Japanese women. Films reviewed: Wife of a Spy, Mio’s Cookbook, The Brightest Roof in the Universe

Posted in 1800s, 1940s, Cooking, Drama, Espionage, Family, Fantasy, Feminism, Friendship, Japan, Women, WWII by CulturalMining.com on June 11, 2021

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Toronto’s spring Film festival season continues. Toronto Jewish Film Festival finishes this weekend, with two great French films, Summer of 85 a gay mystery romance set in the 80s and directed by Francois Ozon; and The Specials, a crowd pleaser by Olivier Nakache and Éric Toledano, best known for the hugely popular Intouchable. It’s about a makeshift social services centre in Paris for hard-to-handle kids with autism. 

But this week, I’m talking about another TJFF, the Toronto Japanese Film Festival. This one is also digital, but each film plays for the duration of the festival, until June 27th. And as always, it’s deftly programmed, with movies ranging from samurai to Yakuza to family dramas, romance, comedies, action, anime, and even some movies adapted from manga.

This week, I’m looking at three new Japanese features told from a female point of view. There’s a  cook trying to capture the flavours of her childhood,  a high school girl who seeks answers on top of a roof, and a wife who can’t decide whether her husband is an adulterer… or a spy.

Wife of a Spy

Dir: Kiyoshi Kurosawa

It’s the 1940s in Kobe Japan where Satoku and and Yusaku are a happily married couple. Satoku (Aoi Yu) is a movie actress and Yusaku (Takahashi Issey) a rich businessman who owns an import-export corporation. Japan is at war, but they continue live a western-style life of peaceful luxury. But everything changes when Yusaku and their nephew Fumio return from a business trip in. Manchuria. a Japanese puppet state in Northeastern China. There they witnessed unspeakable atrocities and war crimes committed by the notorious Kwantung Army (aka Kantogun), an elite branch of the Japanese military. And they brought a young Japanese woman back with them.

Satoku sees only the young woman and knows nothing of the war crimes — is her husband cheating on her?. Meanwhile, a childhood friend named Taiji relocates to Kobe. She remembers him as a kind young man. But now he’s a member of the dreaded Kempeitai, the Japanese Gestapo. He criticizes her for wearing dresses instead of kimonos and for drinking foreign whiskey not Japanese. He’s also secretly in love with her. And he suspects Fumio and possibly even Yusaku, are traitors spreading Japanese war secrets to the enemy. Or is he just trying to break up their marriage?

But when she discovers the truth about the horrors of war, she confronts her husband — does he have proof? Eventually she has to decide whether to become a spy herself or turn in her husband to the police. 

Wife of a Spy is great WWII thriller, full of jealousy, intrigue and numerous unexpected plot twists. Japan is not like Germany where filmmakers have produced hundreds or thousands of movies about their dark past. Rarely do you see Japanese films like this one. This movie is made for TV so everything is on a smaller scale with a more compact feel than a theatrical film, but under the direction of Kurosawa Kiyoshi and with its really good acting and script, (along with costumes, sets and music), it keeps the suspense building till the very end. 

Great movie.

Mio’s Cookbook

Dir: Haruki Kadokawa

It’s 1801. Mio and Noe are two 12 year-old girls in Osaka. They vow to be best friends forever. One day they encounter a fortune teller who says Noe is destined for great success, while Mio will have to pass through dark clouds before she reaches blue skies. The same night a huge flood sweeps away both their houses. Mio is an orphan adopted by a woman, and Noe completely disappears. Fast forward ten years.

Now Mio (Matsumoto Honoka) lives in Edo (Tokyo) and works as a cook in a small restaurant. But her love of the sweeter, subtler flavours of Osaka that she’s used to are not popular in her customers in Edo who prefer stronger, saltier tastes. So after much experimentation and hard work she comes up with a perfect blending of the two cuisines. She creates the perfect chawan-mushi egg custard, and her fickle customers love it. Soon, there are lineups around the block. Word reaches Yoshiwara, the red light district, where a mysterious courtesan who never shows her face in public and is known only as Asahi (played by Nao), sends an emissary to bring one back for her to taste. Meanwhile two men are also interested in her cooking: an aristocrat (Kubozuka Yusuke) and a doctor who frequents both the restaurant and the Yoshiwara district. But evil forces — in the form of competing restaurant owners — are working against her. They steal her recipes, send bullies to scare away customers and even set fire to her workplace. Can a woman become a famous chef in Edo? Will Mio ever find her childhood friend? And will she find love in the confines of her restaurant?

Mio’s Cookbook is a lovely drama about friendship, cooking, class, religion, sex work, and the floating world of the pleasure district. It’s full of fascinating details about Japanese cuisine — each new dish she creates is displayed and labeled for you to see — and tons of period touches about life 200 years ago. It’s directed by Kadokawa Haruki, the notorious former movie producer, once heir to the Kadokawa publishing empire but who fell from grace in a cocaine scandal in the 1990s. A Japanese Spielberg, he knows how to craft a complex plot with many characters by pressing all the right buttons to keep the crowd wanting more. This is an enjoyable film that left me feeling… well, very hungry afterwards.

The Brightest Roof in the Universe

Dir: Fujii Michihito

Tsubame (Kiyohara Kaya) is a high school girl in a town somewhere in Japan. She has a crush on her next door neighbour Toru (Ito Kentaro) a banjo-playing dude who thinks of her more as a younger sister. She recently split up with her boyfriend after he posted cruel anonymous texts about her on everybody’s cel. And at home, her parents (her dad and step-mom) are preparing for a new baby. But will it take her place in the family? Tsubame has lots to worry about, which she does on the roof of a building where she takes Japanese calligraphy classes. Until one day she realizes she’s not alone up on that roof. There’s a tough-as-nails old lady up there, too, who rides around on a kids’ scooter.

This strange granny is outspoken and opinionated and makes Tsubame feel uncomfortable. There’s something about her she just doesn’t get. But eventually they become friend and confidants. Turns out Hoshi-ba (Momoi Kaori)  — meaning granny from the stars — has special powers. She says she can fly and can solve almost any problem.  In exchange for Hoshi-ba’s favours, Tsubame starts doing things for her — like finding her long-lost grandson who lives somewhere amidst all the rooftops in the town. Is Hoshi-ba real or imaginary? And can she fulfil Hoshi-ba’s wish?

