HIgh School Confidential. Movies Reviewed: Geography Club, Schoolgirl Complex, Animals PLUS Epic and Inside Out
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.
High school often plays a central role in coming-of-age dramas, (since that’s where teenagers spend most of their time). It’s the place where people become aware of their sexual identities, their desires, their genders. And often, it’s not a lot of fun. Throw in some bullying, suicide, peer pressure, sex, university applications and young love, and you’ve got a boiling cauldron of teenage trouble waiting to overflow (at least in the movies).
So this week I’m looking at three such movies, all playing at Toronto’s Inside Out Film Festival a place to see mainstream and experimental films by and about lesbian, gay, bisexual and trans people from around the world. It’s the third biggest such festival, and it’s also a great place to meet people and experience a different aspect of movies — one that is often swept under the carpet.
So… back to these troubled teens. This week I’m looking at a US movie about a club hidden in plain sight, one from Japan about a club on a roof, and one from Spain about people who would never join a club.
Geography Club
Dir: Gary Entin (based on the popular young adult novel by Brent Hartinger)
Russell and Kevin (Cameron Deane Stewart, Justin Deeley) are both in their senior year, but may as well live in separate universes. Russell’s the brain – his parents have already decided he’s going to Yale, and he’s wearing a sweatshirt to prove it. Kevin’s the jock, the quarterback of the football team, the cock of the walk. He’s going for a football scholarship. They’re both gay, and they end up meeting — anonymously, online — even though they see each other in the hallway at school. Secret passion ensues… until a girl sees them kissing on a school trip. They both find a hand-written note in their lockers the next day: go to room 327. What is it? Blackmail? Will their reputations be ruined?
Turns out, this is the site of an unofficial club where closeted LGBT kids can talk
openly with one another. But to keep their sexuality secret they call it the Geography Club, a club so boring, they think, that no one would accidentally wander into it. Russell joins up, but Kevin is too afraid he’ll lose his jock status (and potential scholarship). He wants Russell as his boyfriend but kept on a Don’t Ask – Don’t Tell basis. And when the club threatens to go official, as a Gay/Straight Alliance, Russell and Kevin have to make a decision: come out together or stop seeing each other. Which will they choose?
The Geography Club is a very mainstream, easy to follow, after-school-special-type movie. Still, it deals with very real topics, like bullying, sexual identity, and the lives of closeted kids who are forced (by peer pressure) to conform. It’s told as a light drama, but with GSAs a hot issue in Ontario Catholic schools right now, it may just open some eyes and change some minds.
Schoolgirl Complex (スクールガール・コンプレックス～放送部篇)
Dir: Yuichi Onuma
It’s an all-girl high school in Japan. They dress in crisp white shirts and plaid skirts with floppy red bows around their necks. (No sailor suits here.) Everyone joins clubs. Even more than classes, clubs are the source of their identity and friendships. One such group is the Broadcast Club, for people who like the sound of their own voices. They meet each day on the roof of the school to practice elocution, random syllables, and nonsensical rhymes to perfect their radio Japanese, and lose any trace of a regional accent.
You can hear them taking turns at making announcements over the school PA system, waxing lyrical on subjects like The Importance of Japanese Curry. It’s the end of the year and the broadcast club will do a reading for the whole school of Schoolgirl, a story by 20th century novelist Osamu Dazai (太宰 治). But whose voice will they use?
Group leader Manami (Aoi Morikawa) is naïve and kind, with a high forehead and pale skin. Until now, she spends most of her time hanging with her best friend Ai, eating red bean pies with mayonnaise. But when the older and wiser Mitsuzaka (Mugi Kadowaki) visits her at the school sick bed and gives her some caramels, Manami’s world is shaken. Who is this worldy woman with tousled hair and sensuous features? Is it love, lust or just a crush?
Manami puts all her faith in Mitsuzaka (an absentee member of the club), and gives her the lead role. But will Mitsuzaka even show up for the reading?
Schoolgirl Complex looks at hidden loves and crushes, at passionate obsessions and tearful confessions. This is a gentle, bittersweet story of the power dynamics of teenaged girls.
Animals
Dir: Marçal Forés
Pol (Oriol Pla) is a student at a British-style school in Catalonia. He’s always up for sharing a smoke with his beautiful, sort-of girlfriend Laia (Roser Tapias), or his bitterly funny gay chum, the curly-haired Mark (Dimitri Leonidas). But his real best friend, the one he can always count on in times of trouble, is the cute Deerhoof. He gives Pol advice, accompanies his punk guitar-playing on the drums, and is generally just there for a hug whenever he needs him. That means a lot: Pol is lonely with his parents gone, and only his brother Lorenc, a cop, to look after him. Thing is, Deerhoof is actually a teddy bear! (Pol’s a bit whacko.)
Then a new kid, Ikari (Augustus Prew), comes to the school, and he brings 
trouble. He’s into bigger things, mature things, sexual adult things. And things like cutting your wrists, watching it bleed. Pol doesn’t like the cutting but he really likes the sex and love part. He decides to let go of his childhood crutches and enter the real world. He buries the past, metaphorically… and literally (but will it stay buried?)
Does Ikari (like Icarus) fly too close to the sun, and will Pol fall to the ground in a tailspin? And will the whole school explode in chaos? Animals is a really great, nihilistic high school movie with a punk sensibility. I’d rank it up there with Heathers, River’s Edge, and Donnie Darko for its dark humour, great acting, music and story.
June 3, 2013: ANIMALS, directed by Marçal Forés (Spain) has won the Bill Sherwood Award for Best First Feature at Toronto’s Inside-Out Film Festival. ANIMALS is awarded this prize for its accomplished and assured filmmaking and the promise the jury sees in Forés future work.
