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.

Kick-Ass Women! Movies reviewed: Ravage, Lucky Grandma, Jazz on a Summer’s Day

Posted in Action, comedy, Crime, documentary, Drama, Gambling, Jazz, Music, New York City, Thriller, Torture, violence by CulturalMining.com on August 14, 2020

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

This week I’m looking at three movies – an action/thriller, a musical documentary, and a dark comedy – all featuring kick-ass women. There’s a photographer in the Appalachians pursued by killer rednecks, a grandma in Chinatown pursued by Red Dragon gangsters; and a parade of jazz singers in Rhode Island pursuing musical bliss.

Ravage

Wri/Dir: Teddy Grennan

Harper Sykes (Annabelle Dexter-Jones) is a professioinal photographer who travels the world looking for rare wildlife. She’s in the Watchatoomy valley in Virginia searching for an endangered species when she stumbles on something she isn’t supposed to see: a group of men brutally torturing a stranger in the woods. She is shocked and sickened but pauses long enough to record the awful event from behind a tree. Then jumps in her pickup and rushes to the nearest police station. But things don’t go as planned. She’s kidnapped and dragged by tow truck to a barn, and awakens to find herself barefoot, tied up and suspended from the rafters. Ravener (Robert Longstreet) is a nasty evil redneck with a gang of meth-head henchmen. (He’s a lot like the character Negan in Walking Dead, only not as menacing.) In this valley, they don’t trust outsiders. So anyone who ventures in gets tortured and fed to the hogs. And there’s no way out.

The thing is, they don’t know Harper. She’s a regular G.I. Jane, a female McGuyver who can get out of any tight situation, using whatever’s close at hand. She gradually turns herself from victim to killer, taking down her opponents one by one. She thinks she’s safe when she takes refuge in an isolated home, where a kindly old man lives (Bruce Dern). But he turns out to be as obsessed with evil torture as the rest of them. Can she ever escape from this hell-hole?

Ravage, as the title suggests is an action/vengeance/horror flick, and it’s a B-movie at best. There are plot holes, weird editing, and a silly ending. But it doesn’t matter. Dexter-Jones is great as the kick-ass Harper, who escapes from tight spaces, makes rafts out of empty barrels, drops bullets into campfires and sabotages her pursuers in ingenious ways. Really cool. The gross-outs and shock scenes are silly, but – if you don’t mind extreme violence – this is a fun flick, perfectly suitable for drive-ins.

Jazz on a Summer’s Day

Dir: Bert Stern

It’s 1958 in Newport Rhode Island. There’s a jazz festival set up in a vast field with an outdoor stage and wooden folding chairs in neat rows. On stage are some newcomers plus big names like Louis Armstrong, Thelonius Monk, and Chuck Berry, playing jazz, blues and R&B. But it’s the women who really stand out. Anita O’day sings scat in Tea for Two, Big Maybelle rumbles her voice, Dinah Washington soars and Mahalia Jackson hushes the crowd whith her heartfelt gospel. This is all taking place at the Newport Jazz Festival in a posh summer resort with the Americas Cup – sailboats and yachts – floating past in the water.

The concert is captured on film without commentary, playing songs we’ve all heard before, but the camera doesn’t stick to the stage. Equal time is given to the audience: girls in pearls, boys in nautical ware, middle aged men in black knee socks, women in straw hats and cardigans, all unconsciously cool. College kids drinking Rheingold beer and making out in the shadows, couples dancing in the grass and hipsters nodding their heads on the off-beat. Model T Fords carrying a Dixieland jazz band sputters past, with experimental musicians jamming in the attic of an old wooden house. Everything’s captures on film, now completely restored with glowing orange klieg lights, bright red lipstick, rippling blue waves. It’s a concert and also a documentary that perfectly captures this slice of time. Something to watch and relax to on a hot summer’s day…

Lucky Grandma

Co-Wri/Dir: Sasie Sealy

Grandma (Tsai Chin) is a retired and elderly widow who lives alone in a cramped apartment in New York’s Chinatown. She likes aqua fitness, smoking cigarettes, and sipping congee. Her son wants her to move to their house in the suburbs and spend time with her noisy grandkids. It’s not safe living alone in the city, he says. But she’s stubborn, and wants to stay on familiar ground. Life’s tough but at least it’s hers. And things change when her fortune teller insists there’s a huge streak of good luck coming her way on the 28th. And when she wins an unexpected sweepstakes, she knows the odds really are on her side.

So she withdraws all her cash and goes to a casino to wager everything on number 8. She wins and wins and wins again. Until, at a game of blackjack she loses it all – tens of thousands – to old Mr Lin. It doesn’t make sense. But when Lin drops dead in her lap on the bus back home, luck is on her side again. She takes back the duffel bag of cash and sneaks home. Looks like she can finally retire in luxury.

But word gets out and Red Dragon gangsters start dropping by uninvited in her apartment to intimidate her. But she won’t give in their tactics. Instead she hires Big Pong (Hsiao-Yuan Ha) a huge but simple-minded bodyguard from a rival gang. But things start to heat up, bullets fly and now everyone seems to be after Grandma’s cash (which she insists she doesn’t have). IS this old lady stubborn enough and tough enough to fend off deadly killers? Or has she bit off more than she can chew?

Before I saw Lucky Grandma, judging by the poster I was expecting a cute, slapstick, throwaway comedy. So I was pleasantly surprised by how good a movie this actually is. It’s a low-key, but funny, realistic and poignant picture of life in Chinatown. And this is because of the star Tsai Chin, who gives a nuanced, perfect performance. Every line is just right. Who is Tsai Chin? She’s been a star since the late 50s with a hit single in HK in 1961, was a Bond Girl in You Only Live Twice, appeared in Antonioni’s Blow Up, starred in countless plays in London’s west end, and was Auntie Lindo in the Joy Luck Club. Now, in her late eighties, she’s as good as ever. Don’t miss Tsai Chin in this really good, Chinese-language American movie.

You can watch Jazz on a Summer’s Day on virtual cinema at Hot Docs, Lucky Grandma is now on digital and VOD, and you can see Ravage at drive-ins across Ontario; 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.