The Brightest Roof in the Universe is a sweet and absorbing coming of age story that touches on family, friendship and love.  It also deals with more obscure topics like ink brush painting, jellyfish and astronomy It’s slow paced but not boring, and told in a series of revelatory chapters, some of which are total surprises.

It’s also a sentimental tear-jerker, but in a nice way. I like this movie, too.

Wife of a Spy, The Brightest Roof in the Universe, and Mio’s Cookbook are all playing, now through June 27th at the Toronto Japanese Film Festival.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

Grand Ambitions. Films reviewed: Edge of the World, The Sign Painter, Lune

Posted in 1800s, 1930s, 1940s, 1990s, Apartheid, Bipolar, Canada, Feminism, Latvia, Malaysia, Nazi, Toronto, WWII by CulturalMining.com on June 4, 2021

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

It’s spring Film festival season in Toronto. Inside Out continues through the weekend featuring some more pics, like Knocked a Swedish psychological thriller about a lesbian widow who hears knocks in her apartment at night; and Being Thunder, a doc about a two-spirited, genderqueer teen’s experiences at a pow wow. The Toronto Japanese Film fest starts today and runs through the month — more on this one next week — and the Toronto Jewish Film Festival, featuring films from around the world, has just begun.

This week I’m looking at three new features (two from the TJFF), from Malaysia, Latvia, and Canada, about people with grand ambitions. There’s a a sign painter in Latvia who wants to be an artist, a Victorian explorer making friends with head-hunters in Borneo; and a radical anti-apartheid feminist who wants to vote for Nelson Mandela.

Edge of the World

Dir: Michael Haussman

It’s the 1840s in Sarawak, Borneo. James Brooke (Jonathan Rhys Meyers) is an India-born British explorer, collecting butterflies and plants to send back to the academy. He arrives by ship on the shores of this island beside his cousin Crookshank (Dominic Monaghan) and his nephew young Charley (Otto Farrant). But once he enters the jungle they’re captured by warriors who celebrate victory by chopping off heads. Luckily they are brought before two Malay princes to rule on their fate. Prince Makota (Bront Palkarae) is aggressive and devious — he sees a chance to gain British guns and cannons. The younger Prince Bedruddin (Samo Rafael) on the other hand, likes James, as in lust — a future ally and bed-partner?

He says James has semangat — a certain virility and vitality fit for a ruler. James, on the other hand, only has eyes for the beautiful Fatima (Atiqa Hasholan). But after a battle, the Sultan of Brunei makes him king, the Rajah of Sarawak. But danger awaits at every turn of the river, with the snake people, and double-crossing royals, out to get him. And the British Empire would love to get their hands on the gold, coal and spices.  Can he hold onto his kingdom, and fight off enemies abroad and at home? Or will his head land up as just another trophy on somebody’s mantlepiece?

Edge of the World is an exciting adventure in Southeast Asia when most of the world was still coloured pink (the British Empire). This is based on a true story, celebrated at the time, and told by Malaysians themselves. It includes Dayak music and dance,  and a multi-ethnic, multi-linguistic cast (Malay, Chinese, Indigenous, Indian, and European). Far from a tribute to colonialism and imperialism, most of the British (save for Sir James) come across as cruel, greedy and racist murderers.

If you like historical dramas — this is a good one.

The Sign Painter

Dir: Viesturs Kairišs

It’s the 1930s in a remote, small town beside a river in Latvia. Ansis (Davis Suharevskis) is a gawky, gangly young man who works with his father as a sign painter, but secretly wants to be an artist, painting on canvas, not words on doors and walls. His other secret is his love for a beautiful young woman. He visits Zisele (Brigita Cmuntová) Romeo and Juliet style, climbing ladders to knock on her window. She’s a modernist, often reading books on free love. But like Romeo and Juliet, they are separated two forces: her father, Bernstein — a local Jewish shopkeeper (Gundars Abolins) — and Ansis’s Catholic priest.  Neither want them to marry, and it doesn’t help that he’s poor. There are also others in the mix. The self-centred Naiga (Agnese Cirule) — the literal girl next door, her father owns the pharmacy next to Bernstein’s shop — has a crush on him. And then there’s Andreas, a bombastic Baltic German, who has the hots for Zisele. Who will end up with whom? But all of their young plans are up in the air when war comes, and the country already under a fascist dictator, is invaded first by the Soviets, and later by the Nazis. What are their fates?

The Sign Painter is a tragi-comedy about life in Latvia during the 30s and 40s as seen through the eyes of one young man. It starts out with a light humorous tone — a sign painter gets lots of work changing the name of main street, with different colours — from Green to Red to Black — and fonts from roman to cyrillic to gothic, depending on who’s in charge.  But about half way through, it takes on a much darker tone, as changing political whirlwinds bring arrests, deportations and massacres. Based on a novel, it’s laden with characters and unexpected plot turns.

I like this movie.

Lune

Dir: Arturo Perez Torres,

Aviva Armour-Ostroff

It’s 1994 in Toronto. Miriam (Aviva Armour-Ostroff) is a single mom who is excited. She’s a radical feminist an artist and a long-time anti-apartheid activist. She’s generous and helpful, giving food and comfort to random homeless people and political dissidents. Why is she so excited? Her birthplace, South Africa, is about to have their first free election — and she wants to go back and vote for Nelson Mandela. Problem is she is penniless (she lives in an apartment above a pawn shop) jobless, and nearly friendless — though she’s has many, many sexual partners.  And then there’s her daughter Eliza (Chloe Van Landschoot). Eliza is finishing high school and trying to get a scholarship to a Montreal Dance Academy. She’s dating  Mike (Vlad Alexis) a naive, young DJ with very well-established parents. Miriam says she wants to take Eliza and Mike to South Africa with her to witness democracy at work. Did I mention? Miriam and Eliza are white, and Mike is black. 

Mike is enchanted by Miriam’s antics and thrilled by the idea of rediscovering his poetry, music, creativity and inner blackness. Eliza, though is pissed. What about her dancing? What about her boyfriend? She’s seen episodes like this throughout her life. Miriam is off her meds and in an increasingly manic state.  So even as her creativity and enthusiasm grows, so does her recklessness. Can they make it to South Africa and back in one piece? Or is this all just a pipe dream?

