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Tourne au Rouge #3

Barefoot, Todd chased after the shadow thief, nearly tripping over his pyjama pants. He didn’t know what it was or where it had come from, but it had stolen the horse leg from Anya’s carousel. He had to get it back. Without it, Anya would never forgive him. The sound of the storm outside muffled the pitter-patter of his feet as he scrambled up the attic stairs. But there was no sign of the thief when he rushed inside. The full moon shone through the window pane and lit the room up. His foot stepped on a ruffled piece of paper. He bent over and picked it up. It was one of Mary-Anne’s photographs.

Todd stared down at the picture as he remembered the Sunday morning it had been taken. They were making breakfast. Papa had cracked the eggs on the edge of the counter while Todd guarded the sizzling bacon and toasting bread.

“Morning, sunshine,” Papa said as Anya shuffled into the kitchen.

Anya stretched her arms out and yawned. “What are you doing,” she had asked. “Pancakes,” Todd exclaimed, wearing Papa’s necktie around his head and an old pair of black sunglasses.

With a flick of the wrist, she flipped the pancake. As soon as it splotched back onto the pan, Todd rushed in front of her and smacked the pancake with his spatula. When both sides turned golden-brown, Papa gave them a thumbs-up and held out a plate.

Papa said: “Watch out!” and pointed to the stove. While the children had their backs turned, he swiftly snatched the pancake. Anya ran after him, while Todd crawled under the table, but he had gobbled it up before they had caught him.

Anya poured another spoonful into the pan. “Just try and get this one,” she warned, waving the wooden spoon.

Todd tugged on Anya’s apron. “Can I try?”

She nodded and lifted her arm to let Todd slip under. He placed his hands on the handle like Anya. At that moment, Mary-Anne had walked into the kitchen, holding her camera and had taken a picture of them just as they jerked upwards. Taken by surprise, Anya had burnt her hand and the pancake had landed with a splatter on the floor.

Todd’s thoughts were halted by a flicker out of the corner of his eye. His hand clenched tightly around the photograph as he looked around the attic. All of Mary-Anne’s photographs had been ripped from the wall, crumpled in a ball or torn apart. Turning, Todd saw the shadow rear up to its full height. The scream welling in Todd’s throat was silenced by the shadow’s hand covering his mouth. It almost looked alarmed, shaking its head wildly and bringing a dark finger to the line where its lips should have been. Todd didn’t have any more time to think as the shadow thief scooped up a white sheet and enveloped him, sending Todd into a world of darkness.

The bag swung back and forth. Todd felt as though he were falling as his stomach looped several times over. He would have been sick if he hadn’t been able to maintain his sense of balance within his makeshift cage. Searching the sheet Todd found a small hole just big enough to see through. He gasped when he realized how high they were. The shadow was quickly sliding down a tree using his hooked feet and hands. Underneath them, a potbellied man sat on a tree stump with his long slender legs crossed. The man wore a scarlet tailcoat with golden buttons that looked a bit tight for him, a shock of red hair stood up from his head in every direction. He stirred his tea as though he enjoyed the sound of the silver spoon when it clinked along the edges of the cup.

The shadow dropped Todd and plonked onto the hard ground, still trapped in the bag.

“Did you find it?” asked the man, lifting his head. On the tip of his crooked nose perched a pair of golden spectacles.

Todd felt the shadow leave his side and saw it approach the old man. The latter extended his hand, palm upraised as if expecting a gift. From his spot in the bag, Todd watched as Anya’s horse leg was exchanged between the two. For some reason, this old man scared him and he was glad to be in the bag. Even the shadow appeared to be quivering. Once the horse’s leg was dropped into man’s hand, the shadow withdrew itself as though it were burned by fire. It hurried back toward Todd and seemed intent on taking him away.

“Wait.”

Todd felt the shadow freeze.

“What do you have in the bag?”

The shadow said: “Stuff,” and backed away.

“Empty it.”

In an instant, Todd found himself rolling on the ground, but it was like no ground he had ever seen before. Puffs of mist formed as he breathed out into the chilly air. All around him was a forest of stumps.His eyes fell upon the only tree, a massive bulk with gargantuan branches. Hanging from the branches were various wooden picture frames that swayed in the breeze.

The man pointed a finger at the young boy. “What is that?”

