Films reviewed: Swan Song, Beyond Monet, Respect
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
With the end of lockdowns finally reaching Toronto, people are itching to catch up on what they’ve been missing — from getting their hair cut, going to an art gallery, or listening to a concert on the big screen. This week I’m looking at two movies and one experience. There’s soul in Detroit, hairdressing in Ohio, and French impressionism in downtown Toronto.
Swan Song
Wri/Dir: Todd Stephens
Pat Pitsenbarger (Udo Kier) was once known as the Liberace of Sandusky Ohio, known for his gaudy jewelry, his pastel pantsuits and his flamboyant style. The richest women in town flocked to his hair salon where he could accomplish miracles with just his fingertips and a can of hairspray. But now he’s long-forgotten, a penniless old man living in a nursing home with puke-green walls and fluorescent lights. What happened?
His protege Dee Dee (Jennifer Coolidge) opened up a larger salon across the street from his, poaching his longest clients, including Rita Sloan a millionaire and his oldest patron. Then his lover David died of AIDS. And since this was before same-sex marriage, their shared house was inherited by a distant relative, leaving him homeless. So for Pat, Sandusky is just history. Until a lawyer named Mr Shamrock arrives at his room with a new development. Rita has died, and in her will she insists Pat be the one to style her hair in her coffin. And if he does he’ll inherit 
25,000 clams. So Pat sets out on a long journey back to long-lost Sandusky, encountering strange people and places along the way. Will he get there in time for Rita’s swan song? And can he finish the job without any beauty supplies?
Swan Song is a very gentle, low-key, and slow- moving homage to the gradually fading world of small town gay life in America. Though nostalgic, it doesn’t present a white-washed version. It features Pat (loosely based on a real person) as an inveterate shoplifter, Eunice his best friend who is known for loitering in public toilets, as well as the seedy gay bar where they used to lip-synch torch songs. Udo Kier, the great German actor, has fun with his role, injecting his own trademark campiness. Swan Song is a cute and gentle, (though too slow-moving) LGBT comedy.
Beyond Monet
Claude Monet was a fin-de-siècle French painter who daubed his canvases with bright spring colours. Critics at the time referred to his work derisively as impressionism, thus providing a name for the movement. But as his fame grew, his eyesight faded, and by the end his works veered to the nearly abstract. Today, though, his paintings of fields, gardens, water and most of all waterlilies are among the most famous of that era. Beyond Monet is an exhibition, not of his art, but rather an immersive experience. His works are projected on a circular, 360 degree wall and ceiling, about the size of a football stadium. The works themselves are constantly rising, falling, or gradually turning around inside the exhibition space, so you can see all of it without moving from your area. It’s constructed around a large wooden cupola in the centre, along with shiny, round landing pads spread all around to sit on. The images are softly animated: waves in his paintings rise and fall; in his winter scenes, snow seems to blow against the landscapes, while flowers and lillies bloom before your eyes. And a constantly-shifting — and at times quite lovely — original soundtrack of music and sound effects (like birds, crickets or waves) adds to the mood.
The exhibition is in three parts. The first consists 0f a few curved wooden bridges and some gossamer sheets hanging from the tall ceilings. It also has a series of bilingual signs explain the art. You pass through a hallway festooned with cheap mylar strips, into the main room where the actual show takes place.
Is seeing an original canvas by Monet the same as a projection, however well-rendered and animated, in a large space? No… not even close. This isn’t art, it’s about art. It reminds me of those parks with miniature versions of the Eiffel tower and the Taj Mahal.
What it is, though, is a pleasantly relaxing experience for those who want to appreciate Monet without the trouble of seeing his actual stuff. Interestingly, the entrance features an assortment of empty wooden canvas frames, to remind us, I suppose, that the real art is still on museum walls. But with the pandemic on, perhaps Beyond Monet is a way to get the feeling of his work without travelling far. And the show is well- ventilated, well-spaced and with a limited number of guests at any one time.
Respect
Dir: Liesl Tommy
It’s 1952. 10-year-old Aretha Franklin, known as “Ree”, lives in a middle class Detroit neighbourhood. Her father (Forest Whitaker) is a firebrand baptist preacher with a huge congregation. He is a colleague of the Rev Dr Martin Luther King, who Ree calls Uncle Martin. He holds Saturday night get-togethers where little Ree is the featured performer in a musical household. Still a child, she has the voice of a full-grown woman, and performs be-bop and scat singing, not just gospel. Her father intends to make her a star. By the late 50s he gets Aretha (Jennifer Hudson) signed with John Hammond at Columbia Records where she records old jazz standards with a full orchestra. But without any hits.
Then everything changes in the late 60s when she is taken under the wing of producer Jerry Wexler at Atlantic, the man who coined the term Rhythm and Blues. He introduces her to the back-up players at Muscle Shoals, men who know how to feel the music. Aretha brings in her sisters as back up singers, and 
the rest is history. She becomes the queen of soul and her songs internationally famous.
This music biopic follows her career over a 20 year period, from 1952 to 1972. And it’s not a smooth and steady ride. It’s called Respect partly because of her hit single but also to point out the lack of it she experiences from both her domineering father and her tempestuous relationship with the often violent and manipulative Ted (Marlon Wayans) her sometime husband and manager. It also exposes the harsh underbelly of her stable, middle-class life. She is raped at an early age (this is implied not shown) and gives birth to a number of sons while still in her teens (her grandma takes care of them.) Her father says she has “demons” inside, but maybe it’s just her trying to break free, whether through her music or alcoholism, from the relentless disrespect and physical and mental abuse she suffers for much of her young life.
Respect is part performance, part melodrama, alternating between a near constant flow of music interspersed with re-enactments with her family, business, and love life. We see her ups and downs (mainly her downs), along with many — maybe too many — fights, tantrums and meltdowns. Biopics have two choices: either hire great actors with mediocre or dubbed voices, or great singers. Hudson is the latter. She has a fantastic voice, featured here in so many genres — gospel, jazz, soul and pop — which holds the movie together. The melodramatic scenes are a mixed bag, some very moving, others cringe-worthy. Whitaker is really good as CL Frankin, and Hudson is in nearly every scene. While Respect is not a great movie, I greatly enjoyed watching it.
Look for Swan Song on VOD and digital formats. Respect opens theatrically in Toronto this weekend — check your local listings. And Beyond Monet is exclusively showing at the Metro Toronto Convention Centre now.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Good dramas. 1917, Uncut Gems, The Invisible Life of Eurídice Gusmão
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
A good drama is hard to find, and this week I’ve got three of them. There’s an action drama set in Europe in WWI, a melodrama set in Rio in the 1950s, and a dark comedy set in present-day Manhattan.
