Grand Ambitions. Films reviewed: Edge of the World, The Sign Painter, Lune
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
Three Historical Dramas. Films reviewed: Budapest Noir, An Act of Defiance, Bye Bye Germany
Hi, this is Daniel Garber at the Movies for culturalmining.com.
Spring Film Festival Season continues in Toronto, with Hotdocs rounding up its fnal weekend. Remember, daytime tickets to these amazing documentaries are free for all students and seniors.
And starting up now is Toronto’s Jewish Film Festival, featuring comedies, dramas, TV and documentaries from around the world. This week I’m looking at three historical dramas now playing at TJFF. There’s a mystery/thriller set in Budapest in the 30s, a comedy/drama in Frankfurt in the 40s, and a courtroom drama in Pretoria in the 60s.
Budapest Noir
Dir: Éva Gárdos
It’s 1936, and everyone in Budapest is preparing for the state funeral of Prime Minister Gyula Gömbös. Everyone but cynical reporter Szigmond Gordon (Krisztián Kolovratnik). Crime’s his beat, not politics and cigarettes and bourbon
are his life’s blood. And his only distraction is a beautiful woman. So he’s pleasantly surprised when he meets a mysterious woman in a downtown cafe. But today’s potential love interest is tomorrow’s news story when he finds her body in a pool of blood.
He calls on his ex-girlfriend Kristina, a photographer (Réka Tenki) to take pics of the crimes scene. (She’s back in Budapest after smuggling shocking photos out of Germany.) But when he tries to 
investigate the murder, he faces roadblocks at every turn, with no one but Kristina to help him. The chief of police, the politicians, and even members of the underworld seem to be blocking him from finding the truth. And for some reason her body has disappeared from the morgue.
His search leads him to pornographers, fascist gangs, a coffee
importer, a secret communist meeting, a madame at a brothel, and a punch-drunk boxer, all in an attempt to solve the mystery. Will he find what he seeks? Or is he digging too deep, uncovering things journalists aren’t supposed to see?
Budapest Noir is a look at the underbelly of a huge city in turmoil in turbulent times. It’s presented in a film noir style, narrated by a Bogart-type character complete with trenchcoat and hat, and borrows images from dozens of famous movies. Occasionally it veers from pastiche into parody with all its hollywood memes, but generally it’s a solid and well-acted homage, full of surprises.
An Act of Defiance
Dir: Jean Van De Velde
It’s 1963 in South Africa. The police raid a secret meeting in a farm house in Rivonia, arresting everyone there. The meeting was by the heads of umKhonto we Sizwe, the paramilitary wing of the African National Congress. Charged with sabotage, the accused face death by hanging, and it looks like they’re heading that way. Until a respected white Afrikaner lawyer, Bram Fischer (Peter Paul Muller), agrees to head the defence team. The 
defendants include Walter Sisulu, Harold Wolpe and none other than Nelson Mandela himself.
But the prosecutors are working hand-in-hand with the police, the 
government and the secret service. They tap phones, record private lawyer-client conversations, and send spies out at night to take pictures through windows. Turns out Fischer is not just a random defence lawyer helping out; he has deep ties to the anti-apartheid movement. As the trial progresses, he and his 
family become the targets of underhanded campaigns. Can he convince a conservative judge to save the defendents’ lives? Or will they, and he, end up in the gallows?
This is a fascinating and intense courtroom drama, about a 
period of South African history largely unknown outside of that country. It includes Mandela’s famous “I’m prepared to die” speech given during the trial, but he and the other defendents are minor characters. It’s mainly about Fischer and his family, including his wife Mollie (beautifully played by Antoinette Louw) and the fight against apartheid. It also includes some thrilling moments about the family avoiding an evil police force.
This is another good film to catch.
Bye Bye Germany (Es war einmal in Deutschland)
Dir: Sam Garbarski (Based on the novels of Michel Bergmann)
It’s occupied Frankfurt just after WWII. A quarter of a million holocaust survivors are living in DP (displaced persons) camps in central Europe, run by allied forces. They’re waiting to emigrate to America or Palestine. But in the meantime they have to support themselves. Enter David Bermann (Moritz Bleibtreu) a sweet-talking teller of tales with a pencil thin mustache and a mysterious past. He says his family has been in 
dry goods for generations. So he recruits a ragtag bunch of salesmen to help peddle his linens. But they wonder why he keeps disappearing for hours at a time. Where does he go?