“I panicked,” replied the shadow. “He followed me and— she was coming.”

“So you took him?”

“Let me keep this one,” pleaded the shadow.

“This is not the child I asked for!”

Todd felt the shadow recoil beside him as the man towered over both of them. He looked at his kidnapper and then up into the cold eyes of this man who appeared to rule a dead world. One thing dawned suddenly in Todd’s mind: Anya was in danger.

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Round of applause for Good People

L-R: Paul Hopkins, Kim Nelson, and Johanna Nutter

Lights down. Without hesitation, a standing ovation sweeps everyone on their feet.

Centaur Theatre Company’s Good People, written by Pulitzer Prize-winning playwright David Lindsay-Abaire and directed by Roy Surette, is a funny and profound story that is sure to tug the heartstrings of its audience.

Set in Boston’s Southie, an Irish working-class neighbourhood, where happiness is said to be a matter of luck, Margie Walsh (Johanna Nutter) is a hard-working single mother with a handicapped adult daughter. After losing her minimum-wage job at the dollar store, she decides to visit an old boyfriend she hasn’t seen in 30 years. Turns out, her old boyfriend, Mike (Paul Hopkins), got lucky.

Mike became a successful doctor and is now living in the rich suburb of Chestnut Hill with his wife Kate (Kim Nelson) and their child. Mike believes a ‘good’ life results from ‘good’ choices.

“You’re wrong,” says Margie. “Not everyone has the same choices.”

The show was praised for its quick-witted dialogue: Margie’s cynical thoughts and deadpan humour, Jean’s (Margie’s friend) foul-mouthed complaints and concern for her friends, and Mike’s outburst and frustration when his past as a Southie catches up with him. Every character has his or her own reasons for finding life unfair and seeing happiness as a luxurious privilege. But as the story unravels, it becomes clear that happiness cannot be bought.

The intricate set design added to the intimate atmosphere of the show. In the living room scenes, the audience can tilt one way or the other and peek into the hallways or through open doors. The decor is so realistic that it feels like you’re inside the character’s home and eavesdropping on their conversations.

John C. Dinning did a fabulous job with the stage as it is one of the most stunning designs in a long time. In a blink of an eye, the stage transforms itself between each scene. The audience follows the actors from a back-alley into a homey kitchen, then into a luxurious office and from there into a run-down church. The details, such as the graffiti on the walls, made the scenes that much more believable and captivating.

The props didn’t just serve a visual role — they weren’t just scattered about to visually enhance the scene. Rather, they were often used by the actors as a way to express their emotions when in silence.

Good People is one of the few plays that can pull off the ‘awkward silence’ and keep the audience holding their breath. It leaves viewers to ponder that perhaps the happiest people don’t have the best of everything; they just make the best of everything.

Good People runs until Dec. 9 at Centaur Theatre. For more information visit centaurtheatre.com

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Arts

Tourne au Rouge #2

All happy families are alike; each unhappy family is unhappy in its own way.
— Leo Tolstoy

– – – – –

“Get out of my room!”

Anya leaped forward and shoved Todd aside, so hard and fast that he stumbled backwards and hit his head against the bed frame. The loud thud resounded throughout the house.

Mary-Anne and Papa quickly appeared. Mary-Anne rushed to Todd but Papa merely stood in the door frame and looked at Anya. She clenched her teeth, not meeting Papa’s eyes, and ran a finger along the jagged edge of the merry-go-round where the horse’s leg had snapped off.

Mary-Anne cradled Todd in her arms as he wiped his nose on his sleeve, the broken piece held tightly in his little hand. Rubbing the stubble on his chin, Papa looked pointedly at Anya.

Anya said: “It was an accident.”

Papa held up a warning finger. “I want you to—”

“He was in my room again.”

“An—”

“He broke it!” said Anya, barely keeping her voice below a shout. “It was Ma’s.”

Papa grabbed her by the arms and shook her, “Anya!” The key at the end of her necklace slipped from her blouse and swung violently.

“That’s not a reason,” said Papa. “I want you to apologize to Todd.”

Their eyes met. Anya gaped at him like a fish out of water, eyes wide and glazed.

With her back against the wall, Anya slouched outside Todd’s bedroom as Mary-Anne read Todd The Three Little Pigs. Papa chuckled in the armchair by the bookcase.