Animals, Geography Club and Schoolgirl Complex are all playing at the Inside Out festival in Toronto: go to insideout.ca for showtimes. Also opening today is another story, Epic, about a high school girl who discovers a whole other 
kingdom in the woods behind her father’s house when she is shrunk down to a tiny size. She has to help the leaf men — soldiers who fight the evil, rotten types on the backs of hummingbirds — to save the pod (a single lotus seed) on this special day, to allow a new Beyonce-voiced queen to be born. It’s animated, 3-D and it’s not Disney, not Dreamworks, but 20th Century Fox’s try at animation. I enjoyed it a lot, even though it’s basically Arriety meets Camelot.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website, culturalmining.com .
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 .
June 8, 2012. Bodies. Movies Reviewed: Marina Abramovic: The Artist is Present, Harakiri: Death of a Samurai, Guilty of Romance
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, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Does art bore you? Do foreign movies with subtitles seem dull? Well, you’re in for a shock. Three shocks actually, that should rid you of that notion. This week I’m looking at three movies about people who use and abuse their bodies. One’s a Japanese drama about men who stick sharp objects into their stomachs in the name of honour; another is a Japanese dramatic thriller about two women who sell their bodies, but only for the thrill of it; and one is an American documentary about a woman who throws her naked body, full-force, at immobile naked men – but purely for artistic reasons.
To start with, here’s an art movie — well, a movie about art — that definitely won’t put you to sleep.
Marina Abramovic: The Artist is Present
Dir: Matthew Akers
Marina Abramovic is a beautiful artist in her 60’s, born in Belgrade to parents who were hardcore Communists who fought in the resistance in WWII. They were cold, militaristic and authoritarian, so she chooses to go in the opposite direction with her art. She becomes a pioneer in radical performance art, beginning in the 1970’s. She’s famous for using her own body — usually naked — as the medium of her art.
She cuts herself, burns herself, starves herself, hurts herself, throws herself against immutable objects, and whips herself. But she brings the military discipline with which she was raised to sustain these extended and painful performances.
Then she meets another artist in the Netherlands who does similar things, and they fall madly in love. Now she has a performance partner — Ulay — and a life partner. They slap 
each others faces, over and over, throw themselves body first into one another… things like that. And always naked, of course.
But all things end, and when they break up, she is devastated, both emotionally and artistically. She had always handled the artistic side but not the “business” side of art…
Flash-forward to the present. She has transformed herself into a hugely successful art superstar – mow as much a theatrical performer as an ideological artist — and the Museum of Modern Art decides to do a retrospective. But she’s in her sixties, so she gathers a whole gang of young artists with nice bodies in a performance art bootcamp and meditation lodge! They’re going to re-perform her old pieces using their new bodies.
And Marina herself sets up a (now famous) performance at MoMA that consists of her sitting in a chair in a huge, empty white hall for long periods of time in a chair, facing another chair. The viewers sit across from her, one by one, and look deeply into her eyes — no speaking, no moving, no eating… just staring, completely still. It becomes more and more popular, until it reaches the point where people are camped out on the sidewalk overnight, coming into New York City from distant places. Marina as superstar. The movie follows her past (using period footage and photos), her ascent to celebrity-hood, her amazing performance, and her behind-the- scenes look at constructing this work. It’s equal parts art, fame, emotion and philosophy… with just a bit of hucksterism.
If you’ve never seen a movie about art (or if fine art intimidates you), this is a good one to start with — it’s exciting, sexy, entertaining, funny, shocking and totally accessible. Great movie!
Harakiri: Death of a Samurai
Dir: Takashi Miike
Did you know that Samurai were basically bureaucrats and tax collectors not fighters? Around 1600 after the Battle of Sekigahara unified the country under the Tokugawa military government, the samurai who had fought on the losing sides often found themselves as Ronin – samurai without a master. That left them penniless, aimless, and with a great loss in status.
So this movie’s about a poor ronin named Hanshiro 
who shows up at the House of Yii saying he wants to commit harakiri (ritual suicide). That’s where a samurai takes his smaller sword and slices up his belly until he dies… at which point, another samurai chops off his head… nice.
But what does the Daimyo’s rep say? “Oh no, not again…!” You see, a younger ronin named Motome had tried the same thing not long before. He was a scammer who just wanted a few coins as a payoff for not bloodying up their nice courtyard. But they called his bluff – go ahead and kill yourself. But he didn’t have the short sword – he pawned it and replaced it with a bamboo replica. But the cruel samurai says, 
doesn’t matter – and there’s a long painful scene where they force this young ronin to go through with this, to pierce his belly with a piece of broken wood! …ouch!
Anyway, back to the present, they tell this story and tell the older ronin he can go home, no problem. But here the plot turns…. Turns out he’s that younger ronin’s father in law, and he came to prove a point: that the samurai code, the vaunted code of warriors, that bastion of dignity and honour, is just a load of crap.
The movie culminates in a scene that wouldn’t be out of place in a Zatoichi (the blind swordsman) pic!
My description can’t do justice to this movie (and I don’t want to give it all away), but it’s a dark, tense drama and a damning challenge to authority and corruption, showing how false and hollow the whole thing is. It’s directed by Takashi Miike, who is known for his violence and excess, but is amazingly restrained here, with an almost Shakespearean take on a 17th century Japanese samurai drama.
Guilty of Romance
Dir: Sion Sono
(Restricted to age 18+)
Tokyo police detectives find a bloody scene in a love hotel, and want to uncover this mystery. But what a mystery it is!
