Daniel Garber talks with Peter Kuplowsky about Psycho Goreman

Posted in Aliens, Canada, Clash of Cultures, comedy, Coming of Age, Horror, Kids, Super Villains, Super-heroes, Supernatural, violence by CulturalMining.com on January 22, 2021

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

Mimi and Luke are young siblings in a nondescript town. They’re both typical and atypical. Mimi’s the younger one, but she’s more aggressive, They spend their time playing games they invent like “crazy ball”. But after a game one day they uncover a strange glowing stone buried deep in the ground. And when Mimi removes it she unknowingly activates a hideous monster, the epitome of evil, a creature responsible for the deaths of millions. He can casually tear his victims apart in an orgy of blood and gore.  But since Mimi holds the gem, she soon discovers he’s in her power. What will a little girl do with her newfound strength — will she use it for good or for evil? Will they save the planet or destroy it? And can she and her brother control the powerful demon they call Psycho Goreman.

Psycho Goreman is also the name of a new comedy/horror movie about kids and alien beings. Science fiction, family comedy and first love are set against a potential universe-shattering apocalypse. The film is written and directed by Steven Kostanski  who brought us twisted, over-the-top genre classics like The Void and Manborg.  Peter Kuplowsky, who worked on Steven’s other films and is also notable as the curator of TIFF’s Midnight Madness series, co-produced it.

I spoke to Peter Kuplowsky from home via ZOOM.

Psycho Goreman opens digitally on January 22, 2021 across North America.

Daniel Garber talks with director Susan Teskey and David Suzuki about Searching for Cleopatra on The Nature of Things

Posted in Anthropology, Archaeology, Canada, CBC, documentary, Egypt, History, Rome, Royalty by CulturalMining.com on December 18, 2020

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

You’ve probably heard of Cleopatra. She was a beautiful and sensual temptress who seduced two roman leaders before tragically killing herself in a fit of passion with an asp to her breast. Or… was she a brilliant leader, a skilled tactician, a multilingual scholar, and the most powerful woman of her era? What is the truth and what are the myths about this Ptolomaic pharaoh and how can we tell the difference in our search for the real Cleopatra?

Searching for Cleopatra is a new documentary about this Egyptian titan. It talks to historians and scholars and captures recent archaeological finds that cast new light on her story. It’s directed by Susan Teskey, known for her work as a producer for The Fifth Estate. Searching for Cleopatra premiers on the Nature of Things on Jan 8, on CBC and CBC Gem. The Nature of Things is celebrating it’s 60th season, and has been hosted by noted environmentalist David Suzuki since 1979.

I spoke with Susan Teskey in Toronto, and David Suzuki in Vancouver via Zoom.

Daniel Garber talks with Michael Allcock about his new doc Fear of Dancing

Posted in Canada, Dance, documentary, Music, Psychology by CulturalMining.com on November 27, 2020

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

As long as people have made music, we’ve also danced to it. Dancing is artistic expression, it’s sexual attraction, it’s our innermost emotions laid bare. But alongside these cfowded dancefloors are always the unnoticed few, the wallflowers huddled in the shadows, never leaving their seats. Are they stubborn? Are they snobs? Are they just waiting for the right partner? Or is it… something else? Psychologists have a word for this: chorophobia, the irrational fear of dancing.

Fear of Dancing is also the name of a quirky, new, personal documentary. It follows subjects around the world – from Canada to Switzerland to Kenya – who suffer from this unusual condition, and the things we’re trying to do to overcome it. The film was made by Canadian documentarian Michael Allcock, known for his writing, story editing and directing on a wide range of topics, from punk rock to poker, from the Unabomber to the Spanish Inquisition. This time, though, he’s one of the subjects of his own film.

You can view Fear of Dancing on CBC Gem in Canada, beginning on Friday, Nov 27, 2020. 

I spoke to Michael via zoom from my home.

 

Not about the US election. Films reviewed: The Crossing, The Kid Detective, Major Arcana

Posted in 1940s, Addiction, Canada, Coming of Age, Crime, Drama, Homelessness, Kids, Mystery, Norway, Romance, Rural, Thriller, WWII by CulturalMining.com on November 6, 2020

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

I’m recording this on Thursday before the US election has been settled. So with all the tension and stress, it’s a perfect time to watch some entertainment entirely unrelated to politics. This week I’m looking at three new movies about growing up. There are Norwegian children facing adult responsibilities; a grown-up kid detective fighting real crime; and a man trying to grow up and act his age.