He’s being interrogated by the stern but beautiful Special Agent 
Sara Simon (Antje Traue) a German-speaking G.I. assigned to weed out war criminals and collaborators from among the refugees. Why was Bermann given special treatment by the SS? His answer? He told funny jokes. Will Sara believe his outlandish stories? Will his business venture pan out? And will he and his friends make enough money to say Auf Wiedersehen to Deutschland?
Bye Bye Germany is a very entertaining, but bittersweet, memoir of life as a jew in postwar Frankfurt. Antje Traue is the perfect foil for Bleibtreu’s charming but sketchy Bermann. I liked this movie.
You can catch Bye Bye Germany, An Act of Defiance and Budapest Noir at TJFF over the next two weeks. Go to TJFF.com for details.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Black History. Films reviewed: A United Kingdom, I Am Not Your Negro
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s Black History Month, so I’m looking at some historical movies that fit the profile. There’s a British drama about forbidden love and a united kingdom, and a French documentary about a writer’s look at African Americans in the divided United States.
A United Kingdom
Dir: Amma Asante
It’s London in the 1950s. Ruth (Rosamund Pike) is an attractive, professional woman who lives with her parents. One night she meets a handsome student from Oxford at a dance. After a few dates he reveals he’s a prince, destined to become the king of a far off country called Bechuanaland. They fall in love, decide to marry, and move there… it’s like a fairy tale. But they face one problem. Seretse Khama (David Oyelowo) is black, and Ruth is white. This doesn’t 
matter much to them, but it does to the people around them.
Ruth’s parents are dead set against it, and as a mixed race couple they face abuse and even violence from strangers on the streets of London. In Bechuanaland, a British protectorate in Southern Africa, Seretse also faces trouble. He’s going against tradition by not choosing a wife from his own tribe. His uncle, the current Regent, objects strongly. And then there’s Sir Alistair Canning (Jack Davenport), a highly-placed diplomat in the foreign service. He’s condescending, snotty, racist and sexist – he 
assumes Ruth works in a typing pool (because she’s a woman) when she’s actually an underwriter at Lloyds of London. And he has ulterior motives.
Bechuanaland (now Botswana) is a British protectorate completely surrounded by Rhodesia (Zimbabwe), South Africa and South-West Africa (Namibia). Since 1948, South Africa has been under apartheid rules which make it illegal for whites and blacks to marry. For the king of Bechuanaland to openly flout these racist laws might undermine South 
Africa’s legitimacy. South Africa is a commonwealth member and the region is a huge source of mineral wealth for multinationals. Under current laws, Seretse and Ruth are not legally permitted to share a drink in a restaurant… in the land he’s supposed to rule!
Politics is strange. Seretse is forced into exile, while Ruth – and their new baby – remain in Africa. Can Ruth and Seretse win the trust of their countrymen? Can they win the sympathy of the British public? Can they bring justice and prosperity to a remote arid country? And can love hold a separated family together?
A United Kingdom is a historical drama, with equal helpings of romance and British parliamentary politics. It’s based on a true story I knew nothing about. Although it ends abruptly, it has a surprisingly fascinating story. I liked this movie.
I Am Not Your Negro
Dir: Raoul Peck (Written by James Baldwin)
James Baldwin was an African American writer, the author of Notes of a Native Son, and novels like Giovanni’s Room. Born in Harlem he took part in the civil rights movement of the 50s and 60s. But because of the racism and potential violence he faced in America he left for Paris where he spent most of his life. He joined the expat community there, including Nina Simone and Josephine Baker. He wanted to be known not as a black writer, not as a gay writer, but 
as a writer.