The Aussie connection. Reviewed: Stateless, Helmut Newton: The Bad and the Beautiful

Posted in Australia, Berlin, documentary, Drama, Fashion, photography, Prison, Refugees, TV by CulturalMining.com on July 24, 2020

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

Toronto used to be movie city, a place with countless films in production at any one time, competing for access to location shots and studio space. Dozens of screens showing the latest releases and over a hundred film festivals showcasing upcoming hits… but that was pre-Pandemic. Now the city is so dead you can almost hear a pin drop.

But don’t panic, movies are still being shown. The Lavazza Drive-in Film Fest continues at Ontario Place, showing everything from Bollywood comedies to Italian dramas to crowd pleasers from Brazil, the US and China. Go to ICFF.ca for tickets. And if you want to stay home this weekend, don’t miss the Toronto Arab Film Festival, premiering features and short films online from Canada and around the world, today through Sunday. Films are all free or PWYC. For more information, go to arabfilm.ca.

This week I’m looking at two new productions, a glamorous documentary and a human TV drama, both with an Australian connection. There’s an Australian who wants to be deported to Germany, and a German fashion photographer who finds refuge in Australia.

Helmut Newton: The Bad and the Beautiful

Dir: Gero von Boehm

Are the high-fashion photographs you see in Vogue magazine revolutionary and sexually subversive looks at our culture? Or are they violent, misogynistic views of women? A new documentary asks these questions about the pictures of renowned photographer Helmut Newton and the story of his life. He isborn in 1920 in Weimar Berlin. His father owns a factory that makes buttons and buckles. By the time he’s a teenager the Nazis are in power. He’s both repelled by and attracted to the fascist imagery of photographers like Leni Riefenstahl – he’s German-Jewish, immersed in the culture all around him but also highly restricted and persecuted by government laws.

He works as an apprentice for a woman named Yva, one of the first to use photographs within the fashion industry. In 1938 he boards a ship with a ticket to Shanghai, but disembarks in Singapore, and from there to Australia, where he spends two years in an internment camp, joins the army, and eventually becomes a fashion photographer. And he marries his life and work partner, June, AKA Alice Springs.

His photos become a smash hit in Europe, where they change the whole look of fashion photgraphy. By the 1960s he’s the first to use nude models in fashion spreads. His images are filled with fear, embarssment and the threat of violence. They often include statuesque women with domineering expressions, chiseled features, athletic bodies and large breasts. Many verge on soft core porn, with images of women dominating men. There are also photos of women as victims of violence, swallowed whole by aligators, missing limbs or brandishing knives.

And, surprisingly, a series of photos showing the erotic violence of roast chickens.

Newton settled into the Chateau Marmont in Hollywood where he died in a car accident, aged 83.

This film takes an unusual tactic. Rather than the narrator intruding into the film, we hear instead from all the women, the actors and models, he worked with: Grace Jones, Isabella Rosselini, Catherine Deneuve, Hannah Schygulla, Claudia Schiffer, Marianne Faithfull, Anna Wintour and many more. They talk about whether they felt liberated or exploited by posing in the nude; what it was like to work with him, and how the final images are often very different from the shooting itself. Many mention how he treated models like puppets, dolls or manequins that convey Newton’s ideas not the models – that’s undeniable. But most say they loved working with him and also liked the shocking and subversive images they played a part in. This film mirrors Newton’s gaze of women and turns it around by reversing the POV to that of those women examining Newton and his work. Very clever.

If you like the aesthetic of glamorous images, high fashion, and stark, nude women’s bodies — that also gives a subjective voice to the women Newton used as objects — you will love this doc.

Stateless

Created by Tony Ayres, Cate Blanchett, Elise McCredie

It’s the 2000s in a remote detention centre somewhere in Australia. High fences stop inmates from escaping, while visitors must line up to pass through security inspections. It’s just another day in the life prisoners in the carceral system. The problem is this isn’t a prison at all and the inmates have committed no crimes. They’re actually asylum seekers, refugees from around the world, who arrive there by boat.

One such inmate is Ameer (Fayssal Bazzi) who is separated from his wife and kids. The family fled the Taiban in Afghanistan only to find themselves at the mercy of unscrupulous refugee brokers who steal their savings and set them adrift in leaky boats. Ameer manages to reach Australia on his own, but now he’s locked up in the detention centre and can’t find his beloved family.

Another inmate is Eva (Yvonne Strahovski). Unlike most of the detainees, she’s not a refugee from the developing world; she’s European and just wants to leave Australia for Germany. But she has no papers to prove who she is. That’s because she’s actually an Australian flight attendant on the run from a creepy personality cult.

The inmates are guarded by people like Cam (Jai Courtney) a likeable newlywed from a nearby town. With the decent salary he can afford a new house with a swimming pool. But after a few months of working in the toxic prison-like atmosphere he finds himself morphing from ordinary guy to sadistic torturer.

Then there’s Claire (Asher Keddie) an ambitious federal civil servant. She’s sent there to clean the place up, keep journalists at bay and restore the centre’s reputation. But she arrives to find news helicopters filming despondent Sri Lankan Tamil refugees camped out on rooftop, with others driven to suicide by the horrible and hopeless conditions there. What will happen to the refugees? Will Ameer ever find his family? Why is a mentally ill Australian woman locked up in a concentration camp? And for that matter why are asylum seekers there at all?

Stateless is a six-part drama, based on a true story about actually refugees imprisoned in Australian detention camps, as well as the case of an Australian woman who ended up in one of the camps. It’s a heart-wrenching TV series with powerful acting and compelling characters played out against an extremely bleak setting. I found it really interesting – I wanted to find it what happens and binged-watched it in two sittings. It’s a bit strange though that – except for Ameer – the asylum seekers are all peripheral characters while the three Australian characters all have backstories, histories, neuroses and sex lives. I guess that’s the point – it’s not about asylum seekers, per se, it’s about how poorly the Australian government treats them, and how passionately other Australians fight for their rights.

Stateless is streaming on Netflix, Helmut Newton: The Bad and the Beautiful is playing now on VOD.