1917
Dir: Sam Mendes
It’s April, 1917 in the trenches. Two soldiers, Lance Corporal Blake (Dean Charles Chapman) and Lance Corporal Schofield (George Mackay) are summoned by an officer with an important mission. The Germans seem to be retreating and frontline soldiers are preparing to cross over no man’s land. But it’s a ruse. If the troops try to cross the fields they’ll be gunned down like lambs to the slaughter. And the telegraph lines are down. It’s up to Blake and Schofield to take a crucial letter to the isolated troops before they’re all wiped out. And to get there, they have to pass through enemy territory, inside German trenches, and across enemy lines. Why are two ordinary soldiers chosen for this impossible task? Blake has a brother in the squadron they’re warning. And Schofield? 
He happens to be nearby when Blake is summoned. Can the two men young men make it there in time? Or are they just another couple of casualties in this War to End All Wars?
1917 is a thrilling action movie set during WWI. It’s full of narrow escapes, shootouts, explosions and hand-to-hand combat, with our heroes riding, running, flying and swimming, all to get to their goal. It uses lots of tricks you’d expect to see in horror movies: from sudden encounters with piles of rotting corpses, to shocking encounters with rats. It’s also a “War is Hell” movie but it’s a bit foggy on the Us and Them narrative of a war from a hundred years ago. Should WWI German soldiers still be portrayed as evil, drunken cowards while British soldiers are brave, kindly, steadfast and resolute? Still, you do find yourself rooting for the heroes hoping beyond hope that they’ll survive.The acting, especially MacKay, is fantastic and it’s fun to spot all the famous actors with bit parts as military brass include Benedict Cumberbatch, Mark Strong and Colin Firth. But the best part of this movie is in an unexpected area. Roger Deakins camerawork is incredible, with shadow and searchlight, glowing candles and burning flames throwing chiarascuro images across the screen. It’s stunning to watch.
Uncut Gems
Dir: Josh and Benny Safdie
It’s the diamond district in present-day Manhattan. Howard Ratner (Adam Sandler) is a successful Bling jeweller peddling pricy kitsch to therich and famous in a small boutique encased in bullet-proof glass. He supports an unhappy suburban Jewish family, also setting aside money for his own peccadilloes: a mistress in a midtown apartment and tickets to NBA games. But he’s also a compulsive gambler throwing money at bookies. He’s in debt up to his neck, and the gangsters are circling. Two thugs in particular. Loan sharks, pawn shops, bookies, and legit 
business associates are all asking for their cut. But when Howard lands a lump of Ethiopian opals – the “uncut gems” of the title – he thinks all his problems are solved. By gazing into the glowing, coloured rocks he loses himself in a fantastical universe. He embarks on a complex plan: sell the gem to a superstitious star basketball player, pawn the priceless gaudy ring the player leaves as a deposit, and bet it all on a mammoth Las Vegas sports gamble. Will his plan pan out? Or will it all come a-tumbling down?
Uncut Gems is the latest Safdie Brother’s look at sympathetic, small-time losers and petty criminals, and the destruction they leave in their path. There’s a bit of excitement, but it’s more like a dark, absurdist comedy than anything else. They say Adam Sandler makes one credible acting movie for every ten horrible comedies. He proves his bona fides in this one, hands down. He’s great as the irrepressible and irritating Howard Ratner, complete with fake crooked and gummy teeth. But he’s a hard character to like…his problems are all of his own making, and his adulation for celebrity, sportsteams, cars and The Big Win is unattractive. I kinda sympathize with Howard but not really; I saw this four months ago at TIFF and remember feeling bothered and a bit angry by the end. But the humour, great acting, music, images, and elegant plot – from start to finish – helps redeem the unfomfortable feeling it leaves you with.
The Invisible Life of Eurídice Gusmão
Dir: Karim Aïnouz
It’s 1950 in a middle class family in Rio de Jeneiro. Guida and Euridice are inseparable sisters who do almost everything together. Guida (Julia Stockler) is 20 years old, small, buxom, adventurous and mature. She’s looking for love in all the wrong places, where she meets Iorgos, a handsome sailor from Greece. She leaves a note with her sister that she’s off on a ship to Europe to marry her love and will be back in Brazil soon. Euridice (Carol Duarte) is 18, the good daughter, tall with long, curly hair. She devotes all her energy to practicing the piano, with the hope that someday soon she’ll be accepted into the conservatory in Vienna.
But both of their plans are stymied by unwanted pregnancies. Guida comes home, pregnant and alone. Iorgos is a rat, with a wife and kids in Greece and a girl in every port. But when she walks through her door, her father throws her out, saying, 
“you’re dead to me, I never want to see you again”. She’s forced to move to a working class neighbourhood, get a job (she works as a welder at the docks) and raise her son.
Meanwhile, Euridice gets married to Antenor (Gregório Duvivier) the son of a business partner of her dad who owns a bakery. He’s a boor and an inconsiderate lover. She’s preparing for her Vienna audition in a few months but despite her church-sanctioned birth control methods, she ends up pregnant too, scotching any plans to study in Vienna. Guida assumes her sister is in Europe, and Euridice thinks Guida has disappeared without a trace (their parents block any communication with Guida, and both sisters have no idea the other is living in Rio.) Will the sisters ever see each other again? And will their ambitions be realized?
The Invisibie Life of Euridice Gusmao is subtitled, “a tropical melodrama” and that’s what it is: a passionate, lush story about the lives of two strong-willed women, torn apart against their will. Guida forging a new life as a single, working class mom, as Euridice navigates Brazil’s repressive middle class life in the ’50s. I loved this movie.
The Invisible Life of Euridice Gusmao is now playing in Toronto, and Uncut Gems and 1917 both opened on Christmas Day; check your local listings.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Highbrow, middlebrow, lowbrow. Films reviewed: The Hustle, Tolkien, Be My Star
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Some people mistake upper-class and working-class characters with highbrow and lowbrow films. This week I’m looking at three movies with upper-class and working class-characters. There’s a middlebrow biopic about an orphan at a private school, an arthouse drama about working-class kids in Berlin, and a lowbrow comedy about a boorish con artist at an elite resort.
