Is Halloween Cancelled? Films reviewed: Peninsula, Antebellum, Anything for Jackson
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Is nothing sacred? They’re cancelling Hallowe’en! No trick-or-treating, no candy, and no parties. I get it, it’s a pandemic. But it’s still Hallowe’en. So, to fight the COVID blues you might try watching scary movies at home.
This week I’m looking at three new horror movies, all violent, gory and sure to keep you up at night. There’s zombies in South Korea, a time warp in the Confederate deep south; and Satanic retirees in Southern Ontario.
Peninsula
Dir: Sang-ho Yeon
Jung Seok (Gang Dong-Won) is a former soldier living in Hong Kong. He’s a refugee, one of the last to escape the Korean peninsula before all other countries closed their gates to them. A pandemic, caused by a lethal virus created in a biotech laboratory, infected the entire population, turning them all into jerky, writhing zombies that feast on human flesh. The few, uninfected survivors – like Jung Seok and his brother in law Chul-min (Kim Do-Yoon) – are despised and feared. So when shady Hongkong gangsters offer them a deal, they take it. The job? Return to the zombie-infested peninsula to recover an armoured car full of US dollars, and drive it to 
the Port of Incheon to board a waiting tanker. If they survive, they keep a share of the spoils and can restart their ruined lives. Easier said than done.
Turns out, there’s not just zombies there. Chul-min is captured inside the money truck by crazed former soldiers from a rogue army base. Chul-min is forced to fight against zombies in a make-shift stadium for the soldiers’ entertainment. Jung Seok, on the ther hand, is rescued by two baby drivers, little kids who mow down zombies on the street for fun. They take him back to their family – their mom Min Jung (Jung-hyun Lee) and a deranged grandpa who thinks he’s communicating by radio with a “GI Jane” who will come to rescue them. Can Jung Seok and 
his newfound family rescue Chul-min, find the cash and drive it to Incheon in time?
Peninsula is a gripping, action thriller set in a dystopian futuristic Korea. It’s a sequel to Train to Busan, the hit zombie movie from a few years back. It incorporates themes from movies like Mad Max, Hunger Games and The Walking Dead – good people forced to live in distorted versions of their world in order to stay alive. It follows the rules of the zombie genre – Zombies are blind at night, attracted to light and loud noises, travel in packs – but there are enough new situations and human characters to keep it interesting. Peninsula is pretty good.
Antebellum
Wri/Dir: Gerard Bush, Christopher Renz
Dr Veronica Henley (Janelle Monáe) is a writer, academic and activist who is famous for her appearances on cable news panels. She specializes in the intersectionality of race, class and gender as a roadmap for revolution. She’s off to a prestigious conference where she’s giving a speech. But she is troubled by horrible recurring nightmares where she’s trapped as a slave in pre-civil war America. One day, she receives a puzzling call from an unidentified southern white woman (Jena Malone) whose voice is laden with sinister white-supremacist undertones. Veronica dismisses her as another crank. But after a girl’s night out with her best friends (including Gabourey Sidibe), she is kidnapped and knocked out. When she awakens, she’s caught in her own terrifying dream: trapped in a 
southern plantation run by Confederate soldiers. She’s forced by overseers on horseback to pick cotton by day, and is sexually assaulted at night. She and the others are robbed of their freedom, identity, their bodies and even their names, and are forbidden from talking to one another on pain of death. What hell is this? Is it time travel, or just another dream? And can she ever escape?
Antebellum is a very scary movie where the horrific world of American slavery serves as the ultimate horror setting for contemporary Black characters. It also adds subtle references to the rise of modern-day white supremacists — Confederate soldiers march with torches just like the alt-right in Charlottesville. Janelle Monáe is great as the modern-day heroine trapped in a disgusting simulacrum of plantation slavery. But the movie suffers from editing problems – it depends on a twist ending (no spoilers) that doesn’t fit right with the supposed “magic” and time travel elements. But maybe I’m analyzing it too much. If you’re in the mood for extreme horror, violence (and some satisfying revenge sequences) you’ll like Antebellum.