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

Daniel Garber talks with Ali Weinstein about #Blessed

Posted in Australia, Canada, Christianity, Conservatism, documentary, LGBT, Religion, Toronto by CulturalMining.com on July 17, 2020

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

Pastor Sam is not what you expect to see at a Pentecostal revival meeting. He sports a ginger beard, skinny jeans and half-sleeve tattoos. The sermons are accompanied by slick lighting, sound and music, and the results are posted online. And his Toronto sermons attract a younger flock of millennial hipsters searching for friendship, self-actualization or just something to do. Where did he come from? What does his church believe in? And why is evangelical Christianity making inroads into Canada?

#Blessed is a new documentary that looks at the rise in Canada of C3, an Australian megachurch, its leaders, its followers and its critics. It follows the stories of some of its young members as they adjust to a new world that doesn’t exactly fit with their lifestyles. It’s directed by acclaimed Toronto-based filmmaker Ali Weinstein, whose quirky doc Mermaids has been shown around the world.

I spoke to Ali Weinstein via ZOOM in Toronto

#Blessed had its broadcast premier on July 18 at 8 pm on CBC Docs POV and is streaming on CBC Gem.

Building walls. Films reviewed: The Rest of Us, The Divided Brain, Mr Jones

Posted in 1930s, Brain, Canada, Communism, documentary, Drama, Family, Feminism, Journalism, Movies, Neuroscience, Norway, Thriller, USSR, Wales, Women by CulturalMining.com on June 19, 2020

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

I’m recording this in my home to tell you about some movies you can watch in your home. This week I have two dramas directed by women and a documentary. There’s a psychiatrist looking at the divided brain, two families trying to bridge a gap; and a UK journalist who wants to penetrate the iron curtain.

The Rest of Us

Dir: Aisling Chin-Yee

Cami (Heather Graham) is a divorced mom who writes and illustrates children’s books. She lives in an elegant house with a swimming pool. Her daughter Aster (Sophie Nélisse) is home from university and hanging with a guy she met. She’s mad at her mother so she lives in an Airstream trailer parked out front. Meanwhile, another mother/daughter family live in another nice house. Rachel (Jodi Balfour) lives with her husband and young daughter Talulah (Abigail Pniowsky). What do they have in common? Rachel had an affair with Cami’s husband 10 years back, and now she’s married to him. But when he suddenly dies, the two moms – and their daughters – are brought together, against their will. Turns out the late husband hadn’t kept up with insurance and mortgage payments, leaving Rachel and Talulah homeless. So they end up moving, temporarily, into Cami and Aster’s home. An odd couple indeed. Can four women with very little in common bond together? Or will they stew in their respective juices making for an intractable situation?

The Rest of Us is a light drama about relationships and make-shift families. It’s short – less than 90 minutes – but the characters are really well done, complete with secrets, back stories and quirks. It didn’t exactly blow me away, but it I liked watching it develop — you do care about what happens to them. A nice, light family drama.

The Divided Brain

Dir: Manfred Becker

The human brain is divided in half. The left brain controls the right side of your body, and the right brain handles the left side. So if you’re right-handed that usually means the left side of your brain is dominant. Beyond that, the two sides are said to process information in different ways: The left brain, or so the theory goes, is more analytical, concerned wth facts and minutiae; while the right brain is more creative; it lets you look at the big picture. This documentary is about the theories of Iain McGilchrist, a psychiatrist and neuroimaging researcher who also studied literature. He lives on the Isle of Skye in Scotland. He’s the author of The Master and his Emissary: The Divided Brain and the Making of the Western World (2009). Basically, he says we – meaning our history, civilization, educational system, society, not to mention our individual personalities – can be explained by our emphasis on the left side of the brain at the expense of the right side. And it goes on to show research and experiments on the topic as explained by various talking heads. But is it true, and has McGilchrist proven it?

Personally, I don’t buy it. I don’t even believe the basic left side/right side premise. We all use both sides of our brains, so to make it a simple A vs B, is reductionist. And then to extrapolate this theory to cover all of society, communication, and our educational system, while fascinating just isn’t believable. (I have seen the documentary but not read his book, which could explain his work in greater detail.) While the documentary mainly focuses on McGilchrist’s theories, it does include opposing views. McGilchrist is a heterodox scholar, not part of the mainstream. It also includes magnificent drone shots of cityscapes and farms to illustrate the increasing “left brain”-look of ever more geometrically divided landscapes.

Whether or not you agree with these theories, The Divided Brain does leave you with lots of food for thought.

Mr Jones

Dir: Agnieszka Holland

It’s the early 1930s in London. Gareth Jones (James Norton) is a Cambridge-educated young man from Wales. He’s multilingual and works as a foreign policy advisor to the former PM David Lloyd George. But what he really wants is to be an investigative journalist. He’s already had one big scoop: he was on the plane carrying carrying Hitler, Goebels and other top Nazis right after they came to power. Now he wants to go to Moscow to follow a source about a big story there… and maybe interview Stalin!

Easier said than done. But he does manage to get a visa and a few nights at the posh Hotel Metropol. When he gets there, he discovers his source – another journalist – has been murdered. Luckily, he is taken under the wing of a famous foreign correspondent, Walter Duranty (Peter Saarsgard). He heads the NY Times bureau – known as “our man in Moscow” – and he’s won the Pulitzer. He’s also a total sleazebucket. He takes Jones to a party, right in the middle of Moscow, complete with jazz musicians, sex workers, and party favours… like hypodermic needles, loaded with heroin, ready to shoot.

He also meets a Berlin-based journalist named Ada Brooks (Vanessa Kirby). She trusts Jones and tells him what he needs to know. So he gets on a train with a high-ranked party member who says he’ll show him beautiful Ukraine… but Jones manages to sneak away in the city of Stalino (now Donetsk). And what he sees is shocking. There’s a major famine going on, right in the middle of Europe’s breadbasket. All the wheat is being shipped east, leaving almost nothing for them to eat. He witnesses unspeakable horrors in what is now known as The Holodomor. But he’s arrested before he can file his story. Will Jones make it back home? Can he publish this story? And if he does, will anyone believe him?