The Hustle
Dir: Chris Addison
Josephine (Anne Hathaway) is a British aristocrat who lives in a cliffside mansion in Beaumont-sur-mer, a casino resort on the French riviera. Fluent in many languages, the high-stakes gambler and 
seductress knows all the shakers and movers on the Côte d’Azur. But her life of luxury is disrupted by a hefty and boorish Aussie named Penny Rust (Rebel Wilson) who is passing through town. Penny 
is a small-time con artist whose M.O. involves catfishing men online using stock photos, then tricking them out of more money when they meet face to face. Penny is arrested mid-scam, tossed into prison and kicked out of town. What she doesn’t know is
she’s been played– the policewoman who arrested her worked actually for another con artist, none other than Josephine! When she discovers the truth, Penny and Josephine agree on a competition: whoever succeeds in scamming a random man out of half a million dollars can 
stay in the resort, and the other one must leave. Their victim is an innocent, Mark Zuckerberg look-alike (Alex Sharp). Which of them will win over the tech millionaire?
If this sounds vaguely familiar, it’s because The Hustle is a remake of Dirty Rotten Scoundrels but with Anne Hathaway in Michael Caine’s role and Rebel Wilson replacing Steve Martin. Recasting successful comedies with women in formerly male roles is popular these days, but doesn’t always work. But in this case it sure does. The Hustle is better, funnier and more subversive than Scoundrels. Hathaway is clever as the multilingual aristocrat, but it’s Rebel Wilson who steals every scene with her physical humour, facial contortions and bawdy language. She is brilliant. Maybe the concept of con artists on the Riviera is a bit dated, but it still had me laughing loudly during most of the movie.
I rarely endorse comedies, but I found this one hilarious.
Tolkien
Dir: Dome Karukoski
It’s the early 20th century in Birmingham, England. Young J.R.R. Tolkien (Nicholas Hoult: The Favourite, Warm Bodies) is an orphan who finds himself in impecunious circumstances. Luckily, a wealthy Catholic priest, Father 
Francis (Colm Meaney) takes him under his wing and sponsors him to study at a prestigious school called King Edward’s. He was home schooled by his mother before she died, leaving his head filled with stories of 
mythical dragons and elves. He may be the poor kid, but he immediately impresses everybody with his knowledge of Latin, Old English and mythical languages he creates just for himself.
After initial misgivings, he falls in with three other boys: 
Christopher, Geoffrey and Robert. Together they form the Tea Club and Barrovian Society, a four-man group that hangs out in tea shops discussing art, music and poetry as well as concepts of bravery, fellowship and loyalty. He meets a beautiful 
young woman named Edith Bratt (Lily Collins), also an orphan, who lives in his boarding house. His friendship with the boys grows, even as his love for the piano-playing Edith deepens.
He is eventually accepted to Oxford on a scholarship, but is separated from Edith and some of his friends. And his
world is torn apart by WWI, when they are all sent off to the trenches, where he witnesses carnage and total destruction. Who will live and who will die? And will he ever see Edith again?
Tolkien is about the boyhood and youth of JRR Tolkien, long before he 
wrote the Hobbit and Lord of the Rings. The movie flashes back and forth between memories of his growing up, and the film’s “present day” when he is stuck in the trenches of The Battle of the Somme in WWI. And it gives a a few hints at his future as a writer of the famous fantasy books. He imagines fire breathing dragons on the 
battle front, with the scenery like Mordor. The four friends are like Frodo, Sam and the gang in The Fellowship of the Ring. It also touches on Wagner’s Ring Cycle’s influence on Tolkien’s Ring trilogy. So it’s kind of interesting to watch if you’re into his books. And I liked the period costumes, scenery and good acting.
But the movie never seems to go anywhere. It falls into the category of biopics about revered subjects where you can’t show passion, adventure or sex, at the risk of tarnishing his pristine image. (Ironically, Tolkien’s heirs still refused to endorse the film.) No sparks in this hagiography, just a few kisses and some unrequited, longing glances.
Be My Star (Mein Stern) 2001
Wri/Dir: Valeska Grisebach
Nicole (Nicole Gläser) is 14-year-old girl who lives in Berlin with her two sisters, Monique and Janine. She’s at a turning point in her life. It’s the age when you try out a job (she chooses to intern at a bakery because she likes the way it smells). She’s also becoming sexually aware. First she dates any guy who asks her, but later becomes more discerning. She approaches Schöps (Christopher Schöps) a soccer-playing teen to give it a go. He’s interning as a plumber and gets his own apartment. They have cigarettes, alcohol and privacy to share, but they don’t 
quite know what to do. Is this love, and are they a real couple? Or just a couple of kids?
Be My Star is a very sweet and beautiful coming-of-age story made 20 years ago. It’s acted by kids using their real names, in a verité style and setting, 
but it’s clearly a drama not a documentary. It’s also an excellent example of the Berlin School of filmmaking. This tender and intimate examination of first love (and first break up) is realistic and moving. Its showing as part of Past Forward: German Directors Before Cannes, a series of seminal works by German directors who later became famous.
I really liked this one.
Tolkien and The Hustle both open today in Toronto. Check your local listings. And Goethe Films is showing Be My Star one time only at the TIFF Bell Lightbox on May 14th at 6:30.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Surprising twists at TJFF. Barbara Rubin and the Exploding NY Underground, A Fortunate Man, The Golem
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Spring Film Festival Season continues in Toronto. Hot Docs comtinues on through the weekend and TJFF — the Toronto Jewish Film fest — opened last night. This week I’m looking at three new movies with surprising twists, all playing at the TJFF. There’s a Golem (who’s not from the Hobbit), a historical romantic drama (that’s not based on an English novel), and a doc on an experimental filmmaker (that’s not about a man).
Barbara Rubin and the Exploding NY Underground
Dir: Chuck Smith
It’s the 1960s. Barbara Rubin is an outspoken teenager in Queens, NY. So outspoken, her parents lock her up in a mental hospital… which serves as her crash course in how to use drugs. She emerges as a savvy artist and drug expert and dives straight into the world of underground cinema, just heating up in New York. She studies under the wing of Lithuanian-American filmmaker Jonas Mekas. One of her first films creates a sensation. Shot against her own apartment’s white walls and floor, “Christmas on Earth” 
features naked men and women whose entire bodies are covered in either black or white paint, with their breasts and genitals painted the opposite colour. (Basically they writhe on the floor in a continual orgy.) But the two reels of film are projected simultaneously on the same screen – something never done before. She releases this film when she is still 18 years old.
Barbara and Jonas fly to Belgium for an experimental film competition, and cause an international scandal when she occupies the projection booth to show a banned movie — Flaming Creatures by Jack Smith. Later she falls in 
with Beat poet Allen Ginsberg and his lover Peter Orlovsky, pop artist and experimental fimmaker Andy Warhol, the already legendary Bob Dylan, and the seminal band the Velvet Underground. She’s the one at the centre of these disparate figures who 
introduces them to one another, leading to some major artistic projects, collaborations and record albums that never would have been made if it weren’t for her.