The Crossing (Flukten over grensen)

Dir: Johanne Helgeland

It’s Christmastime in 1942. Norway is occupied by Nazi Germany with the blessings of the Quisling government. Food is rationed and times are tough but life goes on. Gerda (Anna Sofie Skarholt) is a little girl with rosy cheeks and blond hair. She’s obsessed with the Three Musketeers and wears a floppy hat, a cloak (made from an old apron) and brandishes a pie cutter: en garde, rogue! But one day she spies her older brother Otto (Bo Lindquist-Ellingsen) through a window –he’s at a Nazi meeting! Their parents are firmly opposed to the occupation… why is Otto there? Meanwhile, strange things are happening at home –the cocoa is disappearing… and their arents keep talking about sacks of potatoes. Things come to a head when the police bang on the door in the middle of the night. As they’re taken away their parents shout the Christmas presents are in the basement! Take them to your aunt Vigdis! What do they mean? Turns out there are two kids their age hidden behind a wall. Daniel (Samson Steine) and Sarah (Bianca Ghilardi-Hellsten) a brother and sister just like Otto and Gerda except they’re Jewish. With their parents in jail, now it’s up to Gerda and Otto to take them across the border to neutral Sweden. Can they take Daniel and Sarah to safety? Or will they be caught?

The Crossing is an adventure story about friendship and family in a wartime setting. It’s a kids-against-grown-ups situation – most of the good adults have been arrested, while the bad ones – Nazi and local collaborators – seem to be everywhere. They are real life villains, almost witches and monsters in the children’s eyes. There are good people too, but it’s hard to know who to trust. Gerda is excited by their journey, Otto is reluctant to join them, while for proud Daniel and innocent Sarah it’s a matter of life and death. Though made for children, the movie is full of action, close calls and near escapes. It’s also a tear jerker, with some every emotional scenes. Though fictional and clean-scrubbed, it’s an exciting look back at adventures in occupied Norway.

The Kid Detective

Wri/Dir: Evan Morgan

When Abe Applebaum was little (Adam Brodie) he was the smartest kid in town. He solved mysteries at school, figuring out who broke into a locker or cheated on a test. He worked out of his treehouse. His fame grew – the pop shop owner promised him free icecream for life, and the town chipped in to get him a real detective’s office. But people grow up and things change. A 10 year old caught snooping for clues in a little girl’s closet is adorable; for a man in his thirties it’s not cute at all. His reputation tanked when he failed to solve the mystery of a missing girl. Now, Abe is an alcoholic detective, eating alone in neon-lit diners, and addicted to anti-depressants. But things take a turn when he is approached by an innocent student named Caroline (Sophie Nélisse). They soon uncover clues – a photo of a naked woman in a tiger mask and some origami roses – that harken back to the disappearance 20 years earlier. Is he just a wash out? Or will the former kid detective solve this new, terrible mystery and regain his self worth?

The Kid Detective is a totally watchable and cute comedy drama. It starts as a high concept movie – what happens to heroes from kids’ books (like Encyclopedia Brown) – when they grow up? It’s full of kid-ified versions of cinema noir clichés, seen through a mist of bittersweet adult nostalgia and small town life. It starts out a bit slow and silly, but picks up quite nicely. I saw this at TIFF immediately after a shockingly violent horror movie, and it left me with just the right combination of watchable entertainment and warm feelings (with an unexpected and shocking twist). I thought I’d hate it, but I actually liked this movie.

Major Arcana

Wri/Dir: Josh Melrod

Dink (Ujon Tokarski), who is far from dinky, is a tall and rangy alcoholic drifter travelling across America looking for work as a carpenter. He’s a fit man in his thirties, with long hair, a scraggly blond beard; sort of a homeless Jesus. Four years ago, he left his depressed town in rural Vermont under a dark cloud, vowing never to come back. But like the prodigal son, here he is again. His father died leaving him a broken-down shack, some cash and 50 acres of forest. And he’s off drugs and alcohol now, living clean and sober. So he decides to turn his life around.

He pitches a tent and thinks about his future. In the morning he begins, spontaneously, to build a wooden home from scratch with his bare hands. He fells trees with an axe and chainsaw, cuts beams and clears a field dragging lumber across the forest floor. He survives on aerosol cheese and uncooked hotdogs. But his past still haunts him: his shrewish, gambling mom (Lane Bradbury) and his former lover, Sierra (Tara Summers). She’s voluptuous but tough, slapping his face for past transgressions on one night, but showing up at his tent on another. And Dink is still helplessly in love with her. Will he complete his task? Will Sierra leave her boyfriend? And can he show his face in a town that hates him?

