Children’s book on Ramadan put back on school shelves

A Ramadan-themed children’s book is returning to elementary school shelves in Winnipeg following public outcry.

The Louis Riel School Division announced on Friday afternoon that it was bringing Upside-Down Iftar back into circulation.

The newly released picture book by Palestinian author Maysa Odeh is about a girl and her grandmother preparing a traditional dish for their family to break their fast together after sunset.

It was temporarily pulled from schools last week following a complaint about an illustration of a map.

VistaVision, a vintage format left for dead, is revived in ‘One Battle After Another’ and more

NEW YORK (AP) — When Paul Thomas Anderson told his cinematographer Michael Bauman that he wanted to shoot “One Battle After Another” on VistaVision — a large-scale film format born in the 1950s — he had some questions.

“Question one was: Is this even going to be reliable?” Bauman recalls.

For much of the past 60 years, the few remaining VistaVision cameras have been mostly collecting dust on shelves. Though the format was widely used in the 1950s, when Alfred Hitchcock shot “Vertigo” on it and Cecil B. DeMille used it for “The Ten Commandments,” VistaVision went dormant by the early 1960s.

Yet at the March 15 Academy Awards, a movie made largely with decades-old antique cameras is poised to win best picture. Even in 2026, when most films are shot digitally and AI has begun filtering into moviemaking, “One Battle After Another” has — with film equipment borrowed from collectors and museums — showed that a vintage, analog film system can still astonish moviegoers.

Kids’ book pulled from division shelves over map illustration

A school library-technician is raising concerns about the swift removal of a new children’s book about a Palestinian family preparing to break their fast during Ramadan.

The Louis Riel School Division has taken Maysa Odeh’s Upside-Down Iftar off its shelves in response to a complaint about an illustrated map.

The superintendent says the decision isn’t final, but the case has left one elementary school employee “feeling quite uncomfortable.”

“The process for challenging books is supposed to be quite long and involved,” said the library technician, who agreed to an interview on the condition of anonymity for fear of retribution at work.

Dueling documentaries illuminate the promise and perils of artificial intelligence

SAN FRANCISCO (AP) — Artificial intelligence's dystopian specter has spawned a pair of documentaries dissecting a technology that's depicted in the films as a ravenous parasite devouring humanity's knowledge, creativity and empathy.

The films, “Deepfaking Sam Altman” and “The AI Doc," examine the issue through different lenses while similarly illuminating why the technology evokes both existential fears and utopian visions about how it might change the world.

Both documentaries coincide with an intensifying debate about whether AI will become a catalyst that helps enlighten and enrich people or a technological toxin that insidiously dulls human intelligence while wiping out millions of high-paying jobs that have traditionally required college educations.

Dealing with AI dread

Imaginative production delivers excellent encore performances

When Brush Theatre first brought its flagship production, Doodle POP, to Winnipeg in 2022, the South Korean company was an unknown entity locally.

Not anymore: with its third visit to the Manitoba Theatre for Young People in five years underway, the highly imaginative troupe has scribbled its way into the memories of a generation of theatregoers.

While adult audiences might not appreciate a professional theatre company programming similar shows with such frequency, MTYP hasn’t hesitated to extend return invitations to Brush, which blends miming, clowning, drawing and dazzling projections into unique and approachable stage concoctions, driven by participation from a rapt, ever-changing audience.

A kid only gets one chance to see their first theatre performance, and Doodle POP is just about as fun and engaging an introductory experience one can dream up.

Eddie Vedder turns solo vulnerability into a powerful plea in Netflix’s ‘Matter of Time’

The first time Eddie Vedder toured without Pearl Jam, he made some glaring mistakes onstage and felt discouraged. A few shows later, he ran into Bruce Springsteen, who told him that performing solo is terrifying but that vulnerability can be a force to harness.

Vedder described Springsteen’s advice as a North Star that stuck with him. Nearly two decades later, he leaned into it when he took the stage for two sold-out solo shows in October 2023 at Seattle’s Benaroya Hall.

