Tough older women. Films reviewed: The Lost Daughter, June Again
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Well, as I’m sure you know, we’re under lockdown, and all the movie theatres are closed. It’s like Groundhog Day all over again. But that doesn’t mean you can’t watch movies at home on streaming networks or VOD. So this week I’m looking at two such movies about tough older women. There’s a professor who finds a lost child as she interacts with a family of strangers; and a former matriarch who finds her missing past as she interacts with her own lost family.
The Lost Daughter
Dir: Maggie Gyllenhall
Leda (Olivia Coleman) is an established author and Harvard professor specializing in comparative literature. She has two adult daughters but she’s on vacation alone at a Greek beachside resort for some “me time”. Since she arrived, two men are already flirting with her: Will (Paul Mescal), an Irish lad working there for the summer, and Lyle (Ed Harris) an American old-timer who has been there for thirty years. Though flattered, she’d rather just lie on the beach (she describes herself a selfish person.) But her peace and quiet is broken by a noisy American family, who tell her to move down so they can sit together. She refuses, earning her a chorus of dirty looks. Later, she sees Nina (Dakota Johnson), a young mother from the same family, struggling with her little daughter who is chewing 
contentedly on a baby doll. The little girl disappears and panic sets in. And to everyone’s surprise it’s Leda who finds the missing girl, and the family is now grateful to her. But the girl’s doll is still missing, and she is driving Nina crazy with her constant crying.
Later we discover it’s missing because Leda stole it for herself. Huh….? You see, like young Nina, she has her own checkered history of dealing with her daughters. Can neurotic Leda find happiness on the beach in Greece? Will she sleep with Will or Lyle (or neither)? Can Nina learn to deal with a cranky child? And what about the doll?
The Lost Daughter — based on the novel by Elena Ferrante — is an uncomfortable drama about a middle-aged woman coming to terms with her past. Her younger self is played by Jessie Buckley in a series of extended flashbacks. The “doll” aspect of the story, makes it seem like a psychological thriller… but it’s not. Rather it’s an intense character study of Leda, past and present. The acting is superb, especially Olivia Coleman as a woman dealing with an internal crisis. But the movie itself is hard to watch. Leda is not that sympathetic a character — we see all her faults and terrible decisions, because we’re inside her mind. It’s mainly about her internal struggles, something harder to convey in a movie than in a novel. It does have other parts I haven’t talked about — her poetry, her love affair, her time with her daughters — that make it richer and more complex than I described. It’s not a simple film. But it’s mainly about fear, suspicion, guilt and regret. Does it work? I guess so. It’s well-made but largely uncomfortable and unpleasant to watch.
June Again
Wri/Dir: JJ Winlove
It’s a normal day in New South Wales, Australia. June (Noni Hazlehurst) is an older woman living in a nursing home. Ever since a stroke, five years earlier, she has suffered from vascular dementia and aphasia — she can’t finish a sentence, and barely recognizes her own family when they come to see her. She just sits there in a semi-comatose state. Until, one morning, she wakes up as a whole new June. Or rather the old June. Suddenly she can complete a cryptic crossword, and responds to staff inquiries with a witty riposte. She is disturbed to see where she’s living. What are these hideous clothes she’s wearing, why is this place so tacky, and why is she there? They tell her she has dementia, and although she’s back to normal now, it’s only temporary. But June decides to use her time wisely. She engineers an escape 
from that “prison”, zooming away in a taxi, and stealing some brightly-patterned clothes on the way. But everything has changed.
Her home is no longer hers — there’s another family living there, and all her possessions are gone, including a prized wooden wardrobe. The company she founded — a prestigious manufacturer of hand-printed wallpaper — has gone to seed, and is headed by a douchey manager who calls her former colleagues “girls”. They‘re printing on low-grade paper now and have lost al their prestigious clients. And her two adult children aren’t on speaking terms. When she last saw her son Dev (Stephen Curry) he was studying architecture and raising a family. Now he’s divorced, spends little time with beloved her grandson Piers (Otis Dhanji) and is working as a clerk in a copy 
shop. Her daughter Ginny (Claudia Karvan) has completely abandoned the factory, June’s life work. And June’s finances are a mess. But what can she do — with the limited time she has left — to make everything right again?
June Again is a funny and heartwarming story of a woman given a second chance. The early scenes of Dementia June are similar to the movie The Father (starring Anthony Hopkins) where time sudden’y jumps forward to signify her frequent memory loss. But most of the movie is about Normal June, a brash, funny and bossy matriarch who won’t take no for an answer. Noni Hazlehurst is wonderful as June — the whole movie revolves around her, and luckily she’s marvellous to watch. June again is fun to watch, and though dealing with a sad topic is upbeat all the way.
I liked this one a lot.
