Born in Barcelona, Carlos Solano earns a living by writing on cinema.
Catherine Martin was born in Quebec. She studied visual arts at college and continued in fine arts at Concordia University in Montreal where she studied film and photography. She has independently produced the short films Nuits d´Afrique (1990) and Les fins de semaine (1995). In 1998 she made her first documentary film, Les dames du 9e, followed by her first feature-length fiction film in 2001, Marriages. She has since directed Océan *(2002), *Dans les Villes (2006), L’esprit des lieux (2006), Trois temps après la mort d’Anna (2010) and Une jeune fille (2013). Her films have been screened at numerous international festivals, and have won awards in Quebec, the rest of Canada and abroad.
Cristina Álvarez López is a film critic, audiovisual essayist, and teacher at the EQZE Film School (Spain). She was co-founder of the Spanish online film journal Transit: Cine y otros desvíos, and has written for Sight and Sound, MUBI Notebook, Shangri-la, LOLA, Screening the Past, and Screen Education, and in books on Chantal Akerman, Bong Joon-ho, Philippe Garrel and Paul Schrader.
Donato Totaro has been the editor of the online film journal Offscreen since its inception in 1997. Totaro received his PhD in Film & Television from the University of Warwick (UK), is a part-time professor in Film Studies at Concordia University (Montreal, Canada) and a longstanding member of AQCC (Association québécoise des critiques de cinéma).
Elaine Lennon is a film historian and the author of “ChinaTowne: The Screenplays of Robert Towne 1960-2000” (2016) and “Pathways of Desire: Emotional Architecture in the Films of Nancy Meyers” (2016).
Emma Kredl is an MA student in the film studies department at Concordia University. Kredl’s research interests are primarily based in genre cinema with a focus on horror and melodrama.
Eric Fillion is a postdoctoral fellow (SSHRC and FRQSC) in the Department of History at the University of Toronto. He holds a PhD in History from Concordia University. His research explores the social and symbolic importance of music, within countercultures and in Canadian international relations. His ongoing work on cultural diplomacy and Canadian-Brazilian relations builds on the experience he has acquired as a musician. It also informs his current postdoctoral project, which examines international music festivals as transnational, contested sites of cultural performance during the long sixties. An affiliate of the North American Cultural Diplomacy Initiative (NACDI), he is the founder of the Tenzier archival record label and the author of JAZZ LIBRE et la révolution québécoise.