Barbara Rubin and the Exploding NY Underground is a fascinating documentary about an important figure who you’ve probably never heard of. Tragically, she died in her thirties, after adventures that bounced across the Atlantic and back again, spanning England, France and rural New Jersey, delving into sexual experiments, psychedelic expression, lost loves, and Jewish mysticism.
A really good movie.
A Fortunate Man
Dir: Billie August
(Based on the novel Lykke-Per by Henrik Pontoppidan)
It’s the late 1800s in Jutland, Denmark. Per Sidenius (Esben Smed) is a bright young man off to Copenhagen to study engineering. But his strict father, a fundamentalist preacher, withholds his money, to teach his headstrong son a lesson in humility. Broke and hungry, he struggles to survive in a slum, while attending university classes. He already knows what he wants to do: create a complex system of canals in Jutland to bring Denmark into the modern era. But is he too big for his britches?
Luckily he spies a member of the illustrious Salomon family in a café, and pitches his idea to Ivan (Benjamin Kitter). Ivan is intrigued and introduces him to his family, including the erudite and elegant Jakobe (Katrine Greis-Rosenthal), heiress to the family fortune. Educated in 
Switzerland, Jakobe speaks many languages and looks down on the ambitious but clumsy Per. She is standoffish and rebuffs his attempts at wooing her – she’s engaged to a widower with two daughters. But he wins her over when he runs like a deer hunter beside her horse and carriage. They are engaged to be married.
Meanwhile, the Salomons and their friends express interest in investing in Per’s grand scheme. But first, Per – a young man who never apologizes – must humble himself before an important government figure. And the Salamons are a Jewish family, while Per comes from a long line of fundamentalist Protestant ministers. Are their backgrounds, classes, religions 
and philosophies too different? Will Per reconcile with his family? Will he learn to be humble? Or is he too brash and immature ever to fit into Copenhagen’s mannered society?
A Fortunate Man is a 2¾ hours long saga of the lives of Per Lykke – Lucky Per – and Jakobe Salomons, but I was never bored. If you devour these long historical dramas, but are getting tired of the same old, same-old british Victorians, this one introduces totally new worlds and characters. It feels like a Thomas Mann saga. I’ve seen the movie, now I think want to watch the whole miniseries. Great acting, beautiful period costumes and sets, and a compelling unpredictable drama
The Golem
Dir: The Paz Brothers
It’s 1673 in an impoverished, isolated Jewish shtetl village in eastern europe. Hanna (Hani Furstenberg) is a young woman with pale skin, green eyes and bright red hair. She and her husband Benjamin lost a son, but are still in love. He studies religion all day — which is only open to men — while Hanna eavesdrops on lessons through cracks in the floorboards. She studies the Kaballah, a mystical text on numerology, in secret, on her own. But all is not well. One 
day she spies outsiders in the woods burning corpses. They are dressed in bizarre, birdlike masks and leather capes It’s the plague! It hasn’t reached their village yet, but these outsiders are blaming them for its spread. The outsiders are led by Vladimir (Aleksey Tritenko) whose daughter is dying. He rides into town on horseback with a threat: Unless their village healer can save his daughter, he’ll burn down the village and kill them all.
Hanna decides it’s time to act. Using her knowledge of Kaballah, the 72 sacred names, some red string and a mound of fresh dirt, she creates a golem, the mythical Prague monster. The golem comes to life, but with a difference. Not a huge beast, this golem is just a little boy. But one that is fast, strong, and vengeful. He feels whatever Hanna feels, and kills whoever he thinks she doesn’t like. And when the golem is hurt she feels his pain. Can the golem save the village from destruction and death? Or will he end up killing them all?
The Golem is a new twist on the classic horror movie: It’s Fiddler on the Roof but with a Stephen King killer-kid with special powers, An interesting combination I’ve never seen before. Is it scary? A little. There’s lots of blood, without too much gore. Hanni Furstenberg is great as Hanna, as is Konstantin Anikienk as the boy golem.
For a new take on horror, you should check out The Golem.
The Golem, Barbara Rubin and the Exploding NY Underground, and A Fortunate Man are all playing now at the Toronto Jewish Film Festival.
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 Oscar-winning filmmaker László Nemes about Sunset
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Photos of László Nemes by Jeff Harris
Irisz is a pretty, young milliner from Trieste who is visiting a grand hat shop in Budapest celebrating its 30th Jubilee. She is there to apply for a job, but the owner hands her a first class ticket home the moment he hears her name.
It’s Leiter, a name both famous and infamous. It’s the name of the hat store, suppliers to the royal family, and founded by her 
own parents who died in a fire. But it’s also the name of a man who started the fire and murdered a count. Is he a madman… or a revolutionary? Irisz vows to find out who he is. But will the visit lead to a happy anniversary? Or is it the final sunset for the famous millinery house?
Sunset is also the name of a new film from Hungarian director Lázsló Nemes, who created the Oscar-winning Son of Saul. 
Sunset gives a multifaceted impression of pre-WWI Budapest, using sound, light, motion, colour and voices as experienced by Irisz. It shows the decadent Austro-Hungarian empire teetering on the brink, even as the new shining city arises. Sunset is a film filled with chaos, confusion and conflagration.
I spoke to Lázsló Nemes on location at TIFF in September, 2018.
Sunset opens today in Toronto at the TIFF Bell Lightbox.
Shells. Films reviewed: Journey’s End, Ready Player One, The China Hustle
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s a holiday weekend filled with eggs, whether hard boiled or made of chocolate with a prize inside. So this week I’m looking at three new movies about… shells. There are VR gamers looking for a hidden easter egg, Wall Streeters investing in shell corporations, and WWI soldiers dodging mortar shells.
Journey’s End
Dir: Saul Dibb
It’s March, 1918, in the WWI trenches of northern France. Underground, where the officers stay, it’s dark, dank and smelly. Up on the surface its deadly dangerous, with snipers aiming at your head. Four British divisions rotate their stays at the front at one week per month. It’s like a lottery – with a one in four chance of dying. And the soldiers in Company C are just trying to stay sane and alive. There’s the fatherly Osborne (Paul Bettany) who everyone calls “Uncle”, the indefatigable cook Mason (Toby Jones), and the shell-shocked Hibbert.