Major Arcana — the title refers to a tarot card reading that Sierra does for Dink – is about major changes, life lessons and destiny. It’s a bumpy love story, and a drama about a man trying to redeem himself. While there are some revelations and conflicts this is mainly a meditative look at a man building a cabin in the woods. It sounds kinda dull, but it’s actually a really soothing, healing and life-affirming film. There are hints at spirituality, but it’s not sanctimonious or heavy handed. There’s enough nudity, sex, pain and misery — this is no Sunday school – to keep you watching. The measured pace and natural beauty makes this movie an incredibly relaxing and pleasant experience.

Not my normal choice of film, but I quite liked it.

The Crossing is one of many movies that played digitally at the Toronto Jewish Film Festival, Fall edition; The Kid Detective opens theatrically today across Canada; and Major Arcana is available for viewing on VOD.

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 Robert Fisk and Yung Chang about This is Not a Movie

Posted in Afghanistan, Arab Spring, Canada, Diplomacy, Disaster, documentary, Iraq War, Islam, Journalism, Lebanon, UK, War by CulturalMining.com on November 6, 2020

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

Photos by Jeff Harris.

Robert Fisk is a foreign correspondent based in Beirut, who has covered, first-hand, all of the wars in the middle east for the past four decades. He met with Osama bin Laden three separate times.  Award-winning and highly controversial, Fisk flouts the conventional slant pervasive in western mainstream reporting, and brings things back to the people he’s covering.

This Is Not a Movie is a new doc that follows Fisk at work, tells his history and background, and discusses controversial stories and issues. The film is written and directed by Canadian Yung Chang, known for films like Up the Yangtze and the Fruit Hunters.

I spoke with Robert Fisk and Yung Chang in September, 2019 during TIFF, at NFB’s headquarters in Toronto.

Robert Fisk died earlier this week after a short illness.

Is Halloween Cancelled? Films reviewed: Peninsula, Antebellum, Anything for Jackson

Posted in Action, Canada, Ghosts, Halloween, Horror, Korea, post-apocalypse, Racism, Slavery, Zombie by CulturalMining.com on October 30, 2020

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

Is nothing sacred? They’re cancelling Hallowe’en! No trick-or-treating, no candy, and no parties. I get it, it’s a pandemic. But it’s still Hallowe’en. So, to fight the COVID blues you might try watching scary movies at home.

This week I’m looking at three new horror movies, all violent, gory and sure to keep you up at night. There’s zombies in South Korea, a time warp in the Confederate deep south; and Satanic retirees in Southern Ontario.

Peninsula

Dir: Sang-ho Yeon

Jung Seok (Gang Dong-Won) is a former soldier living in Hong Kong. He’s a refugee, one of the last to escape the Korean peninsula before all other countries closed their gates to them. A pandemic, caused by a lethal virus created in a biotech laboratory, infected the entire population, turning them all into jerky, writhing zombies that feast on human flesh. The few, uninfected survivors – like Jung Seok and his brother in law Chul-min (Kim Do-Yoon) – are despised and feared. So when shady Hongkong gangsters offer them a deal, they take it. The job? Return to the zombie-infested peninsula to recover an armoured car full of US dollars, and drive it to the Port of Incheon to board a waiting tanker. If they survive, they keep a share of the spoils and can restart their ruined lives. Easier said than done.

Turns out, there’s not just zombies there. Chul-min is captured inside the money truck by crazed former soldiers from a rogue army base. Chul-min is forced to fight against zombies in a make-shift stadium for the soldiers’ entertainment. Jung Seok, on the ther hand, is rescued by two baby drivers, little kids who mow down zombies on the street for fun. They take him back to their family – their mom Min Jung (Jung-hyun Lee) and a deranged grandpa who thinks he’s communicating by radio with a “GI Jane” who will come to rescue them. Can Jung Seok and his newfound family rescue Chul-min, find the cash and drive it to Incheon in time?

Peninsula is a gripping, action thriller set in a dystopian futuristic Korea. It’s a sequel to Train to Busan, the hit zombie movie from a few years back.  It  incorporates themes from movies like Mad Max, Hunger Games and The Walking Dead – good people forced to live in distorted versions of their world in order to stay alive. It follows the rules of the zombie genre – Zombies are blind at night, attracted to light and loud noises, travel in packs – but there are enough new situations and human characters to keep it interesting. Peninsula is pretty good.