This film follows Baldwin’s writings on three important figures in the struggle for civil rights: Medgar Evers, Malcolm X, and Martin Luther King, Jr.,
They represented, respectively, the NAACP, Black Muslims, and the Southern Christian Leadership Conference. All three were spied on and harassed by the FBI and labeled “dangerous”, and all three were assassinated before the age of 40.
Courtesy of the Mississippi Department of Archives and History.
Baldwin looks back at their stories and his encounters with them, but also sets himself apart. He’s not a Muslim, not a Christian, not a member of the NAACP or the Black Panther Party.
The title, I Am Not Your Negro, is Baldwin’s central point. The story of the Negro in America, he says, is the story of America, and it’s not a pretty story. It’s a history of violence and racism.There is no difference between the North and South, Baldwin says, just the way you castrate us. He covers slavery, lynching, segregation, and incarceration. And the film neatly connects the slaying of Medgar Evers by a white supremacist with current racist murders, like the deaths of Tamir Rice and Trayvon Martin
Samuel L Jackson’s narration of Baldwin’s prophetic words alternates with Baldwin’s own voice: on the Dick Cavett show and at the Cambridge Debates. Baldwin – and director Peck — tells his story with a barrage of Hollywood images. From the pink-scrubbed face of a dancing Doris Day, to John Wayne’s 
confidence in killing native Americans. Baldwin recalls his childhood shock at a John Wayne Western when he realized he’s not the “cowboy”, he’s the “Indian”.
I Am Not Your Negro is about the fear and violence faced by African Americans. It’s a terrific documentary, a cinematic essay told through the masterful use of period still images. These are not the photos and clips you’re used to but jaw-dropping, newfound pictures. There’s lush nighttime footage and a fantastic juxtapositions of words and images. (The film reminds me of the work Adam Curtis.) It’s nominated for an Oscar for best documentary.
A United Kingdom and I Am Not Your Negro both start today in Toronto; check your local listings. Also opening this weekend: if you’re a cat person, there’s Kedi, about the street cats of Istanbul; or if you’re a zombie or a zombie-lover, there’s the wonderful horror movie The Girl with all the Gifts (read the review here).
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Daniel Garber talks to Migrant Dreams director Min Sook Lee
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Canada is a land of opportunity for citizens and permanent residents alike. Immigrants, students and asylum seekers share in the country’s bounty. But not everyone has the rights and privileges the average Canadian 
takes for granted. Temporary Foreign Workers lead a precarious existence, subject to fraud, abuse and neglect by their employers. Many come saddled with a crippling debt owed to the recruiters who bring them here. Workers who fight back are threatened with job loss or even deportation. Will Temporary Foreign Workers ever achieve their migrant dreams?
Migrant Dreams is a new documentary having its world premier 
at Hot Docs Documentary Film Festival on May 9th. It follows the plight of a group of Indonesian women working in the greenhouses of Leamington, Ontario. It was directed by award-winning filmmaker Min Sook Lee, known for her documentaries on the plight of persecuted minorities and precarious labourers.
I spoke to Min Sook Lee at CIUT.
March 23, 2012. Revisiting the Past. Movies Reviewed: Under African Skies, 21 Jump Street
Hi, this is Daniel Garber at the Movies, for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Spring is here, and, in Toronto that means it’s time to go back inside and sit in the dark. Wait — Huh…?
It’s festival season, starting right now! In quick succession, look out for Canadian Music Week Film Fest, CineFranco, the Images festival (of alternative, artist-driven media art), Hotdocs (the documentary festival), the Jewish Film Festival, Inside-out (the LGBT film festival), NXNE, and many, many more. It’s Images’ 25th anniversary and HotDoc’s 30th.
And speaking of looking back, this week I’m reviewing two movies: a documentary where musicians look back a quarter century to their past fumbles and triumphs; and an action/ comedy where two policemen are forced to revisit their own mistakes and triumphs of their high school days.