So no one can understand why the green, idealistic Lt Raleigh (Asa Butterfield) pulls strings to join this benighted group. Why? His upper classman Captain Stanhope (Sam Claflin) is stationed there and he wants to see him 
again. But he doesn’t realize the level of death and despair that has taken hold there. And that his hero, Stanhope,
is now a mean and bitter alcoholic. The soldiers there are forced to make pointless raids in daylight so as not to interrupt the dinner schedule of far-off Generals. And things reach a boiling point when 
word gets out the Germans are about to attack on Thursday, right there. They’re essentially sentenced to die at the front. How do they all handle this?
Journey’s End – based on the classic play – is a tense retelling of an old war story, exactly 100 years later. It deals with the futility of war, the rigid British class system, and the male comeradery of life in the trenches. The acting is very good, and the camera wonderfully captures a world lit only by flickering lanterns. Even so, it was hard to sympathize with the stuff-upper-lip, tally-ho language of the script. The long theatrical conversations might might work on stage but not on the screen. The main emotions I got from this movie were depression, disgust claustrophobia and fatalism. It all felt too long, too slow, and too distant, especially once you know their fate… Just die already!
Ready Player One
Dir: Steven Spielberg
It’s 2045 in Columbus, Ohio and the world is a mess. People live marginal existences in ramshackle towers beside huge corporations. Wade (Tye Sheridan) is an 18-year-old orphan who spends most of his time online in a wildly- popular VR fantasy world called Oasis. Its creator left a trillion-dollar prize to whoever can solve the puzzles hidden within this digital world. First they must complete three levels of games and collect three keys and claim the hidden easter egg. Wade he surprises the world by appearing on the boards as Player One, the top ranked player in the world. But he’s not the only gunter (egg hunter) trying to win. His closest virtual rivals are Art3mis (Olivia Cooke) a fiery red-head, Aech, a muscular giant and genius mechanic; plus Daito and Sho whose avatars look like a samurai and a ninja, respectively. Wade calls himself Parzival. Like the Wagner opera 
character, he’s searching for a holy grail. And he’s in love with the lovely Artemis. But as best-bud Aech keeps telling him: you only know her avatar – that’s not what she’s like in real life. And lurking in the shadows is the rich and evil Sorrento, (Ben Mendelssohn) the head of IOI, the corporate rival to Oasis’s company. He pretends to be a champion gamer, but he’s actually a fake who hires employees to play for him. But he’s out to win — and take over the world — at any cost. Which of the hunters will figure out the puzzle and find the easter egg? And can they defeat the villainous Sorrento?
Ready Player One is an incredibly fast-moving sci-if action movie. Oasis’s inventor, whose puzzles they’re all trying to solve, was obsessed with the 80s, so the movie feeds you a random hodgepodge of Back to the Future and Iron Giant, Gandam and Street Fighter, New Order and Van Halen, a non-stop shower of pop culture, to the point where you can’t tell self-referential jokes from cheap product placement. (Maybe they’re both?) But why would kids in the 2040s care about the 1980s? I can’t call this a good movie; it’s incredibly commercial, felt more like a theme park ride than a film, and parts were like watching a video game with someone else holding the controls. But you know what? I still enjoyed it. And it does have that classic Spielbergian look and sound.
China Hustle
Wri/Dir: Jed Rothstein
After the Subprime Mortgage crisis, American investors, pension funds, and ordinary moms and pops were looking to make some money. But where? Chinese people were making millions investing in their red-hot companies, but those stocks weren’t traded on Wall Street. Until, suddenly, they were. Hundreds of Chinese startups were being bought and sold and making big bucks. And companies like Roth Capital were holding lavish parties known as “investment conferences” to reel in buyers. They were backed by reputable auditors like 
Deloitte. It’s a win-win proposition – everyone makes money. Until, that is, some suspicious investors fly to Shanghai and looked around.
Turns out, many of these companies operate as “Reverse Mergers”. Existing Chinese corporations buy shell companies already registered in the US, take them over, change their name, and they’re open to make money.
But their books here don’t look like their books there. Idle factories in China are said to be making ten times what 
they’re actually earning. And no one’s checking up on them.
So a few maverick investors decide to short sell their stock (like in that movie The Big Short) counting on its value crashing soon. And they speed this along by publicising the corruption and questionable accounting of the parent companies back in China. The result, riches for a few, terrible losses for many.
The China Hustle is a fascinating documentary looking at the shady practices behind deregulation, auditing and investments, as told by three American short-sellers. I thought its view of China as a monolithic villain was superficial and rather one-sided; for example, it shows how these fraudulent investments affect ordinary Americans’ lives, but not how they affect ordinary Chinese.
But it does expose in detail a huge scandal I knew nothing about.
Ready Player One opens today in Toronto; check your local listings. Journey’s End and The China Hustle are in theatres and Video On Demand. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Goethe Films: Margarethe & Barbara. Films reviewed: Hannah Arendt, Rosa Luxemburg, Marianne & Juliane
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Margarethe von Trotta is a leading German director and one of the only women in the New German Cinema (Neuer Deutscher Film) of the 60s, 70s and 80s. She co-wrote and co-directed (with Volker Schlöndorff) the first commercially successful film of that movement – The Lost Honour of Katharina Blum. Though her films are about dynamic women and told from a female point of view, von Trotta has distanced herself from some schools of feminist cinema. She creates movies about women, but not “Frauenfilm” (women’s movies).
She started her career as an actress, so she knows how to draw amazing performance from her actors. And she has a decades-long working relationship with one actor in particular: Barbara Sukowa.
Barbara Sukowa is a reknowned actor with a beautiful, square face that she completely transforms to match each character she portrays. She can play a role as both passionate and restrained, her emotions churning just beneath the surface.
This week I’m looking at three great films (based on historical figures) directed by Von Trotta and starring Sukowa. They’re part of a special series called Goethe Films: Margarethe and Barbara playing on the 3rd, 5th and 12th of October at the TIFF Bell Lightbox. There’s a melodrama about a revolutionary, a family drama about a terrorist and her sister, and an intellectual drama about a journalist-philosopher.
Hannah Arendt (2012)
It’s the 1960s in New York city. Hannah Arendt (Sukowa) is German-born writer and philosopher who is part of the intellectual scene in that city. She studied philosophy under Heidegger – and was his lover — but when the Nazis came to power she was stripped of her credentials as a Jew, while he embraced Nazism. She fled to France and later the US. Now she is offered a strange assignment by The New Yorker magazine – to cover the upcoming trial in Jerusalem of the notorious Adolf Eichmann. Eichmann was one of the main architects of the Holocaust and the murderer of millions. He testifies in a glass booth. Eichmann denies everything and paints himself as a gentle bureaucrat.
But Arendt’s description of Eichmann’s behaviour as the Banality of Evil — that of an ordinary-looking man who killed so many – meets with widespread shock and criticism, even among her friends and colleagues. Her writings on totalitarianism, guilt and responsibility reverberate around the world.