June Again is now available on VOD, and The Lost Daughter is now streaming on Netflix.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Opening and closing nights at TIFF. Films reviewed: Dear Evan Hansen, One Second
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
The ending of summer and TIFF marks the beginning of Toronto’s Fall Film Festival season. And first in line is the TPFF, Toronto’s Palestine Film Fest on now through Sunday, with films, workshops, exhibitions and feasts, both here and digitally across the country. Go to TPFF.ca for details.
But this week I’m tying up loose ends by looking at the opening and closing night features at TIFF. In a show of solidarity and togetherness in the face of increasing worldwide tension, the festival opened with a film from the US and closed with one from China. And, coincidentally, both films are about underdogs and outcasts. There’s a suburban high school student whose life is changed by a letter, and an escapee from a labour camp in China whose life is changed by a movie.
Dear Evan Hansen
Dir: Stephen Chbosky
Evan Hansen (Ben Platt) is a high school student in suburban USA. He’s depressed, painfully shy and insecure. His broken arm is in a cast. He lives with his mom, a nurse (Julianne Moore) who sends him to a therapist to handle his difficulties. His summer assignment? To write optimistic letters to himself in the third person — “Dear Evan Hansen” to help raise his spirits. And his Mom suggests he get all his friends to sign his cast. But the first day of school turns out so dismal that he rewrites his letter into one of despair. An angry loner named Connor (Colton Ryan) offers veto sign his cast — so we can both pretend we have friend. But after a tussle, Connor snatches the letter from his hands and runs away. And the next day Connor is dead from suicide, with no note except Evan’s sad letter they find in his pocket. Connor’s Mom and Dad (Amy Adams, Danny Pino)
turn to Evan — thinking they’ve found their late son’s secret pal. Evan, who barely sees his mother is so 
happy to have anyone pay attention to him, that he decides to brighten their day by talking about Connor and himself — all imaginary of course but anything to make them happier. And it doesn’t hurt that Evan has a crush on Connor’s sister, Zoe (Kaitlyn Dever).
Alana, the most popular kid at school (Amandla Stenberg) urges Evan to form a group to remember Connor. He can hardly say no since he says they were once friends. The deception grows and grows, until he gives a moving speech captured on other people’s phones, which immediately goes viral. Donations pour in to commemorate Connor, his family is happy again, and tens of thousands feel their lives have been improved, even saved, because of Evan’s talk. But it’s all a deception. Will he come clean? And will he get the help he needs/ And what about Zoe?
Dear Evan Hansen is an emotionally moving, constant tear-jerker that doesn’t let up until the end. It’s bases on the hit Broadway musical, and stars Ben Platt who originated the role and who sings with a sublime angelic tenor. It’s filled with songs and dances punctuated by wistful gazes at the sky, a tree, a window or into other people’s eyes. I’m not a big fan of Broadway musicals but I really liked this one. It’s poignant more than depressing, and you really feel for the main characters. So if you want to break your heart over and over, and listen to some songs, don’t miss Dear Evan Hansen.
One Second
Dir: Zhang Yimou
It’s China’s Cultural Revolution. A man (Zhang Yi) who escaped from a labour camp in the Gobi Desert is walking across the sand dunes. His mission: to watch a movie. There are very few movies you’re allowed to watch during the Cultural Revolution, and he’s desperate to see one in particular. But there’s someone else also looking for a film. A street urchin with dirty face and unkempt hair, known as Orphan Liu (Liu Haocun) is intent on stealing a reel for his own nefarious purposes (we find out later she’s a girl, not a boy). The two engage in a cat-and-mouse chase until the reel is returned to its rightful place: in the hands of the town projectionist known as “Mister Movie” (Wei Fan). He’s an arrogant perfectionist, highly revered in the village because he’s the only source of entertainment. 
Tonight’s show? Heroic Sons and Daughters, an operatic drama about the anti-Japanese War decades earlier. But when the dust settles Mister Movie realizes one of the reels has been damaged — it’s just a pile of tangled film covered with sand and dust. He cancels the screening. Whaaaat?
The townspeople are mortified, and none more that the escaped prisoner. He, and everyone else, agree to communally rescue the damaged reel, wiping clean each frame and rolling it back into its spool. The escapee especially needs to view it that night. Why? Because of the newsreel. His daughter — whom he hasn’t heard from since he was arrested and sent away for punching a Red Guard — appears in it for one second. It’s his only chance to see her. And he’ll stop at nothing so he can see it. Will the films be shown? Will he get to see his daughter? And will Orphan Liu get what she’s looking for?