Lune is a drama about an unusual family in Toronto in the 90s. It’s an amazingly moving piece, a biting satire and an explosion of creativity from spoken word to art to modern dance (Eliza retells her own story in the form of a dance, done by Chloe Van Landschoot.) Vlad Alexis is perfect as the bourgeois black guy trying to get woke. But the centre of it all is co-writer, co-diirector and star Aviva Armour-Ostroff, who as Miriam pushes all her boundaries in a shocking performance, grounded in politics you rarely see. Miriam talks like a combination of Edina Monsoon and Cornell West… with a good dose of cannabis-induced lunacy. (The title, Lune, divides the film into chapters marked by the stages of the moon). 

Lune is a fantastic movie, and has already won the 2021 Micki Moore Award. Don’t miss this one!

Lune has it’s Canadian premier at TJFF today and is playing through Saturday; The Sign Painter has its Ontario premier at TJFF on June 8th and 9th; and Edge of the World opens today on VOD and all major platforms.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

More Hot Docs! Films reviewed: Dark Blossom, Who We Are: A Chronicle of Racism in America, The Big, Scary “S” Word

Posted in 1700s, 1800s, 1900s, Denmark, documentary, Goth, History, LGBT, Protest, Racism, Slavery, Socialism, US by CulturalMining.com on May 7, 2021

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Hot Docs — Canada’s International Documentary Festival — continues through the weekend with  tons of great movies online. Free tickets each day for students and seniors. I plan to binge watch documentaries this weekend before it’s over.

Here are a few I want to see:

Four Seasons in a Day – a novel look at the ferry across the border between Northern Ireland and the Irish Republic; 7 Years of Lukas Graham — about the eponymous Danish band; Gaucho Americano — about real cowboys from Chile working in the Western US; and Archipelago — a stunning animated look at an imaginary animated island in Quebec.

But this week I’m talking about three more docs at hotdocs, all directed by women, two of which offer a new take on American history. There’s the dark past and present of American racism; the brighter side of 200 years of populist, home-grown American socialism, and — for something completely different — a look at three dark goths in sunny, rural Denmark.

Dark Blossom

Wri/Dir: Frigge Fri 

Josephine is a young woman who lives in a small town in Northern Jutland, Denmark. She hates sports, and rejects the H&M conformity of her high school classmates. She prefers to wear black, accentuated with theatrical makeup, wigs and a pierced septum. If you haven’t guessed yet, she’s a brooding goth. Luckily, Jose is not completely alone. She’s best friends with two guys: Jay, whose parents are devout christians but who prefers big hair and dark fantasies; and fashion-obsessed Nightmare, who knows choice curse words in Punjabi (from his father’s side) but can’t find a boyfriend. They give each other home-made tattoos, and go out on adventures in the grassy fields. They’re totally into roadkill, boiling dead weasels to make jewelry from their bones. Together they form a tight 3-goth posse. 

But things start to fray when Jose meets a guy she really likes. And when she moves to Copenhagen to live with him, Nightmare takes this as a personal slight. Will the three best friends ever get back together, or is this a permanent shift? And will Jose trade in her animal skulls for Hello Kitty dolls?

Dark Blossom is a highly personal look at three young non-conformists in rural Denmark as they express their fragile feelings of friendships in their art fashion and music.

Who We Are: A Chronicle of Racism in America

Dir: Emily Kunstler & Sarah Kunstler (whose father was the famous civil rights lawyer William Kunstler)

Can a country be both good and bad? Cana country founded on slavery be a bastion of freedom and liberty? So asks Jeffery Robinson, a director of the ACLU in a lecture he gave in New York City on Juneteenth (June 19th) in 2018 to mark the emancipation of enslaved people in the US. This lecture interspersed with vintage photos and personal interviews — looks at the history of slavery and racism and the dominant role it holds in the country. And like the toppling down of old statues, this iconoclast exposes some of the worst aspects hidden in plain sight. Did you know the third verse of the Star Spangled Banner celebrates the capture and killing of escaped slaves? They sing it for you, on stage. Andrew Jackson, whose face greets you on each $20 bill — and whom ex-president Trump says he adores — was a major advocate of the slave trade who proudly owned 150 human beings. A large part of the US economy, both the North and the South, was based on the trade of cotton, tobacco and rice, all of which were produced mainly by slave labour. And that’s just before the US Civil War. 

The film looks at the rise of the Ku Klux Klan, massacres of black neighbourhoods, widespread lynching, segregation, the Jim Crow laws, widespread incarceration and police violence. It covers how ingrained anti-black racism is in the foundations of sectors you might not ever think about, including the financial system, real estate, education, insurance, and government.

This is all told by Robinson himself in a personal way: he grew up in a manly white neighbourhood in Memphis, Tennessee, during the beginning of integration and the implementation of civil rights there. So we see him revisit and talk about his own past, what has improved and what remains the same. Who We Are is an excellent and meticulously researched look at the history of racism and white supremacy within the US, covering hundreds of years in just two short hours.

The Big, Scary “S” Word

Dir: Yael Bridge

With its two-party system, its entrenched political views, and its relative lack of class mobility, the US is considered one of the most conservative, developed countries in the world. But what is often forgotten is the longstanding streak of leftist populism and socialism throughout its history. And with the explosive rise in popularity of politicians like Bernie Sanders and AOC, and movements like the Democratic Socialists, the “S” word no longer holds the negative connotations it once did. This movie  digs up some really unusual facts that will suppose almost everyone who watches it. Did you know it was the republican party who originally espoused socialist ideals after the civil war? And that Karl Marx wrote regular columns in American newspapers? He was intrigued by the socialism in the US long before he write his books. It looks at the cooperative communities that sprung up in the mid 1800s in places like Wisconsin; and the non-commercial Bank of North Dakota that saved the farmers there from losing their land and homes.

The film looks at a huge range of topics eloquently explained by dozens famous talking head like Cornell West and Naomi Klein, as it covers centuries of American history. It also follows some people making history now, like Lee Carter a former Marine turned state politician after he was screwed by his private employer, and Stephanie Price an Oklahoma public school teacher forced to take on a second job just to raise her son (she joined in the statewide teachers strike).

If you’re into history, and not the kind they teach you in high school, check out the Big Scary “S” Word; it’s punchy, fast moving, well-edited, highly informative and most of all, entertaining.

