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.

Daniel Garber talks with Barry Stevens about his new documentary The World’s Biggest Family on CBC Docs POV

Posted in Canada, Corruption, documentary, Family, Secrets, UK by CulturalMining.com on September 25, 2020

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

Did you ever consider you might share ancestry with someone you’ve never met? Now, what if that person that shares your ancestry turns out to be more than just one? Imagine doing a DNA test and finding out you have over 600 half-siblings spread across the Atlantic, and you’re a part of the biggest family in the world?

The World’s Biggest Family is the name of a new documentary. It tells the story of the offspring of an anonymous and unusually prolific sperm donor, and the secrets and lies that surround artificial insemination. The movie’s subject and its director is multiple-award-winning filmmaker Barry Stevens who has worked on films like The Diary of Evelyn Lau, Offspring, Souvenir of Canada and History TV’s War Story.

The World’s Biggest Family premiers on Oct 1 on CBC Docs POV and CBC Gem.

I spoke with Barry Stevens in Toronto via ZOOM.

Questioning Authority. Films reviewed: Beans, Quo Vadis Aïda?, Shorta, New Order, Night of the Kings at #TIFF20!

Posted in Africa, Bosnia, Canada, Denmark, Indigenous, Mexico, Police, Protest, Quebec, Uncategorized, War by CulturalMining.com on September 18, 2020

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

The Toronto International Film Festival has come to a close, and to tell you the truth – considering it was touch and go since the pandemic hit – I’m especiallly impressed by the 50 movies that made it into the festival. There’s a particular appropriateness to the movies they chose, films that capture the current feelings of uncertainty, impending doom, and a general mistrust of authority. So this week I’m, looking at five fantastic TIFF films about the current malaise. And so as not to end on too bleak a note, I’m throwing in a nicer story at the end.

There’s a blockade in Quebec genocide in Bosnia, police violence in Denmark, a class war in Mexico… and story-telling in a prison in Cote’d’Ivoire.

Beans

Dir: Tracey Deer

 

It’s 1995. Beans (Kiawentiio) is an innocent 12-year-old girl who lives in suburban Québec with her Dad, her ambitious mom, and her little sister. She’s into stuffed animals and hair ribbons – her biggest worry is getting into a posh private school. But when the town of Oka tries to grab Mohawk burial grounds to expand a golf course, protests erupt. Beans and her family leave their cushy life to join the Kanehsatà:ke and Kahnawá:ke community in the increasingly tense stand-off. They are blockaded and local stores refuse to sell them food, and police and military stand by when her family is attacked by racist locals throwing rocks and breaking windows. Beans, meanwhile feels rejected by the local kids as too soft, so she asks April (Paulina Alexis) an older girl to toughen her up. With the crisis raging all around her, Beans starts to change – but is it for the better?

Based on true events, Beans is a marvelous coming-of-age story of a girl learning about heritage, identity and sexuality, as she gradually gains self-confidence in a frightening time.

Quo Vadis, Aïda?

Wri/Dir: Jasmila Žbanic

It’s 1995 in Srebrenica, Bosnia.

The three-year Bosnian civil war is coming to an end, and Aida (Jasna Djuričić) a former high school teacher, is worried. Her former students are fighting on all sides. Ratko Mladić’s soldiers have surrounded the town and the locals have fled to a safety zone run by UN Peace Keepers. Aida is now the official translator, a conduit between the locals, the invaders and the ineffectual, Dutch Blue Helmets. Be calm, they promise, there’s nothing to worry about. But she knows they’re not safe at all. It falls on her shoulders to save them, or at least save her husband and two sons. But can Aida save anyone, even herself?

Quo Vadis, Aida? is a fast, tense and deeply moving depiction of the fear, confusion and helplessness of the days leading up to the genocidal Srebrenica Massacre where over eight thousand Bosnians were murdered in cold blood. Though it doesn’t explicitly show the violent acts themselves, it still leaves the viewer drained and shocked by its enormity.