“Little pig, little pig, let me come in.”

Todd put his finger to his nose and frowned. “Mmm…”

He leaned his head back as far as he could, and then shouted, “No!”

Mary-Anne said: “Then I’ll huff,” she put the book down on the bedside table. “And I’ll puff,” she raised her hands as if they were claws and loomed over Todd’s head, “And I’ll blow your house down!” Todd burst out laughing, squirming as Mary-Anne pinned him down and blew raspberries on his belly.

“Alright, kiddo,” said Papa, “time for bed.”

Quickly, Anya tiptoed back into bed and pulled the covers up. She shut her eyes and pretended to be asleep as Papa came into her bedroom. He brushed her hair from her face and kissed her goodnight. Anya waited until Papa and Mary-Anne went downstairs and she could hear the faint murmur of the television before taking the music box out from under the sheets. She set it beside her pillow and unclasped her mother’s necklace. Anya pushed the key into the winding hole, and turned it. With her head against the pillow, she hummed along to the cheery tune and watched the horses prance, spinning round n’ round n’ round … and round.

It was dark, but the light of the moon shone into the bedroom. Rain came down in silent sheets, droplets glistened on the window as lightning lit up the sky. A long, reed-like shadow seeped from under the door, filling the air with the burnt smell of caramel. Anya’s nose twitched. The shadow gambolled awkwardly across the bedroom, for its legs wiggled like paper in the wind. Quietly, it looked at the music box on the bed beside Anya. It reached out to touch the jagged edge of the horse’s leg, where was the broken piece? it wondered.

Seeing the table set up for tea, it rubbed its hands in delight and decided it would look for the missing piece later. Swirling up the chair like a ribbon, it took a seat between the stuffed bear and the red-headed doll. It doffed its top hat before pouring itself a cup of tea with a bit of milk and sugar. Leaning back, it swung one leg over the other, raised its long, thin pinkie high, and chomped into the rim of the cup, crumbs gathering at the corners of its round mouth.

The horse’s leg wasn’t in the closet or in a drawer; it wasn’t hidden in the jewellery box or in a pair of socks. The shadow looked around the bedroom once more, when from the corner of its eye it spotted a black bottle on the bedside table and eyed it suspiciously. With the tip of its fingers, it uncorked the perfume bottle and peeked inside— just then the door creaked, startling the shadow who drew back hastily.

“Anya?”

Todd crept past the door frame. Lightning flashed and a loud burst of thunder roared across the sky, startling the little boy. He broke into a sprint and climbed into the bed beside Anya.

“Go away,” she said flinging her pillow at Todd. It missed him by an inch, falling against the tea set. The cups bounced and clinked together. Todd gasped and Anya clasped her hands over his mouth, casting a worried glance at the door.

“I’m sorry I broke the merry-go-round.” Todd said when the coast was clear, furrowing his brow and reaching out to touch the key necklace. Anya quickly snatched it up and put it around her neck.

Todd whispered: “Can we fix it?”

“No, we can’t,” said Anya. “Now get off or I’ll push you again.”

Todd hopped down. The handles of the dresser drawer rattled as he rummaged through a heap of crayons, sheets of paper and bead bracelets. Todd emptied Anya’s pencil case and hurried back.

“What are you doing?” Anya hissed between her teeth. “You’re going to get me in trouble again!”

Todd held out the horse’s leg and showed her the glue stick in the palm of his hand, but Anya swatted his hand away.

“You can’t fix it,” said Anya. “Now go—”

All of the sudden, the shadow launched itself from under the bed, snatching the horse’s leg from Todd’s outstretched hand.

“Give it back,” said Todd, but it was too quick. The shadow grinned as it perched itself on top of the wall and gobbled the broken piece up. With a satisfying gulp, it flitted past Todd’s feet and vanished under the door. Todd chased after it.

“Wait!” shouted Anya and she rushed out of the bedroom. She caught a glimpse of Todd’s pajamas as he disappeared up the attic steps. Anya followed him, but when she reached the attic, it was empty. Todd had disappeared, as if into thin air.