It starts with a new bride who has a dictatorial husband. She’s a sexually naïve, traditional Japanese housewife who wears a kimono, with her hair pulled back, bows to her lover, and when he leaves for work in the morning (he’s a novelist) she dutifully turns his slippers around so they’ll be ready for him when he comes home.
Then one day she decides to take a job in a grocery 
store dressed in a little hat and a uniform offering sausage samples on toothpicks to passing shoppers. Soon, a woman claiming to be a modelling agent convinces her to pose for photos. This soon turns to nude photos, then to hardcore porn on video.
She is shaken by the experience, but also sexually awakened. She starts picking up guys she meets in central Shibuya, and gradually drifts into the nearby love hotel district (Maruyama). There she meets a crazed streetwalker who takes her under her wing, and tells her about a mythical, Kafkaesque “castle” where all things will be made clear to her.
So she becomes almost a disciple to this mysterious fiery-eyed and raven haired woman who tells her never, ever to have sex for free… unless she is with the one who loves her. But she soon finds out, this scary streetwalker is, like her, living a double life! She’s actually a well-known university professor who lectures to packed halls by day, but trolls the alleys in disguise by night.
But there’s still further deceit in their secret lives. Guilty of Romance is a violent, sexually explicit exploitation drama, based on a true story.
The director, Sion Sono, is amazing in that he takes very recent pulp news stories, and turns them into way-over-the-top funny, gory, emotionally fraught, and semi-pornographic sexual movies. I’ve seen three of his recent movies, and they’re all amazing. Not for the faint of heart, but if you like female-centred shock movies, with terrific pot-boiler stories and super creepy characters (like the grandmother who speaks ultra politely but drips venom with every phrase), this is the movie for you.
Guilty of Romance plays tonight, and Harakiri on Sunday – with a live Taiko performance — both as part of the Toronto Japanese Film Festival (which runs until the 20th at the JCCC); and Marina Abramovic: The Artist is Present opens next week – check your local listings. The CFC World Short Film Festival is on right now through Sunday, and NXNE, Toronto’s enormous music, film, and digital festival, begins on the 13th, next Thursday.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM, with podcasts and complete reviews available on my web site CulturalMining. com.
February 25, 2012. Hidden in Plain Sight. Movies Reviewed: In Darkness, The Secret World of Arrietty, The Prodigies
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, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference.
What does it mean to be hidden in plain sight? Is it right below our feet — families living their lives just beneath a manhole? or maybe a judiciously placed leaf to disguise someone hiding in a garden. Or maybe people with special powers living among us, that no one recognizes.
This week I’m looking at three very different foreign movies, from France, Poland and Japan, about people hidden in plain sight as they face an earth-shattering crisis that threatens their homes, lives, friends or families. 
The Secret World of Arrietty
Dir: Hiromasa Yonebayashi
Arrietty is a teeny tiny teenaged girl, a “borrower” who lives with her parents hidden inside a normal home. One day, she is allowed to go out with her father to secretly borrow things that the “human beans” would never miss: a stamp, a pin, a sugar cube, a fish hook, maybe a piece of thread. But she has to obey the rules: never let the human beans see them or notice them – for that always seemed to end up in death. If they’re noticed, it’s time to leave.
But Arriety is fourteen and has never met anyone aside from her parents. Are there other borrowers? And could the big people really be that bad?
Soon she encounters Shawn, a sickly boy sent by his mother to his grandmother’s 
country house to rest before an operation. He’s very ill, and maybe that’s why he can see Arrietty. But they both have to watch out for Haru, the old housekeeper who believes in the little people — and wants to catch them, and maybe even call an exterminator to wipe them out!
Shawn thinks he can help make Arrietty’s life better. But when he lifts up a floorboard and tears open Arrietty’s home to replace it with part of an old dollhouse, chaos ensues. Haru thinks this proves the borrowers are back, Arrietty’s mum panics when she is placed in a precarious position, and her dad decides it’s time to pack up and move on.
This is a delightful kids’ movie from Japan, based on the English children’s book. It’s made in old-style animation, with painted backgrounds, and hand-drawn cels for each frame. It’s from the Ghibli studios, known for Miyazaki Hayao’s work, but lacks some of Miyazaki’s extreme fantasy and bizarre imagery. Still, it’s a very sweet movie with a great story, a good lesson for kids, and smooth, exciting and dynamic animation.
It shares a theme, strangely enough, with a Polish Holocaust drama that also has people hidden just below ground. 
In Darkness
Dir: Agnieszka Holland
It’s the 1940s, WWII, under the German occupation in the Polish city of Lvov (now in Ukraine and called Lviv). It was a multi-cultural, multi-ethnic, multi-religious city, with Catholics, Eastern Orthodox, protestants and Jews, speaking Polish, Ukrainian, Yiddish and German.
The Jews are locked in a ghetto that’s about to be liquidated and sent to the Jadowska labour camp. So a few families, led by a man Mundek (Benno Fürmann) come up with a plan to hide in the sewers through a hole they cut in their floor. But they quickly encounter Socha (Robert Wieckiewicz in a great performance), the sewer inspector and a petty thief who knows his way through every inch of the dark, rat-infested tunnels.
They reach an agreement to live underground and pay him money each week. they don’t trust one another 
but they soon fall into an uneasy coexistence right beneath the Nazi’s soldiers’ feet. Mundek and Socha even manages to escape to the surface to try to find out if a woman is still alive.
The movie follows the two groups – Socha’s family above ground, and Mundek’s extended family and friends below — both of which face the constant risk of exposure. 
This is a different type of holocaust movie: it’s chaotic, passionate and bloody, filled with normal everyday life in an exceptional situation: with people eating, having sex, loving, hating, giving birth and dying, all hidden in near darkness in underground tunnels filled with human waste.