One Second is a lovely and touching look at the personal effect of movies on the people who watch them. It’s well crafted and historically evocative. It’s set during the Cultural Revolution, with Mao’s quotations painted on every wall. Though it’s portrayed lightly, it does reveal the poverty, oppression and unfairness of that period. People are hungry, children are bullied, police beat up the wrong person, and everyone — including Mister Movie —is in constant fear of losing their job due to corrupt or indifferent party members. But there are happy times too, like when the whole village bursts into song, along with the soldiers on the screen. No spoilers, but the storyline of the movie they watch — Heroic Sons and Daughters, about a soldier separated from his daughter — is reflected in the real lives of all the main characters in One Second.
This is a beautiful, nostalgic, and ultimately feel-good movie.
Dear Evan Hansen opens this weekend — check your local listings; One Second should be opening later this year.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Daniel Garber talks with filmmaker Troy Ruptash about They Who Surround Us
It’s 1987 on a farm in Vegreville, Alberta, east of Edmonton. Roman is a happily married farmer with a young son. But their world is torn apart when his wife is killed in a terrible accident (which he blames on himself), leaving Roman and Mykola unprotected and alone. The son turns inward, not eating or speaking, while Roman lashes out. He has a total meltdown, revealing deeply hidden memories of his childhood in war-torn Ukraine. He directs his rage and frustration at everyone he once 
relied on – his sister, his neighbours and the Church. Can Roman handle on his own what God hath wrought? Or does he need to embrace “they who surround us”?
They Who Surround Us is a moving drama about one man’s struggle with death, mourning, history, family and religion. It’s set within the Ukrainian-Canadian community of east-central 
Alberta, where the prairies meet the bush, a land replete with grain elevators, onion-dome churches, and a railway line cutting right through it. This film is produced, directed, and written by the well-known Canadian actor Troy Ruptash, who also plays the lead role.
I spoke with Troy in Vegreville, Alberta from Toronto via ZOOM .
They Who Surround Us opens theatrically in Toronto and across western Canada on August 27th.
Daniel Garber talks with Yung Chang about Wuhan, Wuhan
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Photo by Jeff Harris.
It’s February and the city is under a lockdown. The streets are deserted for all but essential workers. New, makeshift hospitals and quarantines are popping up to deal with the thousands of infected patients… and the death toll is frightening. The government has instituted harsh restrictions to stop the corona virus, and people forced to stay at home are volunteering just to have something to do. Is this Toronto? LA? Or New Delhi? No, it’s February, 2020 and the city is Wuhan.
Wuhan Wuhan is a new documentary that takes you onto the 
scene of the first-known pandemic of COVID-19. It’s upbeat, real and very moving. It talks to doctors, patients and ordinary people showing first hand how they handle the early stages of this previously unknown virus. It’s the latest film by award-winning Canadian documentarian Yung Chang, known for Up the Yangtze, China Heavyweight and many others. Wuhan Wuhan premiered at Hot Docs, Canada’s International Documentary Festival. I interviewed him in 2012 about The Fruit Hunters and in 2013 about This Is Not a Movie.
I spoke to Yung Chang in Toronto via Zoom.
Wuhan Wuhan premiered at #Hot Docs21.
Against the Grain. Films reviewed: Judy vs Capitalism, Monkey Beach, The Trial of the Chicago 7
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.
Secrets and Lies. Films reviewed: The Secret Garden, She Dies Tomorrow, The Burnt Orange Heresy
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week I’m looking at three new movies about secrets and lies. There’s a little girl with a secret garden, an art critic with a secret past, and a woman whose future night be ending tomorrow.
The Secret Garden
Dir: Marc Munden
Based on the book by Frances Hodgson Burnett
It’s 1947. Mary (Dixie Egerickx) is a little English girl raised by servants in India. They dress her, feed her and bring her whatever she wants. She likes telling stories and playing with dolls. But when her parents both die, she’s shipped back to England to live in the stately Misselthwaite Manor. It’s a huge mansion with secret rooms and passageways, haunted each night by scary voices eachoing in the halls. It’s owned Mary’s uncle, the reclusive Lord Craven (Colin Firth) and strictly supervised by the housekeeper Mrs Medlock (Julie Walters). who warns Mary, keep quiet, eat your porridge, and stay away from forbidden rooms or Lord Craven will send you off to boarding school! Needless to say Mary hates it there.
But things take a turn when she discovers she’s not the only kid there. Colin (Edan Hayhurst) is the source of the wailing cries she hears each night. He’s pale and bedridden and never leaves his room – he’s her first cousin. And there’s young Dickon (Amir Wilson) who knows his way around the estate grounds and the misty moors beyond. When a little bird leads Mary to an ivy covered gate, she‘s delighted to find a walled garden, full of sunlight, 
flowers, butterflies and a bit of magic. It’s a wonderful place where she can play with Dickon, and tell stories. Can Mary keep her beloved garden? Will Colin ever leave his room? Will Lord Craven come out of his shell? And what other secrets does Misselthwaite Manor hold?