Anything for Jackson
Dir: Justin G Dyck
Wri: Keith Cooper
Audrey and Henry (Sheila McCarthy, Julian Richings) are an older, married couple in a small Canadian city. He’s a family doctor and she takes care of their home. Once a week they meet a group of unusual hobbyists at their local library. What’s unusual about their group? They are a Satanic coven. And what do they want from Satan? They want their little grandson Jackson back (he died in a car crash) and they’ll do anything to make it happen. So they kidnap a pregnant woman Shannon (Konstantina Mantelos) and lock her in a soundproof basement room. They don’t want to hurt her – Audrey keeps saying “Sorry!” and crochets little handcuff cozies so Shannon’s wrists don’t chafe – they just want Jackson’s soul to possess her foetus. 
Let’s not make this unpleasant, Audrey says.
And they have a thousand-year-old guidebook to tell them what to do. But their fool-proof plan starts to unravel. Rory, who shovels their snow, keeps turning up at the wrong time. A police woman drops by to investigate a missing person. And Ian (Josh Cruddas), a super-creepy ginger-bearded devil-worshipper from their coven, discovers their secret and tries to take 
over. Worse than all of them, supernatural demons begin to haunt their home. Will they ever see their grandson again? Or have they let loose horrible creatures from hell?
Anything for Jackson is a great horror movie about ordinary, kindly Canadians doing awful things. While it starts as a dark comedy, it soon becomes a scary horror movie powered by monsters, ghosts and demons. Sort of a supernatural Fargo, or Rosemary’s Baby but from the point of view of the Satanists. The special effects are on the cheap side, but the acting and story are quite good.
I like this movie.
Anything for Jackson is premiering at Blood in the Snow, Canada’s horror, genre and underground film festival on right now; you can watch Antebellum on disc and VOD; and Peninsula is also available to rent or to own.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Daniel Garber talks with Trevor Cameron about his new documentary Shadow of Dumont at ImagineNative
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Trevor Cameron is a Toronto-based writer who has always wanted to make a film about his ancestors… and one in particular. Gabriel Dumont the famed Métis leader who fought in the Battle of Batoche in the Northwest Rebellion (also a famed translator, buffalo hunter, war hero and storyteller). But Trevor didn’t know much about him. Where did he come from, where did he go after the rebellion, what did he do with his life and what became of him?
To answers these question, he got in a camper van and headed out west, to follow in Dumont’s footsteps more than a century later. And he documented his journey on film. The result? A light-hearted road movie about one man discovering his past called Shadow of Dumont.
Shadow of Dumont was written and directed by Trevor Cameron, the award-winning screenwriter, director, and roller-derby champ, known for his work on TV shows like Wapos Bay and Guardians: Evolution. Trevor Cameron’s new documentary Shadow of Dumont premiered at the ImagineNative Film + Media Arts Festival in Toronto.
I spoke with Trevor via Zoom.
Against the Grain. Films reviewed: Judy vs Capitalism, Monkey Beach, The Trial of the Chicago 7
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Toronto’s Fall Film Festival Season continues with ImagineNative Film + Media Arts Festival, the world’s largets indigenous film festival, and Rendezvous with Madness, the first and largest arts and mental health festival in the world, both running through Sunday, the 25th.
This week I’m talking about three new movies – a doc, a drama and a courtroom pic – about people who go against the grain. There’s a young woman resisting ghosts, another woman fighting anti-abortion activists; and boomers protesting the war in Vietnam.
Judy vs Capitalism
Dir: Mike Holboom
Judy Rebick is a well-known activist and writer in Toronto. As a former Trotskyite revolutionary turned writer and TV commentator, she’s a pro-choice feminist and socialist known for slogans like “Radical is Practical”. She can be seen everywhere, from CBC panels to tent-city protests. A new documentary looking at her life divides it into six stages: Family – her dad was a baseball player quick to pick fights; Weight – she says she has a pair of hips “like two battleships”; Feminism – women’s bodies and the violence they face; Abortion – her hands-on role in legalizing reproductive rights in Canada; Others – her struggles with depression and mental health; and End Notes – her views on various political topics, like the rise of neo-liberalism, 
the war in Gaza, and as head of NAC, the National Action Committee on the Status of Women.