Hannah Arendt is a beautiful and magisterial depiction of a major intellectual figure as iconoclast, a hero fighting the tides. It’s also a biopic, given to long pauses of contemplation. And one that somehow seems kinder to Heidegger than to Arendt’s critics in academia.
Rosa Luxemburg (1986)
It’s 1900, the start of a century of change. Revolution is brewing in Russia and Germany is close behind. Rosa Luxemburg (Sukowa) is an educated, Polish-Jewish woman who walks with a limp. She is also a social democratic revolutionary, a firebrand who writes articles and gives passionate speeches. Now she lives in Berlin after being jailed and nearly executed in Warsaw.
She’s in a tempestuous relationshio with her sometime lover and fellow revolutionary Leo Jogisches (Daniel Olbrychski). But when she discovers he is having an affair, she begins a relationship with a friend’s adult son. And, with Karl Liebknecht, she 
founds the Red Flag newspaper and the Spartacus party, a Marxist (but not Leninist) Socialist party.
She calls for a massive strike to resist the war but nationalism is on the rise. Bloody Rosa is arrested and jailed during WWI as a political prisoner. Will her political dreams ever be realized, or will nationalism prevail?
Rosa Luxemburg is a fascinating historical biopic, told in a melodramatic style. There are as many scenes of her shouting to cheering crowds as there are of her gardening in prison or writing letters. A costume drama, this captures nineteenth-century romanticism in its music, poetry and idealism.
Marianne & Juliane (1981) Die bleierne Zeit
It’s the 1970s. Juliane (Jutta Lampe) is a journalist who writes for a feminist magazine. She grew up in a large family with a bible-thumping father, a conservative minister. Her sister Marianne (Sukowa) looked up to her as a teenager. Julianne was the rebel. She smoked, talked back to her teacher, wore pants – not a skirt! – and caused a furor when she danced alone to a Vienna waltz ata high school dance. The two are shattered by the documentaries they see in school on Nazi mass murder, and vow they will never let it happen again. But the two have taken different paths and their roles have changed.
Marianne is now a brash, self-centred woman who 
rejects concepts like marriage, family and money. She doesn’t ask for things; she demands them. She’s a member of the dreaded Red Army Faction — a terrorist group that sets off bombs and hijacks planes — and is on the run from police. She also has a young son, Jan, but can’t take care of him. When she is caught by the police, it’s up to Juliane to visit her in prison to keep her sane and alive. She smuggles in notes hidden in tissues, and passes on her messages. Can Juliane’s marriage and job — and Marrianne’s son — survive the prison sentence and the widespread public hatred of the crimes she committed?
Although this is a fictional drama, it’s based on RAF member Gudrun Ensslin and her journalist sister. This powerful drama is not a historical biopic; it was made just a few years after the events it portrays.
All three films encorporate historical black-and-white film footage and prison scenes, about heroes (and villains like Eichman) encaged and restrained. Together, these three films provide a century-long view of modern Germany through the eyes of three women.
Marianne and Juliane, Hannah Arendt, and Rosa Luxemburg are all playing next week on the big screen at the TIFF Bell Lightbox in Toronto — $10 per ticket — with Barbara Sukowa introducing Marianne and Juliane. Go to Goethe Toronto for details.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Exceptional people with hidden histories. Movies reviewed: Gifted, I Called Him Morgan, Frantz
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Spring Film Festival season continues with the upcoming Images and TIFF Kids film festivals, celebrating their 30th and 20th anniversaries (respectively).
This week, I’m looking at movies about exceptional people with hidden histories. There’s a musical genius in Manhattan, a mathematical prodigy on the Florida coast, and a man of mystery at the border of France and Germany.
Gifted
Dir: Mark Webb
Frank (Chris Evans) is a youngish guy living in a shack in Florida. He lives a quiet life, fixing boats and hooking up with women at laguna bars. The rest of his time is spent home-schooling his niece Mary (McKenna Grace), a foul-mouthed seven-year-old with blonde pigtails. Mary likes math, dancing to pop songs and playing with Fred, their one-eyed stray cat, a castoff like the two of them. How did they end up in Florida? Frank’s sister, a math genius, left Mary with him as a baby… just before killing herself. She made him promise to let Mary have a normal life, in case it turns out she’s a genius too. Normal means keeping the child free from math profs and universities, and most of all away from their obsessive mother Evelyn 
(Lindsay Duncan). She’s the one who pushed Frank’s sister over the edge with her relentless ambition: solving one of the Millennium Prize Problems.
Frank is protecting Mary from all that. But how can she live a normal life hidden away in their clapboard shack? It’s time to send her to public school — despite his savvy neighbour Roberta’s warnings not to (Octavia Spence). Right away the 
dominos start to fall: teacher tells principal Mary is gifted, Principal goes online and soon Evelyn is in Florida demanding a proper Harvard education for her gifted grandchild. Who has Mary’s best interests at heart – her wealthy patrician grandmother or her salt-of-the-earth uncle Frank?
I like the idea behind Gifted, and was looking forward to a story about a genius kid trying to live a normal life – but aside from a few scenes the movie isn’t about that. It’s actually a child custody drama, which is never much fun. Throw in foster parents, courtrooms and lawyers and the movie becomes a trial to watch. While the acting is not bad – Captain America as a single dad – and there are a few big secrets revealed along the way, I found Gifted disappointing.
I Called Him Morgan
Dir: Kasper Collin
Lee Morgan was a young jazz trumpet player from Philly, featured in Dizzy Gillespie’s big band as an 18 year old. 15 years later he was shot dead outside a Manhattan jazz club in a snow storm by a much older woman named Helen. How did he get there, who was this woman, and how did it happen? A new documentary looks closely at both their lives.
Morgan was a hard-bop trumpeter who dressed in Ivy League suits and drove his Triumph 
through Central Park. He played with Art Blakey and John Coltrane, later breaking away with his own band. Helen was born in a small town near Wilmington, North Carolina, with two kids by age 14, and widowed by 18 after a short marriage to a bootlegger. She left her kids with grandma, moved to New York City and never looked back. She cut an impressive figure on the streets, hanging with Manhattan’s demimonde, sexual outlaws and drug dealers. That’s how she entered the jazz scene. By the time she met Lee Morgan, he was a 
junkie who had pawned his trumpet for some heroin and was virtually homeless. She washed him, got him into a Bronx clinic and set him back up in the jazz scene. She served as his mother, lover, manager and protector. But when he began to fool around with a young woman from New Jersey, things started to go wrong…
I Called Him Morgan is an amazing movie about the two lovers’ lives. Helen gave only one interview in a bar on a cassette tape a month before she died, but in it she tells what really happened. Interviews with the friends and musicians he played with fill in the blanks, and it is illustrated with B&W photos from Blue Note (the club and record label where Morgan played and recorded), all set alight by Morgan’s cool trumpet sounds. Fascinating musical documentary.
