Author Archives: Jaron Chen

Music for the Winter Solstice Is Back! Don’t Miss This Seasonal Favorite

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There is one festival that started last month and will continue until next April!
Before we talk about the upcoming events, let’s review some of the previous ones they’ve had first!

Music on Main is preparing an exciting season filled with music, connection, and creativity. Since this early October, they are already partnering with BC Brain Wellness for two special events that combine music and well being. On October 9, an online Wellness Wednesday features artist Erika Switzer and neuroscience PhD student Mikey Jose discussing how music supports mental health. Then, on October 20, an in-person Intergenerational Song Sharing Event led by Cynthia Friesen invites people of all ages to connect and share the joy of music. Both events are free, with registration required for the October 20 event.

That’s just the beginning. Music on Main is collaborating with The Only Animal for Slow Socials: Around Sound, bringing together artists from their season and TOA’s sound installation “AWSS” to exchange ideas and discuss their artistic practices. Dates for these unique gatherings will be announced soon.

The season continues with more exciting events. On November 3, Belgium’s Flat Earth Society returns to the Roundhouse for a one-night jazz and avant-garde performance. In December, the annual Music for the Winter Solstice transforms Heritage Hall into a warm, reflective space. This year, performers include pianist Rachel Kiyo Iwaasa, violinist Karen Gerbrecht, cellist Olivia Blander, and vocalist Amanda Sum.

New experiences are also on the horizon. Gabriel Dharmoo, performing as Bijuriya, will blend experimental music and South Asian drag artistry in a groundbreaking show at the ANNEX. Families can look forward to the BIG BANG Festival, coming to Vancouver for the first time, offering playful and adventurous music experiences for children.

In April 2025, A Month of Tuesdays at The Fox Cabaret will feature a mix of classical, folk, and experimental artists, including Laura Bowler, Standing Wave Ensemble, Alfredo Santa Ana, Chloe Kim, Eve Egoyan, and Dálava. Meanwhile, the internationally acclaimed Modulus Festival will return in November 2025 as a biennial event, ensuring top-quality programming despite funding challenges.

Music on Main also remains dedicated to uplifting Indigenous voices by working with Tsleil-Waututh artists, offering free tickets to Indigenous attendees, and supporting community-driven projects.

This season promises something for everyone, a chance to connect, reflect, and celebrate through music.

Don’t Even (2024): A Journey Back to High School Days

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Are you still able to remember your high school life? Maybe you enjoyed spending time there with friends, or perhaps it wasn’t a happy time for you for various reasons. As for me, I’d love to go back to high school because my final year was during COVID. I wish I could have spent more time with the people I knew. Anyway, without talking more about myself, let’s take a look at why Don’t Even is different from other high school TV series.

For the main character Violet, it’s a rough start after a humiliating valedictorian speech. Determined to make up for it, she and her best friend Harley set out to have an unforgettable summer before adulthood takes over. Their journey is full of awkward, funny, and heartfelt moments as they try to make their last teenage days count.

That’s the heart of Don’t Even, a new Indigenous coming-of-age comedy streaming on Crave. Set in Winnipeg during the late ’90s, the show is created by Anishininew comedian Amber-Sekowan Daniels and directed by Heiltsuk and Mohawk filmmaker Zoe Leigh Hopkins. It invites us into the lives of Violet and Harley, played by Leenah Robinson and Victoria Gwendoline, as they figure out life, friendship, and growing up.

The ’90s setting adds a nostalgic touch, reminding us of a time before smartphones when life felt a little more adventurous. “The ’90s have this cool vibe,” Daniels explains. “Winnipeg hasn’t changed much, so it was easy to bring that era back to life.” Watching the show feels like stepping into an old memory, with dreamy scenes of downtown Winnipeg and its surroundings.

What really stands out is the humor. Daniels’ sharp and honest writing makes us laugh at the awkwardness of growing up, while still letting us feel the emotional depth. “I wanted to show young Indigenous women as real, layered people—funny, complex, and imperfect,” she says. Hopkins agrees, saying the show balances heartfelt moments and laugh-out-loud comedy, sometimes all in one scene.

The visuals feel like an indie film, with Hopkins using a natural, flowing style that lets us see the world through Violet and Harley’s eyes. For Hopkins, who was a teenager in the ’90s, the story felt personal. “I saw pieces of my own life in this,” she says.

