SAD Mag is an independent Vancouver publication featuring stories, art, and design. Founded in 2009, we publish the best of contemporary and emerging artists with a focus on inclusivity of voices and views, exceptional design, and film photography.
For our first theatre review after a nice, long break during the holidays, writer Charmaine Li considers Jennifer Haley's The Nether in terms of its minimalist approach to exploring the sinister trajectory of online existence. “A dark and at times disturbing piece, The Nether wonders when our darkest thoughts stop being thoughts and become sin.”
"We also see a distorted concept of loyalty in intimate groups, in families, cliques and communities. For example, one person might break up with their girlfriend, and expect their friends to be mean to their girlfriend. But in fact that’s the opposite of loyalty—real friendship and real loyalty and love means helping people negotiate and helping people be self-critical. The problem now is that we have a very high bar that must be reached to be eligible for compassion."
Come celebrate your failed resolutions with Volume 4 of our SAD Comedy series January 20th at the Hive in Gastown. Featuring your hostess with the mostess Jackie Hoffart and the comedy stylings of: Ivan Decker, Sophie Buddle, Matty Vu, San Aung, Ashlee Ferral, Diana Bang and Katie-Ellen Humphries.
Wade Davis: Photographs collects images from 19 regions worldwide, including Canada's Inuit population in the Arctic, and cultivates a common theme—one that highlights humanity's differences, and all of the similarities that come with them.
“Things To Come is a film about so many things; how we survive the inevitable disappointments and catastrophes of a life; how we navigate the changing seasons of youth, middle age, old age; how we learn to sit with our loneliness; how art and ideas can propel us through it all. But it is, perhaps above all, an impeccable dialogue between two exceptional women—one, a young director distinctly claiming her place as one of the truly great filmmakers of our time, and the other, an actor delivering one of the best performances of an already impressive career.”
“CREEPS took me back in time and shocked me into a new found reality. The script and its execution will entertain, inspire, and maybe even change you. A warning for mascara wearers—consider using waterproof for this show.”
"We both had experiences where I’d go into a music store or a video store when I was younger and I was really excited about something. I’d bring it up to the counter and I’d be vibrating with excitement cause it was that cool and then I’d just get a ton of shade. We were like “I don’t wanna replicate that experience.” We wanna try to do something different and we try to be low-key."
Members of the European Union (we're looking at you, United Kingdom) presented a two week-long film festival at the Cinematheque, screening some of their best and boldest. As with any festival, some were hits and some were misses—film writer Liam Siemens reviews.
Pennylane Shen’s apartment represents her well: it's warm, artful, lively, and colourful. Antiques, taxidermy, and mixed media works by her friends filled the brick walls; a clever digital image of fire in the fireplace, and a birdcage with a ceramic Mao candle that stands imprisoned within.
“The film asks us to pay attention, to listen, to watch everything as it unfolds. All of these moments matter. All of these people matter. To pay them attention is to care.” Gianfranco Rosi's Fire at Sea came to VIFF only a few weeks ago, but has already garnered wide acclaim. Writer Kerria Gray muses on why this documentary is as affecting as it is.
As part of Vancouver's Diwali Fest, Anusree Roy's award winning play, Brothel #9, puts the grittier aspects of human struggle and resilience on stage, front and centre. Skillfully written and directed, with the outstanding talent of its players, this production is one to know about. Ljudmila Petrovic reviews.
In a time when positivity and lightness of being are in danger of becoming scarce, it seems Tracey Power's Miss Shakespeare reaches us with necessary intention. Writer Sagal Kahin reflects on the immeasurable value of women's voices, and on the weight of this message as told by Power's pertinent production.