Daniel Garber talks to Yung Chang about his new documentary FRUIT HUNTERS.
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
When you think of middle-aged explorers and hunters in khaki and pith helmets you probably picture Kipling 
shooting elephants and tigers. But there’s a new type of hunter on the scene. They’re ecologically minded, not destructive. They’re the fruit hunters who travel the globe searching for undiscovered varieties of cultivated or wild fruits to bring back to their sanctuaries.
Their stories are explored in a fascinating, new documentary called FRUIT HUNTERS, directed by noted Canadian filmmaker YUNG CHANG (Up the Yangtse, China Heavyweight), that premiered at Toronto’s ReelAsian festival.
In this telephone interview Yung Chang talks about fruit and sex, the Hollywood connection, how mediaeval paintings can help identify modern fruits, why mangos are 
the perfect food, and more…!
Fruit Hunters will be released in theatres on Nov 23rd.
November 23, 2012. The Joys and the Dangers of Fantasy. Movies Reviewed: Rise of the Guardians, The Suicide Room
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
A new American import known as “Black Fridays” is spilling over into Canada as a big shopping day. The name supposedly comes from the day in which the average US retailer reaches a positive balance on sales for the year which is usually the Friday after American Thanksgiving. But in a weird case of a snake swallowing its own tail they have turned it into a massive frenzy of shopping from consumers searching for bargains put on by retailers wanting to capitalize on a chance to pump up sales.
It also means it’s the start of Christmas shopping in earnest. So, just in time for new childhood memories to form, this week I’m talking about two movies that show the good side and the bad side of believing in fantasy.
Rise of the Guardians
Dir: Peter Ramsey
Jack Frost (Chris Pine) is a mischievous teenager in a hoodie and skinny jeans who likes snowball fights, getting kids’ tongues stuck to metal poles, and skatebording on hazardous, icy roads. When his snow lands on humans they have fun.He’s also invisible. He loves play but wishes he knew where he came from, and that other kids could see him.
Meanwhile there’s trouble up at the north pole: the bogeyman, aka Pitch, a fey, vain and evil man with an English accent (of course) is injecting nightmares into kids’ minds, and interfering with their sleep. So the Guardians who live there – Santa, the Easter Bunny, Mr Sandman, the Tooth
Fairy — summon Jack to join them in their fight against scariness.
Santa (Alec Baldwin) is a Finnish-type Father Christmas known as “North” – muscular, tough and tattooed — but with an unplaceable Eastern European accent. He carries matruschka dolls, and curses using the names of Russian composers: Rimsky Korsakov! Shostakovitch! He’s guarded by a gang of rough looking Yetis and serviced by short-bus elves. The Easter Bunny is a foul-tempered Aussie (Hugh Jackman), and the Tooth Fairy collects teeth to store the memories of children.
In their war room stands a giant globe of flickering lights – each one representing a kid who still believes in them. But with Pitch on the upswing, the lights are gradually dimming, and, like in the Peter Pan cartoon, if no one believes in fairies then tinkerbell will die! In this case they won’t die, they’ll just become invisible to the non-believers, like Jack is.
So… will Jack join up with the good guys and try to get the human kids to believe in them again? Or will he let the world fall into the clutches of the evil and scary Pitch?
Rise of the Guardians is a resolutely non-religious Christmas movie, without a cross, a church or even a glowing star to be seen. God takes the form of an all-knowing and all seeing Man in the Moon, the easter bunny is all about eggs, and they’re all on equal footing of secular figures like Sandy the Sandman. It’s a beautiful crafted movie – really nice art direction, with an interesting plot. It’s clearly aimed at the pre-teen set, but was aesthetically pleasing enough to hold my attention.(like an incredibly beautiful scenes where they all meet in a sort of a floating, rust-tiled Samarkand in their encounter with Pitch.) And it has Guillermo Del Toro’s name on it – as an executive producer, which lets you know it’s not degenerating into a comedy dissing childhood beliefs.
And it’s in 3-D.