Antebellum

Wri/Dir: Gerard Bush, Christopher Renz

Dr Veronica Henley (Janelle Monáe) is a writer, academic and activist who is famous for her appearances on cable news panels. She specializes in the intersectionality of race, class and gender as a roadmap for revolution. She’s off to a prestigious conference where she’s giving a speech. But she is troubled by horrible recurring nightmares where she’s trapped as a slave in pre-civil war America. One day, she receives a puzzling call from an unidentified southern white woman (Jena Malone) whose voice is laden with sinister white-supremacist undertones. Veronica dismisses her as another crank.  But after a girl’s night out with her best friends (including Gabourey Sidibe), she is kidnapped and knocked out. When she awakens, she’s caught in her own terrifying dream: trapped in a southern plantation run by Confederate soldiers. She’s forced by overseers on horseback to pick cotton by day, and is sexually assaulted at night. She and the others are robbed of their freedom, identity, their bodies and even their names, and are forbidden from talking to one another on pain of death. What hell is this? Is it time travel, or just another dream? And can she ever escape? 

Antebellum is a very scary movie where the horrific world of American slavery serves as the ultimate horror setting for contemporary Black characters. It also adds subtle references to the rise of modern-day white supremacists  — Confederate soldiers march with torches just like the alt-right in Charlottesville. Janelle Monáe is great as the modern-day heroine trapped in a disgusting simulacrum of plantation slavery. But the movie suffers from editing problems – it depends on a twist ending (no spoilers) that doesn’t fit right with the supposed “magic” and time travel elements. But maybe I’m analyzing it too much. If you’re in the mood for extreme horror, violence (and some satisfying revenge  sequences) you’ll like Antebellum.

Anything for Jackson

Dir: Justin G Dyck

Wri: Keith Cooper

Audrey and Henry (Sheila McCarthy, Julian Richings) are an older, married couple in a small Canadian city. He’s a family doctor and she takes care of their home. Once a week they meet a group of unusual hobbyists at their local library. What’s unusual about their group? They are a Satanic coven. And what do they want from Satan? They want their little grandson Jackson back (he died in a car crash) and they’ll do anything to make it happen. So they kidnap a pregnant woman Shannon (Konstantina Mantelos) and lock her in a soundproof basement room. They don’t want to hurt her – Audrey keeps saying “Sorry!” and crochets little handcuff cozies so Shannon’s wrists don’t chafe – they just want Jackson’s soul to possess her foetus. Let’s not make this unpleasant, Audrey says.

And they have a thousand-year-old guidebook to tell them what to do. But their fool-proof plan starts to unravel. Rory, who shovels their snow, keeps turning up at the wrong time. A police woman drops by to investigate a missing person. And Ian (Josh Cruddas), a super-creepy ginger-bearded devil-worshipper from their coven, discovers their secret and tries to take over. Worse than all of them, supernatural demons begin to haunt their home. Will they ever see their grandson again? Or have they let loose horrible creatures from hell?

Anything for Jackson is a great horror movie about ordinary, kindly Canadians doing awful things. While it starts as a dark comedy, it soon becomes a scary horror movie powered by monsters, ghosts and demons. Sort of a supernatural Fargo, or Rosemary’s Baby but from the point of view of the Satanists. The special effects are on the cheap side, but the acting and story are quite good.

I like this movie.

Anything for Jackson is premiering at Blood in the Snow, Canada’s horror, genre and underground film festival on right now; you can watch Antebellum on disc and VOD; and Peninsula is also available to rent or to own.

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

Daniel Garber talks with Trevor Cameron about his new documentary Shadow of Dumont at ImagineNative

Posted in 1900s, Canada, Cree, documentary, Guns, Indigenous, Métis, War by CulturalMining.com on October 23, 2020

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

Trevor Cameron is a Toronto-based writer who has always wanted to make a film about his ancestors… and one in particular. Gabriel Dumont the famed Métis leader who fought in the Battle of Batoche in the Northwest Rebellion (also a famed translator, buffalo hunter, war hero and storyteller). But Trevor didn’t know much about him. Where did he come from, where did he go after the rebellion, what did he do with his life and what became of him?

To answers these question, he got in a camper van and headed out west, to follow in Dumont’s footsteps more than a century later. And he documented his journey on film. The result? A light-hearted road movie about one man discovering his past called Shadow of Dumont.

Shadow of Dumont was written and directed by Trevor Cameron, the award-winning screenwriter, director, and roller-derby champ, known for his work on TV shows like Wapos Bay and Guardians: Evolution. Trevor Cameron’s new documentary Shadow of Dumont premiered at the ImagineNative Film + Media Arts Festival in Toronto.