Shorta

Wri/Dir: Frederik Louis Hviid, Anders Ølholm

Tension is mounting in Svalegården, a highrise housing project in Denmark, after police choke a teenager to death. Two cops are called in to keep the peace. Mike Andersen (Jacob Lohmann) is the bad cop – foul-mouthed, corrupt, out of shape and blatantly racist. Jens Høyer (Simon Sears) is the good cop, fit, clean-cut and by the book. They arrest a local teen, Amos (Tarek Zayat) for a minor infraction. Amos was a promising soccer star but has lost hope after being harassed too often by police. But the three of them are forced to work together – or choose sides – when violence erupts leaving them stranded in a dangerous zone, without a car, and no way out. Can Mike and Jens escape, and can Amos get safely home, before something really bad happens?

Shorta is an action/thriller set within a climate of police violence and corruption. Though at first it seems to be full of anti-immigrant stereotypes, it turns expectations on their head in a series of unexpected and shocking plot turns. An intense thriller.

New Order

Wri/Dir: Michel Franco

Marianne (Naian González Norvind) is a woman in a red dress at her own wedding party. They’re waiting for the judge to arrive to start the ceremony, but she’s tied up. Streets are blocked by demonstrators throwing bright green paint at rich people all across Mexico City, though this exclusive neighbourhood remains untouched. Their faithful servant Marta (Mónica Del Carmen) is working hard to make sure everything’s perfect for the wedding. But when Marianne’s family – who are spending lavishly on the wedding – refuse to help a longtime servant pay an emergency medical bill, Marianne is fed up. She says she’ll drive him to the hospital and pay for it herself. So she sets off in a car with Marta’s brother Cristian (Fernando Cuautle). But while she’s away, mayhem breaks loose. Thieves have infiltrated the wedding party and begin killing people. There’s a military coup and the city is under martial law, shooting civilians at random. And when Marianne is “rescued” by soldiers, she is shocked to discover she’s actually their vicim, a captive held for ransom. Can anyone be trusted?

New Order is an extremely violent, dystopian look at class inequality and the deep corruption permeating Mexican society and government. Be warned, this is not an easy movie to watch.

Night of the Kings

Wri/Dir: Philippe Lacôte

It’s a special day in the huge MACA prison in Abidjan, Cote d’Ivoire in west Africa. A red moon is expected to rise that night, and with it a change of prison government. Not the warden or guards but the real leadership within the prison walls. Barbe Noire/Black Beard (Steve Tientcheu) rules them all. But he’s dying and needs to appoint a successor. First a ritual storytelling must take place. He appoints a new arrival (Koné Bakary) a young newbie arrested that day to be Roman, the storyteller. Roman is baffled – why him? He’s dressed in a shining blue shirt, and given a special potion to drink and a wooden box to stand on. He must tell a constant story, one that never ends or he will be killed and the whole prison will collapse into mayhem. So the story begins.

Night of the Kings is a fantastical prison drama that portrays both the amazing people who live there, and the story he tells. People like a beautiful transwoman who’s also a secret assassin, and wise man with a chicken on his shoulder who poses as a half- wit. That’s within MACA.

Then there’s the story Roman tells. He serves as an impromptu griot, passing on an oral history of a slain local gang leader named Zama King and his ancestors stretching way back in time. There are elephants and armies, queens and magical powers, elaborate costumes and hair styles. And as he tells his story, he’s surrounded by a greek chorus who spontaneously sing, dance and pantomime all around him. Night of the Kings is a fantastic drama, and one of the best films at TIFF this year.

Watch out for it.

Night of the Kings, New Order, Shorta, Quo Vadis Aida?, and Beans all screened at TIFF. Go to tiff.net for more information.