Did you know she single-handedly fought off a man trying to stab Dr Henry Morgantaler with a pair of garden shears? This film includes footage of that in slow motion. Each section begins with a speech – some mundane talks in lecture halls, others shouted through a bullhorn at a rally. Judy vs Capitalism is directed by artist/filmmaker Mike Holboom in his patented style: clear sound and straightforward narration, combined with avant-garde images: slow motion, high speed, underwater photography, blurred and melting visuals, random faces… basically Holboom’s interpretations of Rebick’s moods, memories, thoughts and ideas rather than the typical clips you might expect in a conventional biography. Judy vs Capitalism is an experimental look at a Canadian icon.
Monkey Beach
Dir: Loretta Todd (Based on the novel by Eden Robinson)
Lisa (Grace Dove) is a young woman who lives in East Vancouver. She’s been there for the past two years with nothing to show for it but a bad hangover. Till her friend Tab tells her it’s time to go home, back to her family in the Haisla community in Kitimat. So she does. Her family is shocked but delighted to to see her – they weren’t even sure she was still alive. There’s her mom and dad, her little brother Jimmy (Joel Oulette) a swimming champ, and her Uncle Mick (Adam Beach) who told her at an early age to say “f*ck the oppressors!” Then there’s her grandma Ma-Ma-Oo (Tina Lameman) who taught Lisa everything she knows… including things she doesn’t want to know. Like why a little man with red hair keeps appearing. A crow talks to her, and ghosts (people who should be dead) appear to her in real, human form. (Tab, for example, was murdered but she’s still around.) Worst of all are the dreams and premonitions she keeps having – that her brother Jimmy, the swimmer – is going to drown. Are her 
powers a gift or a curse? Can she ever live normally? And can she keep Jimmy out of the water?
Monkey Beach is a good YA drama filmed in the gorgeous forests and waters of Kitimat in the pacific northwest, with a uniformly good indigenous cast. It incorporates traditional Haisla culture and practices with contemporary, realistic social problems, sprinkled with the supernatural. And it flashes back and forth between the present day and Lisa’s childhood. I like this movie but I can’t help but compare it to the CBC TV series Trickster, which is edgier, faster-moving and more complex. They’re both based on Eden Robinson’s novels – Monkey Beach was her first, showing many of the themes later explored in Son of a Trickster. That said, if you’re a fan of Trickster, you’ll want to see Monkey Beach, too.
The Trial of the Chicago 7
Wri/Dir: Aaron Sorkin
It’s the summer of ‘68 in the USA, and the youth are restless. Robert Kennedy and Martin Luther King had just been killed, with demonstrations springing up across the country. The US is embroiled in an increasingly senseless war in Vietnam and it’s an election year. So droves of young people converge on the Democratic National Convention in Chicago, to have their voices heard. The protests are brutally crushed by police and state troopers. Nixon is elected in November, and the protest leaders, known as the Chicago 7, are arrested and put on trial. The defendants are from the SDS – Students for a Democratic Society, a radical group that sprung out of 
the labour movement – led by Tom Hayden (Eddie Redmayne) and Rennie Davis (Alex Sharp); the Yippies, founded by Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin who use performance and pranks to forward their agenda; anti-war activist David Dellinger (John Carroll Lynch); and Bobby Seale (Yahya Abdul-Mateen II) co-founder of the Black Panther Party, known both for its militant image and progressive social programs. The charge? Conspiracy, even though these group leaders had never met one other.