The Secret Garden is a new adaptation of the famous children’s book written more than a hundred years ago. It’s definitely a kids’ movie, but the children aren’t cutesy they’re interesting, argumentative and rude… and their characters develop over the course of the film. The acting is good all around. It deals with issues like death, loss and depression within the exciting adventure story. I wasn’t crazy about the excessive use of CGIs reflecting Mary’s internal thoughts, but, like I said, it’s a kids’ movie. And its multi-racial cast provides a nice break from the traditional, lily-white British historical dramas.
I enjoyed this movie.
She Dies Tomorrow
Wri/Dir: Amy Seimetz
Amy (Kate Lyn Sheil) is a young woman who has it all: a lover, a devoted friend, and her first house – she just moved in today. She’s happy, healthy and financially secure, and hasn’t touched a drop of alcohol for months. So why is she so depressed? Because she just found out she’s going to die. Really soon. And there’s nothing she can do about it. There’s no medical report, or threatening letter or anything… she just knows, deep down inside. How should she spend her last 24 hours? Making love? Saying goodbye?
Instead, Amy grabs a bottle of liquor, puts on her favourite sequined gown, and goes into the backyard to do some gardening. That’s where her best friend Jane (Jane Adams) finds her a few hours later. She tries to understand Amy’s feelings of fear and dread and calm her down, talk some sense into her. But a few hours later, it’s Jane who is sure she’s going to die. And she passes it on to her brother at a birthday party where it spreads to others throughout the building. Is this mass delusion? A psychological virus? And can it be stopped?
She Dies Tomorrow is an uncategorizable movie, with equal parts dark 
comedy, horror, fantasy and satirical social drama. It’s about a highly contagious virus that makes people believe they’re about to die and then (maybe) kills them. It’s also about what we choose to do in our last 24 hours. It dramatizes the infection using a series of intensely coloured flashes of light – red, blue, green – accompanied by murmuring voices inside characters’ heads. And it alternates the scary parts with inane conversations about the sex lives of dolphins and dune-buggy rides, all set in a southwestern American desert town. Although She Dies Tomrrow was made before the current pandemic, its surreal and impressionistic feel perfectly captures the current malaise infecting everyone right now.
The Burnt Orange Heresy
Dir: Giuseppe Capotondi
Based on the novel by Charles Willford
James (Claes Bang) is a handsome but cynical art critic who lives in northern Italy. He earns his living selling his books and giving lectures to American tourists. His theme? it’s not the artists who make art great it’s the critics. Berenice (Elizabeth Debicki) is a strikingly beautiful woman with an acid tongue. She mysteriously appears at one of his lectures and calls his bluff. It’s art, truth and beauty that’s important, not criticism and spin. They end up making passionate love in his apartment.
James invites her on a trip to Lac Como, to visit Joseph Cassidy (Mick Jagger) a dilletente who married into money and is famous as an art collector. 
Cassidy supports eccentric artist Jerome Debney (Donald Sutherland) who lives on his estate, with the hope he will someday create a masterpiece. Although critically acclaimed, all of his paintings were destroyed in a series of fires, and he allows no one, not even his benefactor to look at his work. Cassidy offers James a deal – you can have an exclusive interview with Debney if you bring me one of his paintings… And I don’t care how you get it. Will James get the painting? Will 
his relentless ambition lead to unforeseen ends? And what is Berenice’s role in all this?
The Burnt Orange Heresy is a taut, tense noir thriller about deceit and lies within the rotten world of fine art. It’s full of twists and surprises throughout the film. The beautiful settings, clever dialogue and attractive cast stand in sharp contrast to its dark – and sometimes violent – theme. Debicki and Bang are fantastic, like a modern day Katherine Hepburn and Cary Grant, shifting from lovers to friends to potential rivals. I liked this one a lot, but beware: it’s anything but a romantic comedy.
The Secret Garden, She Dies Tomorrow, and The Burnt Orange Heresy, all open today in Toronto, theatrically or VOD – check your local listings.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Lost causes. Films reviewed: Tammy’s Always Dying, Planet of the Humans, She’s Allergic to Cats
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
I had a strange dream last night. I was in an old-school movie palace (in real life, all movie theatres are still closed) fumbling around in the dark, trying to find a seat while maintaining social distance. I finally found an empty seat way up in the second or third balcony but there was a huge pillar blocking the screen. So I had to twist around until I was almost lying prone until could catch a glimpse of the movie, far below…
But you don’t have to go such lengths to see unusual films – they’re on your device or TV at home. So this week I’m looking at three new indie movies, now playing. There’s an ex-environmentalist tilting at windmills; a depressed mom in Hamilton jumping off bridges; and a neurotic filmmaker in Hollywood obsessed with bananas.