I spoke with Trevor via Zoom.

Against the Grain. Films reviewed: Judy vs Capitalism, Monkey Beach, The Trial of the Chicago 7

Posted in 1960s, Canada, Depression, documentary, drugs, Ghosts, Indigenous, Magic, Police, Politics, Poverty, Protest, Resistance, Trial, War by CulturalMining.com on October 23, 2020

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

Toronto’s Fall Film Festival Season continues with ImagineNative Film + Media Arts Festival, the world’s largets indigenous film festival, and Rendezvous with Madness, the first and largest arts and mental health festival in the world, both running through Sunday, the 25th.

This week I’m talking about three new movies – a doc, a drama and a courtroom pic – about people who go against the grain. There’s a young woman resisting ghosts, another woman fighting anti-abortion activists; and boomers protesting the war in Vietnam.

Judy vs Capitalism

Dir: Mike Holboom

Judy Rebick is a well-known activist and writer in Toronto. As a former Trotskyite revolutionary turned writer and TV commentator, she’s a pro-choice feminist and socialist known for slogans like “Radical is Practical”. She can be seen everywhere, from CBC panels to tent-city protests. A new documentary looking at her life divides it into six stages: Family – her dad was a baseball player quick to pick fights; Weight – she says she has a pair of hips “like two battleships”; Feminism – women’s bodies and the violence they face; Abortion – her hands-on role in legalizing reproductive rights in Canada; Others – her struggles with depression and mental health; and End Notes – her views on various political topics, like the rise of neo-liberalism, the war in Gaza, and as head of NAC, the National Action Committee on the Status of Women.

Did you know she single-handedly fought off a man trying to stab Dr Henry Morgantaler with a pair of garden shears? This film includes footage of that in slow motion. Each section begins with a speech – some mundane talks in lecture halls, others shouted through a bullhorn at a rally. Judy vs Capitalism is directed by artist/filmmaker Mike Holboom in his patented style: clear sound and straightforward narration, combined with avant-garde images: slow motion, high speed, underwater photography, blurred and melting visuals, random faces… basically Holboom’s interpretations of Rebick’s moods, memories, thoughts and ideas rather than the typical clips you might expect in a conventional biography.  Judy vs Capitalism is an experimental look at a Canadian icon.

Monkey Beach

Dir: Loretta Todd (Based on the novel by Eden Robinson)

Lisa (Grace Dove) is a young woman who lives in East Vancouver. She’s been there for the past two years with nothing to show for it but a bad hangover. Till her friend Tab tells her it’s time to go home, back to her family in the Haisla community in Kitimat. So she does. Her family is shocked but delighted to to see her – they weren’t even sure she was still alive. There’s her mom and dad, her little brother Jimmy (Joel Oulette) a swimming champ, and her Uncle Mick (Adam Beach) who told her at an early age to say “f*ck the oppressors!” Then there’s her grandma Ma-Ma-Oo (Tina Lameman) who taught Lisa everything she knows… including things she doesn’t want to know. Like why a little man with red hair keeps appearing. A crow talks to her, and ghosts (people who should be dead) appear to her in real, human form. (Tab, for example, was murdered but she’s still around.) Worst of all are the dreams and premonitions she keeps having – that her brother Jimmy, the swimmer – is going to drown. Are her powers a gift or a curse? Can she ever live normally? And can she keep Jimmy out of the water?

Monkey Beach is a good YA drama filmed in the gorgeous forests and waters of Kitimat in the pacific northwest, with a uniformly good indigenous cast. It incorporates traditional Haisla culture and practices with contemporary, realistic social problems, sprinkled with the supernatural. And it flashes back and forth between the present day and Lisa’s childhood. I like this movie but I can’t help but compare it to the CBC TV series Trickster, which is edgier, faster-moving and more complex. They’re both based on Eden Robinson’s novels – Monkey Beach was her first, showing many of the themes later explored in Son of a Trickster. That said, if you’re a fan of Trickster, you’ll want to see Monkey Beach, too.