The Trial of the Chicago 7 is two-hour film that manages to condense hundreds of days of testimony into a few key scenes. This includes a shocking re-
enactment of the binding and gagging of Bobby Seale in the courtroom. The script’s pace is fast, the production values excellent, and the acting is superb, especially Baron-Cohen in an unusual funny-serious role, Mark Rylance as their lawyer, William Kunstler, Frank Langella as the unjust judge Julius Hoffman, and Lynch as the veteran pacifist. Women are invisible in this film, except as receptionists, wives-of and one undercover FBI agent. I was glued to the screen the entire time. Still, it leaves me with an uneasy feeling Aaron Sorkin has done some subtle, historic slight of hand. He portrays the anti-war movement as mainly about honouring and saving the lives of American soldiers, not Vietnamese civilians. It buries the aims of the defendants beneath petty squabbles. And somehow he takes a protest aimed squarely at Democratic politicians — the hawks and conservative Democrats in a city and state run by that party — into a Democrats vs Republican division…!
Hmm…
Judy vs Capitalism is at Rendezvous with Madness; Monkey Beach is at ImagineNative, both through Sunday; and The Trial of the Chicago 7 is now streaming on Netflix.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Investigative Journalists. Movies reviewed: The Journalist, The Viewing Booth, The Best is Yet to Come
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Is journalism still alive? We seem to have an endless supply of pundits with formulaic political viewpoints, but true investigative journalism is hard to find. But it’s still there – you just have to know where to look. So this week I’m talking about three new movies (two dramas and a doc) about journalists and the media. There’s a die-hard journalist in Tokyo looking for the truth; a cub reporter in Beijing looking for his first big story; and a documentary-maker in the US looking at how viewers interpret the news.
The Journalist (新聞記者)
Dir: Fujii Michihito (Based on the novel by Mochizuki Isoko)
Erika Yoshioka (Eun-kyung Shim) is a young reporter at Tôto, a medium-sized Tokyo newspaper. One day she receives an anonymous fax with a cartoon of a sheep drawn on the first page. Inside are government plans to open a medical researchlab in a backwater town. is it a prank? Evidence of a boondoggle? Or something more? She decides to investigate. But she has to be careful; her own father was a freelance journalist based in New York who ended up dead from suicide after revealing another storyl.
Meanwhile, in a different part of Tokyo, a young government bureaucrat named Takumi Sugihara (Tôri Matsuzaka) gets an unusual call from Kanzaki, his former boss from five years 
earlier. He wants to meet for a talk. Sugihara used to work for Gaimushô, Japan’s foreign service, but switched to his current job after Kanzaki took the fall for a scandal at the Beijing Embassy where they both worked. Sugihara now works for Naicho, the secretive intelligence unit that operates out of the PMO. Rumour has it Naicho is used to surveil and plot against opponents to the ruling political leaders. Kanzaki wants to tell him something, but they both end up getting drunk instead. And not long after, he jumps off a building. His death brings together the dogged journalist Erika and the loyal bureaucrat Sugihara both of whom want to find out exactly what happened. What was Kanzaki’s secret and why is it so dangerous? Is it related to the sheep cartoon Erika received? 
Who else knows? And what will happen to the two of them if the scandal reaches the papers?
The Journalist is a tense, captivating story of deep-state corruption and sinister plots. The action alternates between Erika’s bright and crowded newsroom and the cold empty halls of Naicho where Sugihara reports to an evil and powerful boss. Korean actress Shim Eun-kyung is perfect as Erika in her unwavering search for the truth – she totally deserves the Japanese Academy award she won for this performance. The Journalist is a terrific movie.
The Viewing Booth
Dir: Ra’anan Alexandrowicz
This documentary asks: can news viewers, like you and me, ever change our political views because of politically-charged videos we watch on sites like youtube? It follows a subject named Maya at an American university by filming her face has she watches a selection of 40 short news videos. The camera captures her comments and facial expressions, moment by moment, as she wavers between acceptance and rejection of what she’s watching, sorting them mentally according to whether or not they fit her outlook. She asks aloud: Is this footage real? Is it convincing? Is it biased? Does she believe it? And what does it mean?