Tammy’s Always Dying
Dir: Amy Jo Johnson
Kathy (Anastasia Phillips) is a working-class woman in Hamilton, Ontario. She has a steady boyfriend, a career, a nice car and a mother who loves her. OK, that’s an exaggeration. She actually has a ramshackle existence teetering on the brink. She drives a wreck, works in a
dive bar for Doug (Clark Johnson) an older gay black guy who’s her only friend. Her so-called boyfriend Sean (Aaron Ashmore: 22 Chaser) is married with two young kids who meets her periodically for quickies in his tool shed.
And then there’s her mom. Tammy (Felicity Huffman) is a total mess: a penniless alcoholic, she’s depressed and suicidal. Her only pleasure is watching confessional talk shows on daytime TV. Each month she can be found, like clockwork, on a pedestrian bridge, ready to throw herself onto the railway 
tracks far below. But Katherine always arrives just in time to save her mom’s life.
Until… Tammy finds herself facing a physical problem that almost trumps her financial and mental difficulties. Turns out she’s dying of cancer, stage 4 cancer, with less than a year to live. Can Katherine convince her to take chemo to extend her 
life? Or will she abandon her mom, buy a Toyota and move to Toronto?
Tammy’s Always Dying is a bittersweet drama about mental illness, poverty and fanmily relations. Its shot against the bleak industrial steel mills of Hamilton. It has some humour and light parts, as it satirizes daytime TV. The acting is good all-around (though Felicity Huffman’s excruciating attempt at a Canadian accent sounds more like a Wisconsin dairy farmer). While it didn’t blow me away, it does have some very touching scenes. If you’re looking for a good, realistic tear-jerker, this is one to see.
Planet of the Humans
Wri/Dir: Jeff Gibbs
Our planet is heading toward environmental destruction. Can we stop climate change by switching to greener renewable energy? So asks a new controversial documentary. The filmmaker follows eco-skeptic Ozzie Zehner around the US, and what they find is not good. Rather than replacing carbon fuels, these new energy sources just switch one carbon-based energy for another. Environmental movements, they say, are just ways for major corporations to greenwash their image… and make big bucks from government subsidies. And green energy is not so green after all. All of which are very real concerns.
The problem with this movie is it is full of silly comparisons, half-truths and a near total lack of credible statistics. Instead, it discredits genuine improvements without offering any 
alternatives. For example, they show up with a camera at a protest against fracking and ask random people not about the troubles with fracking but rather – what are your feelings about biomass? Huh? And when the people they talk to don’t give them the answer they’re looking for, they suggest maybe environmentalists are hiding something.
Their argument against solar energy and wind turbines? The panels are manufactured, solar energy doesn’t work in the dark, and their equipment eventually wears out. But instead of 
supporting their arguments with stats – such as does a given energy source uses more energy than it produces? – they go for cheap gotcha scenes, where a rock concert that claims to be powered by solar energy is caught using a generator when it starts to rain. It’s like a child’s version of a documentary… and one that offers no alternatives except despair.
Yes, we need to reduce our use of fossil fuels. Yes, corporations are co-opting some environmental movements to profit off government subsidies. And yes, green energy equipment has to be manufactured. But burining coal is not the same as hydropower or windmills. Broken solar panels littering a desert is not the same environmentally as mining oil sands. To write off an entire movement as fraudulent based on factoids and interviews with random strangers – and without any research to back it up – is not the way to expose malfeasance. And spreading misinformation doesn’t help much either.
I’d give this one a miss.
She’s Allergic to Cats
Wri/Dir: Michael Reich
Dorky Mike Pinkney (Mike Pinkney) is a single guy who lives in a small house in Hollywood. He came there with big plans: to shoot a remake of Carrie with cats playing all the roles. He shares his idea with his best friend Sebastien (Flula Borg) who isn’t impressed. He says Michael is a giant, sad dirty man-baby. In the meantime he works at a day job, grooming dogs (badly). There he meets the beautiful and glamorous Cora (Sonja Kinski). She’s Mickey Rourke’s daughter’s personal assistant, and she brings in the star’s dogs to be groomed. Is this love at first sight? Not exactly, but at least they might go 
on a date some evening.
But Mike doesn’t tell her about his real problems. His home is filthy and infested by rats, which his landlord – a musician named Honey (Honey Davis) – won’t do anything about. And he ocassionally slips into psychedelic fantasies, full of sinister cats, buckets of blood, and a wooden bowl of rotten bananas, spinning, spinning, spinning around in his brain. Sometimes 
people he’s talking to seem to be possessed by Satan.
Will Mike make his video art? Will he and Cora fall in love? Will he win his battle with the rats? And what about the missing pug?
