The documentary recounts the life experiences of four descendants of mixed heritage. Set in BC, their stories reveal the difficult circumstances of Aboriginal peoples and early Chinese immigrants.