She’s brought back six months later, this time viewing the same videos, right beside footage of herself from the first session. She observes herself observing videos (it gets super-meta here.) The videos in the doc are all from the occupied Palestinian territories and they range from innocuous to disturbing, showing settlers,
Israeli soldiers, and Palestinians. (She concentrates on one video where soldiers dressed in large military masks walk into a home in the middle of the night, wake up small children, ask each child their name, photograph each child’s face, then leaving without explanation.) Half the clips are from B’Tselem, a human rights group opposed to the occupation, and the other half were posted by various right-wing groups. The documentary tries to see whether exposure to opposing viewpoints can change a viewer’s mind or if it merely enforces the beliefs she already holds. Here’s the thing: it’s not a scientific study despite its clinical trappings; rather, The Viewing Booth is more of a meditation, the filmmaker’s personal reflection on the biases news viewers hold. Is it universally applicable or just about that single subject? I don’t know, but it is interesting – and unsettling – to watch.
The Best is Yet to Come (不止不休)
Dir: Wang Jing
It’s 2003. Han Dong (Bai Ke) is a would-be journalist in Beijing. Originally from northeastern China, he’s a high school drop-out who quit his steady job back home at a chemical factory to go for broke in the big city. But so far no luck. His girlfriend Xiaozhu (Miao Miao: Youth) who also worked at the factory lives in even worse conditions. But he keeps going to job fairs to try to get hired by a newspaper. And they keep rejecting him as unqualified, until… opportunity knocks when he visits a newspaper to pick up a minuscule 100 yuan paycheque for a short piece they published. He catches the attention of a veteran journo there takes him on as an intern, right beside college grads brandishing journalism degrees from prestigious schools like Bei Da. And he passes his first test, getting 
a scoop at the site of a coal mine disaster. But his next story could be a whopper.
He goes undercover taking a job at a sketchy medical clinic that pays cash for blood. No they’re not vampires. Rather they provide forged blood samples for applicants to jobs. Why? Because anyone who tests positive for Hepatitis B is categorically rejected. This effects maybe 100 million people for a disease that is not even contagious. It’s a crooked company that breaks the law. But is the law fair? Should he cover the story… or cover it up?
The Best is Yet to Come (based on a true story) shows how a self-taught, print journalist breaks into the big leagues despite all the odds against him. Its exciting plot keeps you questioning all the way through. This is Wang Jing’s first feature – he was assistant director to the great Jia Zhang-ke (Ash is Purest White, Touch of Sin) but with a very different style. It’s told in a straightforward chronological manner, no tricks or fancy camerawork. Great acting and story, The Best is Yet to Come gives an unusual look at both investigative journalism and a glimpse into real-life China – the grime and grit, the dark alleys, crowded tenements and poverty. And it leaves on a hopeful note: if you try hard and don’t give up, you can change the world.
The Best is Yet to Come played at #TIFF20, The Viewing Booth is showing at Planet in Focus Environmental Film Festival on now through the weekend, and The Journalist is available for streaming at the Toronto Japanese Film Festival through October 21st.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Life changes. Films reviewed: Dating Amber, No Hard Feelings, Keyboard Fantasies: the Beverly Glenn-Copeland Story at #InsideOut30
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall festival season continues with Toronto’s Inside Out LGBT festival playing now both digitally and at drive-ins through the weekend. So this week I’m looking at three movies playing at Inside Out. There’s love amongst refugees in present-day Germany, an odd-ball relationship in Ireland in the 90s, and a Canadian musician whose fantasies finally come true in his seventies.
Keyboard Fantasies: The Beverly Glenn Copeland Story
Dir: Posey Dixon
Beverly is a musician who grows up in a comfortable middle class home in post-war Philadelphia. Her father is a classical pianist and her mother sings spirituals at church. They send her to McGill in the early 1960s, where she is one of the first black students in her discipline, and where she comes out as a lesbian, virtually unheard of at the time, when homosexuality was still illegal in Canada. Later, she moves to Toronto where the Yorkville scene is nurturing folk musicians like Joni Mitchell. She cuts an eponymous record album with famous players on backup, in a unique style, combining jazz with blues and classical music. Unfortunately it disappears without a trace. She finds work as a musician and on TV – she is a regular on Mr 
Dressup! – but eventually moves into an isolated house in Muskoka with her lover.
