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It's not the destination wedding that matters, but the journey the hapless videographers have trying to capture it.

Edith dreams of being a successful actress but just can't seem to make things happen. When she can't figure out what she's doing wrong, she begins to do everything wrong.

Everyday Is Like Sunday is a comedy/drama aiming the lens at post-collegiate characters stuck between their imminently-ending youth and impending adulthood. The film follows Mark, Jason, and Flora, as they realistically attempt to pull themselves out of economic and emotional doldrums.

The Seventh Art is an independently produced video magazine about cinema with profiles on interesting aspects of the film industry, video essays and in-depth interviews with filmmakers set in casual environments. Based in Toronto, Canada. We ask not only what is cinema, but when is cinema, where is cinema, how is cinema and why cinema, especially as media converges on new distribution models that are hopefully reflected in the cross-platform nature of our 'magazine'. The production is based out of Toronto, Canada and is presented in a deliberately unpolished state, eschewing the extensive editing and performative sheen of video programs on cinema that prioritize these elements above the discussion of cinema and the moving image broadly.

This issue features a discussion of the distribution company FilmsWeLike with its founder, filmmaker Ron Mann (In the Wake of the Flood, Comic Book Confidential); a video essay on Surveillance Camera Cinema, examining the films Der Riese, Influenza and Faceless; and an in-depth discussion with filmmaker Guy Maddin (Keyhole, My Winnipeg).

This issue features a profile on Steven Kostanski of the filmmaking collective Astron-6 (Manborg, Father's Day); a sit down interview with two members (Dan Browne & Izabella Pruska-Oldenhof) of Ryerson University's experimental film group, The Loop Collective; a video essay on Bennett Miller's Moneyball; and an in-depth discussion with filmmaker Ingrid Veninger (Modra, i am a good person/i am a bad person).

This issue features an interview with filmmaker Patricia Rozema as she discusses her career and her recent manifesto for the Canadian film industry; our live-streamed backstage show from this year's Genie Awards, which features interviews with Philippe Falardeau, Jean-Marc Valee, Larysa Kondracki, Anne Emond, George Stroumboulopoulos, and many more; a video essay about Edward Yang's The Terrorizers; and an interview with filmmaker Bruce McDonald (Hardcore Logo, Pontypool).

This issue features an interview with legendary filmmaker Peter Bogdanovich; a profile on distributor KinoSmith; a video essay about David Fincher's Millénium : Les Hommes qui n'aimaient pas les femmes (2011) as a meta-remake; and a video essay about post-classical representation of death in Son frère.

This issue features an interview with filmmaker Joe Swanberg (V.H.S., Alexander The Last); a profile on documentary filmmaker and photographer Lauren Greenfield (The Queen of Versailles); and two video essays including a re-appraisal of The Godfather Part III as 'The Death of Michael Corleone' and an analysis of the representation of a neighborhood in Pedro Costa's Ossos.

This issue features an interview with Mexican-Canadian filmmaker Nicolás Pereda (Summer of Goliath), a round-table with independent production company MDFF (with Dan Montgomery, Kazik Radwanski, and Antoine Bourges), and video essays about the MDF Trilogy and the use of the Rodney King tape in Malcolm X and Dark Blue.