Frantz
Dir: Francois Ozon
A small town in Germany, right after WWI. Anna (Paula Beer) is a strong and pretty young woman all dressed in black. She is in mourning for her fiance Frantz Hoffmeister, who died in the trenches. She still lives with Frantz’s father, the good Doktor Hoffmeister, and Magda his mother. They treat her like one of the family. One day, Anna spies a young man with a pencil thin moustache laying white roses by Frantz’s grave. Who is this man and what does he want? His
name is Adrien Rivoire (Pierre Niney) and he is a musician. It seems he knew Frantz before the war, in Paris, and he carries a letter he wrote. He is visiting the town to pay his respects and to say something to Frantz’s father. But the war wounds are still raw, and townsfolk can’t believe a frenchman would dare set foot there. Eventually, nervous Adrien spends time with Anna and her family forging a deep emotional friendship, but 
one based partly on lies. What isn’t he telling them?
After Adrien returns to France, Anna decides to track him down in Paris, and retrace the museums and music halls Frantz had loved. But Adrien is nowhere to be found. Like a detective, she tries to locate him far outside Paris, which leads her to a sumptuous villa in the country. 
And now Anna must reveal secrets of her own.
Frantz is a fantastic, novelistic melodrama spanning Germany and France, about secrets, lies, guilt and class. It’s a romance full of unrequited love, fuelled by letters and whispered confessions. I told very little of the story, to avoid spoilers, but believe me this is one great movie. It’s shot in stunning black and white with a hitchcockian musical score, beautiful costumes and great acting. Francois Ozon’s movies are often light family dramas or superficial sexual comedies, but this one is a sumptuous, epic story, perfectly made. I recommend this one.
Gifted, I Called him Morgan and Frantz all start today in Toronto; check your local listings. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
O Canada. Films reviewed: Hello Destroyer, Maliglutit
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Happy New Year! It’s the sesquicentennial. You’ll be hearing that word a lot. It means it’s been 150 years since Canada’s Confederation in 1867.
CRTC chief Jean Pierre Blais thinks Canadian TV should be designed to appeal on the world stage – we shouldn’t worry about Canadian culture. Writer Charles Foran, in the Guardian, calls Canada the world’s first post-national country. He’s quoting Justin Trudeau, but I think they’re missing the point. There is a strong 
national identity. It’s just not an ethnic-based nationalism. It’s not a jingoistic nationalism. It’s not an exclusive identity, it’s an inclusive one that is welcoming and tolerant and multifaceted. But we do have a distinctive Canadian culture.
And part of our identity is Canadian literature, art, music and film. In this Sesquicentennial year look out for lots of chances to consume Canadian culture. The NFB has put thousands of films and documentaries online. And there’s Canada on Screen, a nationwide retrospective running all year with 150 of the best docs, animation, features and TV. All screenings are free!
This week I’m looking at Canadian movies playing as part of the annual Canada’s Top Ten series. We’ve got a hockey drama out of the far west, and a western from the extreme north.
Hello Destroyer
Wri/Dir: Kevan Funk
Tyson Burr (Jared Abrahamson) is a minor league hockey player in Prince George, BC. He’s a rookie at his first job. He’s welcomed by a hazing where the players hold down the newbies while they forcibly shave their heads and pummel them. It helps them feel “part of the team”. Violence builds manhood and comradery. He’s known as a destroyer, an enforcer who keeps the other teams’ players at bay – fighting on the ice is just another part of the game. Tyson is at his physical peak and on top of the world. But he admits to another rookie that he has doubts and fears of his
own.
The coach (Kurt Max Runte) tells the team they should aim to be heroes. You’ve got to hammer your steel into excalibur! We are fighters, brawlers, men! That’s when they’re winning. But when they are losing he bawls them out and tells them to fight back – aggressively. Tyson does just that, and sends a player to hospital.
The coach and team lawyers, rather than reaching out to him, throw Tyson beneath the proverbial bus. They make him read a prepared statement talking all the blame, all the responsibility. Suddenly he plummets from hero to pariah. He gets kicked out of his home, suspended – temporarily they say – from the team, and is forced to move back in with his parents.
He’s also plagued with guilt – he wants to apologize to the guy he hurt, to tell
him he didn’t mean to, but that doesn’t fit with the league’s plans. From beating players on the ice, his new job at a slaughter house, hacking at bloody carcasses in the cold.
He seeks solace and solitude with another guy who has fallen on hard times, and doesn’t hold it against him as they salvage an old shack. Can Tyson face his 
doubts and regain his self-respect, or will he continue in a downward spiral of loss and self-destruction?
Hello Destroyer is a moving look at violence and self doubt in the world of professional sports. But don’t expect to see a conventional, movie of the week type drama. This is an impressionistic, introspective art-house movie. No slow-mo punch fights or zooms at key moments. No reaction shots. The camera 
always stands back, following Tyson from behind, or capturing a conversation through a half-open doorway. Dialogue might be muffled or turned off entirely. Jared Abrahamson carries the whole movie – the frustration, anger and self-loathing – on his shoulders, and pulls it off admirably. This is a good first film.
Maliglutit (Searchers)
Dir: Zacharias Kunuk
It’s 1913, in Igloolik. There’s a party going on in a large igloo with singing, storytelling and all around good times. But there’s friction as well. A couple of foul mouthed men are openly groping The father’s wife and not sharing the food they caught. Those are both against Inuit law. The offenders are kicked out, and ride off on their dog sleds. But they haven’t seen the last of them.
Following a spiritual forecast, the hunters – father and son – head out to catch caribou, leaving the kids, women and elderly behind. And while the hunters are away they hear dogs barking and strange noises outside. Is it a bear attack? No it’s something worse. The bad men are back, breaking down the walls of their home, attacking and killing almost everyone. They rope up the mother and 
daughter and tie them to their sleds, as bounty. But the women refuse to cooperate and “be nice”. They fight back.
Our heroes spot their home through a telescope and know something is terribly wrong. There’s a gaping wound in its side. In the igloo, dying grandfather passes him a bird talisman. He summons the bird’s call to help him track the attackers. Who will survive this life and death battle?