Much grimmer, but also a partly- animated drama is
The Suicide Room
Dir: Jan Komasa
Dominik (Jakub Gierszal) is a happy, popular private school kid, a bit emo-looking but in tight with the in crowd. But there’s a guy he likes at school who may or may not be leading him on. And when he has an embarrassing frottage incident at a judo practice when he gets a bit too frisky with the guy he’s crushing on, he is mortified. All his friends seem to have turned on him and to make matters worse, they other guy put up a video of the incident on Facebook where everyone could see it. He’s cyber-bullied into hiding up in his bedroom.
His one solace is an animated world on line, a sort of Second Life ruled by a queen, Sylwia (Roma Gasiorowska), who lives in a castle. He becomes obsessed by her and seems to exist only in the form of his avatar, while his real self lives in the dark, barely eating and never going outside. From most popular kid to reclusive otaku in a matter of weeks. Sylwia strongly pressures Dom to join their suicide club and kill himself.
His parents, both rich and successful, have no idea what’s going on. Dominik may be on the verge of killing himself while the parents are more worried about how their son’s aborted sexual life might embarrass them and damage their career ambitions. They just want him on meds so he stops bothering them.
Will Dominik choose to live or to die? Will he reconnect with the outside world? Will he get to meet his cyber-love Sylwia face to face? And will his parents ever show compassion for their son?
This Polish film (which played at this year’s Ekran Polish Film Festival in Toronto) is a look at adolescent depression, cyber-bullying and Second Life, all aspects of contemporary Polish life largely unknown in North America.
Rise of the Guardians is playing now, while Suicide Club played at the EKRAN Polish Film Festival. Also look out for free Japan Foundation screenings coming up in December at the Bloor cinema featuring dramatizations of Japanese novelist Osamu Dazai’s stories; The Toronto Film Noir Syndicate showing the Coen brothers’ classic Blood Simple this weekend, and the first annual Blood in the Snow Canadian film festival showing new and classic Canadian horror movies next week at the Projection Booth on Gerrard St E. It features cool pics like Bruce MacDonald’s Pontypool and the world premier of new movies like SICK and psychological thriller the House of Flies.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .
Daniel Garber talks to Andrew Gregg about his documentary THE NORSE: AN ARCTIC MYSTERY
Hi, This is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM
I grew up thinking in fourteen hundred and ninety-two Columbus sailed the ocean blue, and that he was the first European to make contact with people in the Americas. But evidence uncovered by archaeologist Pat Sutherland suggests that contact began 
much, much earlier. A new documentary shows that first contact was not by the Spanish in the Caribean but between Northern Europeans and the indegenous people dwelling in Canada’s North. THE NORSE: An Arctic Mystery is playing on CBC’s The Nature of Things on November 22.
In this interview the director, writer and producer ANDREW GREGG tells me 
about the unknown history of the Norse in Canada, where they came from, what they did, how long they stayed, and what is the evidence that proves this. He also talks about the politics likely behind the strange dismissal of the noted archaeologist from Canada’s Museum of Civilization.
November 16th, 2012. Up and Down. Movies Reviewed: Floating City, Pusher
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 
89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
We’re nearing the end of the fall festival season here in Toronto. But there are still a few you can catch.
ReelAsian shows movies by and about people in or from East and Southeast Asia. The 
festival continues this weekend with movies shown north of Toronto in Thornhill. It’s a great place to see current films from Asia that don’t normally make it to Toronto theatres. Rendezvous with Madness, which shows movies aboiut addiction and mental health is notable for it’s offbeat, rare and creative works. They’re each followed by panel discussions by the filmmakers, experts, and, here’s what’s different… psychiatrists! And I’m going to be moderating a panel of some great Canadian local films (North of Normal: A Collection of Canadian Shorts) so be sure to check that out series out this Saturday at 4 pm! SAD NEWS: ALL SCREENINGS AT RENDEZVOUS WITH MADNESS THIS WEEKEND HAVE BEEN CANCELLED DUE TO ROOF COLLAPSE.