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

Do opposites attract? Films reviewed: Tito, Uncle Peckerhead, My Days of Mercy

Posted in Canada, Cannibalism, Class, comedy, Horror, Lesbian, LGBT, Music, Prison, Punk, Romance, Uncategorized by CulturalMining.com on August 28, 2020

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

Do opposites attract? This week I’m looking at three new indie movies about odd combinations. There’s an introvert confronting an aggressive frat boy; a law-and-order lawyer vs an activist opposed to capital punishment; and a punk band with a hillbilly roadie… who’s also a cannibal!

Tito

Wri/Dir: Grace Glowicki

Tito (Grace Glowicki) is a young guy who lives alone in an empty wooden house. He’s tall and gangly, dressed in black with heavy brow and sideburns, and straight hair tucked behind his ears. He always carries a red plastic whistle around his neck, to scare way the baddies. And they’re everywhere, banging at the doors, scratching at the windows or just roaring and howling inside his head. He’s very hungry – down to just pickle brine in the fridge – but he’s too scared to go outside.

Everything changes when he wakes up to find a strange man in his kitchen, cooking breakfast. Who is he? John (Ben Petrie) says he’s there to lend a hand and make a friend. Tito is petrified and repulsed by this invasion, but he joins him at the table. John is the yin to Tito’s yang. He’s a frat boy bro who gesticulates with grand gestures and talks and shouts non-stop; while the introverted Tito can barely choke out a syllable. But when he passes Tito a joint, the voices in his head turn to music, and he even lets John take him for a walk. Can Tito emerge from his shell? Can this odd couple become friends? Or will it lead to trouble?

Tito is a stylized and impressionistic character study, a look inside an introvert’s brain. Sort of a cross between acting, modern dance and pantomime. Petrie is great as John, the self-declared “pussy-hound”. He’s loud, manipulative and bursting with barely-controlled aggression. And Glowicki perfectly conveys a young man’s paranoia with a hunched-over walk, pulled inward and cringing at the slightest provocation. Tito isn’t your usual comedy, drama or art house film, but is fascinating and watchable nonetheless.

Uncle Peckerhead

Wri/Dir: Matthew John Lawrence

Judy (Chet Siegel) is a happy-go-lucky musician in her thirties whose dream is finally coming true. Her punk band – called Duh – is going on their first tour! They make a good trio: Mel (Ruby McCollister) on drums is a ginger-haired nihilist, Max (Jeff Riddle) on bass and vocals is a friendly chowderhead, bald and bearded; and Judy – skinny with long black-hair, who plays bass and lead vocals – keeps the group running. She has everything ready – demo tapes, T shirts, a full roster of music, and clubs booked to play it in. There’s only thing missing: money – barely two coins to rub together. They’ve already quit their day jobs and they’re being kicked out of their apartment. But when their van gets repossessed, they’re really in trouble. How can they go on tour without wheels?

Luckily they meet a polite and friendly man with a van (David Littleton) who offers to be their roadie. He’ll drive and do the heavy lifting in exchange for meals and gas money. It’s a deal! And what’s his name? “My dad always called me Peckerhead, but you can call me Peck.” They’re all set… except for one problem. At midnight, Peck changes in strange ways, and a hidden evil beast emerges. And pretty soon they’re leaving a pile of half-eaten mutilated corpses wherever they go.

Uncle Peckerhead is a horror/comedy road movie, about the usual aspects a touring band faces – pretentious musicans, unscrupulous managers, adoring fans – combined with hilarious extreme violence and gore. It starts out quirky and funny, but gradually builds to an over-the-top, blood-drenched finish. Fun music, silly characters, unexpected situations and lots of splashing blood. Siegel is great as Judy and Littleton steals the show as the aw-shucks, cannibal yokel.

My Days of Mercy

Dir: Tali Shalom-Ezer (Princess)

Lucy (Ellen Page) is a woman in her twenties who lives in a small Ohio town with her older sister Martha (Amy Seimetz) and her little brother Ben (Charlie Shotwell). The three of them drive their camper across the country to protest capital punishment in front of prisons where an execution is about to take place. She’s part of a large community of protesters that regularly meet and comfort one other. At one such demo she shares a cigarette with a woman named Mercy (Kate Mara). The two are quite different – Mara is a well-dressed lawyer with neatly cut blond hair from Illinois, while Lucy is working class, in jeans and T-shirt – but something clicks. When the two meet again they become friends, and ther friendship leads to a relationship. Soon they’re meeting in motels, the RV or in Lucy’s home for passionate sex.