The Trial of the Chicago 7

Wri/Dir: Aaron Sorkin

It’s the summer of ‘68 in the USA, and the youth are restless. Robert Kennedy and Martin Luther King had just been killed, with demonstrations springing up across the country. The US is embroiled in an increasingly senseless war in Vietnam and it’s an election year. So droves of young people converge on the Democratic National Convention in Chicago, to have their voices heard. The protests are brutally crushed by police and state troopers. Nixon is elected in November, and the protest leaders, known as the Chicago 7, are arrested and put on trial. The defendants are from the SDS – Students for a Democratic Society, a radical group that sprung out of the labour movement – led by Tom Hayden (Eddie Redmayne) and Rennie Davis (Alex Sharp); the Yippies, founded by Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin who use performance and pranks to forward their agenda; anti-war activist David Dellinger (John Carroll Lynch);  and Bobby Seale (Yahya Abdul-Mateen II) co-founder of the Black Panther Party, known both for its militant image and progressive social programs. The charge? Conspiracy, even though these group leaders had never met one other.

The Trial of the Chicago 7 is two-hour film that manages to condense hundreds of days of testimony into a few key scenes. This includes a shocking re-enactment of the binding and gagging of Bobby Seale in the courtroom. The script’s pace is fast, the production values excellent, and the acting is superb, especially Baron-Cohen in an unusual funny-serious role, Mark Rylance as their lawyer, William Kunstler, Frank Langella as the unjust judge Julius Hoffman, and Lynch as the veteran pacifist. Women are invisible in this film, except as receptionists, wives-of and one undercover FBI agent. I was glued to the screen the entire time. Still, it leaves me with an uneasy feeling Aaron Sorkin has done some subtle, historic slight of hand. He portrays the anti-war movement as mainly about honouring and saving the lives of American soldiers, not Vietnamese civilians. It buries the aims of the defendants beneath petty squabbles. And somehow he takes a protest aimed squarely at Democratic politicians — the hawks and conservative Democrats in a city and state run by that party — into a Democrats vs Republican division…!

Hmm…

Judy vs Capitalism is at Rendezvous with Madness; Monkey Beach is at ImagineNative, both through Sunday; and The Trial of the Chicago 7 is now streaming on Netflix.

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

Life changes. Films reviewed: Dating Amber, No Hard Feelings, Keyboard Fantasies: the Beverly Glenn-Copeland Story at #InsideOut30

Posted in African-Americans, Canada, Coming of Age, documentary, Germany, High School, Iran, Ireland, LGBT, Music, Trans by CulturalMining.com on October 10, 2020

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

Fall festival season continues with Toronto’s Inside Out LGBT festival playing now both digitally and at drive-ins through the weekend. So this week I’m looking at three movies playing at Inside Out. There’s love amongst refugees in present-day Germany, an odd-ball relationship in Ireland in the 90s, and a Canadian musician whose fantasies finally come true in his seventies.

Keyboard Fantasies: The Beverly Glenn Copeland Story

Dir: Posey Dixon

Beverly is a musician who grows up in a comfortable middle class home in post-war Philadelphia. Her father is a classical pianist and her mother sings spirituals at church. They send her to McGill in the early 1960s, where she is one of the first black students in her discipline, and where she comes out as a lesbian, virtually unheard of at the time, when homosexuality was still illegal in Canada. Later, she moves to Toronto where the Yorkville scene is nurturing folk musicians like Joni Mitchell. She cuts an eponymous record album with famous players on backup, in a unique style, combining jazz with blues and classical music. Unfortunately it disappears without a trace. She finds work as a musician and on TV – she is a regular on Mr Dressup! – but eventually moves into an isolated house in Muskoka with her lover.

In the 1980s she discovers computer-generated electronic music and self-produces a cassette of beautiful passionate songs. It sells maybe a few dozen copies. But in the 2000s, two big things happen: First Beverly realizes he’s trans, and begins transitioning female-to-male; and in the 2010s his album Keyboard Fantasies from the mid-80s is rediscovered in a tiny record shop in Japan. The owner requests more copies – all of which sell out in a day or two. The record is remastered and re-released and goes viral, and Beverly in his mid-seventies, is sudden’y a star with a devoited following. He embarks on a European tour backed up by a band of millennial hipsters and adoring young fans.

Keyboard Fantasies is a fascinating documentary about Beverley Glenn Copeland’s life, music and career. It’s filled with unusual psychedelic imagery, and upside-down and negative-coloured camera work reflecting the sudden reversals of Beverly’s own gender and career. His music is captivating, his voice sublime, and his life story like none other. This tale of rebirth in old age is a beautiful history not to be missed.

No Hard Feelings (Futur Drei)

Dir: Faraz Shariat

Parvis (Benny Radjaipour) is a young, gay German with dyed blond hair who lives in his family home in Hannover. He’s into sex, dancing and Sailor Moon. His Iranian parents sought asylum there 40 years earlier, to give their kids a better life, but he feels unmotivated, cut-off and trapped in limbo between two worlds. Raised within German pop-culture he knows nothing about Iranian dance or music. At home he speaks Farsi with a German accent, but the men he meets in gay bars constantly ask “where are you from?” (He’s from there!) But his life changes when, after being caught shoplifting, he is sentenced to community service as a translator at a refugee centre.