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Tourne au Rouge

An optimist is a person who sees a green light everywhere, while a pessimist sees only the red stoplight. The truly wise person is colorblind. — Albert Schweitzer

– – – – –

Ma used to be a trapeze swinger until the day she fell and became a painter. It was Papa’s idea to bring the circus to the attic. A company of brushes and sponges, fat and skinny rolls of tin foil fooling around the paint rollers, and beads with no fear that slipped across the high wires stretched over a mountain of white canvases.

Papa said: “The show must go on,” and it did. In Ma’s circus it was the mice who tamed the lions. The acrobats juggled with stars and planets over a hundred gaping mouths and elephants rode unicycles in their pale tutus. Ma always had a story. Some nights the sun would set in the west and Ma would fill the water guns with honey-brown for Anya to paint a desert around the lone cowboy or pirates would invade the canvas and they had to fight back with their palette knifes dipped in navy blue. Three years later, Todd was born and a wagon-train came to take Ma’s circus away.

With her fork, Anya poked the strawberries and buried them under the spinach leaves while Todd dipped his pudgy fingers into the balsamic vinegar. Todd crammed a cherry tomato into his mouth, and then stuck his tongue out at Anya. She glanced at Papa and Mary-Anne, and threw a lima bean across the table. It hit Todd’s forehead. As Todd reached into his bowl to throw something back, his elbow knocked his glass, and the water spilled into his lap.

Todd yelped. Mary-Anne rose to her feet. Anya sniggered and Papa scowled. Mary-Anne asked: “Anya, can you get the paper towels,” and lifted Todd from his chair.

“You go get them.”

“Anya,” said Papa. “Go get your mother—”

The fork clattered. Anya said: “She’s not my mother,” and stormed out of the living room. Before Papa could say a word, Mary-Anne gave his shoulder a little squeeze. Sighing, he put his hand over hers. “I know,” said Mary-Anne. “She’ll come around.”

Behind the wooden posts of the staircase, Anya drew her knees up to her chest. She fiddled with the hem of her floral skirt, watching Todd and her stepmother. His ginger curls bounced gently against his chubby cheeks as he shook his head. Todd said: “But Ma—” and jumped into Papa’s arms, burying his face into his shirt.

“Go on,” said Mary-Anne. “I’ll be up in a minute to tuck you in.” The fabric crumpled in Anya’s clenched fists at the sound of Todd’s footsteps hurrying up the stairs.

Anya went to the attic and closed the door behind her. She pulled the string and turned on the light from the bare bulb hanging above her head. Papa said: “Mary-Anne’s an artist too,” and suggested they share the attic. Over time the canvases were replaced with Mary-Anne’s photographs. Anya despised them. They were mostly pictures of Todd, of the house, of Mary-Anne and Papa, and of Anya’s hand.

An old white sheet was draped over the boxes in the corner where Ma’s trinkets were neatly tucked away. Flecks of dust shook free as she pulled it off. Anya sat in front of a small canvas propped against the stack of boxes. Ma had never finished painting the grand carousel. The sky was an explosion of fireworks, the man dressed in red and gold beside the carousel waved with a bright smile, but the children’s faces were blank and the balloons slipping from their hands were white. A tear drop fell from her chin and landed on the canvas. Silently, Anya closed her eyes and made a wish as the tear drop slipped into the man’s hand.

In the bathroom, Todd stood on the step-stool in front of the mirror. He brushed his teeth up and down, right to left until a whirring sound caught his attention. It came from the bedroom. He hopped off and padded down the narrow hallway, peeking past the door frame into Anya’s room. The merry-go-round on the bedside table pitter-pattered. Bells jingled and horses whickered as it spun round and round. The tut-tootle tune accelerated with every step he took. Todd held the music box with both hands and brought it close to his face, watching the brass reins flop loose and clink against the back of the horses’ necks.

The sudden shrill of Anya’s voice made Todd flinch and drop the merry-go-round. One of the horses’ legs broke as it clanked against the hardwood floor.

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Who is the audience and who are the actors?

Actors rehearse in the D.B. Clarke theatre. Photo by writer.

Forget the 3D glasses — The Seventh Seal will have you on the edge of your seat, swivelling your head in every direction. No need for a backstage pass or binoculars when you are literally sitting on stage, an arm’s length away from the actors.

“You are so close,” says Brefny Caribou-Curtin, the theatre student playing the part of Lady Death. “The people there are within spitting distance.”