Based on a true story, Mr Jones is a combination biopic, thriller and historical drama. It’s a bit too long, and there are a few things I don’t get: for example, the movie is framed by scenes of George Orwell typing Animal Farm, but the story’s about Gareth Jones, not George Orwell. Other than that, the acting’s good (especially James Norton), the story is compelling, and it’s beautifully shot, from the modernistic Moscow hotel to the staid, stone buildings in London. Most of all are the scenes in Ukraine where colour is dimmed to almost black and white with stark snowy landscapes.

A good but harrowing movie.

The Rest of Us is now playing on VOD; Mr Jones opens today online at Apple and Cineplex; check your local listings; and The Brain Divided is available to rent online on Vimeo.com here

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

Rescue. Films reviewed: The Walrus and the Whistleblower, The Forbidden Reel, It Must Be Heaven

Posted in Afghanistan, Animals, Canada, Cold War, documentary, Movies, Niagara Falls, Palestine, War by CulturalMining.com on June 12, 2020

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

I’m recording this in my home to tell you about new movies you can watch in your home. This week I have two docs and a comedy. There’s a Palestinian director trying to make a film; Afghani directors trying to save their films, and a man in Canada trying to rescue a walrus from a swimming pool.

The Walrus and the Whistleblower

Dir: Nathalie Bibeau

Marineland is a huge amusement park in Niagara Falls, centred on its performing animals. Built in the 1960s it attracts huge crowds. Visitors love watching trainers diving off the noses of orcas, and dolphins jumping in rhythm like synchronized swimmers. There are porpoises, belugas and walruses happily doing tricks for the fish rewards they’re handed. But the world is shocked in 2012 when the Toronto Star prints a front-page expose about the maltreatment of its animals. When not performing for audiences they are kept in filthy cramped cells, much like prisons. They are force-fed drugs and made to perform in over-chlorinated pools. They are caught at sea as infants and separated from their mothers who are often killed in the process. And when they die they are dumped into mass graves on the amusement park’s own property.

Who spilled the tea on this explosive issue? Phil Demers, a trainer who had worked there since his early twenties. He learned the trade as he went along, and became an integral part of the show. He was most attached to a walrus he calls Smooshi. He milk-fed the baby walrus when it was brought there, and became its surrogate mother. They bonded like a true family. So he is disturbed by how badly Smooshi and the other animals are being treated there – an open secret shared by all its employees. When Marineland doesn’t change, he goes to the press. His whistleblowing leads to a bill in Parliament and he becomes a spokesperson for animal rights. But he is also vilified by the park’s owner,  John Holer, who launches a series of SLAPP lawsuits to stifle him. Who will win in the end – Demers or Marineland? And can he save Smooshi?

This documentary is a first-hand look at the plight of marine mammals as told by Phil Demers (Marineland doesn’t cooperate with the filmmaker). Demers is an unusual character, in turn passionate, angry, and even rude. But his love for the animals – especially Smooshi – is undeniable. And the hidden camera footage taken inside the park is very disturbing; you can see why he’s fighting so hard, and why this documentary is so popular (it won the Top Audience Award at Hot Docs this year). If you haven’t made up your mind yet, The Walrus and the Whisteblower will totally change your opinion on keeping whales in captivity.

The Forbidden Reel

Dir: Ariel Nasr

In Kabul, there’s a building that stands behind filigreed metal gates. It holds a treasure trove of Afghan culture and history wound around movie reels in metal cases. What are they, where did they come from, and how did they survive? The building is called called Afghan Films, and its archive contains a crucial record of the country’s past. Through war and peace, modernism, communism and civil war. Afghan Films was founded by film directors who wanted to create a national cinema. Influenced by Iranian, European, Hollywood and Bollywood, they created works interesting and accessible to Afghanis. They continued producing and showing their films through the civil war, indeed until the Taliban was at its gate. That’s when the archive was safely hidden and preserved in a room behind a plaster wall.

This amazing documentary tells the history of modern Afghanistan through these films. I’m talking romances, war stories, battles, dramas and newsreels. The cameramen were recoding missiles landing in Kabul. Films made under Soviet rule still depicted stories of Mujahadeen fighters. There are massice crowds in city squares, girls in poppy fields lacing flowers through their hair, travelers leading camels along mountain passes, and sombre footage of past President hanging from poles. The documentary talks to people like Yasamin Yarmal a genuine Afghani movie star, and directors Engineer Latif and Siddiq Barmak who give first-hand accounts. And it’s even a bit of a thriller – how they managed to save these Forbidden Reels (it’s not what you think!) This doc gives a view of Afghan culture like nothing you’ve ever seen before. Great documentary.

It Must Be Heaven

Wri/Dir: Elia Suleiman

Elia Suleiman is a Palestinian film director who lives in Nazareth. He lives a simple, quiet life, observing his lemon tree, listening to neighbours and drinking coffee or wine at nearby cafes, always in his panama hat and dark rimmed glasses. But his life changes when he travels abroad for a series of meetings. He flies first to Paris and then to Manhattan, but maintains his lifestyle as a quiet observer… until he goes back home again. But this simple outline doesn’t really capture the feelings behind this comic film.

It’s actualy a series of brief, whimsical tableaux, some one-offs, some repeated, in the style of Jaques Tati. This is basically a silent film with only occasional lines spoken by the people he meets. Some scenes are cute; like a little bird that keeps landing on his laptop as he tries to write. Others are more political, dealing with the pervasive presence of surveillance, military and police forces in all three countries. Israeli soldiers happily exchanging sunglasses in a car driving past… and then you see a young woman, blindfolded, in the back seat. There’s a scene on the Paris metro where he is frightened by an angry man who somehow drinks his beer in a threatening way.

Some scenes are spiritual: there’s an angel pursued by Keystone Cops in Central Park. Others are mundane – a drunken doorkeeper refusing to unlock the Church of the Holy Sepulchre. Although the film represents nationalities in stereotypical ways – he dreams, What if New Yorkers carried assault weapons casually slung over their shoulders?; and do Parisian ambulances really offer 3-course meals to homeless people? – but it laughs equally at all nationalities. Some of the most interesting scenes are in his own home where neighbours tell fantastical fables as if real life… part of the magic-realism feel of the whole movie. It Must Be Heaven is a lovely, funny and thought-provoking look at the strangeness of everyday life.