“I remember kind of swimming through it and almost having a psychedelic experience,” he said. “I was so emotional, but I had to keep it together just to play properly.”

The emotional performances were part of a fundraiser to find a cure for epidermolysis bullosa, a rare and debilitating genetic skin disorder. A new Netflix documentary “ Matter of Time ” weaves the performances with personal stories of those on the front lines with EB.

PTE play shines a light on cultural harms caused by forgeries

Drew Hayden Taylor explores art authentication with his signature wit in The Undeniable Accusations of Red Cadmium Light, a play inspired by the ongoing challenges to the artistic legacy of Anishinaabe painter Norval Morrisseau.

Belated Lunar New Year party a feast of Korean culture

For the last month, Andrea Kitano has been spending her weekends hosting hanbok fashion shows at shopping centres across Winnipeg.

Actor connects multiple storylines in RMTC’s telecommunications drama Rogers v. Rogers

Inviting audiences into the inner sanctum of a dysfunctional dynasty, playwright Michael Healey’s Rogers v. Rogers does for the Canadian telecommunications industry what Adam McKay’s The Big Short did for subprime loans: surveying a national economic ecosystem that feels destined to take advantage of consumer’s best interests while lining the coffers of a controlling billionaire class.

‘Anti-social’ dancer fell in love with metal, ‘community’ at WECC

Dammecia Hall is an artist, and for her that means spending a lot of time by herself.

“I’m extremely anti-social,” says the dancer, choreographer and educator. “But as soon as you put me in a social environment, I come alive.”

One of the social environments Hall finds herself in these days is the West End Cultural Centre, the non-profit performance venue inside a former church at the corner of Ellice Avenue and Sherbrook Street.

While attending an event at the WECC, a friend of a friend encouraged Hall to volunteer at the venue. The 43-year-old Wolseley resident applied soon after, and has been volunteering at the WECC for more than a year.

Harlequin Costume seeks to sell building, ‘staggering’ collection; dancewear store to continue under same name

Looking to buy a building in downtown Winnipeg? Get in touch with the owners of Harlequin Costume.

If you’re interested in purchasing thousands upon thousands of costumes, you’ll want to talk to them, too.

Scott and Jan Malabar are selling their building at 375 Hargrave St., where the husband and wife have operated their costume, dance and formal wear business since the 1980s.

The asking price for the building, which sits a few blocks south of the Exchange District and a short walk from Central Park, is $995,000.

Stage-fighting the system in touching madcap comedy 'Holland'

One of Winnipeg’s funniest playwrights and an ensemble of five of the city’s strongest comic actors spin gold from parental rage in Holland, a guns-blazing production full of righteously madcap decision-making at the Tom Hendry Warehouse.

Exhibition digs into colonial ideas, societal pressures and resource use of lawns

Carrie Allison has thought a lot about lawns.

Specifically, the Halifax-based multidisciplinary artist thought about the time, money, resources and energy spent on the endless pursuit of the perfectly manicured, kelly-green squares in front of suburban houses; the colonial ideas about value, virtue, class and wealth lawns uphold; and the pressures exerted by societal expectations and full-on city bylaws to control what is a living thing.

It’s those ideas that inform we tend to care, a touring solo exhibition curated by Franchesca Hebert-Spence. The Winnipeg iteration of the show will be presented across two venues — Urban Shaman and within WAG-Qaumajuq’s permanent collection galleries — in collaboration with Marie-Anne Redhead, assistant curator of Indigenous and contemporary art at WAG-Qaumajuq.

“Lawns and grass are very much associated with that sort of, I would say, propaganda of what we value in society,” says Allison, 39, who is of nêhiýaw/Métis/mixed European descent. “They are used to tell people what they should value and how they should use their time.”

New Music Festival explores theme of technology amid global rise of AI

This year’s New Music Festival runs Jan. 21-29 and includes six events.