The EU festival shows one movie from each country in the European Union chosen by representatives from each country’s diplomatic corps. Aside from the great films… it’s also completely free! It’s at the Royal Cinema on College street all week. And finally don’t miss the best named festival in Toronto: that’s Darryl’s Hard Liquor And Porn Film Festival at the Projection Booth on Gerrard St East. It;’s actually funny short films made by indie movie makers — not so much porn, but lots of funny adult topics.
This week I’m looking at two dramas about the fortunes of two ambitious but rudderless men whose fortunes rise and fall within the tides of the former British Empire.
Floating City
Dir: Ho Yim
When a desperately poor woman loses her son in childbirth she buys a newborn to replace him – a Eurasian Chinese boy with bluish eyes. She raises him as her own and guards him with her life on a little fishing junk in the fragrant harbor of Hong Kong. He grows up literally barefoot, illiterate, beaten by his father, in debt, and bullied. His light-coloured hair marks him as an outsider. And the local corruption and bribery makes it very hard for a poor person to leave the underclass.
But one day he sees one of the legendary taipans – the ruling business oligarchs of Hong Kong – and vows to join their ranks. A missionary priest teaches him to read and write. And Bo is ambitious; rather than becoming a labourer or a fisherman, he manages to join the legendary East India Company. Despite the racist bully businessman Dick, his boss, he swallows his pride, even letting Dick call him “mixed” and “halfbreed”.
This movie – based on actual people – shows the rise of Bo (Aaron Kwok) against the history of post-war Hong Kong. It stretches from the social unrest uin the 60s through the panic in the 80’s and the ultimate signing of the British colony to the People’s Republic. It also shows his eternal question – who am I? – as he tries to find love, to fit into European
society, always pondering is that all there is? And will any loss of pride to kowtowing pay-off in the end? Or will he always be considered “second class”.
I liked the story and the characters, but it seemed more plodding than moving or thrilling. And the film seems a bit dry for such a monumental topic. Still, Floating World gives a comprehensive view of Hong Kong’s history and its people and its bitter-sweet role as a loyal British colony that was never accepted by the mother country.
Pusher
Dir: Luis Prieto
Things are going well for Frank (Richard Coyle). He’s got a nice arrangement with a sleazy dry-cleaner (Danish actor Zlatko Buric) to supply him with drugs that he sells in dubstep nightclubs alongside his skinny, toothy side-kick Tony (Bronson Webb). And he is sleeping with a beautiful, ice-blond stripper (Agyness Deyn).
He decides to expand – he sends a woman to Amsterdam to pick up some coke, and — after a chance meeting with a casual acquaintance he met in the big house – he decides to go for an easy deal that will make him lots and lots of money.
But things are not what they seem. The Amsterdam deal isn’t working, his buddy seems to have turned on him, he suspects the set-up guy might be a narc, and all the money he borrowed from Milo The Dry Cleaner… has disappeared. He’s forced to accompany a violent enforcer to reclaim some of the money he is owed, knowing all the while that he might well be the next one crushed by the big time criminals.
Will he dig himself out if his hole, get back his money, avoid prison, escape the low life, and maybe find a quiet existence with his lover?
Pusher (a remake of Nicolas Refn Wilding’s film) is extremely violent, gritty, low-budget and depressing. It has some good intrigue and action, it’s fast moving and tense, but it’s not a fun movie. The acting is pretty good and you get to like the characters (even though they’re loathsome criminals)… but they’re all so beaten down by the even nastier bosses that you mentally want it all just to end already.
Pusher is playing now, Floating City is playing at reelasian.com this weekend in Thornhill; Rendezvous with Madness, Hard Liquor and Porn, and EUtorontofilmfest.ca all continue through the weekend.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .
Daniel Garber talks to Zack Young about William Kurelek’s: THE MAZE playing at Toronto’s Rendezvous With Madness
Hi, this is Daniel Garber at the movies for culturalmining.com and CIUT 89.5 FM.