In the 1980s she discovers computer-generated electronic music and self-produces a cassette of beautiful passionate songs. It sells maybe a few dozen copies. But in the 2000s, two big things happen: First Beverly realizes he’s trans, and begins transitioning female-to-male; and in the 2010s his album Keyboard Fantasies from the mid-80s is rediscovered in a tiny record shop in Japan. The owner requests more copies – all of which sell out in a day or two. The record is remastered and re-released and goes viral, and Beverly in his mid-seventies, is sudden’y a star with a devoited following. He embarks on a European tour backed up by a band of millennial hipsters and adoring young fans.
Keyboard Fantasies is a fascinating documentary about Beverley Glenn Copeland’s life, music and career. It’s filled with unusual psychedelic imagery, and upside-down and negative-coloured camera work reflecting the sudden reversals of Beverly’s own gender and career. His music is captivating, his voice sublime, and his life story like none other. This tale of rebirth in old age is a beautiful history not to be missed.
No Hard Feelings (Futur Drei)
Dir: Faraz Shariat
Parvis (Benny Radjaipour) is a young, gay German with dyed blond hair who lives in his family home in Hannover. He’s into sex, dancing and Sailor Moon. His Iranian parents sought asylum there 40 years earlier, to give their kids a better life, but he feels unmotivated, cut-off and trapped in limbo between two worlds. Raised within German pop-culture he knows nothing about Iranian dance or music. At home he speaks Farsi with a German accent, but the men he meets in gay bars constantly ask “where are you from?” (He’s from there!) But his life changes when, after being caught shoplifting, he is sentenced to community 
service as a translator at a refugee centre.
There he meets an adult sister and brother, a pair that seem almost joined at the hip, who eventually become his friends. They live together almost like lovers. Banafshe (Banafshe Hourmazdi) is outgoing and savvy, fluent in German, but facing deportation back to Iran. Her brother Amon (Eidin Jalali) is a nice guy but a bit stand-offish. He tells the flamboyant Parvis not to be seen with him at the refugee centre; his friends told him gayness is contagious. But the situation changes when the brother and sister spend the night at Parvis’s home. Parvis and Amon become lovers but are forced to keep it on the down low, constantly searching for secret places they 
can meet undetected. Will their love last? Can Amon and Bana gain refugee status in Germany or will she be deported? And can Parvis find his identity both within his family and in the larger German gay community?
No Hard Feelings is a touching and realistic drama about cultural and sexual alienation set within the vast and lethargic bureaucracy of the country’s immigration machine. It’s a distinctly German story, but one told mainly in Farsi and from that point of view. Good acting with some beautiful cinematography as well as occasional experimental, stylized footage. This is a great story about a subculture rarely represented on film. And it won the Inside Out prize for Best First Feature.
Dating Amber
Wri/Dir: David Freyne
It’s Ireland in 1995. Homosexuality was decriminalized just two years earlier, divorce is still against the law, and sex education is taught by nuns. Eddie (Fionn O’Shea: Handsome Devil) is a student at a rural high school outside of Dublin near an army base. He’s wants to become a cadet to please his dad but he’s not the right type; he’s frail, naïve and skittish. And he has a crush on his (male) math teacher. Amber (Lola Petticrew) is a plain-talking girl with blue streaks in her hair, who walks like she’s wearing army boots. She lives in a trailer with her mom since her father died. She’s saving up enough money to move to London after graduation to open an anarchist bookstore. She likes punk rock, but hates penises – they make her “vom” she says. Like Eddie, she’s bullied on a daily basis. Why? Because they’re both gay (though 
Eddie won’t admit it). So Amber comes up with a plan. Let’s pretend to be a couple until we graduate, so they’ll leave us alone. Will it work? Will it last? And what will it lead to?