Dark Blossom, Who We Are: A Chronicle of Racism in America, The Big, Scary “S” Word, are all playing at Hot Docs now through May 9th.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

International Women’s Day! Films reviewed: True Mothers, The World to Come, My Salinger Year

Posted in 1800s, 1990s, Adoption, Family, J.D. Salinger, Japan, LGBT, New York City, Romance, Women by CulturalMining.com on March 5, 2021

Monday is International Women’s Day, so this week I’m looking at three new movies that celebrate women. There’s a woman who encounters her adopted son’s birth mother; an aspiring writer in 1990s Manhattan; and two women in 19th century, upstate New York. 

True Mothers

Wri/Dir: Naomi Kawase

Satoko (Hiromi Nagasaku) is a married professional woman in Western Japan. She and her husband enjoy their kids-free lifestyle — fine dining, travel, and a high-rise luxury condo. But they long for a family of their own, and so far, it isn’t working., despite various medical interventions. Then one day on a talk show they see a woman telling about her organization. It’s called Baby Baton because the infant is passed on like a baton from the birth mother to its new parents. Adoptees have to pass rigorous requirements, including that one parent must quit their job and become a full-time house parent. Unsurprisingly, Satoko takes that role. And they bring home the newborn baby of a 14-year-old junior high girl named Hikari (Aju Makita). That was five years ago. Now they are devoted to their adorable adopted son, Asato. But their world is turned upside down by a knock on the door by a woman who claims to be the boy’s mother. And, she says, she wants him back.

True Mothers is a touching intimate story of two women’s lives. The movie is divided in half, The first part is all about Satoko and her husband and son, the trials and tribulations of raising a child. The second half is about Hikari the birth mother, and her life since giving up the baby. It explores her time on a misty remote island off Hiroshima (at the Baby Baton headquarters), where she spends the final months of her pregnancy, but also the dark turn her life takes afterwards. Naomi Kawase is one of very few female directors in Japan, and as in all her movies, the story is gently told but full of pathos. Well-acted and very moving with lovely cinematography, True Mothers pulls no punches when dealing with the reality of fertility, unplanned pregnancy, and the other side of adoption. 

Very nice movie.

The World to Come

Dir: Mona Fastvold

It’s the 1850s in rural upstate New York. Abigail (Katherine Waterston) is a morose young woman with a stern demeanour and long black hair. She lives in a farmhouse with her husband Dyer (Casey Affleck). They have a flock of sheep, chickens and milk cows. They used to have a little daughter, the light of their lives, but she died before she was five. Since then, it’s been a loveless marriage and the two barely speak to each other, just coasting through life without a purpose. Dyer records financial records in his ledger, while Abigail writes her thoughts and observations in a black-bound diary. But everything changes when they meet their new neighbours who rent a farm over the hill. Tallie (Vanessa Kirby) has ginger hair and fiery eyes, and she swooshes past in elegant gowns. Her husband Finney (Christopher Abbott) has a dark side carrying bitter grudged just waiting to explode. Abigail and Tallie become instant friends, sharing thoughts, sharp observations, secrets. Their husbands notice the change — why are they smiling? Why are they so happy? Could these two friends like each other more than their husbands? 

The World to Come is a passionate and poetic romance, about two women who find love along the harsh frontier. It’s narrated by Abigail’s diary entries and love letters from Jan to July of the same year, and the story is told in a literary style, like the turning pages of a book. But it’s not all talk, it’s a beautifully shot movie full of burnished wood, wrought iron, fireplaces, cotton dresses and candlelight. It’s filmed on location, with harsh winter blizzards and beautiful spring days. And while not explicit, there are sensuous scenes of Abigail and Tallie kissing furtively in dark doorways, or sneaking off into the woods. Very famous cast: Vanessa Kirby plays Princes Margaret in The Crown, and Katherine Waterston is in Fantastic Beasts and Inherent Vice. And the husbands, Christopher Abbot and Casey Affleck, are very well known, as well. While I wasn’t deeply moved by this movie, I did care about what happens to the characters, and the film itself is visually very nice to look at.

My Salinger Year

Wri/Dir: Phillippe Falardeau (Based on the Memoir by Joanna Rackoff) 

It’s the 1990s in Manhattan. Joanna (Margaret Qualley) is a young grad student and aspiring poet, who is visiting the city to experience literary New York. She has a boyfriend back in Berkeley, but in the meantime she’s camping out in her best friend Jenny’s cramped Village apartment. Her “room” is a tiny space in the corner separated by a folding paper screen. And she lands a plumb job; not as a a writer or working for a publisher, but in the office of a venerable agency. The company is headed by Margaret (Sigourney Weaver) who looks like a stately Susan Sontag. Margaret’s biggest client is JD Salinger, author of Catcher in the Rye and Franny and Zooey, whom she calls Jerry. He hasn’t published anything since the ’60s, but he’s still wildly popular. As Margaret’s assistant, Joanna’s main job is dealing with the bags of fan mail delivered each day. Salinger is a recluse, and never sees any mail — they shred each letter, but not before reading it, and sending out a hand-typed — we’re talking typewriters here, no computers allowed in the office — form letter, saying thank try for your kind letter, unfortunately JD Salinger won’t see it. 

Meanwhile Joanna is luxuriating in the literary life: having lunch at the Waldorf, rubbing shoulders with famous authors (though never Salinger). She goes to poetry readings at the right cafes and moves in with her handsome new boyfriend Don (Douglas Booth), a working-calls writer who’s also a bit of a dick. Will Joanna stay on in Manhattan or return to California? Can she forge a career as a literary agent? And will she ever meet Salinger?

My Salinger Year is a true memoir based on the writer’s own early career. It’s delightful to watch —who would have guessed we could feel nostalgic for the 90s? She experiences the city, wandering into places like the New Yorker magazine’s offices. And it’s full of wonderful vignettes about the quirky people she meets in her office (played by Colm Feore, and others.) It also shows us the writers of the fan mail, each of whom addresses the audience directly, reciting the texts of their letters. The film is made by Quebec director Philippe Falardeau (Monsieur Lazhar) and is shot around Montreal. As always, his movies are full of warm, funny characters and lots of  detail; he doesn’t gloss over what’s going on. Falardeau also has some weird trademarks — characters break into music videos or start dancing — which I don’t quite get, but luckily it doesn’t detract from the story. You can tell Sigourney Weaver and Margaret Qualley loved making this movie, and if you’re into writing or reading books, or the whole literary milieu, you’ll enjoy it, too. 