Most Canadians have heard of the beloved artist and illustrator William Kurelek, especially known for his winter views, with kids playing on the lonely, windswept prairies. But a film — first shot in the 1960’s — shows a lesser-known aspect of the artist’s work and life. This film — called WILLIAM KURELEK’S THE MAZE (playing at the 2012 Rendezvous with Madness Film Festival) — is a biographical discussion and exploration of one of his paintings, a fantastical, almost psychedelic view of his mental state at the time he created it. The long version of this film was never 
finished and the footage believed to be lost.
Now, more than 40 years later, Nick and Zack Young — the sons of the original film’s co-director, Robert M Young — have put the pieces back together and added new material and music to release a finished version.
In this interview (by telephone from Los Angeles) The Maze’s co-producer, musician and filmmaker Zack Young, talks about Kurelek, his troubled relationship with his family, the film’s genesis, the reasons it was made, what became of it, and more…
November 9th, 2012. Blind Dates? Movies Reviewed: Unconditional, Wolf Children PLUS ReelAsian, Rendezvous with Madness
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Have you ever been on a date that doesn’t turn out quite the way you expected? What if you’re in a relationship that requires accommodation… but only on one side? This week I’m looking at two movies – both dramas — about people asked to completely change their lifestyles due to an unexpected aspect of their relationship.
Wolf Children (おおかみこどもの雨と雪)
Wri/Dir: Hosoda Mamoru
Hana is a university student who sees a guy hanging around campus. There’s a definite attraction. But there’s something…. unusual about the guy. Not his looks, not his attitude, nothing like that…Turns out he’s descended from the now-extinct Japanese timber wolf! And every so often he slips back into wolfdom and goes out hunting.
But Hana says, OK, he’s a wolf, but, hey, I can handle that. They move in 
together and have two kids – Yuki and Ame, named after the snow and the rain. But then Hana is left alone to take care of them with no husband. And then… she discovers that both her kids regularly turn into baby wolves and back again! Yuki is wild, runs around, chases cats and howls to the moon. Her little brother Ame is more withdrawn. Hana doesn’t know what to do, and her neighbours accuse her of secretly having a dog in 
her pet-free apartment building. So she flees off to the countryside with her kids, where she thinks she can raise them on a farm without any interference from nosey neighbours.
This animated Japanese feature – playing at the ReelAsian Film Festival – is a cool story about the domestic life and coming of age of two werewolf kids, Yuki and Ame, and their devoted mother. What it’s not is a horror 
movie about werewolves. And that’s OK with me.
It’s also about urbanites moving back to the land, adjusting to life in an area where there are no young families, only elderly farmers still holding on to their patch of land.
Can poor Hana take care of two wolfish kids and try to run a farm with no experience? Can the kids learn to interact with other people without revealing their other lives? (Yuki demands to let her go to school – she promises not to turn into a wolf at school.) And as Yuki and Ame grow older, will they choose to live as humans, as wolves, or somewhere in between?
Wolf Children is a neat look at family life, non-conformity, and the socialization of wild girls and boys within the strict Japanese social system.
Unconditional
Dir: Bryn Higgins
Kristen and Owen are twin teenagers in England who take care of their poor, bedridden mum. Lonely, blond bro Owen (Harry McIntire) says he doesn’t really care what he wears – jeans, trainers and toques with earflaps are good enough for him. He just wants friends – there’s no one to go to the pub with him. But raven-haired sis Kristen is furious she doesn’t have enough money to buy new clothes, so she borrows some cash from a local loan shark, Liam (Christian Cooke). She likes Liam, and he seems to like her, too.
But one day, when Kristen’s not around, Liam takes him for a spin in his car
and then to a pub to play snooker. Owen is thrilled to have someone pay attention to him for once. And after more drinks at Liam’s swank flat, he asks Owen if he wants to see something funny, something good for a laugh. The “laugh” turns out to be dressing in women’s clothing, complete with makeup and a dark wig. Liam has all the stuff put away in his closet. Hmmm… OK, I get it. Liam is transsexual, right?
Nope – that’s not it at all.
So Owen puts on the stuff and… whoa, he makes a very pretty woman! And Liam – who is straight – says he wants to be lovers, but with Kristen, not with Owen.