A lot of the movie is an almost black screen, with people running towards the camera down a sludge filled passageway lit only by a candle or a flashlight. In Darkness is a long movie, with a gradual, slow build, but it’s well worth watching. Terrific acting, directing and production values. This Polish / German / Canadian co-production is nominated for an Oscar, best film in a foreign language, and many Genies as well. 
The Prodigies
Dir: Antoine Charreyron
Jim is a boy genius who is brought up by the millionaire Killian when his parents die in a violent episode. He knows he has special kinetic powers, can utilize all parts of his brain simultaneously, and can force people to do things against their will. As a grown-up he knows how to keep things in control at the Killian Institute, and use his skills for good, not evil.
But when his benefactor dies, the selfish heiress Melanie threatens to close down the institute since it doesn’t make money. But Jimbo has been using his research and gaming design to find others like him – who share his powers. They are bullied in school by cruel people who don’t know — or care — about their special powers. He wants to give to them what Killian gave him – a chance to meet their own in a safe educated environment.
Thinking quickly, Jimbo proposes a reality game show called American Genius, whose five winners (the five prodigies he has already located) will get to meet with the President in the White House.
But tragedy strikes: instead of going to meet the five teenagers – who he’s sworn to protect — in a park, he lingers with his newly pregnant wife. And before he gets there they are attacked by violent thugs who beat them up and brutally attack Lisa putting her into a coma. The tone darkens as the remaining four – led by the angry Gil – decide to seize power and seek revenge.
Now it’s up to Jimbo to regain the trust of the five prodigies, before they execute their cruel, apocalyptic plan.
The Prodigies is a motion-capture style animated movie – scenes are acted out live, then changed to animated form. Parts are beautifully done, with sleek stylized images – I like the look — but there are also long, irritating sections made in crappy, low-contrast tones which just don’t look good on a screen. (Why do they do that…?) I enjoyed this French/Belgian movie (I saw the American dubbed version) – its fun to watch, exciting (if predictable), though extremely violent. It’s not suitable for children.
Arrietty and In Darkness are now playing, and The Prodigies opens today in Toronto.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM, and on my web site CulturalMining.com.
November 11, 2011. The Real ReelAsian Film Festival. Movies Reviewed: Bleak Night, Full Metal Alchemist, Saigon Electric, Buddha Mountain, Amphetamine
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, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference
As Rome burns and Europe crumbles, and Wall St is pre-Occupied, and the planet is teetering on the brink… all eyes are on Asia. So now’s your chance to get a feel of what’s going on across the Pacific. The Reelasian Film Festival (“reel” as in reel to reel, Asia as in East and SE Asia) is on now in Toronto, and it’s showing great, new, popular, festival and experimental movies from that region as well as some Canadian films. That means dramas, comedies, documentaries, anime, and shorts. There are also lectures, workshops and master classes for actors, scriptwriters, and producers — even events where you can pitch your own movie proposals. So this week I’m talking about films from China, Hong Kong, Japan, South Korea, and Vietnam.
Bleak Night
Dir: Yoon Sung-hyun
This is a movie about a group of three friends at a private boys’ high school in Korea. Only they’re not exactly all that friendly. One is the undisputed leader of the group, and lords it over the rest of them. He’s more of a bully than a friend, and pressures and intimidates the others, who go along with it. The encounters turn into physical abuse and name calling – “you’re my bitch” he says – but no one questions him.
It’s not until one boy stands up to him – and even tries to sever the friendship – that the power-dynamic changes and the pressure builds.
I like Bleak Night, but it gets bogged down with a slow-moving plot, and too many repetitive scenes with ten-minute-long two-man conversations about what happened off-screen and what they really mean to one another.
Full Metal Alchemist (鋼の錬金術師)
Dir: Murata Kazuya (based on the comics by Arakawa Hiromu)
If you’ve never seen Japanese anime before this is a good place to start. But keep in mind, anime are based on manga and so have very long and complex plots with tons of past references and ongoing twisted story lines.
This movie (one chapter of a long saga) takes place in a fantasy setting that looks like the American southwest in the 1930’s, except the country is under martial law. Ed Elric, the full metal alchemist, is a master scientist-cum-magician with bionic limbs of steel. He teams up with his rival Crichton, his sister Julia, and her robot and companion to try to discover the secrets of Milos, find the stars of fresh blood, and gather any clues that might bring them closer to the Philosopher’s Stone. Watch and learn, grasshopper.
Saigon Electric
Dir: Stephane Gauger
Mai, an innocent girl from the sticks, comes into Ho Chi Minh city to make it as a dancer. But she’s strictly old-school: she doesn’t wear make-up, and doesn’t have a fashionable haircut or city clothes. And her dancing style is traditional too – using a ribbon, no less. But then she falls in with tuff-girl Kim whom she meets working in a restaurant. She’s a break dancer who’s being wooed by a rich guy whose family owns an expensive French restaurant. Kim hangs with her crew – Saigon Fresh — painting graffiti art on city walls, bustin’ moves to American hip-hop, and challenging the Northern Killaz to win the city championship so they can compete in the International contest In Korea. They become close friends,
and when Kim finds herself homeless she moves into the room Mai rents from the scarecrow, a grumpy old musician. Mai starts teaching ribbon dancing at the same community centre where Kim is break dancing with her crew – a place where orphans and homeless street kids find shelter.
But trouble awaits: Kim and her boyfriend go off to a seaside hotel, where he promises her the world. But back in the city, some rich developers are threatening to close down the community centre where they all hang out and turn it into a hotel. What’s going to happen? Will all the characters find true happiness or will all their dreams be lost? Will the club be closed down?