True Mothers, The World to Come, and My Salinger Year are all playing today on VOD or streaming sites.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

Therapy vs self-medicating. Films reviewed: Canadian Strain, Transfert, Freud

Posted in 1800s, Austria, Canada, comedy, Crime, drugs, Italy, Mental Illness, Mysticism, Psychological Thriller, Sex, Suspense, Suspicion, Toronto, TV by CulturalMining.com on March 27, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM. 

It’s a tough time for movie critics.

All the cinemas are closed, spring film festivals cancelled, and many new movies originally scheduled for release are postponed. Indefinitely. Meanwhile, like many of you, I’m in isolation, cooped up at home. This will be my first attempt at home recording – please bear with me for the poor sound quality. But when faced with a crisis, you look for alternative ways of dealing with your problems. Some people self-medicate while others turn to therapy. So this week I’m looking at three new movies (all online), two about psychiatry, and one about marijuana. There’s a psychoanalyst in fin-de-siècle Vienna; a psychotherapist in modern Sicily; and an out-of-work cannabis dealer in contemporary Toronto.

Canadian Strain

Dir: Geordie Sabbagh

Anne (Jess Salgueiro) is a Toronto entrepreneur, who runs a successful business out of her own home. She has long curly hair and a determined look. Anne is kind, reliable and always there for her longtime clients. She likes her work and is good at it. Her social life revolves around her job. And when she needs advice, she turns to her father (Colin Mochrie). She also has an agreement with her mustached boyfriend: they keep there jobs separate. Why? Because she’s a pot dealer and he’s a cop. But when Canada suddenly legalizes cannabis, everything changes.

Suddenly Anne’s longtime clients, people she considers family, all defect to the public option. She’s forced to rethink her entire life. Should she work for The Man? Or try something new?

Canadian Strain is a gentle comedy set in Toronto just a short while ago, when the province shifted to legal cannabis. It’s more interesting than hilarious. It’s also totally Toronto. It combines bland government bureaucrats, flakes, hippies, grandmas, aggressive men on the prowl, and organized criminals. It’s told through Anne’s point of view, but there are many fascinating side characters, both and good bad, mainly played by women. Definitely a niche movie, but I enjoyed Canadian Strain.

Transfert

Wri/Dir: Massimiliano Russo

Stefano (Alberto Mica) is a young psychiatrist in Catania, Sicily. Kind, good-looking and empathetic, he has been fascinated by psychiatry since he was a child. Educated in Bologna, he is back in Sicily looking for new clients to establish his practice. He works out of his home, a modernist flat that he shares with his wife.

Among his first patients are two sisters who live together. Chiara (Clio Scira Saccà) is pretty and vivacious but accident-prone. She’s had three car crashes in the past month… are these accidents intentional? Letizia (Paola Roccuzzo) is mousy and withdrawn but intellectually curious. The two are fiercely competitive and constantly bickering. Stefano treats them equally and separately. He gets along well with all his patients.

But when new client enters the scene – a man who shares his name – things start to go wrong. This other Stefano (played by the film’s director) though devious and cruel, quickly wins the therapist’s trust. Using sophisticated equipment, bad Stefano spies on his fellow patients. He uses this information to plant the seeds of suspicion in the doctor’s mind, which could lead to terrible consequences. Can a psychiatrist be gaslit by one of his patient? Or will he discover the truth?

Transfert is an indie, psychological thriller about an innocent, young psychotherapist trapped in a patient’s schemes. This is a low budget film so much of it takes place indoors, with some drone views of the city from above. But it still manages to thrill and surprise. There are visual references to Truffaut, among  others. It’s shot in beautiful Catania, a baroque city beside Mt Etna, a volcano ready to erupt (like many of the characters). I like the way Transfert tells the story through a sympathetic therapist’s eyes – something you rarely see. And while I thought the twisted ending was implausible, it still managed to surprise me. I liked this one, too.

Freud

Co-Wri/Dir: Marvin Kren

It’s the 1880s. Fin-de-siècle Vienna is a cauldron of new ideas in art, music, architecture and politics – think Mahler, and Berg, Klimt and Loos and many others, all in one city, the hub of the vast Austro-Hungarian empire.

Inspector Kiss (Georg Friedrich) is there, a former soldier with a shaved head and curled mustache. He’s a cop who solves crimes. So is Fleur (Ella Rumpf) a beautiful and dark, sultry young woman part of the Hungarian nobility. She serves as a medium for the countess at séances where she falls into a trance leading to strange voices and ending with a pseudo-epileptic seizure, complete with foaming at the mouth. And then there’s Sigmund Freud (Robert Finster), famous as the father of psychiatry and psychoanalysis. But here he’s an unknown young neurologist and a recent grad from medical school. He’s trying to establish himself. He has yet to write his first book and lives in an apartment where he is threatened with eviction for not paying rent. He’s just starting to explore the unconscious, but he’s still at the stage of parlour tricks, where he uses his pocketwatch to hypnotize patients. He’s also addicted to cocaine.

These three people are thrown together after a terrible attack on a young woman. Inspector Kiss runs to Freud’s apartment (he’s a physician) with the victim, saying “save her!”. And Fleur has a vision of who the killer might be, but it’s buried somewhere deep inside her mind. She can’t remember what happens during her trances. It’s up to Freud to hypnotize Fleur to discover the truth. But will that reveal the real killer?

Freud is a new TV show, a detective mystery/thriller, with a cop, a psychiatrist, and a psychic trying to catch a serial killer in late 19th century Vienna. But that’s just the frame. It’s also a sexual romance, and an historical drama. Throw in decadent royalty, avaricious artistocracy, angry nationalists, rising right-wing politics, mysticism, misogynyand anti-semitism, duels, and opera… and you’ve got a rich and engrossing drama that’s not your average mystery. And if I’m not mistaken, this is the world’s first sexy Freud, two words I never thought I’d hear in the same sentence. I’m binging this series and am only half through but, so far, it seems well-worth watching.

Transfert and Canadian Strain are both available online; and you can watch Freud on Netflix.