Teen quartet We’re Only Here for the Snacks to release debut album on limited-edition Winnipeg-inspired vinyl

The teenage instrumental indie-rock quartet will launch its debut album, Missed Our Stop, Sunday at the West End Cultural Centre.

$54.7M sale of Frida Kahlo self-portrait breaks auction record for female artists

A haunting 1940 self-portrait by famed Mexican artist Frida Kahlo sold Thursday for $54.7 million and became the top-selling work by any female artist at an auction.

The painting of Kahlo asleep in a bed — titled “El sueño (La cama)” or in English, “The Dream (The Bed)” — surpassed the record held by Georgia O’Keeffe’s “Jimson Weed/White Flower No. 1," which sold for $44.4 million in 2014.

The sale at Sotheby's in New York also topped Kahlo's own auction record for a work by a Latin American artist. The 1949 painting “Diego and I,” depicting the artist and her husband, muralist Diego Rivera, went for $34.9 million in 2021. Her paintings are reported to have sold privately for even more.

The self-portrait is among the few Kahlo pieces that have remained in private hands outside Mexico, where her body of work has been declared an artistic monument. Her works in both public and private collections within the country cannot be sold abroad or destroyed.

Travelling sign painter finds his groove on the move

For someone whose writing appears all over the city, Joseph Pilapil’s penmanship isn’t the best.

You’ve probably seen his meticulously formed letters above store entrances, on shop windows and decorating sandwich boards all across the city.

But when it comes to writing on paper, well, the less said the better.

“My handwriting is terrible. When I am writing out my day-to-day stuff, it’s absolutely really bad,” he says, with a laugh.

La créativité franco-manitobaine rayonne: Anna Binta Diallo expose à travers le pays

En 2025, l’artiste visuelle franco-manitobaine Anna Binta Diallo connaît une année charnière. De Vancouver à Toronto, en passant par Edmonton et Winnipeg, ses expositions se succèdent, confirmant la place qu’elle occupe désormais parmi les figures majeures de la scène artistique canadienne contemporaine.

Née à Dakar, Sénégal, en 1983 et élevée à Saint-Boniface, Anna Binta Diallo tisse depuis toujours des liens entre les continents et les mémoires. Ses œuvres explorent les intersections entre identité, nostalgie et nature, dans un langage visuel qui conjugue collage, vidéo, graphisme et sculpture.

“Le collage est depuis longtemps au cœur de ma démarche,” confie-t-elle. “J’aime réagencer des images anciennes, des sons, des fragments d’archives pour construire de nouveaux récits.”

L’artiste collecte cartes, livres et photos qu’elle transforme en compositions hybrides, à la croisée du passé et du futur.

Rosa Parks and Helen Keller statues unveiled at the Alabama Capitol

MONTGOMERY, Ala. (AP) — Statues of Rosa Parks and Helen Keller, pivotal figures who fought for justice and inspired change across the world, were unveiled Friday on the grounds of the Alabama Capitol.

The monuments honoring the Alabama natives whose advocacy helped dismantle racial segregation and promoted the rights of people with disabilities are the first statues of women to be installed on the lawn of the Alabama Capitol, broadening the history reflected on the grounds that also include tributes to the Confederacy, which was formed at the site in 1861.

Gov. Kay Ivey, currently the nation's longest serving female governor, said Parks and Keller “rose to shape history through quiet strength and unwavering conviction.”

“Courage changes the course of history, and today, these statutes stand as symbols of that courage — testaments to what one person, especially one determined one, can do to make the world a better place,” Ivey said.

Hommage vivant à une pionnière du théâtre franco-manitobain

Du 22 octobre au 1er novembre 2025, le Théâtre Cercle Molière donnera vie à la figure emblématique de la francophonie manitobaine, Pauline Boutal.