The Forboidden Reel and The Walrus and the Whistleblower are both streaming at Hotdocs; and It Must Be Heaven is opening across Canada at select virtual theatres; 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.

Decline and Fall. Films reviewed: Ottolenghi and the Cakes of Versailles, The Strain, The Humorist

Posted in Action, Communism, Cooking, Disaster, Disease, documentary, Food, France, Horror, New York City, Russia, TV, USSR, Vampires by CulturalMining.com on May 29, 2020

Unedited, no music

Hi, this is Daniel Garber at the Movies for culturalmining.com.

It’s Spring Film Festival Season in Toronto, without cinemas but with exciting new movies still being shown online. I’m recording at home via CIUT, from my house to yours, so I apologize for the sound quality. This week I’m looking at three films, one each from TJFF and Hot Docs, as well as a TV series. There’s decadence in Versailles, pandemic and mayhem in New York, and decline in 80s Moscow.

Ottolenghi and the Cakes of Versailles

Dir: Laura Gabbert

Yotam Ottolenghi is a London-based chef, restauranteur and cookbook author. A few years ago he receives an unusual offer from New York’s Metropolitan Museum of Art (“The Met”): to pull together an event recreating the desserts of the Palace of Versailles, from Louis XIV till Louis XVI. He contacts five chefs from around the world to fly in and show their stuff. But these are no ordinary chefs; they each have an unusual style all their own. Dinara Kasko, a young woman from Ukraine, assembles architecturally-inspired cakes with gravity-defying minimalist structures on the outside, and fantastic layers on the inside. Dominique Ansel – inventor of the Cronut – features new takes on classic French patisseries at his Manhattan restaurant. Sam Bompas of London’s Bompas and Parr, injects life into that much-neglected cooking form: jellies and moulds. Ghaya Oliveira is a multi-talented Tunisian chef who evokes her grandmother’s ideas while creating French pastries; and Janice Wong, a Cordon Bleu-trained Singaporean culinary artist who paints and sculpts using chocolates.

This wonderful documentary shows the chefs at work behind the scenes at The Met, recreating the splendour, decadence and opulence of Louis XIV’s Versailles. The unique works they create especially for the show are really amazing, suggesting the architecture, the formal gardens, and the open-court style of that palace, where ordinary people, if elegantly dressed, were allowed to enter the palace grounds, a space traditionally fenced off from the public. The film also provides much needed historical context: Starving Parisians stormed the palace in 1789, while the documentary is set in an ostentatious Manhattan not too long before the pandemic lockdown. Parallels anyone?

The Strain (Season 1)

Created by Guillermo del Toro and Chuck Hogan

Dr Goodweather (Corey Stoll) is a NY epidemiologist who works for the CDC. He’s separated from his wife and son because he’s always on call for emergencies. He works alongside Nora (Mia Maestro) an Argentinian-born doctor. They are called into action when a 747 lands at JFK. Everyone on board – including the pilots – are dead. Is it a terrorist hijacking? No, it’s a highly contagious virus. Called to action, the doctors attempt to stop its spread before it infects everyone in the city. But they are thwarted by corrupt officials who allow an intricately-carved wooden box (a coffin?) out of the protected area. And it turns out that the infected passengers are really dead, just temporarily comatose. They’re actually still alive, or perhaps undead. Once infected, people change into zombie-like vampires under the thrall of an unseen master.

What’s unusual about this virus is how it spreads. A red, phallic piece of flesh, like a blind moray eel, shoots out from the infected person’s neck and sucks their victim’s blood. The disease carriers cluster in colonies underground and only come out at night. Manhattan quickly collapses into chaos with widespread crime, looting and mayhem due to the pandemic. But still no quarantine to stop its spread. Luckily, a Scooby Gang of mismatched players form a team. There’s Mr Setrakian (David Bradley) an old man with secrets fro the past who carries a silver sword; Vassily (Kevin Durand) is a public rat catcher who knows his way through all of Manhattan’s dark tunnels; Dutch Velders (Ruta Gedmintas) a champion hacker who disables the internet. They face a cabal of powerful men who want the infection to continue for their own nefarious purposes. But can the doctors and their allies stop the infection? Or is it too late?

The Strain is a great action/horror/thriller TV series about an uncontrolled pandemic, corrupt billionaires amd politicians, and the frontline medical workers trying to stop them. It has mystery, romance, sex, and violence with a good story arc, gradually revealed. It’s uncannily appropriate now, and for Toronto residents it’s fun to spot the localations – it was shot here. So if you’re looking for a good pandemic drama, and don’t know where to find it, look for The Strain.

The Humorist

Wri/Dir: Mikhail Idov

It’s 1984 in the Soviet Union. The Soyuz T-12 is in the sky, Chernenko heads a geriatric government, and Ronald Reagan casually talks about dropping atomic bombs on Russia. Boris Arkadiev (Aleksey Agranovich) is a successful comedian who has it all, adored by fans and government officials alike. He travels across the nation with a stand-up monologue called The Mellow Season, a tame routine about a trained monkey. Born in Byelorussia, he now lives in a nice Moscow apartment with his lawyer wife Elvira, and his two kids, his adoring six-year-old Polina and his rebellious teenage son Ilya. In public, he’s a national icon. But behind the scenes he’s an arrogant alcoholic, a prolific womanizer, and an all-around prick. Aside from himself, he worships the two Russian idols: vodka and the space program. He left religion behind but is conscious of anti-Jewish murmurs wherever he goes. And he’s a total sell-out. Once a serious but unsuccessful novelist, he went on to be a TV writer with his friend and rival Simon. Boris gave in to the official censors, while the less-successful Simon resisted. Now Boris is like the trained monkey in his monologue, performing on cue whenever ordered to do so.

But a series of events change his outlook. An unexpected encounter with a cosmonaut makes him rethink destiny, God and existence. And when he learns about the audacious black comics working in LA from his actor pal Maxim (Yuri Kolokolnikov) he realizes how dull and tired his own comedy has become. Will he stay a depressed, trained monkey for his corrupt masters in the army and KGB? Or will he risk his job, family and reputation by speaking from the heart?