Dating Amber is a terrific coming-of-age comedy about an unusual relationship in rural Ireland. It draws on a wry nostalgia for the 90s – fashion, hairstyles, pop music and attitudes — to construct some very real, funny characters. It’s romantic, hilarious, and deeply touching. This is a great movie.
Dating Amber, No Hard Feelings, and Keyboard Fantasies: the Beverly Glenn-Copeland Story are all playing at the Inside Out Festival which continues through the weekend. Go to insideout.ca for details.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Daniel Garber talks with filmmaker Emma Seligman about Shiva Baby
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Danielle is a woman living the high life in New York City. She’s young, pretty and smart, finishing her BA and looking for work. In the meantime she’s shacking up in a Soho flat with a very generous, older boyfriend named Max in a pecuniary relationship. He thinks he’s paying her way through law school. But her delicate web of lies and deceptions threatens to unravel when she finds herself at a party she doesn’t want to attend. Well, not exactly a party, it’s a shiva, a Jewish, post-funeral get-together with family and friends of the deceased. And who shows up? Maya, her former best friend from high school with whom she once had a relationship; and Max, the guy she’s sleeping with now. Add an intrusive mother, an oblivious father, some nosy relatives telling cringe-worthy stories, some awful coincidences, and a few key embarrassing accidents, and there you have it: 
Danielle’s shiva from hell.
Shiva Baby is a dark comedy that adds a new twist to the classic screwball genre. It deals with family, sex work, secrets and lies, romance, eating disorders, hidden pasts and uncomfortable presents, It’s written and directed by Toronto-born, NY-based filmmaker Emma Seligman. Shiva Baby is her first feature.
I spoke with Emma in Toronto from my home via ZOOM.
Shiva Baby screened at TIFF20, SXSW and is currently playing at Toronto’s LGBT Inside Out Film Festival.
In the Twilight Zone? Films reviewed: Shadow in the Cloud, The Antenna, Possessor Uncut
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall festival season continues with Toronto’s Inside Out LGBT festival playing now both digitally and at drive-ins. The Toronto Japanese Film Festival is entirely digital and runs from Saturday, October 3 – Thursday October 22.
This week I’m looking at three new genre movies that exist in a universe known as the Twilight Zone. There’s a female pilot fighting for control of a plane; a Turkish superintendant fighting a satellite dish for control of an apartment; and a highly-paid assassin fighting for control of a brain.
Shadow in the Cloud
Co-Wri/Dir: Roseanne Liang
It’s WWII at an airforce base in New Zealand. Maud Garret (Chloë Grace Moretz) is a pilot on a secret mission: to deliver a package with unknown contents to an undisclosed destination. But when she tries to board the all-male plane, she’s bombarded by a barrage of insults and abuse, ranging from condescension, to wolf whistles to outright hatred. But she stands her ground and won’t budge. So they relegate her to the ball turret – the glass and steel bubble attached to the bottom of the plane. Before climbing down she hands her satchel to one of the men – “never let this out of your hands, no matter what.” Her job? To look for a shadow in the clouds, evidence of Zero fighters, the Japanese aircraft that could shoot them down.
Turns out she’s an expert gunner, saving them all from a certain crash. But she faces a much bigger challenge from an unexpected enemy… something she keeps spotting out of the corner of her eye. It seems to be a creature with claws that can rip through steel, sharp teeth and cruel eyes. Is it real or just her imagination? What is in Maud’s package? And will this plane ever see dry land again?
Shadow in the Cloud is a fantastic WWII airplane drama, an action/thriller/sci-fi/horror movie, expertly done. A large portion of the movie is just Chloe Grace Moretz in a bomber jacket, alone in her ball turret, the rest of them just disembodied voices she hears through her earphones – but she carries it through. The movie is exciting and gripping all the way through. This is a genre movie – don’t look too closely for social significance – but it’s very entertaining with a perfect bad-ass heroine. I loved this one.