This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.

Critical Mass. Films reviewed: Dolittle, What She Said: The Art of Pauline Kael, Les Misérables

Posted in 1800s, 1960s, Animals, Clash of Cultures, documentary, Drama, Family, Fantasy, France, Kids, Language, Morality, Movies, New York City, Police, Protest, Women by CulturalMining.com on January 18, 2020

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

This week I’m looking at three movies. There’s a man who talks to monkeys; a kid who steals a lion, and a movie critic who monkeyed with the way we look at movies.

Dolittle

Dir: Stephen Gaghan

It’s early 19th Century England, in a village called Puddleby-on-the-Marsh. Young Stubbins (Harry Collett) a boy out hunting with his dad  accidentally shoots a squirrel. But instead of “putting it out of its misery” as his father suggests, he tries to save it. Stubbins stumbles on a derelict hospital run by the reclusive Doctor Dolittle (Robert Downey Jr) the legendary animal doctor. The hospital is full of steampunk devices and wild animals — gorillas and polar bears, insects and parrots — wandering around just like people. And even more surprising, Doctor Dolittle can speak all their languages. Stubbins wants to convince the doctor to take him on as an apprentice so he can talk to the animals, too.

But trouble is brewing at Buckingham Palace. Someone has poisoned the Queen! And only the doctor knows the cure, a panacea found in a distant land.  Dolittle and the gang set sail to find it. Can they trick the evil King Rassouli (Antonio Banderas) into giving them the map? And will they defeat a tiger, a  dragon, and various palace villains, and manage to cure the Queen in time?

I grew up surrounded by Hugh Lofting’s books, TV cartoons, and movies, and though I wasn’t a devotee, I knew all about the stories and characters. And I don’t love Robert Downey Jr. So I was all set to be disappointed: where’s the chimp? And what happened to my favourite animal, the two-headed Pushmi-Pullyu?

But you know what? I liked it! It was cute, full of adventures, close escapes, exciting trips to exotic lands, and all the quirky animals (voiced by Octavia Spencer, Rami Malek, John Cena, and Emma Thompson). Keep in mind, this movie is for little kids, not grown ups, who may find the jokes too stupid, but the exciting scenes and the fast-moving action kept me satisfied. Not a terrific movie, but a very cute one.

What She Said: The Art of Pauline Kael

Wri/Dir: Rob Garver

Pauline Kael was a single mom who grew up on a California ranch during the time when movies were still silent and B&W. Her first published review was Charlie Chaplin’s Limelight — she hated it. She ran a movie theatre in Berkeley where she wrote the reviews and descriptions of the films playing there, encouraging locals to see them. She wrote for Macall’s but was fired for not loving big-budget cinema. And she quit her job at The New Repulic because they edited out her writing. She finally found a post at The New Yorker, where she became one of the most influential movie critics in the world.

She’s is known both for the movies she hated (she described The Sound of Music as asexual revisionist treacle, and trashed Kubrick’s 2001!) and those she loved (Penn’s Bonnie and Clyde, Scorcese’s Mean Streets, Spielberg’s Sugarland Express). Some directors’ careers were made by her patronage, while others lived in dread of her columns.  She rejected the ennui-ridden academic view of Auteur theory, without falling for manipulative Big-budget schlock. She liked trash, mind you, but it had to be good trash.

What She Said is an immaculately researched,spot-on look at Pauline Kael’s reviews,and her influence on audience and filmmakers. It delves into her fascinating life and and undeniable influence without resorting to endless kiss-assery. This movie is a labour of love,  combining vintage TV interviews with Dick Cavett and Brian Linehan, and talking heads — from Tarantino to David Lean — with readings from her work by Sarah Jessica Parker. Best of all, these voices are illustrated by a barrage of 2-3 second film clips from hundreds of movies over the past century that I haven’t seen in a documentary since Los Angeles Plays Itself (2002). (I grew up reading her reviews in The New Yorker — that and the cartoons were all  read — and while I disagreed with her half the time, I always wanted to see what she had to say.)

If you love movies, I strongly recommend this doc.

Les Misérables

Co-Wri/Dir: Ladj Ly

It’s Paris in the high-rise banlieue that circle the city. It’s 35 degrees outside and the crowds are high on the country’s win on the soccer pitch, singing la Marseillaise at train stations. But trouble is brewing…. it seems a lion cub is missing from a travelling Roma circus and the four brothers that run it are threatening a rumble with the locals.

Power here is shared by the secular — led by community leader called Le Maire (Steve Tientcheu); the religious — Salah (Almamy Kanouté), an Imam who runs a kebab shop; and the criminal — a gang of thieves who work directly with the cops. Attempting to keep the peace are the feckless police who mainly harass kids and sex workers. The regular team — an abrasive white guy Chris (Alexis Manenti) and his calmer black partner Gwada, who grew up in the hood (Djebril Zonga) — is joined by a newbie. the wide-eyed Stephane/Pento (Damien Bonnard) is a hick, straight from the farm. But the only ones who really know what’s going on are the local kids, who know every broken fence, every fire escape and back alley — they are watching everything. Especially Issa (Issa Perica) a feisty 10 year old, and his pal the nerdy Buzz (Al-Hassan Ly). Issa is the one who liberated the cute lion cub, and Buzz who records everything from the rooftops with his trusty drone.

But when the cops overstep their bounds and use weapons — which is caught on camera — things start to go really wrong. Chaos reigns.

Can the trouble be defused by the cops and community leaders? Or will the kids triumph? And could this lead to a repeat of the Paris riots of 2005?

Les Misérables (this is not Victor Hugo’s novel, but the location is the same) is an amazing dive into the lives of Parisians in the outer suburbs, their alienation, and the tension brewing there. The acting and story are superb, and I love the way multiple strands are woven together into a seamless whole. It’s nominated for a Best Foreign Film Oscar, and, though violent at times, it holds a real love and understanding of the characters portrayed. This is a great movie.

Dolittle opens today in Toronto; check your local listings. What She Said: The Art of Pauline Kael is opening today at the Hot Docs Cinema, as is Les Misérables at the TIFF Bell Lightbox.

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 Matthew Rankin about The Twentieth Century

Posted in 1800s, Art, Canada, Fetish, Movies, Politics, Sex by CulturalMining.com on December 27, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Photos by Jeff Harris.