The Humorist is an excellent dark comedy, set in the last days of the Soviet Union. Agranovich is great as a troubled, over-the-hill comic, like a Soviet Phillip Roth anti-hero. It’s brilliantly constructed starting with a garden party in Latvia, but degenerating into a soiree at a high-ranked party-member’s villa. It’s peak-decadence, where sagging old generals in formal wear dine with American porn playing elegantly on a TV in the background (they think it’s high society). The men later retreat to a banya wearing Roman togas, in a scene straight out of Shakespeare’s Julius Caesar. The Humourist has an absurdist, almost surreal tone, where a midnight knock on the door could mean interrogation or the exact opposite. It’s filled with disturbing scenes of long underground corridors and empty Aeroflot planes. It kept me gripped — and squirming — until the end.

Great movie.

Ottolenghi and the Cakes of Versailles is now streaming at Hotdocs; The Humourist is playing online at TJFF, and you can find The Strain streaming, VOD, or on DVD.

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

Different from the norm. Films reviewed: Blood Machines, The Roads Not Taken, Code of the Freaks

Posted in Disabilities, documentary, Drama, Dreams, Family, Hollywood, Science Fiction, Space by CulturalMining.com on May 22, 2020

Audio: unedited, no music

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

I’m still recording at home in the midst of this pandemic, but movies are still being released, just not theatriclly. So this week I’m looking at three new indie films that celebrate the unusual. There’s a psychedelic pilot in outer space, a man with dementia retreating into his innermost thoughts, and a radical re-look at the disabled in film.

Blood Machines

Dir: Seth Ickerman

It’s the distant future on a desolate planet in outer space. The spaceship is headed by Vascan (Anders Heinrichsen) with second-in-command Lago (Christian Erickson), along with a glowing metallic robot as its brain. It’s a ramshackle outfit, held together with nuts, bolts and duct tape. But they are surprised one day by a huge, snakelike machine that crash-lands nearby. Vascan ventures outside to neutralize it, but he’s stopped by a small group of all-women warriors, their hair dyed bright red. Don’t hurt her they say, referring to the AI-powered machine. Her? And when Vascan attacks the machine, something remarkable happens. A naked woman emerges from the wreck and flies up into the sky. She has a flawless body with the image of a glowing, upside down crucifix covering her groin and lower torso. What is she, a friend or foe? And why is she there?

Blood Machines is a surreal, psychedelic science fiction fantasy, told in three short chapters. The lines are delivered in comic book fashion, accompanied by brilliant electronic music (by Carpenter Brut). Vascan looks like an angry Jared Kushner in a tailored suit with Members Only epaulettes, while Lago is more like the original Scotty (on Star Trek) with a hangover. They are later joined by Corey (Elisa Lasowski) who adds rivalry and sexual tension to the mix –the giant laser gun Vascan likes to brandish, keeps malfunctioning when Corey’s around. There are holograms, fight scenes and writhing naked bodies. There’s not much of a story to speak of, but it doesn’t matter – It’s saturated with hot pinks, violets and acid greens, powered by constant musical thrumming, and loaded with endless science fiction tropes, from Fritz Lang’s Metropolis to Mystery Science Theater 3000.

Beautiful to watch and to listen to.

The Roads Not Taken

Wri/Dir: Sally Potter

Leo (Javier Bardem) is a middle aged man who is not all there. He lives in a spartan NY apartment beside the El-train. His daughter Molly (Elle Fanning), a career woman in her twenties, has the morning off to take him to the dentist and the eye doctor. But when she arrives he’s almost comatose. He barely responds to her questions. Is he just a hollow vessel with no spark inside? In fact his mind is elsewhere, caught between two other lives progressing simultaneously.

In one alternate reality, he lives with his first love Dolores (Salma Hayek) in an adobe home in the desert with rose coloured walls and bars on the window. She wants him to come with her to a Day of the Dead celebration to communicate with someone they lost. In a second life he’s a novelist on a picturesque Greek island where he writes and chats with tourists in open-air tavernas. But back in the present day his life is miserable. He’s prone to wander at night, barefoot and unaware. He drinks the dentist’s mouthwash and wets his pants, and calls strange women Dolores. Can Molly get through to her dad? And can he accept reality or will he retreat permanently into the recesses of his mind?

The Roads Not Taken is a grim look at the miserable life of a man suffering from dementia living a life he regrets, mitigated by the kindness of his daughter and the vibrant world he lives in inside his head. I have mixed feelings toward this movie. On the positive side, it has a stellar cast: Javier Bardem, Elle Fanning, Salma Hayek and Laura Linney as his ex-wife. But the narrative is fragmented among the three worlds, and not entirely satisfying. Elle Fanning is sympathetic, but how many times can a character have tear-streaked cheeks in one movie? She never turns off the waterworks. The musical score is great, and the cinematography is really effective, with a constant movement – trains, taxis, pickup trucks – that neatly ties together disparate scenes. Still, this movie just didn’t deeply move me. Sally Potter may be a great director, but this film is not one of her best.

Code of the Freaks

Dir: Salome Chasnoff

Are disabled people hideous villains or saintly, childlike freaks who need to be rescued? People with secret superpowers? Or ones who desire either to die or to be “cured”? All of the above, if you go by Hollywood movies. This new documentary looks at 100 years of film portrayals of people with disabilities and finds it sorely lacking in real-life characters.

The doc consists of movie clips – everything from The Miracle Worker, to Rain Man, to My Left Foot — alternated with brilliant commentary by artists, writers, academics and activists. There’s no group-think here, more of a cross-section of ideas from the community. And it covers very wide ground. Like the portrayal of sex and disabilities. White women are eroticized by upping their vulnerability, while black men are neutered, made non-threatening and asexual. And, as one commentator points out, you virtually never see two disabled people having sex with each other.

Blind people have “super-power hearing abilities” (Daredevil) or a carnal need to touch other people’s faces (!? ). If you have a mental illness or disability, you have no self-control, and are liable to explode… so you have to be either institutionalized, or killed, before you “hurt someone” (eg Of Mice and Men). Little people are turned into figures of fun. Wheelchairs are made symbols of limitation, not the vehicle they use to get around. (Are drivers ever described as “confined to cars”?)