At its core, Don’t Even is about the messy, magical parts of growing up. It shows us how imperfect people can find their way, stumble through mistakes, and still create something meaningful. “That’s what growing up is,” Daniels says, and the show makes us believe it.

Hôtel Silence: A Journey to Save a Man’s Soul

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Here’s another movie recommendation produced in Canada this year, let’s dive into Jean’s story together and see how he recovers from the wounds in his heart.

In Hôtel Silence, we step into the shoes of Jean, a man who feels like life has lost its meaning. He is 52 years old, divorced, weighed down by depression, and even contemplating ending it all. We meet him as he visits his mother in a senior home, expressing love in what feels like a goodbye, before returning home to drill a hook in the ceiling a chilling preparation for what might come next. But when his daughter unexpectedly interrupts him, his path changes. Instead of giving up, Jean decides to embark on a one way journey to a war-torn, unnamed country.

Arriving at a dilapidated hotel, Jean meets a young widow running the place with her two children. The hotel, much like Jean’s spirit, is broken. But something begins to shift as he picks up tools and starts repairing small things—doors, water systems, and more. With each repair, he connects deeper with the family and the world around him. Slowly, his despair feels smaller compared to the resilience of those rebuilding their lives in the shadow of war.

Through Jean’s journey, we witness a powerful change. His connection with the widow grows into something warm and meaningful, and through his acts of kindness, he begins to find a new purpose in life. The hotel, once in ruins, becomes more than just a building, it transforms into a symbol of healing and hope, reflecting the possibility of rebuilding even in the darkest times.

Director Lea Pool brings this story to life with stunning visuals, setting the film in the quiet, snowy landscapes of the Pyrenees and Montreal. These peaceful backdrops contrast deeply with the story’s heavy themes, making the emotions feel even stronger. By keeping the country unnamed, she creates a universal message—this could be any place recovering from the scars of war, working toward healing. Pool’s personal history as the daughter of a Holocaust survivor adds a heartfelt layer, showing us that even in the darkest times, hope and resilience can shine through.

Hôtel Silence is more than just a film, it’s a story about strength and connection. It shows that even in our toughest times, reaching out to others can help us find a way forward. Through Jean’s journey, we see that no matter how broken life feels, it’s always worth trying to rebuild.

Murder In a Small Town: A Thriller with Heart and Mystery

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If you want something to watch before bed that gives you a bit of thrill without getting you too excited to sleep, then Murder in a Small Town might be the perfect choice for you. Plus, it was actually produced in BC!

Murder in a Small Town is a TV series set in the small town of Gibsons, BC, where Canadian mysteries unfold amidst the backdrop of nature, based on the Alberg and Cassandra novels by L.R. Wright. Right from the start, we can tell that this show feels like a cozy, light mystery. It’s not a typical intense thriller; it’s more like a gentle mystery with a dead body in the mix. The murder always happens off-screen, which makes the tone feel softer and less shocking.

In the first episode, we meet Cassandra, who’s on a date with Karl, a man she met online. Their chemistry is immediate, and their playful banter adds something special to the show. However, after their date, Karl ends up at a murder scene. The victim is Carlyle Burke, a longtime local who wasn’t well-liked by many people in town. As the police investigate, Karl, with his sharp eye, notices a clue that others might have missed. His team, which includes Corporal Edwina Yen, Sergeant Sid Sokolowski, and Constable Andy Kendrick, all work together to piece together the mystery.

The murder itself isn’t too difficult to solve. If we’re paying attention, we can probably guess who did it early on. But that’s part of the show’s charm. It’s not about a big, unsolvable mystery—Murder in a Small Town is more about the characters and their relationships. It has a cozy, easy rhythm, similar to shows like Virgin River. The way Karl and Cassandra’s relationship grows, along with the tension between them, keeps us hooked. They are different in many ways: Karl is gentle and patient, while Cassandra is more bold and direct. These differences make their interactions interesting and set up future conflicts.

While the show focuses on a new crime each episode, it’s also about the characters’ pasts and how they shape their actions. We get little hints about Karl and Cassandra’s backgrounds, which adds depth to the story and makes us want to keep watching.

Murder in a Small Town isn’t trying to be a groundbreaking, clever crime drama. Instead, it’s an easy-to-watch mystery with a cozy vibe and a little romance. It knows what it is and sticks to that, making it a fun and entertaining show that doesn’t need to be anything more than that.

Cold Road: A Thrilling Journey into Fear and Survival

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Cold Road is a Canadian thriller in this year. The story structure and emotions are quite good in this film and will make you wonder what happens to the main character.