From Oct. 18 to 21 in the D.B Clarke theatre, Concordia’s theatre students will perform an adaptation, written and directed by Jennifer H. Capraru, of Ingmar Bergman’s well-known film The Seventh Seal.

After fighting for so long in the crusade, a noble knight named Antonius Block questions the existence of God and his own humanity. The protagonist, played by Marc-Antoine Kelertas, encounters Lady Death on his return home. He challenges her to a game of chess in order that he might have more time, as he isn’t ready to die. With his life at stake, every move can be fatal.

“As an actor you try to be faithful to the character and put yourself aside,” says Kelertas. “But I wanted to step away from the stereotype. I wanted to play his torment.” The interpretation is a success as Kelertas inserts his own sensitivity into the character.

In this journey, accompanied by his squire, Antonius Block discovers that his country has been hit by the plague. In a race against time, he encounters many memorable characters, such as a circus company, a witch about to be burned, and a jolly couple. They guide him home as well as help him find the answers to his doubts.

Usually it’s just the actors under the spotlight — now it’s you. Rather than passively sitting in the audience, you are engaged and involved in this story. You can literally see the actor’s joy, anger and misery as they frolic and fight, embrace and cry right in front of you.

The actors off-stage are behind and beside you, still performing and participating in the sonic effects, along with the live music carried out by students of Concordia’s music department. The immense energy of this will bring chills up and down your spine.

Theatre-in-the-round heightens the action and emotion on stage, creating an intimate and at times uncomfortable experience. Not only are you watching the actors, but the audience as well.

“It creates a whole new sense of being in the story. The actors can’t just pretend. The audience is all around,” says Caribou-Curtin. “It’s the best and most enthralling challenge I have experienced so far.”

The Seventh Seal opens Oct. 18-21 at the D.B. Clarke Theatre, 1455 De Maisonneuve Blvd. W. $10 regular, $5 for seniors and students

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A girl with big dreams; a little boy manqué

Photo by Madelayne Hajek.

Mister Roger and Me by Marie-Renée Lavoie is not one of those action-based novels where every chapter ends with a bang.

Those craving high stakes and breathtaking battles between good and evil will not be sated. Instead, this novel, translated from the French by Wayne Grady, explores life through the eyes of a child and tells of the unlikely friendship that develops between this child and an elderly man.

With humour and sensitivity, the author explores the complexities of growing up in an ‘80s working-class atmosphere. Hélène, who goes by the name Joe, is not your average eight year-old but a “little boy manqué” who claims to be ten and wishes she were a boy.

Dazzled by her favourite television heroine, Lady Oscar, (a show she promptly watches from 4:00 to 4:24) Hélène dreams of nothing but adventure.

“Twenty-three kilos, holding back a mind that was always trying to run off to faraway, pitiless realms,” Hélène says,

With her keen insights, Hélène is an endearing character constantly seeking out ways to help her family with their financial and moral crises. Young yet mature; she works as a paper-girl, a waitress at the Bingo Hall and has responsibilities as both an older sister and a student.

It is no wonder that a friendship forms between this shrewd character and her next-door neighbour Roger. Roger is an old drunken man who grunts, burps and shouts loud enough for all to hear that he just wants to die. But together these characters discover that you don’t need to be a hero to be heroic.

The novel successfully unfolds each character’s personality, revealing a realistic and relatable person. Their qualities, faults and quirks on the page make it impossible for the reader not to smile.

Wayne Grady’s translation does not conform the story to the English language but rather embraces the French dialect and rhythm. It maintains the cultural flair in an original way, where both languages are not in competition with each other but enhance one another. The way this story is written presents a welcome reprieve for those wanting more than a traditional English novel. The unique sentence structure preserves its French origins while still allowing for clarity and fluidity in the storytelling.

Mister Roger and Me is Marie-Renée Lavoie’s first novel. It won the Quebec’s Prix Archambault as well as the Radio-Canada’s Battle of the Books competition in its original French version. With the release of the English version, it will be interesting to see the audience’s reaction to this translation.

Mister Roger and Me is available as of Sept 29.

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Arts

The art of questioning

Photo by Anne Garrity.