There he meets an adult sister and brother, a pair that seem almost joined at the hip, who eventually become his friends. They live together almost like lovers. Banafshe (Banafshe Hourmazdi) is outgoing and savvy, fluent in German, but facing deportation back to Iran. Her brother Amon (Eidin Jalali) is a nice guy but a bit stand-offish. He tells the flamboyant Parvis not to be seen with him at the refugee centre; his friends told him gayness is contagious. But the situation changes when the brother and sister spend the night at Parvis’s home. Parvis and Amon become lovers but are forced to keep it on the down low, constantly searching for secret places they can meet undetected. Will their love last? Can Amon and Bana gain refugee status in Germany or will she be deported? And can Parvis find his identity both within his family and in the larger German gay community?

No Hard Feelings is a touching and realistic drama about cultural and sexual alienation set within the vast and lethargic bureaucracy of the country’s immigration machine. It’s a distinctly German story, but one told mainly in Farsi and from that point of view. Good acting with some beautiful cinematography as well as occasional experimental, stylized footage. This is a great story about a subculture rarely represented on film. And it won the Inside Out prize for Best First Feature.

Dating Amber

Wri/Dir: David Freyne

It’s Ireland in 1995. Homosexuality was decriminalized just two years earlier, divorce is still against the law, and sex education is taught by nuns. Eddie (Fionn O’Shea: Handsome Devil) is a student at a rural high school outside of Dublin near an army base. He’s wants to become a cadet to please his dad but he’s not the right type; he’s frail, naïve and skittish. And he has a crush on his (male) math teacher. Amber (Lola Petticrew) is a plain-talking girl with blue streaks in her hair, who walks like she’s wearing army boots. She lives in a trailer with her mom since her father died. She’s saving up enough money to move to London after graduation to open an anarchist bookstore. She likes punk rock, but hates penises – they make her “vom” she says. Like Eddie, she’s bullied on a daily basis. Why? Because they’re both gay (though Eddie won’t admit it). So Amber comes up with a plan. Let’s pretend to be a couple until we graduate, so they’ll leave us alone. Will it work? Will it last? And what will it lead to?

Dating Amber is a terrific coming-of-age comedy about an unusual relationship in rural Ireland. It draws on a wry nostalgia for the 90s – fashion, hairstyles, pop music and attitudes — to construct some very real, funny characters. It’s romantic, hilarious, and deeply touching. This is a great movie.

Dating Amber, No Hard Feelings, and Keyboard Fantasies: the Beverly Glenn-Copeland Story are all playing at the Inside Out Festival which continues through the weekend. Go to insideout.ca for details.

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

More coming of age movies. Films reviewed: Kajillionaire, Summerland, Nadia, Butterfly

Posted in Canada, comedy, Coming of Age, Crime, drugs, Family, Japan, LGBT, Quebec, Road Movie, Sports by CulturalMining.com on September 25, 2020

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

TIFF is over but Toronto’s fall film festival Season has just begun, but with a difference this year. Many of the festivals, here and abroad, that were cancelled in the spring are now popping up in the fall. Look out for Inside Out, The Cannes film fest, SXSW, Toronto’s Japanese film fest, Toronto Jewish Film Festival, Planet in Focus, Rendezvous with Madness, ReelAsian, ImagineNative, Toronto Palestine Film Fest – which is on right now – and many more.

This week, though, I’m looking at three new indie coming-of-age movies. There’s an Olympic athlete who swims the butterfly; a gay virgin playing catfish with a guy he meets online; and a young woman born under the net of a family of grifters.

Kajillionaire

Wri/Dir: Miranda July

Old Dolio (Evan Rachel Wood) is a young woman born into a family of scammers. With her mom and dad (Debra Winger, Richard Jenkins) they plan low-level cons and split the proceeds three ways. Most of it goes to pay for food and rent: they live in an office located directly beneath a bubble factory that extrudes pink foam into their home twice a day. They’re always working; no time wasted on frivolities like holidays, presents or birthday dinners. No phoney-baloney words like “dear” or “hon”. Even her name is a scam: they called her Old Dolio after an elderly homeless guy who won a lottery, in the hope that he would leave her all his money when he died. (He didn’t.)