But something keeps them apart. Mercy’s father is a cop whose partner was killed. She’s at the demos to support the executions. While Lucy is there because her dad is on death row, blamed for the murder of her mom. She, Martha and Ben have spent the past six years devoting their lives to save him. Can Lucy and Mercy overcome the political and family divisions that keep them on opposing sides? Or is their romance doomed from the start?

My Days of Mercy is a great Romeo and Juliet (or Juliet and Juliet?) romantic drama, tender and moving, and starkly told. Each episode is set outside a different prison, punctuated by a still shot of a dying prisoner’s last meal. Their romance is erotic, the sex scenes tastefully done, though surprisingly vanilla (were Lucy and Mercy both raised by missionaries?) It’s beautifully shot in a realistically rendered working-class home and the insides of actual prisons. Ellen Page and Kate Mara are full of passion and pathos as the star-crossed lovers, their story skillfully told. It’s a real tear-jerker – I cried at least twice – both for the couple and the horrors of executions. I recommend this one.

Tito and Uncle Peckerhead are now playing digitally and VOD and My Days of Mercy starts today.

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

Lost Boys. Films reviewed: Stage Mother, Summerland

Posted in 1940s, Adoption, Canada, comedy, Gay, Lesbian, LGBT, Music, Romance, UK, WWII by CulturalMining.com on August 21, 2020

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

This week I’m looking at two new movies – a comedy and an historical drama. There’s a Texas mom who inherits a San Francisco drag bar from her late son; and a reclusive Englishwoman during WWII dragged out of isolation to care for someone else’s son.

Stage Mother

Dir: Thom Fitzgerald (Cloudburst)

It’s a conservative small town in Texas. Maybelline (Jacki Weaver: Animal Kingdom) is a woman in her 70s who lives with her husband Jeb, a good ol’ boy. She spends most of her time as the choirmaster at a local Baptist church, or sharing gossip with her sister Babette. One day, her quiet life is disrupted by a phone call from San Francisco. Their adult son Ricky is dead. So she hops on a plane to attend the funeral and sort out his affairs. They’ve been estranged for many years but she’s still the next of kin. But when she visits his apartment an angry man named Nathan (Adrian Grenier: Entourage) slams the door in her face. And the funeral service itself is full of salacious double-entendres and drag queens vamping on the church stage. What’s going on?

Luckily, she meets Sienna (Lucy Liu: Kill Bill) a bleach-blonde single mom with a cute little baby who was Ricky’s friend (the baby was named after him) She explains it all to Maybelline: Ricky was not just gay, but also a drag performer who owned a bar in the Castro district called Pandora’s Box. Nathan was his lover, and the club’s manager, but since they weren’t married he’s left high and dry. Hence his anger and bitterness. So she visits the club to see what’s what. It’s a sad, depressing place with few patrons. And the lipsynch act is tired. She decides to turn the business around as a tribute to her late son.

She’s used to dealing with divas and wigs at her Baptist church choir; how different can this be? So she takes the three drag queens – Joan of Arkansas (Alister MacDonald), Cherry (Mya Taylor: she was amazing in Tangerine), and Tequila Mockingbird (Oscar Moreno) under her wing to teach them how to sing for real. Turns out they all have great voices. But each has baggage to sort out. Joan has a drug problem, Cherry is dealing with her transition, and Tequila has been rejected by his family. Meanwhile, Maybelline meets a man in a hotel who is everything her husband Jeb is not – kind, elegant and sophisticated. What should she do? Can she save the bar and turn her own life around? Or will she just give it all up and move back to Texas?