It’s the end of the 19th Century, and Canada is still an Imperial backwater. Sir Wilfrid Laurier says “The 20th Century shall be the century of Canada.”

Dan Beirne, The Twentieth Century, Photo by Jeff Harris

And a young William Lyon Mackenzie King thinks he should be the one to lead it. He visits girls dying of consumption, tends to his blonde-tressed mother, and pines for a heroic, harp-playing Valkyrie. A pity though, he’s quite nuts.

The Twentieth Century is a new, partially animated and highly stylized film about the history of Canada as seen through the deranged eyes of a young Mackenzie King. Powered with the glow of fluorescent light, modernist architecture with actors gliding past on roller skates, it reimagines the country as a den of corruption controlled by evil royalists and their puppets.

The feature is written and directed by Winnipeg-born, avant-garde filmmaker Matthew Rankin.

I spoke with Matthew on location at TIFF19.

The Twentieth Century won the Best Canadian First Feature at TIFF and has been selected for Canada’s Top Tem Films of 2019.  It is now playing in Toronto.

Daniel Garber talks with filmmaker Robert Eggers about The Lighthouse

Posted in 1800s, Art, Drama, Dreams, Fantasy, Horror, Mystery, Nova Scotia, Sex by CulturalMining.com on October 17, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Photo of Robert Eggers by Jeff Harris

It’s the 19th century on a rocky Atlantic island. An old salt and a young jack tar share threadbare lodgings. Their job? Keep a lighthouse burning to warn all passing boats of potential danger. The old man is there for the long haul, while the younger one seems to be a temporary replacement. But as the isolation grows they become increasingly unhinged as they try to keep their senses… in the lighthouse.

The Lighthouse is a new film about life in a lighthouse as seen through the fantastical minds of the two men living there. It’s written and directed by Robert Eggers, his second feature after The VVitch.

This interview was recorded onsite during TIFF 19.

The Lighthouse opens next Friday (Oct 25, 2019) in Toronto.

Women in the Arts. Films reviewed: Wild Nights with Emily, The Souvenir, Mouthpiece

Posted in 1800s, 1980s, Addiction, Drama, drugs, LGBT, Movies, Poetry, Romance, Toronto, UK, Women by CulturalMining.com on June 7, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Spring festival season continues with the Toronto Japanese Film Festival which starts today and the Italian Contemporary Film Festival beginning on Thursday.

This week I’m looking at three new movies about women in the arts. There’s a poet in New England who can’t get published, a filmmaker in Sunderland who can’t finish her movie, and a writer in Toronto whose mind is torn asunder.

Wild Nights with Emily

Wri/Dir: Madeleine Olnek

It’s the 1860s in Amherst Massachusetts. Emily Dickinson (Molly Shannon) is an unmarried woman who rarely ventures outside. She has everything she needs her big wooden home. She can wear the same white dress every day, listen to piano music, and bake shortbread, which she gives to the local kids who gather outside her window. And whenever a thought occurs to her she scribbles it down on a scrap of paper. But these are more than random thoughts, they are poems, and ones that flout conventional writing. They don’t have titles, they don’t rhyme and they’re written in free verse (before that term even existed).

That’s what she does during the day. Night time is whole other ball game. You see, far from reclusive and repressed, Emily Dickinson has a passionate ongoing relationship with her sister in law, Susan. Susan (Susan Ziegler) is a childhood friend who married her brother Austin, but has a sexless marriage. Instead she shares her bed with Emily. And much of Emily’s poetry consists of love letters sent to Susan. But despite all her efforts, just a handful of her poems were published during her lifetime. Instead they were gathered together by her brother’s mistress Mabel (Amy Seimetz).

Wild Nights with Emily is a historical comedy, but it’s far from a spoof. It’s a meticulously reworked view of Emily Dickinson. It restores her same-sex relationship that had previously been expunged and erased – literally – from her original manuscripts. The actual handwritten poems appear on the screen in this movue, at times word by word. While at times the film has an academic, PBS feel to it, and the acting is somewhat mannered, I liked it anyway.

It manages to render her wonderful poetry to the big screen while keeping a light and irreverent tone.

The Souvenir

Wri/Dir: Joanna Hogg

It’s the early 1980s in England.

Julie (Honor Swinton Byrne) is a well-to-do young filmmaker in her early twenties. She’s smart and cute with an asymmetrical boyish haircut. She’s trying to shoot her first movie in the northern port of Sunderland. She observes all, quietly taking snapshots and recording film footage all around her, presenting her plans to the profs and producers she has to deal with. And she rents out space in her beautifully mirrored whitewalled apartment. But when she meets Anthony (Tom Burke) her world changes.

Anthony is older and more worldly than Julie, a louche dandy into velvet robes and pocket squares. He’s tall, pale and speaks in a blasé, elongated drawl. He gives her gifts of scanty lingerie and garters that fit his fantasies. They escape by train to Venice for sexy romps among renaissance frescos. She’s in his thrall.

But something is not quite right. She comes home early one day to find a stranger wandering around her home. Anthony is in constant need of cash. And unknown burglars ransacked her apartment stealing her jewelry and movie camera. Something’s off about Anthony. Hmm… worldly, pale, intense, elaborate clothing, secretive. Is Anthony a vampire? Nothing so exotic. He’s just a run-of-the-mill junkie, and threatens to pull her into that world. What will happen to their relationship? And will Julie ever complete her film?

The Souvenir is a beautifully shot, well-acted, semi-autobiographical drama. It incorporates long takes of natural scenes, uses mirrors and reflections, great period costumes and a nice eighties soundtrack. It combines Joana Hogg’s older film work and photos with new footage. So why don’t I like it?

It could be the genre – I’m not a great fan of addiction movies. Or it could be the endless conversations about nothing in particular. Or the lack of humour. Or the overly-restrained dialogue. But my main problem is it’s boring. While I can sympathize with the main character, there just isn’t enough going on. The filmmaking scenes and cuts to the movie-within-the-movie detract from the main story… which isn’t all that interesting to begin with. Two hours of nothing, however well executed, is just too long.