Gina Haraszti’s artistic career developed as fast as a Polaroid with the worldwide success of Waning and the release of two new short films. On Sept. 22, film production MFA student, Haraszti, will present a public screening of her thesis work at the De Sève Cinema. Haraszti will be showing a triptych: a trilogy of short experimental films, revolving around questions provoked as a result of the loss of a loved one.

Compelled by a tragedy, she fills her characters with relatable experiences that are sure to impact all those who attend.

“This is how the world makes me feel,” says Haraszti. Each film asks “What if?”— showing the various choices the characters make as they cope with grief. Haraszti’’s style strays away from commercial blockbusters to capture those small but ephemeral moments in life.

“It’s not just about breaking the rules,” says Haraszti, “but making a better film without them.”

Haraszti’s art is constantly evolving as she bares her soul to her viewers. She has edited and re-edited her works numerous times in pursuit of perfectly capturing emotions that many would deem too complex for film.

Nominated for best short at the Toronto International Film Festival, Waning is the critical highlight of the screening. In the film, truth and memory are put to a test. The audience becomes a witness to not only a murder, but a recurring memory of a murder. Haraszti invites you to figure out the mystery, where clues are hidden in the objects and characters’ expressions.

REI, a new addition to her portfolio, tells the story of an orphan who loses touch with reality as she struggles with the loss of her parents. REI is inspired by the Japanese term Hikikomori; a phenomenon where adolescents and young adults withdraw from the world. Objects become reminders, the house an isolated bubble and the outside world a threat. The young shut-in must decide whether to gather her strength or disappear into an inner world.

Those with an appreciation for retro film will find something to enjoy in the other film, Orison, owing to the poetic atmosphere and black-and-white quality. After the death of his rabbi father, a young scientist struggles to find an answer within his father’s religious belief and his scientific knowledge. It is the classic debate between reason and faith in the face of loss.

“Why see movies? To forget about our lives and live someone else’s for a bit,” remarks Haraszti “When we go back to our life, we can change it.”

The director compares her trilogy to a fractured mirror. Although these films are connected, they reflect three different choices, none of which are right or wrong, for there is no correct process of grieving — “The answer is in the searching.”

“A good film is a Polaroid of a state of mind,” says Haraszti, inviting us all to search for our own answers.

The screening will take place on Sept 22 at 8pm in the De Seve Cinema Hall, 1400 De Maisonneuve W. Admission is Free

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The whole world in a snapshot: looking at 2011

One of two side exhibits, Rouge² features photos taken during the tuition hike protests in Quebec.

Photography is like a story— the essence of a moment is captured in less than a second but the image itself and the intimate access to the soul of the situation will forever resonate within us.

From Sept. 7 to 30, the general public is invited to engage with a selection of award-winning photographs from The World Press Photo’s annual contest, in an exhibition to be held at the Marché Bonsecours in Old Montreal.

Currently the largest and most prestigious photography contest in the world, Ed Kashi, an American reporter and photographer, describes the exhibition as “a full breath of life.”

The finest work of contemporary photographers and photojournalists from 25 countries were evaluated by a jury of editors, photographers and members of photo agencies. Based on creativity, visual beauty and global representation, 161 photographs among thousands were chosen to depict the year 2011.

There are nine award categories: arts and entertainment, people in the news, daily life, sports, nature, spot news, contemporary issues, portraits and general news. The award winning images captured pivotal moments, events and issues meant to inspire, inform, educate and entertain the audience.

Samuel Aranda from Barcelona, Spain was awarded the honour of World Press Photo of the Year. His photograph, taken on October 15, 2011 during the revolutionary wave of protests across North Africa and the Middle East— also known as the Arab Spring, shows Fatima al-Qaws cradling her son Zayed, who is suffering from a tear gas injury received during a street demonstration in Sanaa, Yemen.

“The photo reminds us of something important, that women played a crucial role in this revolution. It is easy to portray the aggressiveness of situation like this but this image shows tenderness that can exist within all the aggression,” said the jury of the photo.

Through interpretation, the audience is able to participate with the artists in the act of storytelling. As Kashi said, “photography comes from the mind, heart and gut,” and that is what this exhibition is all about.

The exhibition takes place at  Marché Bonsecours 325 Rue de la Commune Est in Old Montreal from September 7 to 30, 10 a.m. to 10 p.m. For ticket information visit www.worldpressphotomontreal.ca

See some of the prize-winning photos from the exhibition:

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