This Saigon really is electric, shot in supersaturated colours, of people zooming around the city on motorbikes and skateboards. Even though it’s a age-old story, I like this very modern but distinctly Vietnamese style combined with a good dramatic plot and lots of that excellent 80’s street dancing with head spinning, sometimes even combined with classic Vietnamese drumming. (in Vietnamese).
Buddha Mountain (觀音山)
Dir: Li Yu
Mrs Chang (Sylvia Chang) a former Peking Opera star living in the city of Chengdu, in Sichuan China, is angry, hostile, bitter and depressed, since a tragic death in her family around the time of the earthquake. But she rents out a room in her home to three street-smart kids. Nanfeng (Fan Bingbing) is a pretty girl from a small town who can smash a bottle of beer on her forehead or kiss another girl on the lips – just for the hell of it. She’s trying to earn a living as a bar singer; Fatso (Fei Long) is a chubby, round-cheeked guy who didn’t get into University, but likes practicing Michael Jackson’s moonwalk as he looks for love; and Ding Bo (Chen Po Lin) is a self-centred but free-spirited youth with family troubles and too much time on his hands. They are adventurers – riding the rails, driving around town, rescuing each other from local gangs. Madame Chang orders them around like they’re her servants, and they steal from her and feel no guilt. A real generational divide. She looks down on them for their lack of culture, but for the kids she’s just a screeching fossil from a lost era.
But when one of the characters almost dies the others all rally round to help. They travel up to a Buddhist shrine on a mountain to repair damages from the earthquake and perhaps to fix the damaged parts of their own lives.
Buddha Mountain is a beautiful, touching, interesting and mainly realistic film about rootless youth in urban China.
Amphetamine / 安非他命 (Hong Kong)
Dir: Scud
Kafka (Byron Pang) — named after the Murakami novel, not the Czech writer — is a swim coach, a nude model, and a dyed-blond kung fu expert. His parents are dead, his brother is disabled, and he’s nearly penniless, but he can still do a complete split and support himself with his feet on opposite walls. Then he meets Daniel (Thomas Price), a young and ambitious Cantonese-speaking financier working for an Australian multinational. It is love? Kafka dumps his girlfriend when they seem to be falling for each other, even though it’s a first gay romance for both of them, and Kafka isn’t sure he can handle it.
They go bungee jumping, travelling, living the high life. But things get bad for poor Kafka when he starts doing too
much crystal meth, and he begins to lose his grip with reality, falling into strange dreams and scary flashbacks, and beginning to think the white feathered wings he sometimes wears on his back mean he can actually fly. Is their love true? Can a poor but tough man accept the loving gestures of a Chinese-Aussie millionaire?
Definitely don’t see this movie if you’re at all uncomfortable with male nudity, since in practically every scene – I don’t care if it’s a street brawl, a love scene, a hospital, a mental ward, a police interrogation — they find some excuse to strip down. OK maybe not the bungee jumping scene, but other than that, it’s Naked! Naked! Naked!
Amphetamine is unusual for a Hong Kong movie: a stylized and partly dreamlike gay, erotic melodrama about drugs. In Cantonese and English.
Saigon Electric, Buddha Mountain, Bleak Night, and Full Metal Alchemist, are all playing tonight through Sunday at the Reelasian festival. Check the times at reelasian.com. Amphetamine is also playing this weekend at anotherr toronto festival dealing with mental health and addiction: check times at rendezvouswithmadness.com Also opening today is Lars von Trier’s Melancholia. This is a two part movie,
about a wedding with the bride (Kirsten Dunst) heading toward disaster and a post wedding depression with whole planet possibly colliding with a planet called Melancholia. First opart good, second part just so-so. And Charlotte Gainsbourg as the bride’s uptight, beleaguered sister is such a let down after her tour de force in Lars von Trier’s last movie, Antichrist.
This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web site Culturalmining.com.
Aug 19, 2011. History Rewrites Itself. Movies Reviewed: Sarah’s Key, United Red Army, Caterpillar, The Whistleblower
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, genre and mainstream movies, helping you see movies with good taste, and movies that taste good, and what the difference is.
Lot’s of people say: if you don’t watch out, history will repeat itself. Maybe so. But I’m more interested in the way history rewrites itself.
What once was glorious is later seen as shameful. What once was righteous is later cruel and unfair. What once was dubbed a “Mission Accomplished” is now seen as the start of an illegal war. And then there are all the people and events that seem to disappear entirely only to be brought back decades later. Faces of purged politicians used to appear or disappear in official photos in the days long before photoshop.
So today I’m looking at four movies set in the past where the filmmakers or characters present history in a new way.
Sarah’s Key
Dir: Gilles Paquet-Brenner
Julia (Kirsten Scott-Thomas) is a magazine journalist in Paris who is moving into her husband’s apartment in Le Marais, even while she’s researching the notorious Vel d’Hiv incident. This was when the French police rounded up most of the Jewish immigrants in Paris and locked them into a bicycle racing stadium for a few days before shipping them off to their death in German concentration camps.
So, after a bit of research, Julia is disturbed to discover that her husband’s family had first moved into the apartment she’s about to live in on that very day in the 1940’s. And then she finds out that two kids, a little girl Sarah and her brother, who used to live in that house are nowhere in any historical records. What happened to them? The movie jumps back and forth between Julia’s quest, nowadays, to discover the truth; and little blonde Sarah (Mélusine Mayance)’s attempt to escape back home to rescue her little brother whom she had locked in a hidden closet during the roundup.
The kids’ story — and what became of them — provides the suspense in this movie, as Julia gradually pieces the puzzle back together and reveals the hidden truth of Sarah’s extraordinary wartime adventure.
Are Sarah and her brother still alive? If they are, where are they now? And what was Julia’s in-laws’ actual role in all this?