Liam is a guy who is only turned on by cross-dressers. So you have this strange situation. Shy Owen wants to be the centre of attention. He loves being the object of affection from a good-looking older, rich and successful guy – but Owen has no gender issues. He’s just a bloke. Meanwhile Liam wants Owen to disappear so he can date “Kristen” – not the sister, but the neo-sister. That’s the one he’s attracted to. And if Owen so much as shows his real face or takes off his wig Liam flies into a rage. He has “anger issues” you see. He says he adores his girlfriend but wants nothing to do with this Owen character who keeps popping up at 
all the wrong times. He demands “unconditional love” – but the accommodations are all on Owen’s side, not his. Then there’s sister Kristen (Madeleine Clark) who started the whole thing – she thought Liam was into her. And who’s taking care of poor Mum?
Unconditional (playing at the Rendezvous with Madness film festival) is an interesting, quirky movie. I just want to point out it’s not a psychological thriller — though there are some scary moments – and certainly not a rom-com. It’s a psychological drama about a troubled guy with unusual ideas, and his lover who is forced, against his better judgement, into a difficult situation. I enjoyed the movie, with its good, convincing acting (especially Henry McIntire) and unusual plot.
But you can’t stop thinking — aren’t there enough willing cross-dressers out there so that Liam could have a happy life? Why does he have to force it on an impressionable 17 year old? Or does Owen actually like it, he just doesn’t want it all the time? Hmmm… In any case, it’s a strange but interesting movie.
The animated feature Wolf Children is playing downtown this weekend at Toronto’s ReelAsian Film Festival; the festival continues next week in Richmond Hill. Go to reelasian.com for times and details. And you can see Unconditional at Rendezvous with Madness a festival about movies about addiction and mental health issues. It’s opening tonight at the TIFF Bell Lighbox and continues all week through next weekend.
And don’t miss the excellent, award-winning documentary The World Before Her about the
contrasting lives of two young women in India – a westernized model and a Hindu fundamentalist militant! – which opens at the Bloor next week. (I interviewed the Canadian director, Nisha Pahuja at HotDocs last spring.)
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .
Daniel Garber talks to Jason Kieffer about his new comic ZANTA: THE LIVING LEGEND
Hi, this is Daniel Garber for culturalmining.com and CIUT 89.5 FM.
Unless you arrived in Toronto very recently, you’ve probably encountered the once ubiquitous character who walks shirtless down Yonge street, flexing his muscles and wearing a Santa Claus hat. He’s a reality show 
waiting to happen.
I’m talking, of course about Zanta, Toronto’s legendary street performer, all-around shock-disturber and general maniac. But, for some reason, Zanta was “banned” from downtown Toronto, and thrown into jail just for performing his act.
Toronto cartoonist and illustrator Jason Kieffer (above, left) probes this fascinating story in a new comic book ZANTA: THE LIVING LEGEND. In his first radio interview, he talks about Zanta’s history, the illegal arrests he suffered, and Kieffer’s own views on comics, art, civil rights, and the unusual characters that make a city great.
November 2, 2012. Migration. Films Reviewed: Flight, Midnight’s Children PLUS Dal Puri Diaspora
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, 
looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
People and populations are constantly shuttled around, from homes, cities and countries, from one airport to the next. A constant migration. At the ReelAsian film festival, starting next week, Toronto filmmaker Richard Fung wonders if the same isn’t true for food, not just people. Fung is originally from Trinidad, and goes on a 
worldwide quest to trace the origin of what he calls the Dal Puri Diaspora, the exile of that roti unique to the Caribbean. His fascinating voyage takes him from Toronto to Port of Spain, in and out of spice factories, abandoned sugar cane fields, Mauritius (a remote island near Madagascar), and finally to Bihar, a little known (to North Americans) corner of Utar Pradesh in India.
On the way, he gives a politically-informed history of indentured servitude in the British empire as well as some amazing encounters with deliciously specific foods from around the world.
This week I’m talking about two dramas about migration, one following the displacement of people after the Indian Partition, the other about a short but eventful hop by plane from Florida to Atlanta.
