Movie about JFK Assassination filming in Winnipeg
'November 1963,' starring John Travolta, is currently filming around Winnipeg, transporting streets back to the 1960s.
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Parade kicks off 113th Calgary Stampede
Horses, hats, and a whole lot of "ya-hoos." The 113th annual Calgary Stampede kicked off Friday as huge crowds gathered to take in the Stampede parade, led by Canadian country-pop icon Shania Twain. "I'm so happy to be here in Calgary," Twain said, before riding down the parade route clad in western garb and a white hat. "It's a privilege to be the parade marshal. It's been a dream of mine for a very long time." The 10-day festival will run from July 4 to July 13. Highlights from the 2025 Calgary Stampede Parade 2 hours ago Duration 1:37 Parade Marshal singer & songwriter Shania Twain led this year's parade through the downtown, marking the official start of the 113th Calgary Stampede.
CTV News
an hour ago
- CTV News
Mariposa Folk Festival brings 100+ performers to Orillia's Tudhope Park
The stage is set for the 65th Mariposa Folk Festival in Orillia, Ont. The 65th annual Mariposa Folk Festival has begun in Orillia. The popular three-day festival, held at Tudhope Park, features over 100 performances on 11 stages, showcasing a diverse range of folk music. The festival kicked off Friday morning on Mississaga Street with local live entertainment. Harry Lee Follen, a musician from Guelph, was the first to perform and said it was a dream come true. 'The fact that my name is first on the entire list is, it's freaking me out a little bit, but it's great and I'm really proud to be here.' His preferred genre is Canadian folk with a splash of country. Follen added that festivals like Mariposa are important for musicians looking to gain more exposure. 'So many music venues and artists were suffering over the last few years, so it's so great to see it come back alive in such a vibrant way,' said Follen. Tudhope Park in downtown Orillia is the main location for the festival. Pam Carter, president of Mariposa Folk Festival said there are activities for all ages. 'We've got a kids program, we've got a couple of licensed areas, we've got a main stage so lots of music artisans, food vendors,' she said. 'Truly, it's a festival. The impressive weekend lineup includes children's favourites Splash 'N Boots, Canadian singer/songwriter Serena Ryder, American singer/songwriter Waxahatchee, and acclaimed American indie folk and alternative country band Iron and Wine. Kicking off the festival on Friday are The Sheepdogs, Langhorne Slim, The Paper Kites, Irish Mythen, and Les Hay Babies. Local talent will be able to showcase their music to the crowds. 'When we do our workshop stages, we bring three or four artists together, and there could be an established artist and an emerging artist that come through showcase, and for that young artist to work on a stage with somebody is priceless,' said Carter. The festival is more than just a good time, it's also an economic boost for the city. 'It brings approximately 48 per cent from out of town, so certainly for hotels and gas stations and service industries and all that collateral spending, it's a huge boom to Orillia,' said Carter. YJ Seoul Food is a local food vendor specializing in Korean cuisine. YJ Hong-McParland and her husband Jamie McParland run the business and live in Orillia and are excited to see familiar faces on the festival grounds. 'We love it the here, the energy's positive vibe,' said YJ. 'Everybody keeps a smile, and we enjoy the little kids, so walking around and, yeah, just lovely.' The couple added the atmosphere surrounding the festival is a feeling you can't find anywhere else. 'I mean, she's from Seoul, Korea, across the ocean, and just she knows more people in Orillia than I do, and I grew up here, so she has a lot of repeat customers that she is proud of,' said Jamie McParland. Children 12 and under accompanied by an adult with a purchased ticket are free. There is also onsite camping available to weekend pass holders. The Mariposa Folk Festival is the longest-running folk festival in North American and has been held annually in the Sunshine City for the past 25 years.