So Old Dolio grows up emotionally stunted and starved for affection. Now she’s in her early twenties living a loveless and strangely sheltered existence. She’s nervous and introverted. But everything changes when Melanie (Gina Rodriguez) – a voluptuous young woman her parents meet on a plane – says she wants to join their gang and pull off a big con. She’s Dolio’s exact opposite: self-confident, sexy and talkative. Someone she can spend time with. But is she a friend? A rival? A mark? Or something else entirely?

Kajillionaire is a weird and wonderful dark comedy, laden with odd, quirky characters. Evan Rachel Wood is fantastically deadpan as the awkward, stilted Dolio. It’s told in a series of linked tableaus about a strange family of socially inept, but inoffensive, criminals. It’s also a coming-of-age drama about a 26-year-old woman experiencing life away from her domineering parents for the first first time. Great film.

Summerland

Dir: Lankyboy

Bray (Chris Ball) is a naïve gay virgin in love. He met a guy named Shawn on an online, Christian dating site, and now they’re going to meet in person. The planned meeting is at a music festival called Summerland in a southwestern desert. Bray wants to go there with his best friend Oliver (Rory J Saper) – a young guy from London in America on a student visa. They share a house together. Oliver’s dating a beautiful young woman named Stacy (Maddie Phillips) who lives in a mansion but wants to leave it and move in with Oliver. She can’t stand her stepfather. There are three problems: Oliver’s visa has expired so he has to move back to England (but Stacy doesn’t know). Bray has been texting Shawn using Stacy’s selfies. Shawn thinks he’s been communicating with a girl, not a gay guy named Bray. And the car they plan to use has broken down. So Tracy decides to join their road trip to Summerland using her stepdad’s RV.

They set off on a journey down the west coast, passing through Seattle, Portland, San Francisco, and Las Vegas. Stacy wants to listen to audio books on an ancient Sony Walkman to improve her mind. But Oliver has other plans. He has a briefcase full of strange, new psychedelic drugs for them to sample on their way. Oliver and Stacy are constantly having noisy sex in the RV, while Bray is holding out for his one true love. Will they make it to Summerland? Will Oliver tell Stacy he’s moving back to England? Will Bray ever meet Shawn? And if he does will he admit he’s the one who’s been catfishing him – pretending he’s a woman online – all this time?

Summerland is a simple, endearing road comedy. It’s full of interesting characters they meet on the way, like Oliver’s honey-badger drug dealer, an existential new age philosopher, and a gay black wizard named Khephra who enters Bray’s brain.

Summerland is a funny movie, easy to watch.

Nadia, Butterfly

Wri/Dir: Pascale Plante (Fake Tattoos)

It’s the 2020 Summer Olympic games in Tokyo, Japan. Nadia (Katerine Savard) is an Olympic swimmer from Québec. She’s been training since the age of ten and now, in her early twenties, is one of the fastest butterfly swimmers in the world. She lives a highly regimented life: home schooling, intense training, and a restricted diet. She’s massaged, prodded, tested and poked all day long – her body is a communal effort. But this will be her last competition – she’s retiring from competitive swimming to go back to school. And she leaves on a high note, winning a bronze medal in medley with the other three on her team: bilingual Karen (back stroke), newby Jess (breast), and her best friend Marie Pierre (Ariane Mainville) on freestyle. The two have been training together for a decade; Marie — she’s in her early thirties — is like a big sister to Nadia. And now that their races – and drug tests – are finished, she vows to take Nadia on a blow-out weekend inside the Olympic Village and out and about on the streets of Tokyo. Nadia’s been around the world, but only seen its swimming pools. It’s her first chance to explore on her own, to buy junk food from vending machines, get drunk… and maybe have sex. She meets a Lebanese fencer at a dance party and takes MDMA for the first time. But will she really leave competitive sports in her prime?

Nadia, Butterfly is a coming-of-age drama about a young athlete on the verge of leaving the only life she’s ever known. It covers a three-day period as she struggles over her decision. The film is immersed in the world of competitive sports, both the public side – its anthems, mascots and medals – and its hidden life. The film is saturated with the four colours of flags and uniforms: red, aqua, black and white. It’s a realistic, behind-the-scenes look at the Olympics, from the athletes’ perspectives. While I’m not really an Olympic fan (the movie was shot in Tokyo last summer) it still kept me constantly interested, if not deeply moved. But it’s the great performances of Savard and Mainville (as Nadia and Marie-Pierre) that really make the movie work.

Nadia, Butterfly is now playing in Toronto; check your local listings. Kajillionaire and Summerland open today.

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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