Maliglutit is a great movie — part mystery, part western, part historical drama — with information you might only get in a documentary. It captures an era after western contact and technology – they use a telescopes and rifles, and drink tea – but before Christianity, snowmobiles, forced resettlement and the killing of dog teams. It loosely follows the classic John Wayne The Searchers, a so-called Cowboy and Indian movie, but this time from the indigenous point if view. Like all of Kunuk’s movies it is stunning to watch with its arctic vistas and intense whites, blacks and blues, punctuated with the occasional splash of red blood or the glow of fire.
See NFB movies at nfb.ca; Canada’s Top Ten starts on January 13th – go to tiff.net/seethenorth for details; and for information about the year-long, sesquicentennial retrospective go to tiff.net/canadaonscreen.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
New Places. Films reviewed: Sunset Song, Neon Bull, A Bigger Splash
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Someone asked me recently what I like about movies. I gave the usual answers: story, emotions, acting, images, themes, novelty… but she said she likes the places movies can take you, countries you otherwise wouldn’t get to visit. So this week I’m looking at dramas that take you to new places. There are celebrities in the Mediterranean, cowboys in Brazil, and farmers in northeast Scotland a century ago.
Sunset Song
Dir: Terence Davies (based on the novel by Lewis Grassic Gibbon)
It’s the early 20th century in rural northeastern Scotland. Chris (Agyness Deyn) is happy and bright, a schoolgirl who lives on her family farm. She’s one with the land, but holds future ambitions of a career, maybe a schoolteacher. But her family life is less than nice. Her mother is depressed, her father (Peter Mullan) is a brute. She’s closest to her 
brother, Will, who hates their dad for good reason. Their father is quick with the whip and will bloody Will’s back for the slightest infraction, even a play on words using the name Jehovah. It’s a rough life.
And when Mum survives an incredibly painful childbirth – it’s twins — she loses it and the family falls apart. Will leaves for greener pastures, Mum’s out of the picture, Dad has a stroke. Chris has to run the farm basically by herself, plowing the fields and harvesting the grain. She marries for love to a kind and gentle man named Ewan (Kevin Guthrie). Their post-honeymoon life is idyllic until WWI. Then, suddenly, it’s loud sermons from the pulpit saying the Kaiser is
the antichrist and anyone who doesn’t join up to fight in the muddy trenches is both a coward and a traitor. He signs up. The next time she sees Ewan he’s been replaced by a horrible creature she doesn’t recognize.
Sunset Song is a coming-of-age novel about a strong and independent woman and the troubles she faces. But, being directed by the great Terence Davies makes it a different movie than you might expect. Time passes and scenes change like memories recalled much later. Chris is the narrator but she speaks in the third person. And as in most of his movies, characters are as likely to start singing songs or reciting poetry or quoting biblical texts as they are to have “normal” dialogue. But it never feels odd or affected, it’s just how they talk. Sex and violence, fury and pain, anguish and celebration are all played out… by candlelight. Beautiful.
Neon Bull
Wri/Dir: Gabriel Mascaro
Iremar (Juliano Cazarré) is a vaqueiro – literally a cowboy – in Brazil. He’s tough and swarthy with a black beard. He lives among the cows, feeding, washing and shoveling manure. His job is to tend the bulls used in a type of rodeo match called a vaquejada. Two men riding horses with a bull running between them have to take him down and cut off the end of his tail. Iremar is the one who powders the bull’s tail and pushes him into 
the ring. His work is rough, dirty and badly paid. But a more interesting life exists in the creative part of his mind. He sees images and fantasies which he brings to life, in the form of clothing and costumes.
He lives on the road as part of a travelling, impromptu family. There’s model-like Galega, his boss (Maeve Jinkings), her young daughter, the unfortunately-named Caca (Alyne Santana), and 
others. In his free time he observes and collects: A mannequin he finds in a dump; surfing fonts he sees on a sign; the hair bobbed off the bulls tails at the rodeo… he keeps them all. And he sketches his designs over pictures of nude women in skin mags. He “dresses” them.
And he translates these into outfits for Galega to wear and perform in. But what outfits they are: a sexy mixture of horse and human.
And there lies the crux: they work with cows but dream about 
horses. Caca wants to own a horse, Galega dresses like one, and Iremar either wants to become one or have sex with one – it’s never completely clear. He certainly has erotic dreams involving horses, as well some real-life sexual interactions of a sort between man and beast. (I’ll say no more about that; you have to watch the movie yourself to understand what I’m saying.)
There’s not much of a story; see it for its images and ideas. It’s beautifully shot, alternating between explicit sex and amazing documentary-style animal scenes with the screen completely filled with white bulls. This is the kind of movie that gradually grows on you long after you’ve seen it.
A Bigger Splash
Dir: Luca Guadagnino
Marrianne Lane (Tilda Swinton) lives in a secluded villa on a rocky Italian island in the Mediterranean. She’s a former rock star used to preforming in glam makeup and sequins before thousands of adoring fans. Until she lost her voice. Now she’s doted on by her much younger, faithful husband 
Paul (Matthias Schoenaerts). They spend each day playing in bed or relaxing in their serene swimming pool.
Paul was introduced to Mariann by her first husband, Harry (Ralph Fiennes) who felt a change was needed. Harry is a larger-than-life celebrity in his own right, a rock producer, who loves recalling his adventures with Mick Jagger. So Paul is in 
awe of both Marianne and Harry. Which is why he can’t really object when Harry arrives uninvited at their doorstep with a blasé young woman named Penelope (Dakota Johnson). She lives with her mom in Connecticut but recently discovered she has a dad – Harry, of course. And here they both are.
Harry loves it. He’s the kind of guy who always needs a dramatic 
entrance. And once he’s on stage he walks around naked for most of the movie. Penelope is looking for sex, and has her eye on both her putative father (she wants to see a DNA test) and Paul. Marianne is less than pleased by the interlopers. It opens up old wounds and unfinished business. She also prefers centre stage, she doesn’t want 
to be a side kick in her own home. And Paul is overwhelmed by the uncomfortable situation, but keeps it to himself. Until things explode.
This movie feels like a stage play with four characters played by four great actors. They’re all fascinating but in a grotesque, hateable sort of way. As celebrities they’re used to being watched but they also need privacy. We get to watch them how they really are, and it ain’t pretty.
Some of the camera work bothered me – too show-offy and distracting — but the scenic beauty of a Mediterranean isle that’s also a landing point for asylum-seekers more than makes up for it. Luca Guadagnino also directed I Am Love in 2010; A Bigger Splash is less stylized, more mature.
Neon Bull, A Bigger Splash, and Sunset Song all open today in Toronto; check your local listings.
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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