Mouthpiece

Dir: Patricia Rozema

It’s winter in downtown Toronto. Casandra (Amy Nostbakken, Nora Sadava) is a 30-year-old punk. Her idea of dressing up is a black sweater without moth holes. She greets her dates with a snarl and tells sex partners she isn’t into comitment. She works as a writer/bartender. But when her mother (Maev Beaty) dies suddenly from a stroke she is faced with her hardest piece ever… She has two days to write a eulogy for her mother’s funeral. Can she overcome her guilt, anger and self doubt in time to give a sweet heartfelt eulogy? Or will the upcoming funeral turn into the fiasco that everyone dreads?

Mouthpiece sounds like a conventional drama, but it’s anything but. Cass is played by two women simultaneously, noticeable only to themselves and the audience. The two halves of Cassandra’s soul sleep together in spoon fashion, share a bath and keep each other in check. But when there’s a crisis or internal debate all breaks loose, with the two Casses wrestling, punching and shouting, doing practically anything to get the other side to shut up. It’s a constant pas de deux, at times moving in absolute symmetry, or scrambling and climbing over each other like puppies.

Mouthpiece was originally a stage play written and performed by the two Cassandras, Nostbakken and Sadava. This explains their flawless fluidity of movement, their perfect give and take as the two sides compete and coalesce into one soul, movement that only comes from repeated performances. And as a movie, Rozema manages to capture a closeup intimacy you might not catch on stage. Mouthpiece works perfectly on the screen as a beautiful, funny and moving film.

Mouthpiece and Wild Nights with Emily all open today in Toronto; check your local listings. And The Souvenir playing as part of a Joanna Hogg retrospective with TIFF Cinematheque.

This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com

Past, present, future. Films reviewed: Aniara, Peterloo PLUS Prism Prize videos

Posted in 1800s, Canada, Music, Politics, Pop Culture, Protest, Resistance, Science Fiction, Space, Sweden, UK by CulturalMining.com on May 21, 2019

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

100 years ago this week in 1919, the Winnipeg General Strike brought that city to a standstill. But did you know there was another important political demonstration 100 years earlier in Manchester in 1819? So this week I’m looking at movies set in the past, the present and the future. There’s an historical epic set in Northern England, a Swedish cruise set in post-nuclear outer space, and some state-of-the-art Canadian music videos set in the right here, right now.

Aniara

Wri/Dir: Pella Kågerman, Hugo Lilja

It’s the near future. Mimaroben (Emelie Jonsson) is a happy and hopeful flower child who works onboard a cruise ship. The Aniara has champagne bars, shopping malls, discos and restaurants to suit every taste on the 23-day cruise. Passengers are reassured by the stern pilot Isagel (Bianca Cruzeiro) the conservative captain Chefone (Arvin Kananian) and veteran Astronomer (Anneli Martini). Mimaroben has a special job. She works with Mima, an A.I. program where homesick passengers re-experience the natural beauty they left behind. But this is no ordinary cruise ship. They’re leaving an uninhabitable planet Earth for a new home on Mars.

The problem is when we humans are busy ruining the planet we’re also polluting the solar system with space trash. A spare piece of metal hits Aniara sending the spaceship off-course. Can the crew reassure the passengers that everything is OK? Will Mimarobe find love aboard a space ship? Will they ever reach Mars? Or will they forge a new life on the space ship itself?

Aniara is a dark (though sometimes warm and funny) look at a possible future when we’re all pulled out of a numbing consumerist existence and forced to face reality. There are nihilists who have wild sex orgies, law and order types who want people imprisoned, and cultists who form new religions and rituals. The story is based on a Swedish poem written in the 1950s when people were most afraid of nuclear holocaust, but it works just as well in a world facing climate change and ecological disaster.

Aniara is a terrific distopian look at our future — and would make a great double feature with Claire Denis’ High Life.

The Prism Prize

…is an annual Canadian award for that underrated cinematic form, the music videos. This year’s winner is Low by Belle Game. It’s directed by Kevan Funk (Hello Destroyer) and is an exquisitely disturbing short film made in an LA factory producing life-like rubber sex toys and robots. It shows the bodies being assembled, part by part, as the music plays in the background. You have to see it to believe it.

Prizes also went to Soleil Denault, Clairmont the Second and Lacey Duke. And the audience award went to Said the Whales’ “Unamerican” for an unusual photographic stop-motion video by Johnny Jansen.

Peterloo

Dir: Mike Leigh

It’s 1819 in Lancashire in northern England and things are not going well. Soldiers with PTSD are returning home, broke, after the Napoleonic Wars. Local weavers find their wages cut in half by greedy industrialists. And the new Corn Laws, which protect rich farmers from foreign competition, means the price of a loaf of bread is going through the roof. Ordinary people working twice as hard can’t feed their families. Politicians ignore ordinary people, and the magistrates are even worse, flogging an old women for drunkenness, and even hanging a man for taking a coat to keep warm.

Something has got to give. Luckilly it’s also a time of great change. Orators like the middle-class Henry Hunt (Rory Kinnear) are speaking out: put the common people into the House of Commons!  Preachers, rabble rousers, journalists, organizers and advocates – both men and woman – are pulling people together for a mass rally scheduled for August.

They face opponents, though. An effete Prince Regent adorned in white plumes fears a French style revolution. Factory owners want absolute control over their workers. Local magistrates hate and distrust ordinary people. Spies, thugs, and agents provocateurs are hired to make trouble among the protesters. And the military, who normally fight on foreign soil, are called in to quell the masses. What will happen on the day of the rally?

It’s not a spoiler to say that the title of this movie, Peterloo, refers to the massacre of hundreds of unarmed men, women and children in Manchester’s St Peter’s Field by military and local police on horseback. But most of this terrific historical drama looks at the period leading up to the demo and the subsequent government attack on its own people.

It’s an ensemble picture with many dozens of characters, each with their own memorable stories, portrayed over the course of the film. Fantastic music, settings, costumes, and acting, in many ways it’s like a great Hollywood epic from the 1960s, with a “cast of thousands” moving en masse across a wide screen. But it also shows the poignant individual stories of the odd characters you meet along the way. It is long (and somewhat confusing) but always interesting and politically relevant.

Peterloo is another memorable movie from the great UK director Mike Leigh (Secrets and Lies, Mr Turner). I liked it a lot.

Aniara and Peterloo both open today in Toronto at the TIFF Bell Lightbox. Check your local listings. And you can watch the top ten Prism Prize music videos at prismprize.com.

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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