Needless to say, this is not an ordinary movie, more of an impressionistic, experimental indie collage of images, 
characters and music. It’s a comedy, a mystery, and a fantasy. It’s shot on grainy video, with frequent cuts to fuzzy, 80s-style video art. And full of odd references to movies, from The Boy in the Plastic Bubble to Congo. It’s pretty funny and pretty strange without being over the top. If you like unusual movies – She’s Allergic to Cats feels like a cross between Peter Strickland and John Waters – you might enjoy this one.
I did.
Tammy’s Always Dying opens today across Canada on all VOD platforms; Planet of the Humans is streaming on Youtube; and She’s Allergic to Cats is available on demand from Giant Pictures.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Turning thirty. Films reviewed: Space & Time, Standing Up Falling Down
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Blockbusters are good, but once in a while it’s also fun to watch real people in real situations without any green screens or CGIs. So this week I’m looking at two nice movies, both low budget and independent, that look at the lives of millennials turning thirty. There’s a romantic drama about a physicist and a photographer with a seven year itch, and a dramedy about a drunk dermatologist and a standup comedian with itchy skin.
Space & Time
Wri/Dir: Shawn Gerrard
Sean and Siobhan are a Toronto couple in their twenties. Sean (Steven Yaffee) is a professional photographer who still develops his prints old-style in a darkroom. Siobhan (Victoria Kucher) is doing her graduate degree in astrophysics but longs to work with a supercollider. They’ve been together for seven years so are spending their anniversary camping out on the Toronto Islands, just the two of them. But something doesn’t click. They wonder if there’s another Sean and Siobhan in a distant parallel usiverse that’s doing better than they are. Like when Sean used to take her picture all day long… and when they made love on every bare surface in their 
apartment?
But back on earth, Siobhan dreams more about the Large Hadron Collider in Cern than she does if Sean. She wants to study there, in Switzerland… and he can come too, of course. Sean, meanwhile, seems more concerned about whether or not to buy a rice cooker. He also wonders about fellow photographer DD (Risa Stone). She’s pansexual and so much more free-spirited than career-oriented Siobhan is these days. And Siobhan is fighting off scientific super nerd Alvin (Andy McQueen) in her 
office. Is he cute or just a pain? The couple is still in love, but can they stay together? Are upside forces working against them? And what would happen if they take a break?
Space and Time is a bittersweet romance about a couple turning thirty who is forced to reassess their lives. It looks at desire, love, and the pluses and minuses of living together. It’s an unapologetic indie actually set in Toronto, with recognizable buildings everywhere. It has some glitches. In the opening scenes it frequently cuts to outside images, setting the whole movie up like a graphic novel. But they go away after that scene, as if they ran out of energy. But it rightly deals with real-life issues… like couples whose main reason for staying together is that it’s too difficult to find separate apartments.
While not perfect, Space & Time works as a gentle, low-budget look at the lives and times of urban millenials in Toronto.
Standing Up Falling Down
Dir: Matt Ratner
Scott (Ben Schwartz) is a failed standup comic. He left his girlfriend in a lurch when things were getting too serious. He swore he’d make it big in LA. But now he’s home again, in long island with his tale between his legs. He’s moved back into his childhood bedroom in his parents house in a working class neighbourhood. He still pines for Becky, but she ended up marrying someone else. He’s jobless, sexless and nearly homeless, with no ready prospects. He even has a strange skin reaction he’s always rubbing. His life is a disaster, until a strange old guy bumps into him in a bar toilet, staining his pants. Marty (Billy Crystal) is a funny old man in a fedora, who tells Marty what’s what. Take it easy, he says, and enjoy life. Tell a joke, lighten up. Marty’s an alcoholic dermatologist who cures Scott’s skin problem, gratis.
But he has his own demons to handle. Marty’s adult son won’t talk with him, both his former wives are now dead, andhe doesn’t have many friends outside the bar he frequents. Can this odd couple become good friends? Or are they both carrying too much baggage to let loose?
Standing Up, Falling Down — the title refers to the unusual friendship 
between a standup comic and an alcoholic — is a sweet story about two lonely people. It’s a working class comedy, but less uproariously funny than warm and witty. A dramedy. Billy Crystal has still got it, and Ben Schwartz is a likeable newcomer (just saw him last week as Sonic the Hedgehog) . Also funny are Scott’s sister Megan () who works in a convenience store. There are lots of dramatic sideplots along with occasional pathos. But it’s mainly about the light interplay between these two comic actors, thirty-five years apart.
Space & Time and Standing Up, Falling Down both open today in Toronto; check your local listings.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Films Reviewed: The Body Remembers When the World Broke Open, Marriage Story, 63 Up
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
How much of our lives are changed by free will, and how much is predetermined by fate, class or outside circumstances? This week I’m looking at three films about people affected by changes they didn’t plan on. There’s two indigenous women thrown together, a married couple torn apart, and fourteen people following divergent pathways in their lives.