Pour le centenaire du TCM, l’ancienne direction a choisi d’inaugurer sa saison avec la programmation d’une pièce “100 % Manitoba,” comme le dit Marie-Ève Fontaine, nouvelle directrice artistique et co-directrice générale de l’établissement.

Il s’agit de Pauline Boutal, entre les toiles et les planches, œuvre de théâtre écrite par l’une des plus importantes figures de la littérature franco-canadienne de l’Ouest actuelle, Lise Gaboury-Diallo, et mise en scène par Simon Miron, également franco-manitobain.

Le spectacle retrace en deux actes les faits saillants de la vie de Pauline Le Goff Boutal (1894-1992), illustratrice, artiste-peintre, costumière, comédienne, metteuse en scène et première directrice artistique du TCM, qu’elle a dirigé pendant 27 ans.

The Orange Notebooks navigate love, longing and a quest for a lost child

He turned. He looked back, precisely when he seemed to have the cosmic solution in his hands — and that was his terrible undoing. That was Orpheus’s mistake.

Susanna Crossman reimagines turning and looking back here, in a kind of experiment in genre. The Orange Notebooks is an adventure story, to be sure, but it is also part aching memoir, part lyrical poetry, part polychromatic kaleidoscope, part surreptitious “found footage” but, most thoroughly, part primordial myth.

Crossman seems to dwell, as her writing does, between worlds. She grew up in the U.K. in a “utopian commune” about 50 years ago but now resides in France, writing (both essays and fiction), lecturing and practising arts therapy. Her 2024 memoir, Home Is Where We Start, set a lingering tone of journeys, nostalgia and psychological reflection.

The Orange Notebooks reprises that tone, beginning with the pretense that we are being handed a set of journal reflections written by our protagonist, “Anna,” who herself lives in liminal spaces. She too was raised in England but grew to adulthood as a server on an English Channel ferry, married a dashing Frenchman with an exotic name, Antton (the two Ts a vestige of his Basque heritage) and eventually settled with Antton in a lovely rural French home, both as teachers.

Thousands mark Truth and Reconcilation Day

As a sea of thousands clad in orange waited, Helen George braids her son’s long, straight hair.

They’re at the RBC Convention Centre, preparing for the grand entry ceremonies hosted by the Southern Chiefs’ Organization to mark the fifth annual National Day for Truth and Reconciliation Tuesday afternoon.

Originally from Ochapowace Cree Nation in Saskatchewan but living in Winnipeg, George is helping her son, Houston, get dressed for the upcoming powwow. For her, seeing so many families coming together to recognize the impact of the residential school system and celebrate Indigenous resilience is touching.

“It’s meaningful,” she said.

Misguided dramedy not great

Making her directorial debut, actor Scarlett Johansson (whose movies range from Lost in Translation to The Avengers) has chosen a small human story that is enormously well-intentioned.

But as the central character in this awkward, uneven dramedy proves, good intentions can have disastrous consequences. Attempting to make a much-needed statement about our contemporary culture’s difficulty in dealing with age, grief and loneliness, Eleanor the Great misfires, sometimes badly.

There are things that work. As we often see in projects by actors-turned-directors, the film’s core strength comes from its performances, especially that of 95-year-old June Squibb, a veteran actress who has a long list of supporting work in such movies as Nebraska and About Schmidt and recently received star billing in 2024’s Thelma. Here she takes the title role of Eleanor Morgenstein, a cranky, critical but compassionate senior.

As the story opens, Eleanor is living in Florida with Bessie (Rita Zohar). After the deaths of their husbands, the two old friends have been looking after each other. When Bessie wakes from nightmares rising out of her experiences during the Holocaust — a story she has never related, even to her own family — she and Eleanor sit at the kitchen table and talk it through.

Local filmmaker’s lo-fi feature packs a punch

It feels right that this low-budget, lo-fi experimental feature should be showing as part of We’re Still Here, a slate of programming that marks 50 resilient and resourceful years of the Winnipeg Film Group.