Kayvon Saremi

Honing his craft as an indie filmmaker in Germany in the early 90s, Uwe Boll never could have imagined the life that lay before him. From working with Oscar-winning actors and making films with US$60million budgets to having actors publicly disparage him and online petitions demanding he stop making films, Boll continued to work; he has a filmography of 32 features, a career that has led to his new life as a successful high-end restauranteur. Already a cult legend, he will be remembered forever in the film world; for some, as a modern-day Ed Wood, who made films so bad, they're good, while for others, a prolific filmmaker who came from a small town in Germany and never compromised his integrity while forging his own unique Hollywood trajectory.

When does art become obscenity? Cover Your Ears takes a close look at this question through the lens of the past 100 years of music and the ever-evolving discussion of legal and moral lines in the industry

In the mind of every filmmaker, there are two wolves locked in an epic, eternal, and fierce battle for control and influence. The combatants? The analytical left brain and the whimsical right. [INSERT SHORT FILM TITLE] personifies these cerebral hemispheres in the monumentally (or at least marginally) comedic performances of Chrissy Mozylisky and Matthew MacCaull, evoking the cinematic manifestation of that cerebrum arm wrestle in the form of a meta-troll of the short film genre

Autumn, 1908. Two men strike out into the cold Okanagan winter in search of a stolen horse.