The Body Remembers When the World Broke Open
Wri/Dir: Kathleen Hepburn, Elle-Máijá Tailfeathers
Rosie (Violet Nelson) is a pregnant young woman who lives with her boyfriend and his mom in Vancouver’s East End. She likes tie dye hoodies and watching TV. Alia (Elle-Máijá Tailfeathers) is a middle class woman debating whether she’s ready for a child with her partner. The two meet at random on a sidewalk, Alia emerging from an alienating medical procedure, Rosie from a violent incident at home. Her boyfriend attacked her, leaving on a daze, with a bruised face, barefoot and pregnant, standing in the rain. Alia dismisses her own problems and concentrates on getting a safe sheltered space for the woman she has just met. They are both indigenous women, but do they have anything else in common? Or are they just ships passing in the dark?
The Body Remembers as the World Broke Open is a very moving, personal drama about two women, and how their 
lives briefly intersect. They are followed with a handheld camera, and the movie takes place in real time, without breaks, as if you are there with them. It explores differences of class and appearance – Alia can pass for white – and all that carries: violence and abuse, and how police behaviour depends on the appearance of a victim. This is an amazing depiction of a multifaceted urban indigenous story told from the characters ownpoints of view. It takes you on a heartfelt journey even as it destroys common stereotypes. Great acting, a realistic script and an urgent, constantly-moving style keeps you on edge the entire time.
I like this movie.
Marriage Story
Wri/Dir: Noah Baumbach
Charlie and Nicole (Adam Driver, Scarlett Johansson) are a happily married couple in Brooklyn. He’s originally from the midwest and she’s from LA, but they both think of New York as their home. He’s a theatre director with a show headed for Broadway, and she’s an actress featured in the plays he directs. But when she heads to California to shoot a TV show, their perfect marriage turns out to be not so perfect. Turns out they haven’t slept together in a year, and Charlie is having an affair with another actress from within their own theatre. And now their living on opposite coasts of the country. Still, Charlie is shocked and devastated when Nicole tells him she’s staying in LA, with their son, and filing for divorce. Can their marriage be saved? Should it be? What will happen to their careers? The broadway show? And who will stay with their son.
Marriage Story is a compact film about a relationship falling 
apart. It follows the characters – along with her family and their son – as it turns from a disagreement to a fight to a legal battle. I watched this movie not in a theatre but at home on Netflix. The problem with home viewing is that you can turn it off halfway through and come back later, something you can’t do in a movie theatre. That’s what happened to me. I was bored and distracted for the first half-hour, and didn’t want to sit through a happy and successful family’s divorce. It was irritating, annoying. Charlie is an entitled, selfish doofus, while Nicole can’t take responsibility for her own actions, pinning it all on him.
But I later returned to watch the rest… and I am so glad I did. It turns into a fantastic, subtle portrayal of a loving couple torn apart by their own actions and a legal system that leaves them scrambling. It also becomes almost a brilliant musical, in which both characters (in separate, plausible settings), break into Sondheim songs to explain their situations to their friends and families. Driver and Johannsson are both excellent and believable in their roles and their lawyers (Laura Dern, Ray Liotta, Alan Alda) provide a sharp and cynical counterpoint the couple’s real emotions.
63 Up
Dir: Michael Apted
“Give me the child at age seven and I’ll show you the man.” That’s how a segment called Seven Up began on a UK current affairs show in the early 60s. 14 children were brought together on a playground and interviewed on camera. Upper class boys in line for elite public schools and then on to Oxford or Cambridge and the seats of power. Working class kids from London’s east end; a couple from the North, one from a farm, and two taken from a “Home for Boys”, an orphanage-like institution. The short piece wondered what 
will become of these post-war baby-boomers as the world
changes? Seven years later a young Michael Apted took on the responsibility and followed them every seven years with a new film looking at what has become of them. Each successive version surprises and delights audiences who wonder what has happened to these kids – now adults – as they gradually age: their opinions on relationships and politics, whether they have transcended their class or background, what are their hopes, and later, what are their regrets.
63 Up is a fascinating study, almost the only one of its kind, that traces a generation throughout their lives. It began in a very different era, when class is all-important, while gender or ethnicity are afterthoughts and sexuality never mentioned. Since there were only three girls in the initial show, three women it remains, and in the early years they are asked domestic questions, nothing about politics, or professional goals. But the subjects end up having 
fascinating lives. One emigrates to Australia, another follows an academic path to an American professorship. Others stay close to home. And two subjects face death. One of the most endearing stories follows a man troubled by depression whose life takes a surprising turn. And for all of them, the series both keeps track of their lives and affects them as they become public figures, almost celebrities, in a largely private world… before social networking made everyone’s lives common currency.