The Antenna
Wri/Dir: Orçun Behram
Mehmet (Ihsan Önal) is an ordinary guy who works at a dead-end job somewhere in Turkey. He’s the superintendant at a non-descript apartment building, and has to deal with demanding tenants and a bully of a boss. He works in a small booth at the apartment gate, looking out a wide glass window. But he has some friends there, too. Like Yasemin (Gül Arici) a pretty young woman with conservative parents who wants to get out of this place; and Yusuf, a little kid who is kept awake by nightmares. (Mehmet has insomnia, too).
His job is tedious but not hard to handle… until a government operative arrives to install a new antenna on the building’s roof. These satellite dishes are required on every home, by orders of their Orwellian president, so they can hear his midnight speeches. But things go badly once the satellite dish is installed. Mehmet hears strange whispers. Black gunk starts seeping through cracks in the walls. And anyone exposed to the goop starts to change… in a bad way. Can Mehmet keep the run-down apartment from collapsing? Can he fight a secretive government plot to censor and control all the people? Or will he succumb to the powers of the antenna?
The Antenna is a fantasy/horror movie about ordinary people trying to fight government propaganda and the toxic waste it generates. It’s shot in a stark, 1984-ish style, with deserted apartment blocks, drab clothes, bland faces and constant overcast skies. Radios broadcast iron curtain propaganda, full of static and noise. Don’t expect elaborate special effects or extreme violence – it’s a low-budget psychological drama, more weird and creepy than truly frightening. It’s a bit too slow, and a bit too long, but it does capture the current fears of oppression, surveillance and the total lack of privacy. It’s about the toxic dystopia we’re living in right now.
Possessor Uncut
Wri/Dir: Brandon Cronenberg
Tasya Vos (Andrea Riseborough) is a highly-paid English assassin who never gets caught. She’s a skinny woman in her thirties, with pale skin, blue eyes and whispy blond hair – not your typical killer. So how does she do it? She works for a company that deals in biotechnology… and she never has to leaves the lab. Instead, the victims are killed by a bystander, someone with a reason to be near the target. A device is implanted into the hapless third party’s brain, and Vos possesses their body, becoming comfortable there. When they’re in the right place at the right time, she neutralizes the target and then shoots themselves in the head, thus destroying the implant and sending Vos back to her own body. Simple right? But the more she does it, the harder it is to retain her sense of self… memories of the other bodies she possessed keep popping into her brain. And her marriage is on the rocks; she’s separated from her husband and 5 year old son.
Now (with the help of her boss (Jennifer Jason Leigh) she’s embarking on her biggest job yet: to kill the nasty CEO of a multinational high-tech corporation (Sean Bean) by inhabiting the body of his daughter’s boyfriend. Colin Tate (Christopher Abbott) is a swarthy, working class guy who happens to be living with Ava (Tuppence Middleton) the heiress to the company’s fortune. He’s living the life of Reilly, with a mistress on the side (Kaniehtiio Horn) his girlfriend’s best friend. But he has to swallow his pride and work at a menial job at Ava’s dad’s company. The thing is, Vos (the assassin) has underestimated the body she’s possessing. The sublimated personality is fighting for control. Will the assassination take place? And whose survival instinct is the strongest – Vos or Tate?
Possessor is a highly original psychological thriller/horror about mind control, possession and high-tech surveillance. Beautifully designed, it takes you from cold cityscapes, to bland labs and offices, and into the gaudy, golden mansions of the super-rich, filled with Trumpian rococo excess. The special effects are excellent and the acting all appropriately creepy. There’s also suspense, good fight scenes, psychedelic brain implosions, and extreme violence (Vos’s weapon of choice is a knife – so if you can’t watch lots of blood, stay away!). I wasn’t crazy about Brandon Cronenberg’s first biotech horror, Antiviral, but Possessor corrects all his errors while keeping it’s weird beauty.
This is a good one.
Shadow in the Cloud played at TIFF; Possessor Uncut opens today in Toronto; check your local listenings. The Antenna starts today in virtual cinemas in select North American cities, and digitally on Oct 20th;
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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