This is a French movie, so the English dialogue sounds a bit stilted. The dramatic, historical flashbacks are more interesting than the present-day parts, but the sum-total still leaves you with a generally good, exciting drama.
Caterpillar
Dir: Kôji Wakamatsu
Lieutenant Kurokawa (Keigo Kasuya), a brutal husband and a vicious soldier in the Japanese Imperial Army in WWII, is badly burned while sexually assaulting a woman in her home on the Chinese battlefront. He barely survives the fire, and his armless, legless torso with just a badly burned head is sent home to his village. He’s declared a hero and a War God, and sits silently in his military uniform like like an evil anti-Buddha. He can barely speak, and his wife Shigeko (Shinobu Terajima) is horrified. She almost tries to murder him, but stops when he begins to speak.
At first Shigeko stays subservient and dutiful toward her cruel husband. She is shamed by her neighbours into keeping up appearances.
He sleeps, he eats, he sleeps, he eats, and glories in the medals he won, and
the framed newspaper clipping extolling his exploits for the sake of the Japanese Empire. And by grunting, and pulling at her skirt with his teeth he tells her whenever he wants sex. She grudgingly, patriotically goes along with him.
But gradually power shifts: without hands he can no longer beat her to keep her compliant. without a voice, he can’t shut out her opinions. And given his newly submissive position in sex he begins to identify with the women he had raped in China.
This is a brilliantly acted, absurdist black comedy about the collapse of Imperial Japan. It contrasts the tragedy and cruelty of war with the inane barrage of recorded martial marches, brass bands and morality lessons, and slogans repeated by everyone on the homefront. Radio propaganda broadcasts predict imminent victory even as the Americans are firebombing Tokyo. An extremely strange but fascinating movie, Caterpillar shows the disconnect between the official history of the period and the lives of ordinary Japanese people.
In another movie…
United Red Army
Dir: Kôji Wakamatsu
Iooks at an almost forgotten period of radical upheaval from the far left in a more recent period of Japanese history – the 60’s and 70’s. Supposedly peaceful Japan was turned on its head with authority challenged by protests, sit-ins and violent occupations at hundreds of
universities.
This long and devastating docudrama, looks at two breakaway radical revolutionary groups in Eastern and Western Japan that temporary joined together into the United Red Army under its two charismatic leaders, a man and a woman. In an isolated cabin in the Japan alps they rethink their policies and insist that all members take part in self-criticism.
(These are the same groups that, along with the German Red Army Faction, were hijacking planes around the world in the 1970’s.)
This movie is divided into three sections. Part one is a cold, documentary-style look at the upheavals at that time. Part two, is an epic, human drama of what becomes of the idealistic revolutionaries when they are hidden in their mountain cabin, and how their grandiose ideas of Cultural Revolution gradually 
degenerate into an agonizing, Lord of the Flies-style struggle, leading to violence, bullying, torture and death. The third part follows some of these members who later take over a country inn in an extended showdown with the Japanese police.
United Red Army is a devastating, relentless look at the members of the
radical Japan Red Army and their ideological implosion behind the scenes.
In another rewriting of history,
The Whistleblower
Dir: Larysa Kondracki
…is a dramatic thriller set during the UN peacekeeping period following the Yugoslavian civil war in the 90’s. Kathryn (Rachel Weiss) a divorced, small-town American cop, takes a position in Sarajevo so she can earn some money and pay for shared custody of her daughter. She is quickly promoted (by a kindly Vanessa Redgrave) to a special unit that advocates and investigates crimes against women.
Meanwhile, Raya (Roxanne Condurache) is a young Ukrainian from Kiev who also takes on a foreign job in Bulgaria for a few months. She ends up in Sarajevo as well. But Kathryn is shocked to learn that Raya (and many women like her) are trafficked across borders, and are living in horrific conditions in a brothel, as virtual sex slaves. And the plot thickens when she discovers that some of the peace-keeping soldiers, corrupt local police, “Fancy diplomats” and UN bureaucrats are also involved, not only as johns, but possibly as pimps and organized criminals. So it’s up to Kathryn and her few allies to try to blow the whistle on this scandal. But who can she trust?
I wanted to like this movie – which seemed like an extended version of Law and Order SVU – but it was a pretty bad, no, an awful movie. I am not giving away any spoilers here – the whole movie basically tells you what’s going to happen in the first couple minutes. It’s called The Whistleblower, so no surprises here. It’s mainly about helpless weeping women saying “save us”, evil Bosnian Serbs saying “No!”, and smarmy UN personel who just don’t care. Kathryn has to do it all herself. It’s much too simple and predictable a plot:
United Nations = Bad
Yugoslavians = Bad
Peacekeepers = Bad
Women = Victims
US small-town cop = Good
The Whistleblower is now playing, check your local listings, Sarah’s Key
opens today in Toronto; and United Red Army and Caterpillar also open today, exclusively at the Projection Booth, a new theatre in Eastern Toronto. Also opening is Spy Kids in 4-D with smell-o-vision: warning: most of the spots on the card smell like SweetTarts, just don’t sniff odour number 6!
This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web site, Cultural Mining.com.
July 22, 2011. Final Fantasy. Movies reviewed: Captain America, Harry Potter and the Deathly Hallows Part 2, Shirome
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, genre and mainstream movies, helping you see movies with good taste, and movies that taste good, and what the difference is.
It’s hottest summertime when a young person’s fancy turns to … fantasy (to mangle a quote.) School’s out, offices are closed, cottages are open, job vacations are on, and blockbusters, filled with the fantastical, pack the theatres. This week I’m looking at three movies about the supernatural with their origins tied to traditional youth culture: One’s adapted from a kid’s book, one from a comic book, and one starring a group of teen idols In an unusual situation.