The Body Remembers When the World Broke Open starts today at the TIFF Bell Lightbox and Marriage Story continues there and on Netflix; and 63 Up starts next Friday at the Hot Docs Cinema.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Self Help. Films reviewed: Becoming Nobody, Brittany Runs a Marathon
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s Labour Day weekend, a good time to catch up on all those things you’ve been meaning to do. That’s why this week I’m looking at two movies – a dramedy and a documentary – about Self Help. There’s a woman who wants to lose some of herself, and a man who wants to lose all of himself.
Becoming Nobody
Dir: Jamie Catto
A hippie walks into a pizza parlour. The guy behind the counter asks: What would you like? The hippie says: Make me One… with Everything!
Old joke, but I’m trying to explain who Ram Dass is.
He’s born Richard Alpert in Newton, Mass., to an upper middle class family, and becomes a clinical psychology prof at Harvard University. In the early 1960s Timothy Leary introduces him to hallucinogenic drugs as a part of therapy. Alpert takes psilocybin mushrooms for the first time and it blows his mind (in the positive sense.) But he wants to know how he can harnass its effects when he’s not high. He drops out, grows long hair and a beard. Somehow he ends up in India, in the Himilayas, right on the border of Tibet. There he studies under 
Maharaj-ji, his spiritual guru – who dubs him Ram Dass, Servant of Rama, Servent of God – and then brings his findings back to America. Back home, youth culture is rejecting the status quo, protesting the war in Vietnam, and opting out of the rat race. They’re looking for new answers. Spiritual answers. His book, Be Here Now (1971) provides just that to a large part of his generation.
I am not a devotee of Ram Dass, I don’t go to yoga classes and I don’t practice meditation in a search for spiritual enlightenment. I do remember being fascinated as a little kid by the cube-shaped book Be Here Now with the hypnotic mandala drawn on its cover.
So I won’t attempt to explain his entire spiritual philosophy in a few sentences. But the film Becoming Nobody, attempts to do some of that in 90 
minutes. It’s basically a selection of his talks and conversations spanning his life from the 1960s to the present – discovery, spiritualism, losing oneself, and accepting death. You see him change from uptight academic, to long-haired hippy, to lecturer with a Dr. Phil moustache, to wise and funny old man. The film is illustrated with cute period footage and framed by a dialogue with the director, British musician Jamie Catto.
For a non-initiate like me, some of what Ram Dass says sounds like a collection of simple aphorisms, a mishmash of Hindu and Buddhist thought. But when you think about it, a lot of what he says really make sense; it’s not just hollow rhetoric. So whether you’re looking for a simple introduction to his philosophy, or just interested in him, Becoming Nobody gives you lots to chew on.
Brittany Runs a Marathon
Wri/Dir: Paul Downs Colaizzo
Brittany (Jillian Bell) lives in a cluttered New York apartment. By day she works as a low-paid usher at a theatre. At night she goes to bars with her roommate Gretchen (Alice Lee). A good time means getting high on adderal and having drunken sex with a stranger in a bathroom stall. She thought her college education would land her a creative job on Madison Avenue. Instead she’s underemployed with a huge student debt. Which depresses her. And to rub salt in the wound, her doctor tells her she’s 60 pounds overweight and if she doesn’t do something about it, she might die.
Could her life get any worse? Actually, it begins to get better when her neighbor, Catherine (Michaela Watkins) – who she’s never met and who she refers to as “Moneybags Martha” when she sees her through the window – offers to help Brittany train with her running club. There she meets Seth (Micah Stock) a slightly effeminate, married gay guy, who wants his kids to respect him and call him dad. Catherine is dealing with a painful divorce and custody battle. So the three form a sort of a 
support group to help Brittany run in the New York City Marathon.
She also lands a long-term house-sitting job, which helps her keep her above water economically and away from roommate Gretchen’s bad influence. She begins to lose weight, her self confidence grown, and she becomes closer to her fellow house-sitter Jern (Utkarsh Ambudkar) a poster boy for slackers. Are they a couple? Can she lose 60 pounds, get a job in her profession, find a home, meet a guy, and run the marathon? Or are these just a series of unattainable hopes?
Brittany Runs a Marathon is exactly what the title suggests – a woman 
trying to run a marathon to achieve a personal goal. But it’s also a really funny comedy. Jillian Bell is hilarious and disarming as the sneaky, funny, self-deprecating Brittany. You also feel for her character as she goes through crushing disappointments. And it deals with serious issues like the ups and downs of weight loss, body image, and depression, without turning into a condescending sermon. It’s a fun, funny, heartwarming and inspiring movie. I like this one.
Brittany Runs a Marathon opens today in Toronto, check your local listings; and Becoming Nobody opens next Friday, September 6th at Hot Docs.
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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