Midnight’s Children
Dir: Deepa Mehta
Saleem and Shiva, two of the babies born around midnight in 1947 when India and Pakistan become independent, have their name tags switched in hospital by a nurse named Mary. Wide-eyed Saleem Sinai is now part of a fabulously rich family of power brokers, while Shiva, bitter and angry, is raised by a destitute street performer known as Wee Willie Winkie. As he grows older, Saleem believes he can hear the voices of other kids from somewhere inside his nose. He thinks he can telepathically contact all of the other kids who were born that fateful midnight, and maybe bring them all together. Saleem would have them bring peace to the subcontinent, while his rival Shiva would rather form a gang of evildoers out for personal gain (sort of like a mini X-Men rivalry).
Soon, Saleem is tempest-tossed all around India and Pakistan – from Kashmir to Bombay, Rawalpindi to Karachi, his fate tied to that of India’s and Pakistan’s. He’s there for the military coups, Bangladesh’s independence, war, strife and change. The story culminates in the 1970s when Indira Ghandi declares martial law, and all of Midnight’s Children – the youth of new India – bear the suffering she inflicts.
Midnight’s Children (the screenplay is adapted by Salman Rushdie from his novel) is a 
huge epic with dozens of characters, cities, and earth-changing events. So plot turns jump quickly from one to the next, and just when you figure out you like a character, you’re already in a new setting and a new era. It felt like an entire mini-series squeezed into one picture, and I’m not sure it quite fit. The acting is pretty good – Seema Biswas as the nurse Mary, Satya Bhabha as sensitive Saleem Sinai, and Siddharth as macho Shiva – and the story beyond rich. It’s a Hollywood (or Bollywood) -sized plot, made on a limited, Canadian budget. I was a bit put off by the threadbare look of parts of the movie along with its frequent anachronisms. But I salute the director for taking on such a monumental story and carrying it through to a dramatic finish.
Flight
Dir: Robert Zemeckis
Whip Whitaker (Denzel Washington) is a sinner. In the first scene you see him lounging, lying to his ex-wife about child support, drinking and snorting coke with a stunning naked flight attendant. Lust, anger, envy, gluttony, pride, sloth, and greed neatly summed up in 5 minutes. He’s also an amazing pilot: his dad taught him everything he knows. Soon enough, they’re up in the air, heading on a short hop to Atlanta. But the plane experiences mechanical difficulties, starts shaking, and diving into a crash. If not for his unusual flight techniques (he turns the entire plane upside-down) the whole thing would have been 
destroyed… everyone dead. As it is, he knocks the steeple off a church and sends parishoners in white blouses running for cover, the next of many implied “sins”.
Recovering in hospital, Whip hooks up with Nicole, a beautiful red-headed junkie (Kelly Reilly) there for rehab. Soon enough, his drinking and drugs start to come to light, and the impending clouds of manslaughter-charges — the people who died in the crash -– start looming over his head. He handles this with still more drinking, shunning even his junkie GF’s suggestion of joining a 12-step. Will the dreaded NTSB (the agency holding the inquiry) get him for his drinking? Or will they blame the airline or the manufacturer for what happens?
The movie Flight carries you along, with some funny parts – especially John Goodman as his hippy coke dealer — but it also has a few awful scenes. When Denzel throws a bottle across the room at a ringing telephone it feels like I’m watching a third-rate soap opera.
While it’s an interesting story with largely good acting — and I love the disaster scenes — it mainly seems to function as a sanctimonious lesson on how sin is no good for your soul – and how we all must repent and attend AA… or suffer the consequences.
This director has made lots of very famous movies. On the Zemeckis scale, I’d place this as much better than the execrable Forrest Gump or the unwatchable Polar Express, but not nearly as good as Romancing the Stone or Back to the Future.
Midnight’s Children and Flight open today in Toronto, check your local listings. Dal Puri Diaspora is playing at Toronto’s ReelAsian Film Festival, which starts next week. And don’t miss the excellent documentary We Are Legion: The Story of the Hacktivists that opens at the Bloor on Monday.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .
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