Harry Potter and the Deathly Hallows, Part 2
Dir: David Yates
Everyone knows who Harry Potter is – the English orphan boy who discovers he’s a wizard, studies magic at the Hogwarts academy, and – with his friends Ron and Hermione — is in an ongoing fight with his evil nemesis, the snakelike Voldemort. Well this movie, the second half of the last book of the series, picks up exactly where the last one left off. Harry and his friends must find and destroy the rest of the horcruxes (little objects that hold part of Voledmort’s power) or else everything they live for will be lost, the school will be ruined, and all the people enslaved.
This final movie was filled with long serious scenes of gravitas, Harry grimacing at
the camera, the good guys giving their all for the final battle, the confrontation between good and evil. The usual villains are there – Snape, Draco Malfoy, Bellatrix Lastrange and the Death Eaters – but some startling twists and discoveries show that things aren’t always what they first appear to be. A lot of the humour, the traditional school scenes, and the fun sense of adventure are missing here, but audiences seem to lap it up anyway – who wants it to be just another episode when it’s the final one? There was a long ovation after the last scene in the theatre, with scores of costumed viewers — more adults than kids — applauding a blank screen as the credits rolled.
I enjoyed it (although most of the 3D effects were pretty lame – you may as well see it in 2D and save a few bucks) but, like the last book in the series, it left me with the hollow, sad feeling that an era was over.
The next movie
Captain America
Dir: Joe Johnston
…had – for me — a lot of points in its favour before I even saw it. It’s a WWII European action drama of the allies versus the Nazis, it’s adapted from a comic book, and it uses a fun sub-genre called body transformation or body growth. This usually involves a 98-pound weakling who gets sand kicked in his face who (through some natural or supernatural phenomenon) turns instantly into an invincible super hero. On the negative side, Captain America looks militaristic, it’s overly nationalistic, and more than a bit corny. In the 50’s Captain America was trotted out as a symbol of American conservativism, Cold War anti-communism and McCarthyism, and by the 60’s and 70’s was thought of as a hopelessly dated, and almost fascistic caricature, a symbol of the country’s misadventures in Vietnam.
So… what about the movie? Steve Rogers (Chris Evans) is a scrawny kid from Brooklyn 
who wants to join the army. He never runs away from a fight, despite his skinny body, asthma, and flat feet. He hates bullies, and stands up to them, but it’s left to his best buddy, Bucky, to rescue him from the dust-ups. But he’s rejected from joining the army until a German scientist who had fled the Nazis brings him into an elite squad of potential superfighters. He trains alongside much bigger guys, but catches the attention of the beautiful and sultry, but tough, British Spy Agent Carter (Hayley Atwell). The scientist chooses him for his experiments because of his true heart, and because he has compassion and no killer instinct. So after an injection he’s transformed into an almost indestructible hero – strong, fast, muscular and agile. And he carries a round metal shield. But instead of being a fighter, he’s made the centrepiece of a kitschy Victory Bonds team who tour America to raise money, performing on stage in elaborate musical numbers with red, white, and blue, high- kicking dancing girls.
Meanwhile, his nemesis, Dr Shmidt (Hugo Weaving), — an evil man who is out-nazi-
ing even the Nazis in his Nordic mysticism and a master race – is preparing ultimate victory. He’s also super-powerful but he is cruel and selfish where Captain America is kind and just. Schmidt and his lackeys say “Hail Hydra” (instead of Heil Hitler) in deference to his plans. And where Cap is handsome, Schmidt is hideously ugly once he removes his face mask, revealing a red skull underneath.
Will Captain America prove himself as a real hero not an imitation one? Will he be able to give back what he owes his buddy Buck for past rescues? Will he consummate his love for Agent Carter? And will he be able to beat the indestructible villain?
Although mainly just a war and battle movie, Captain America was very enjoyable to watch. The art direction – yes, that’s what I mean, the whole look of the movie – was amazing, and its corniness was presented with enough tongue in cheek to balance the kitsch. And the 3D effects were fantastic, with some especially pleasing shots of 3D faces against flat, green-screen projections, like in Lars Van Trier’s Europa. So if you like comic-book war scenes, with lots of explosions, and simple two dimensional characters, this is a good movie for that.
Shirome
Dir: Shiraishi Koji
It’s typical for Japanese idols, talents, or stars to be followed around by cameras all day long. So it sort of makes sense that their a strange video about a pop group. In this tape, an under-aged Japanese girl group called Momoiro Clover is shooting a promo when they are asked to make an appearance, on camera, at an old, abandoned school. Apparently, legend has it, a spirit known as Shirome – “White Eyes” – will grant them any sincere and heart-filled wish, as long as its repeated three times in front of its marker – a butterfly on an old wall. But if they disobey the rules they may be found dead, just like other people who had tried this.
Their manager convinces them to wish for a chance to appear on the annual Red and White New Years Day Show, where celebrities, singers and idols perform for all of Japan. But a teller of ghost stories spooks them and they don’t know what to do. Should they accompany the exorcists and psychics into Shirome’s den in the old abandoned schoolhouse? Or should they run away as fast as they can?
This movie is a strange one. It’s 50% treakly, cutesy over-performing teen idols talking to an ever-present video camera, pursing their lips, posing, and repeating their routines, or bursting into catchy music-video numbers. And 50% Japanese-style horror, with a strange, little white butterfly appearing on grainy footage enchanting and choking various characters as it flutters past. And the usual crackling video, starting and stopping, and almost unnoticeable evil seeping in and out of recovered footage. Picture Paranornal Activity, but instead of actors, starring a Japanese girl group. Death by kawaii-sa?