Under African Skies
Dir: Joe Berlinger
It’s 1985, and the famous American pop musician Paul Simon, who is intrigued by a song by the band the Boyoyo Boys, goes to Johannesburg to record an album alongside South African musicians. His record, Graceland, turns into a huge hit. 25 years later, and looking a bit hobbit-like but still a great musician, Paul Simon returns there to play a concert with the people he worked and toured with back then. Seems like a simple concert doc, right? No…
You see, in 1985, the Republic of South Africa is ruled under an ideology they called Apartheid. This meant 80% of the country – that is, anyone not classified as white – could not vote, were not citizens, could not intermarry or have sex with people from another group, and were kept physically separated from, and impoverished by, the ruling white minority. And the government responded to uprisings with increasingly violent attacks and persecution of non-white South Africans, driving the leaders into exile, like Oliver Tambo or imprisonment, like Nelson Mandela. In response to this, the banned African National Congress called for a massive international boycott of 
everything South African, including sports and entertainment.
This documentary takes place then and now, 25 years later. And it raises some very delicate questions. Should groups like Ladysmith Black Mombaza, Mistela, and others, some of whom were arrested or harassed by a racist government, also be boycotted by international audiences? Is it OK to use music not of your own making in the music you record, even if they receive credit? Or to record new lyrics over someone else’s music? Of course a lot of these points seem moot now — when everything is mixed with everything else, and sampled, overdubbed, or mashed up – but at the time, it was quite controversial.
Even more controversial was breaking the artists’ boycott. Ultimately, did Paul Simon’s music help or hinder the boycott’s intent?
The movie covers all sides, from the American and South African musicians involved, to members of the ANC, to exiled musicians, to anti-apartheid activists in Britain, the US and elsewhere – people like Harry Belafonte, Oliver Tambo’s son Dali Tambo, and And musicians like David Byrne, Paul McCartney, Quincy Jones.
Most interesting is the incredibly dynamic music and movement in the new and old concert footage of the many South African musicians like Ladysmith Black Mambazo, the late Miriam Makeba and Hugh Masakela. Or as Harry Belafonte puts it in the movie: “the whole mishpokhe.”
Joe Berlinger (a great documentary maker who co-directed the Paradise Lost series, about a small town murder blamed on non-conforming teens) combines vintage footage, music videos, concert and studio clips, along with interviews with people not afraid to disagree.
Under African Skies looks at old wounds In a new way: placing the new South Africa’s emphasis of Truth and Reconciliation above all.
21 Jump Street
Dir: Phil Lord and Chris Miller
Schmidt and Jenko (Jonah Hill and Channing Tatum) went to high school together. Schmidt was the brainy-but-bullied unattractive nerd who never had a girlfriend, while Jenko was the popular, dumb but handsome jock who found it hard to get passing grades. Later, they both end up as cops. They weren’t friends in high school – they traveled in different circles – but become partners, and friends, as police.
But after failing to read a biker gang their Miranda rights, they get assigned to a deep cover squad known as 21 Jump St. It’s their job to return to high school pretending to be students and brothers, bust a synthetic drug ring, and find the supplier. But so much has changed since they were students that they can no longer read the social codes. And after a name mix-up, the two find their roles reversed: Jenko hangs out with the science geeks, while Schmidt becomes the 
popular guy. Will they catch the bad guys without getting kicked out of school (and the police force)? And will they get to attend the high school prom?
OK, this movie has a whole lot of the red flags that tell me it’ll be a bad movie: it has two directors, it’s based on an old TV show, it has a number in its title, and it’s a buddy action/ comedy about cops.
That said, it actually wasn’t that bad – actually funny at times, and with like-able players. Ice Cube is a bad/funny police boss like out of a bad 80s TV show; and 
Dax Flame (the cameraman in Project X) is a chemistry geek; and others, like Brie Larson and Dave Franco. Some of the jokes are funny and the story is watchable, but the chase scenes are awful.
21 Jump Street is playing now, check your local listings, Under African Skies premiered at the Canadian Music Week Film Fest, which continues through this weekend, and includes interesting documentaries like “Kevin” the first doc by the Duplass brothers (Jeff Who Lives at Home)
And be sure to check out the amazingly renovated new Bloor Cinema showing documentaries every day. It’s just beautiful, with new seats, great sound, newly-papered walls, and something I’ve never seen before: a glass window in the lobby with a view of the entire theatre.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM, and on my web site CulturalMining.com.
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