Stage Mother is a musical/comedy about an older woman who finds her new mission in a San Francisco drag bar. It’s a very camp romp, cute but not so funny, and extremely predictable. About a third of the film consists of the traditional drag performances themselves, with all the songs, dances, and lipsynching, as well as the elaborate costumes and makeup, the torch songs and jokes… everything you want if you’re into drag. Australian actress Jacki Weaver makes for a great Texas mom, Lucy Liu is almost unrecognizable as Sienna, and the drag trio – Cherry, Joan and Tequila – are totally believable as performers. Drag is very popular these days, with lots of TV shows devoted to it, so if that’s your thing and you can’t get enough of it, you’ll probably like Stage Mother.

But it didn’t do much for me.

Summerland

Wri/Dir: Jessica Swale

It’s WWII in Kent County, England. German bombs are falling on the big cities, but it’s peaceful in the countryside. Alice Lamb (Gemma Arterton: Byzantium; Hansel and Gretel Witch Hunters) is a recluse who lives alone in a cliffside house. Locals call her a witch and schoolkids torment her with practical jokes. She’s a writer, not a witch, and earns her living researching folktales and magic from a scientific bias. She’s currently obsessed with Fata Morgana – mirages of ships or castles that sometimes appear over the ocean. She’s been living on her own since a painful breakup in university.

But her solitude is broken when a boy is left at her door. Frank (Lucas Bond) is an evacuee, the child of an unnamed airforce pilot and a government bureaucrat sent to the town to escape the Blitz. He’s a sociable boy who likes playing and asking questions. It’s hate at first sight. She rejects him categorically, but is forced to take care of him for a week, until they find somewhere else to place him. Can Alice and Frank somehow learn to get along?

Summerland is an elegantly constructed and touching film about people forced to live together in extreme times. The main storyline alternates with flashbacks to Alice’s passionate love affair with a woman (Gugu Mbatha-Raw: Free State of Jones) that left her with a broken heart. It also looks at Frank’s growing friendship at school with a free-spirited girl (Dixie Egerickx: The Secret Garden) who lives with her grandmother in the town. The backstories of all these characters are gradually revealed, along with a few unexpected, exciting twists. There have been so many movies about life in WWII that references here can be reduced to quick tropes – a toy airplane, a burning building – without seeming clichéd. The acting is good, the characters endearing, and the beautiful scenery and wardrobe make it a pleasure to watch. I cried at least twice over the course of the movie.

So if you’re looking for a romantic historical drama, artfully told, this is one for you.

Summerland and Stage Mother both open today digitally and 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 director Warren P. Sonoda and actor/musicians Max and Theo Aoki about Things I Do For Money

Posted in Art, Canada, comedy, Crime, Drama, Japanese Candians, Movies, Music by CulturalMining.com on August 14, 2020

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

Nick and Eli Yaguchi are brothers who play the cello together. They’re working toward a joint audition for the Banff Arts Centre. They live in an industrial neighbourhood in Hamilton. Eli is a naïve highschool nerd who is crushing on a figure-skating girl named Laura. Nick is older, self-confident and chill – he plays in a band and works at a dive bar. As their audition date approaches, Eli finally meets Laura and things are going well, until… they witness a crime and find a satchel of cash that could solve all their problems. But it turns out both Laura’s and Eli’s families have ties to organized crime! Can they pursue their artistic goals without breaking the law or getting killed? And what things will they do for money?

Things I Do For Money is a new Canadian crime-dramedy about family ties and dark secrets, music and art. It stars the real-life cellists Max and Theo Aoki, and is co-written and directed by Warren P. Sonoda. Theo and Max are prize-winning musicians known on stage as VersaCello. They play Max and Eli, and wrote and performed the music that’s used in this film. Warren is a multi-award winner in TV and film, directing episodes of Trailer Park Boys, Murdoch Mysteries and This Hour Has 22 Minutes.

I spoke with Warren, Max and Theo via Zoom.

Things I Do for Money is now playing digitally across Canada.

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