A strange movie indeed.
Harry Potter and Captain America are playing now, and Shirome and other new Japanese films are playing this weekend only at the Shinsedai Film Festival – go to shinsedai-toronto.com .
This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web site, Cultural Mining . com.
July 15, 2011. Things Fall Apart. Movies Reviewed: Horrible Bosses, Page One: A Year Inside the New York Times, Hospitalité
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, genre and mainstream movies, helping you see movies with good taste, and movies that taste good, and what the difference is.
Movies sometimes seem like an undifferentiated mass of formless entertainment flickering on a big screen, each movie like the one you saw last week, and all of them disconnected from daily life, from the real world. Bit it’s worth it to take a step back and view films like an alien might from outer space, or someone ten years in the future who just came back in a time machine. Because, with a bit of distance, you start to notice themes and trends from one movie to the next.
Right now, at the back of everyone’s minds, is the economic meltdown, the unraveling of businesses and workplaces, the lack of job security, and the fear of unanticipated change. So this week I’m looking at three movies — a comedy, a documentary, and a comic drama — about workplaces facing crises and that may be on the verge of falling apart.
Horrible Bosses
Dir: Seth Gordon
Three friends, Nick, Dale and Kurt, all hate their bosses. Squeaky voiced Dale (Charlie Day) is a dental hygenist who’s sexually harassed by his nymphomaniacal dentist boss, who wants to have sex with him over the sedated bodies of her patients. Nick (Jason Bateman) works in sales at a big company, and has to kiss ass to get his sadistic boss to give him the vice president position. And Kurt’s (Jason Sudeikas) nemesis is the boss’s son, who’s trying to run the business into the ground so he can skim off the profits to pay for his coke habit.
So, at a point of desperation, the three of them come up with a twisted plan to kill each other’s bosses – hilarity ensues. Well, not exactly.
It’s a bit funny, but not that funny. It’s not slapstick, nor screwball, nor sketch comedy – some combination of all three. The script is condescending: typically, it tells a funny joke, but then explains it, so the people who don’t get the joke the first time can laugh too. What’s really weird abut this movie is that Dale, Kurt and Nick are played by TV comedy actors, the bosses and side parts are played by more
famous movie stars like Kevin Spacey, Jamie Foxx, and Colin Farrell. It sort of works but sort of seems wrong, like a movie disconnect. Jason Bateman is OK but his part isn’t that funny, and Jason Sudeikas comes across as a low-rent Will Farrell. Aside from a very funny scene involving cocaine, only Jennifer Anniston as the slutty dentist and Charlie Day get the comedy just right. I wouldn’t call this a horrible movie, but it’s not a boss pic either…
Meanwhile, another business is going through huge changes, and a new documentary looks at what’s happening to it.
Page One: A Year Inside the New York Times
Dir: Andrew Rossi
So the NY Times is at a point of crisis. With the economic meltdown, circulation didn’t drop, but advertising did – by some 30%. Newspapers, some more than a hundred years old, are folding across the US. Some people say that print is dead, and the movie begins with a haunting image of copies of the Times just hanging there, upside down, in the printing queue like so many slaughtered and plucked chickens in an abbatoir.
And it faces more problems. Judith Miller and other Times journalists served as government lap poodles printing dubious articles on Saddam Hussein’s mythical Weapons of Mass Destruction, which were later quoted by Bush’s government as justification for their invasion. After all, the Times printed
it – it must be true. (Miller is asked on TV whether she’s a journalist or a stenographer.) And online sources like Wikileaks and Gawker are usurping the first stage in the news cycle which used to be the undisputed domain of the press, especially the front page of the New York Times. And many people get their news from aggregate sites like Huffington Post that poach stories from the real journalists who write them.
This is a very interesting, well-made documentary. It humanizes something as mammoth as the NY Times by concentrating on its reporters, editors, and columnists, especially the very fascinating and entertaining former crackhead David Carr, an opinionated and witty, dedicated champion of the newspaper, who curses like a sailor but puts the dot-com weenies in their place.
Meanwhile, in another part of the world at another printing press, is this new movie out of Japan called
Hospitalité
Dir: Koji Fukuda
Kobayashi, his beautiful wife Natsuki, and their little daughter live a placid existence above the tiny printing company started by his late father. Their home is in Shitamachi, the old part of Tokyo where their biggest worry is finding an escaped parakeet, and fending off the local NIMBY club, neighbourhood watch made of local gossips who warn about dangerous people like the homeless, and the dreaded gaikokujin – foreigners.
But suddenly their lives are turned upside down by the arrival of Kagawa, an old school friend. Kagawa starts fixing up the printing machines, and moves into their house. But soon, all the family secrets start come to light and the skeletons fall out of the dusty closets. Who’s that sketchy man Natsuki was seen with? Whatever happened to Kobayashi’s ex-girlfriend? And how did such an plain man marry such a pretty woman?
When Kagawa’s wife, a sexually- charged, blond dance instructor from Brazil – or possibly Bosnia – arrives too, the norms of
the house are turned upside down, culminating with some more unexpected guests and a surprising birthday party. Hospitalite is a good comic family drama about the very real shifts in everyday life in contemporary Japan.
Horrible Bosses and Page One are playing now, and Hospitalite is playing once only at the Japanese Canadian Cultural Centre, next Thursday as part of the Shinsedai Film Festival – look online at Shinsedai-toronto.com. Also opening today at the Royal is Blank City — a great documentary about No Wave cinema that captures that short, explosive period of wide-open but underground filmmaking in 1980’s NY City: check your local listings.
This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web site, Cultural Mining . com.
culturalmining.com 
leave a comment