CBC
an hour ago
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Between 'simps' and sandworms, there are many ways to measure success in Quebec cinema
Le Bel Écran is a monthly column about Quebec's screen culture from a local perspective. What does success in the arts look like? Awards, money and prestige? In cinema, the question is complicated by technology and heavier costs than art forms like painting, writing or music. As a result, even the most prolific filmmakers optimistically only release a few films a decade. That isn't the case, though, for Quebec filmmaker Denis Côté. Alternating between self-financed and government funded projects, Côté churns out nearly one film a year. His movies screen at festivals like Cannes, Berlin and Locarno. He's a critical darling; a name most people would recognize on the festival circuit. But, while his films win awards in Europe, they have very little impact on the local box-office. While some Quebec filmmakers are household names, Côté remains certifiably niche, celebrated by many but known by few. Does Denis Côté dream of sandworms and spice, or is he exactly where he wants to be? Côté's latest film, Paul, is a self-financed documentary about a "cleaning simp" and content creator. Paul, the subject of the film, creates short-form video content documenting his attempts to lose weight by cleaning houses for women. For the most part, these women are sex workers, specializing in dominating and humiliating men willing to pay. Though ripe for exploitation, Côté's gaze remains neutral if not outright tender, in his fly-on-the-wall approach to Paul's unusual routine. A quick survey of Côté's filmography reveals an eclectic array of subjects from bodybuilders to nymphomaniacs, zoo animals to hermits. Anything but pedestrian, some common themes nonetheless emerge; alienation, isolation and outcasts. His movies can feel distant; they're quiet and adopt a distant, almost neutral point of view. Using few cuts and wide shots, time seems to unfold in a way that mirrors reality. This realism is deceptive though, as many of his films play around with the concept of artifice. Even his documentaries are touched by a sense of recreation and fiction, the boundaries of reality blurred and ambiguous. Paul's unusual predilections have an irresistible appeal, but it's clear that what fascinated Côté is that blurred line. Where does the performance begin and end with Paul? Côté describes Paul as a socially anxious young man who struggled to meet women. He spent most of his 20s gaming with his cousin in a small apartment. "No light coming in, just gaming all day long and ordering fast food. Then, at 27, he decided to find a trick to meet women," he says. "It had nothing to do with being a submissive, that's why he's a bit different." Even after making the film and hosting several q&as, it's clear that Paul remains an enigma for Côté. How is someone who is so introverted and shy also making videos sharing the most intimate aspects of his life? Côté even wondered if Paul was toying with him. "Sometimes we'd come back from a day of shooting and I'd feel like he played with us today. It wasn't the real him. It was for the camera. Is it really Paul or a character?" Their correspondence is limited, as Paul isn't too keen on interacting with men, but he'd regularly message Côté whenever he saw a boost in his followers. If he expressed apprehension about the new attention, he also reveled in it. Part of what makes Paul, as a film, so fascinating is its approach to Paul's own "content creation." The film isn't just about his submission, but also his artistry, and his exhibitionism. In some ways, the argument can be made that with over 10,000 followers on Instagram, Paul has a bigger audience than Denis Côté. His most popular reels have well over 40k views. But, how important is reaching an audience for Côté? Pragmatic, Côtê is well aware of where he sits on the cinematic podium. His success with institutions has very little to do with his box-office appeal. "Institutions are very sensitive to international representation," he explains. Whereas films like Nos Belles-Soeurs might earn over $3 million at the box-office in Quebec, Côté's films are seen by diplomats and politicians. They play at international festivals. " Paul will end up with 35 festival screenings, which is a lot," he says. "I'm okay with the institutions as long as I ask for under 3.5 million." "I feel good because I know I can be myself and be supported. Of sixteen films, I had seven financed. I'm fine traveling the world and shaking hands and being screened to 27 people," he says. "I'm not depressed about it. Do I want to be more famous? No. Do I want to be more respected? No." He explains that the normal trajectory for filmmakers in Quebec is that they work through the low-budget trenches and then start making big budget films, or even head to Hollywood. "Pascal Plante may make one or two films, then ask for six million. I want to continue making my weird little films." While some people dream of Dune or Blade Runner 2049, Côtê says he's not interested in making a film over $3.5 million. "A lot of people have a curve of ambition; it's human, it's natural. I'm Hong Sang-soo," he explains, invoking the South Korean filmmaker who self-finances his projects on minimal budgets and churns out two to three films a year. "It's not because you get money that it's good and once you understand that, you're free."