The doc pinpoints some of the most offensive movies of all, skewering the hateful Million Dollar Baby, in which the heroine valiantly chooses death over living with a disability. It’s a running theme in this documentary – a happy ending in a drama with a disabled character means they’re either “cured”, institutionalized, or killed. Even worse are the dreadfully insipid “inspirational movies” where people are congratulated for their “bravery” just for existing, instead of portraying them as real people. The one thing you almost never see are disabled characters portrayed by disabled actors (though that’s gradually improving). Probably because roles like this are too valuable as Oscar Bait for the stars.

Code of the Freaks is a scathing look at Hollywood’s portrayal of disabilities and a radical rethink of the genre. This is a must-see documentary for all moviegoers everywhere.

The Roads Not Taken is available now on VOD; Code of the Freaks was the opening night film at the RealAbilities Film Festival; and Blood Machines is now streaming on Shudder.

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

Crises. Films reviewed: Band Ladies, Cane Fire, Castle in the Ground

(Audio: no music)

Hi, this is Daniel Garber at the Movies for culturalmining.com.

I’m recording from my home, once again, looking for ways to entertain you all while movie theatres are out of the picture. So this week I’m looking at three new films, a documentary, a web series, and a dark Canadian drama. There’s a filmmaker discovering Hawai’i’s past; a group of women dealing with a collective midlife crisis; and a mother and son facing the opioid crisis.

Band Ladies

Dir: Molly Flood

Five bored, middle-aged women meet at a local bar to discuss Victorian romances for their regular book club. There’s Marnie (Kate Fenton), a stay-at- home mom with a lackluster life; Chloe (Lisa Michelle Cornelius) a careerist lawyer troubled by her Big Pharma employer; Cindy (Vicki Kim) an aspiring musician / bartender; Penny (Dana Puddicombe) a rich celeb who could pass as a Dragons Den panelist; and Stephanie (Kirstin Rasmussen) a drunk dead-ender recenty dumped by her longtime girlfriend.

But when their inhibitions are loosened by a few bottles of plonk, Chloe storms the stage to tell her secret truth: her bosses peddle opiods to children! Someone captures her rant on their phone and posts it online, and boom! the clip goes viral. But what can they do with their 15 minutes of fame? Why, form a band, of course. What kind? Punk. But can five middle-aged women shake up their lives and transform themselves overnight into an 80s style punk band? Or is this just a pipe dream?

Band Ladies is a fast-moving, cute and clever web series. It zooms through the five characters’ lives in six quick, 10-minute episodes, a crash course on the dos and don’ts of starting a band. The actors write their own characters’ lyrics and perform the songs on their first “tour” – as the opening act at a Parry Sound bar. It’s sharp, witty and empathetic – and the whole series is over in an hour.

I like this web series.

Cane Fire

Dir: Anthony Banua-Simon

Beautiful Kaua’i: a tropical paradise where happy Hawaiians harvest sugar cane and pineapples on plantations; where luxury hotels preserve ancient ceremonies by lighting torches each night; and the setting of hundreds of Hollywood features shot there. But is that the whole truth? The locals tell a very different story.

This new feature documentary pulls the veil off the island’s past and retells its story through its own people’s eyes. When the US toppled its government and colonized the islands Kaua’i was taken over by five families who controlled most of the land. Hawaiians – and workers imported from places like China, Japan and the Philippines – were kept down by the sugar and pineapple plantation owners. Unions were busted, and organizers fired, demoted or sent away. Luxury hotels were built on sacred burial grounds and their culture co-opted or invented by settlers to attract tourists. Stars like Elvis and John Wayne were featured in movies shot there while locals were background decorations. And now locals are further marginalized by the ultra-rich people like Facebook founder Mark Zuckerberg – buying huge tracts of land for their own personal use.

Cane Fire is partly a personal travelogue – the filmmaker goes to Kaua’i to find out about his great grandfather – partly a look at Hollywood’s sanitized depiction of the place; and partly a chance for the people’s own stories to be told. This includes local activists reclaiming the ruins of the once famous Koko Palms hotel built on sacred lands. The title Cane Fire comes from a movie of the same name about local unrest on the island. That movie is now lost, but the documentary fills in the blanks normally missing in depictions of Hawai’i.

Cane Fire is an excellent film.

Castle in the Ground

Wri/Dir: Joey Klein

It’s a cold, dark day in Sudbury, Ontario. Henry (Alex Wolff) is a good son, taking time off from school to take care of his dying mom (Neve Campbell). He feeds her crushed prescription pills each day to help ease her pain. But noise from across the hall – she lives in a rundown tenement – keeps bothering her. So Henry bangs on the door to investigate. There he meets Ana (Imogen Poots) – a sketchy woman with hollow eyes – and some of her unsavoury friends. She’s a cunning addict on the methadone wagon, jonesing for her next fix. And her dealer (a kid she calls Polo Boy (Keir Gilchrist) for his designer tracksuits) says she stole his bag of pills, and the scary guys are asking for it back. Ever the gallant one, Henry steps in to protect her, but soon is drawn into her hellish universe of guns, crime and opioids. Can he emerge unscathed with only a hammer as a weapon? And what about those close to him?

Castle in the Ground has a lot of things I avoid in movies – I find movies all about people slowly dying or struggling with addiction, more depressing than interesting. Luckily, this movie, while dealing with these very real phenomena, manages to avoid the moralistic tone that usually smothers stories like this. Instead it jacks up the thriller aspects – drug dealers wearing creepy baby masks, car chases, and narrow escapes from dimly-lit drug parties – couched in a constant, surreal haze. Yes, it’s bleak, but the bleakness is mollified by aburdist humour, fascinating details, and stunning night photography, lit with the glare of headlights and the acid glow of neon. And when actors like Imogen Poots and Alex Wolff put their all into a movie like this, it’s worth paying attention.

Band Ladies is streaming now on Highball.tv; Castle in the Ground opens today on VOD; and Cane Fire is having its world premier at this year’s Hot Docs.