In Cold Road, Tracy which is the main character returns to her hometown of Stony Narrows, to visit her sick mother. Her journey on the long, isolated highway in the Canadian North is difficult. The gas stations are far apart, the cell phone reception is poor, and the roads are icy. But the real danger she faces isn’t just the weather or the road—it’s something far more terrifying.

We soon learn that a sadistic trucker has been targeting Indigenous women along the same highway. He stalks his victims like a hunter, and his truck is filled with trophies from each of his kills. By planting half-full bottles of alcohol at crime scenes, the trucker has convinced the police that the deaths are just accidents caused by drunk driving. But the local Indigenous community knows something is wrong, even though the authorities refuse to listen to them.

As Tracy makes her way through her journey, we see how her encounters with white Canadians example like a waitress who ignores her cry for help and a police officer who sees her as a threat become just as dangerous as the killer chasing her. The trucker’s anonymity, much like the faceless killer in Spielberg’s Duel, adds to the tension, making Tracy’s fear and sense of danger even more real for us.

While the movie does a good job of showing Tracy’s fear and isolation, especially when the trucker’s truck follows her in a way that makes it seem like a predator stalking its prey, the film struggles with too much exposition. Because most of the movie takes place in Tracy’s car, we get a lot of explaining instead of showing, which slows things down. At first, the explanations are helpful, like when we learn about Tracy’s unhappy marriage through a conversation with her sister, Eve. But as the story builds, Tracy’s constant need to talk through every thought and action gets a bit annoying, and we start to feel like the film is just forcing the plot along.

There are moments when Tracy makes decisions that don’t make sense, like when she throws away a weapon that could help her. These actions feel forced, and we begin to notice that the story isn’t progressing naturally. It’s almost as if the film is running out of space to develop.

Despite these problems, we can’t deny the strength of Supernault’s performance. She brings a lot of depth to Tracy, even in the quieter moments when she’s alone in the car with only her dog, Pretzel, for company. Her performance keeps us interested in Tracy’s journey, even when the story itself is weaker.

Cold Road may not be the perfect trucker thriller, but there’s potential in the concept. Thanks to Supernault’s strong portrayal of Tracy, we see what the film could have been if the script had been tighter. There are some thrilling moments, but in the end, the film’s journey feels like it’s lost its way.

Yintah: The Battle to Save the Land Against Corporate Greed

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This year, we have a documentary that talks about the reality of natural resources and business ambitions in Canada on Netflix. So, what is it about??

Yintah is a moving documentary about the fight between industry and nature in Canada. The film focuses on Canada’s oil reserves, which are the third-largest in the world, and the huge profits at stake for big companies. But while these companies are focused on making money, we see how the Indigenous tribes who live on the land are fighting to keep their way of life. One of the main areas threatened is Wiszin Kwah, a place with fresh drinking water and an important salmon stream, both of which are at risk.

The documentary follows this struggle for over ten years, showing how the companies are pushing further into the land. It emphasizes the idea that when we give someone a little, they’ll take much more. Coastal GasLink, the company at the heart of this conflict, continues to expand with little concern for the damage they cause. The film is designed to make us angry, and it does so by showing how the companies are putting people’s lives and the land at risk.

The editing of the film is clever, switching between the lives of the Indigenous people who are fighting to protect their land and the corporations moving in without any care for the harm they cause. There are a few moments where the tribes fight back, set to upbeat techno music, but these moments don’t last long.

We mostly follow Freda Huwson, a leader and spokesperson for the movement. Through her, we see how the companies continue to break the rules and harm the land, while she works to protect it. The film gives us a close look at the fight, showing the struggles of the Indigenous people without any distractions.

The title Yintah means “land,” which is fitting because the whole film is about the battle to protect the land. The documentary uses strong visuals, showing the beauty of the land alongside the destruction caused by the companies.

The ending is sad, and if we don’t know about the ongoing case, it might surprise us. Though it’s hard to watch at times, Yintah is an important documentary that sheds light on the fight to save the land, the greed of corporations, and the determination of the Indigenous people to protect their way of life.

In a Violent Nature: A New Take on Horror Movies

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Do you like the Friday the 13th kind of movie? The character in that kind is always scary to the killer, and we always can only use the victim’s angle to watch the movie, feeling their scared emotions while they are being chased and hiding. But what if I tell you that a movie in 2024 lets you actually watch this genre from the killer’s angle? This time, you are not the person who is always surrounded by worries. Most importantly, this movie is actually produced in Canada. So, what is it?

Chris Nash’s In a Violent Nature takes the classic slasher story and tells it in a totally new way. Instead of being scared of the killer, we actually follow him around as he goes about his “work.” The killer, named Johnny, is a silent, scary-looking guy who gets brought back to life when someone messes with a special locket in the woods. Once he wakes up, he starts hunting down the unlucky campers who took it.

The movie is different because it focuses on Johnny, not the people trying to escape him. The camera sticks with him as he trudges through the forest, almost like a video game where you’re following the bad guy. It’s quiet and creepy, but not scary in the usual way. You know exactly where Johnny is and when he’ll strike, which makes it more interesting than jump scares.

When Johnny catches up to his victims, things get gory. The kills are creative and over-the-top, using tools like axes and even a log splitter in the worst ways you can imagine. There’s also some dark humor, like when typical horror movie moments—flirting by the pool or fighting in a cabin—are abruptly interrupted by Johnny’s brutal attacks.

The movie hints at Johnny’s backstory. He seems to be taking revenge for something awful that happened to him in a logging town, but the details are kept mysterious. A park ranger even suggests this isn’t Johnny’s first time causing chaos, adding to his legend.

The one weak spot is the ending. The focus shifts to the last survivor, but since we don’t know much about her, it’s hard to care. By that point, Johnny is the real star of the story, and we just want to see more of him.

Overall, In a Violent Nature is a fresh take on horror, mixing creepy calm moments with shocking violence. It’s a unique slasher movie that makes Johnny more than just a monster-he’s the main event.

Twisters (2024): A Modern Spin on Nature’s Fury and Human Resilience

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If you were a big fan of disaster genre movies, you might have heard of this movie before. So, is it still good when the new sequel comes up, or is it also bad like many other films that have sequels? Let’s find out.

The new Twisters movie feels like a breath of fresh air for fans of the original Twister from 1996. While the original, directed by Jan de Bont, was a big, fun thrill ride, this sequel takes a new approach and it works beautifully. Directed by Lee Isaac Chung , the movie brings a fresh story, new characters, and a modern twist on storm chasing.

This time, we meet Kate, played by Daisy Edgar-Jones. Five years after a devastating tornado-tracking mission that cost her crew their lives, she’s left the storm-chasing world behind and is working in New York. But when Javi (Anthony Ramos), an old friend, shows up begging her to return, she reluctantly agrees to join a new team. At the same time, there’s another group in the field led by Tyler (Glen Powell), a charming and competitive storm chaser who’s chasing fame and followers on YouTube.

Daisy Edgar-Jones steals the show as Kate. She brings grit, intelligence, and vulnerability to the role, making her a relatable and compelling lead. Her chemistry with Glen Powell is undeniable, and their dynamic feels even stronger than the original pairing of Bill Paxton and Helen Hunt. Powell is his usual charismatic self, but it’s Edgar-Jones who anchors the film.

Lee Isaac Chung’s direction is a standout. Known for his heartfelt work on Minari, he brings that same care to this action-packed blockbuster. He keeps the focus on the characters, making you care about their struggles and relationships while delivering breathtaking storm sequences. The movie feels real and grounded, thanks to gorgeous cinematography by Dan Mindel, who gives it a rich, cinematic look using 35mm film.

One of the best things about Twisters is how it avoids the typical “good guys vs. bad guys” storyline. Instead, it’s about people with different motivations navigating the dangers of storm chasing. The movie has intense moments and jaw-dropping visuals but also leaves room for heart and humor.

Although there’s no flying cow scene this time, Twisters doesn’t need it. The film delivers a smart, emotional, and thrilling experience that pays tribute to the original while creating something entirely its own. It’s a summer blockbuster that hits all the right notes and is sure to leave audiences impressed.

The Whistler Film Festival Is Arriving This Winter!

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If you’re worried that there’s no film festival to attend in December, don’t worry anymore because the Whistler Film Festival is coming!!

The Whistler Film Festival is back in the beautiful mountain town of Whistler, BC, from December 4 to 8. This year, the festival promises an exciting mix of over 100 films, panels, and events that bring together movie lovers, filmmakers, and industry professionals.

The festival kicks off with The Last Showgirl, starring Pamela Anderson and Jamie Lee Curtis, setting the tone for an unforgettable opening night. On the last night, the closing film Better Man will take audiences through the highs and lows of pop star Robbie Williams’ career. Another big moment will be the world premiere of Blue Rodeo: Lost Together, a documentary about the beloved Canadian band. Fans will be thrilled to know that band members Greg Keelor and Jim Cuddy will be there to share their stories. Cuddy shared his excitement, saying that Whistler was the perfect place for this premiere, especially after their memorable concert following Sidney Crosby’s golden goal in the 2010 Olympics. In addition, the new “Play It Loud!” program will feature music-themed films that will bring a lively, energetic vibe to the festival.

One of the most anticipated parts of the festival is the Borsos Competition for Best Canadian Feature. Twelve Canadian films will compete for a $36,500 prize. This year’s jury includes well-known figures like Tantoo Cardinal from Killers of the Flower Moon and Cory Bowles from Trailer Park Boys, who will choose the winner.

Alongside the films, the WFF’s Content Summit offers a range of workshops, panel discussions, and keynotes focused on the film industry. Topics will cover everything from documentary filmmaking to streaming strategies. On December 7, there will be the Rock the Fest FUN’raiser, a fun event with live music by A&M Grands Duelling Pianos, featuring Mick Dalla Vee from the Randy Bachman Band and Andrew Johns from Alice Cooper’s band. The event helps raise funds for the WFF Society’s programs.

Whistler is the perfect setting for this festival, combining the best of film and the outdoors. While enjoying great films, you can also hit the slopes, enjoy fine dining, and relax in the hot tubs. Whether you’re talking to filmmakers, watching a film, or just enjoying the atmosphere, the festival is a place to connect with others who share a love for movies.

The Whistler Film Festival Society is a non-profit organization that organizes the festival and supports the film industry year-round. It’s an event that celebrates creativity, storytelling, and the power of film in one of the most stunning locations in Canada.

Arkells Set to Rock Vancouver’s Rogers Arena!

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It started nearly two decades ago in Hamilton, Ontario. A group of friends jamming together for fun never guessed they’d one day be packing arenas across Canada. But here they are: Arkells, the alt-rock band with a knack for capturing life’s big feelings through infectious anthems, now on tour to bring those feelings live to their fans. This Friday, November 15, they’re rolling into Vancouver’s Rogers Arena for a night of music, joined by alt-pop artist K.Flay as their opener. Hockey fans may even drift into the crowd, looking for a pre-Grey Cup weekend kickoff filled with sing-along energy.

For Arkells, the “Big Feelings” tour is more than a setlist of their biggest hits. It’s a chance to connect with fans on a massive scale. Max Kerman, the band’s front man, says the show will bring the sing a longs louder than ever, with beloved songs like “Leather Jacket,” “Knocking at the Door,” and “Come to Light” sure to echo through the arena. Vancouver’s Friday show will carry a similar vibe to the epic 24-song set they recently played in Calgary, making it clear this tour is about giving fans everything they’ve come to love.

As part of the tour, Arkells have also released Disco Loadout: Volume 1, an album of cover songs that fans begged them to record for years. Featuring classics like Robyn’s “Dancing on My Own,” ABBA’s “Dancing Queen” and “Gimme, Gimme, Gimme,” and Peter Gabriel’s “Sledgehammer,” the album celebrates the joy of a timeless pop song. Kerman explains that these covers mean as much to the band as to their fans: “We’ve long agonized over what covers to include in our live set, so when we land on one, it means the song means a lot to us.”

The title Disco Loadout also has an inside joke: it’s a nod to the humbling reality of early career gigs. In the music world, a “disco loadout” is when a band plays an early show, only to discover that another act—a cover band, usually—is booked to play the same venue that night. After their set, they have to load out quickly, in front of a crowd lining up for the next show. Kerman says “We’ve been humbled by this in the past”. Instead of letting it be an embarrassment, Arkells turned it into a celebratory album.

But Arkells have been busy in other ways, too. Max Kerman has penned his first book, “Try Hard”, a behind-the-scenes look at the creative hustle, getting art out into the world, and all the grit that comes with it. Set for release next April with Penguin Random House Canada, the book offers a personal view of Kerman’s creative journey.

This Friday night, Vancouver fans will get more than a concert. With Arkells leading the way, they’ll find a night of shared memories, stories, and yes—big feelings. As the band brings their anthem-filled setlist to Rogers Arena, it’s clear this will be more than music; it’ll be a celebration of all the passion that makes Arkells who they are.