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

Histories. Films reviewed: Hollywood, Capital in the Twenty-First Century

Posted in 1950s, 1960s, Academy Awards, Acting, documentary, Economics, Ensemble Cast, Hollywood, Movies, Poverty, Slavery, Wall Street by CulturalMining.com on May 8, 2020

(Home recording, no music)

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

History, they say, is written by the victors, but that doesn’t mean there aren’t other histories still out there. This week I’m looking at two stories, a doc and a TV drama. There’s a pessimistic, economic history of the world; and an optimistic, revisionist history of Hollywood.

Hollywood

Creators: Ian Brennan, Ryan Murphy

It’s just after WWII in LA. Young people from small towns across the US are flocking to Hollywood in search of fame and fortune in the movies. People like Jack (David Corenswet), a handsome young actor who lines up each day at Ace studios on the chance of a day’s paid work as an extra. But a pretty face is no guarantee of steady work in Hollywood. So when a mysterious man named Ernie (Dylan McDermott) recruits him for a day job at a gas station he welcomes the extra income. He’s stuck in a loveless marriage with his pregnant wife who works at the famed Schwab’s Pharmacy (where actors hang out to get discovered). Camille (Laura Harrier) is a beautiful actress on contract at Ace, where she attends locution lessons to perfect her elegant mid-atlantic accent. Still she’s stuck playing demeaning roles as maids, simply because she’s black. Rock Hudson (Jake Picking) is a talentless but good looking actor who thinks his luck has changed when he is signed by an agent named Henry (Jim Parsons). But the power broker demands sexual favours from all his clients.

Luckily, these three actors all have love interests. Jack soon discovers his job isn’t about pumping gas. It’s a front for male sex workers to peddle their wares for Hollywood’s rich and famous. Powerful women, including an older woman named Avis (Patti LuPone), grant him a chance for a foot in the door in a real movie. At the gas station, he works beside Archie (Jeremy Pope) a black writer hoping Ace studios will produce his script about a failed actress

HOLLYWOOD

who kills herself by jumping off the famed Hollywood sign. His first client is none other than Rock Hudson, looking for male companionship. Camille is in a relationship with Raymond (Darren Criss) a director at Ace. He says he’s part-Asian but can pass as white. And he wants to direct that movie Archie wrote, bringing all the main characters of the series together in one production. But is Ace Studios – and America – ready for a multi-racial romance?

Hollywood is a TV mini-series that appears to give an insider’s view of the post-war movie industry, but actually it makes it all up. The infamous casting couch – where directors or producers forced woman to have sex with them in exchange for a part – is reversed here to make men both the victims and the objects of desire. In this fantasy world, 1940s Hollywood produces movies written by, directed by, and starring non-whites. Studios are headed by women, actors come out publicly as gay and the Academy Awards happily nominates lots of African-Americans. In reality, desegregation and repeal of Jim Crow laws was decades away, “miscegenation” – mixed racial marriage – was still illegal, homosexuality was a crime, and even today Hollywood (and the Oscars) are still as white as snow.

About the only true part of this series is the gas station used as a front for male hustlers. All of this was revealed in a book and a documentary featuring the late, great Scotty Bowers (I interviewed him here in 2018.) The Netflix series is the story of his career… but he’s never mentioned by name, even once. I don’t dislike the series – it’s never boring, it’s fun to watch and has beautiful production values along with many interesting new players in the cast – but, like most Netflix productions, historical accuracy applies to hairstyles but never to the script.

Capital in the Twenty-First Century

Dir: Justin Pemberton

Based on the book by Thomas Piketty

What is capital? How is it distributed? How has that changed over the past three centuries? These are just some of the questions dealt with in this new documentary. In the 18th Century 99% of capital – meaning wealth, money and land – was controlled by the aristocracy, less than 1% of the people. Life expectancy was low, and life for the poor was nasty, brutish and short. But revolutionis, in France and elsewhere, didn’t mean a transfer of power and weath from the top to the bottom. Government was still controlled by those with the most money and laws were passed to ensure they didn’t lose their wealth. The rise of colonialism in the Americas, Africa and Asia led to more wealth in Europe extracted from the lands and people they now controlled. Slave-based agriculture generated even more capital – in the form of human beings – now bought, sold and traded like commodities. And people working in factories could be arrested even for quitting a job, and imprisoned for being poor or in debt. But, following the widespread death and destruction of WWI and the following worldwide depression, came the first signs of a transfer of power and capital from huge corporate monopolies and the very rich to the rest of the people.

Following WWII, the remaining aristocracy was heavily taxed, and wealth was transferred to the average person in the form of housing, education, health and the welfare state. People were finally rewarded for study and hard work. They were able to move up from poverty. This lasted for a few decades, until it began to unravel with new ideologies introduced by Thatcher and Reagan. Unions and welfare were suddenly bad. Greed was good. And once again, wealth was transferred from the poor and shrinking middle class back up to the top 1%. That’s where we are now.

How can we reverse these awful changes?

This documentary is a fascinating — and fast-moving – condensed look at economic history over the past 300 years and how it affects us today. It’s narrated by Pickety and other economists in a very accessible and easy to understand way. And it’s beautiful to look at, filled with thousands of tiny, quick film clips, mostly one to three seconds long, of stately homes and Victorian factories, mints printing dollar bills, Thatcher talking to schoolgirls, and people breathing through face masks in a horribly polluted Beijing. The images and music are as meticulously researched as they are lovely. Constant eye-candy.

Even the talking heads, those usually dull academics interviewed in the doc, are enthusiastic and interesting, and uniformly filmed against lavish backgrounds and scenery. And it’s filled with cool sequences. l loved one about a psychological experiment where volunteers play Monopoly without a level playing field – it favours certain players at random. These newly “rich” players are recorded acting rude, scarfing pretzels and generally behaving entitled as soon as they discovered the rules were tilted in their favour. So if you want to learn about history and economics and what to do about it, but don’t feel like reading thousands of pages, Capital in the 21st Century is a great place to feed your brain without wearing it out.

Hollywood is now streaming on Netflix; Capital opens May 8 in Toronto at the Hotdocs Virtual Theatre; 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.

%d bloggers like this: