Adapted from plays. Films reviewed: The Whale, Matilda
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
With holiday season upon us, it’s a time when students and their parents have a chance to take some time off. And if you can’t afford a ticket, there are lots of Christmas movies playing for free at the Hot Docs Cinema at Bloor and Bathurst. So in honour of Christmas break, this week I’m looking at two new movies adapted from plays, with an educational theme. There’s a college professor who is ashamed to show his face to his students, and a little schoolgirl who dares to talk back to her headmistress.
The Whale
Dir: Darren Aronofsky
Charlie (Brendan Fraser) is a college teacher who conducts his classes on his computer. And he never shows his face. He says it’s because he’s technologically inept but the real reason is he weighs 600 pounds and doesn’t want to show himself on camera. He works out of his home, and gets everything delivered to his door. And he’s visited daily by a nurse named Liz (Hong Chau) who takes care of him, drops off food and keeps him company each day. They’re friends but also share a common history. She constantly warns him that his extreme weight pushes his blood pressure to dangerous levels — he may be dead in a matter of weeks — but Charlie refuses to make any changes to his diet or habits; it’s almost as if he wants to die.
But his usual life is interrupted by some unexpected visitors. First a stranger, a young Christian missionary named Thomas (Ty Simpkins). Thomas walks through the door uninvited just as Charlie, who is masturbating to gay porn in his living room, has a blood pressure incident. Barely able to speak, he hands 
Thomas a piece of paper and tells him to read it aloud: it’s an essay on Moby Dick which is the only thing that can calm his racing heart, and possibly save his life. Later, another visitor comes by, a rude and foulmouthed teenaged girl named Ellie (Sadie Sink). She is his daughter, who he hasn’t seen since he walked out of his marriage a decade earlier. She wants to know why he left her and why he never visits. Can Charlie reconcile with his daughter? How does he know Liz? Why is the missionary there? Why is one bedroom of his home kept permanently locked? And why is he so depressed that he’s committing slow suicide by overeating?
The Whale is an extremely moving drama about a day in the life of an isolated gay man who punishes himself for something from his past. It deals with his extreme physical disabilities; in his 50s Charlie is less mobile than an old man, but his brain is as sharp as ever. Adapted from his own play by Samuel D. Hunter, it’s told theatrically in a series of acts all within his 
home, almost as if it were on a stage, with the players entering and exiting in turn. Each character has a history and a secret, eventually revealed, which adds great dramatic tension to the story. And the acting is superb, most of all Brendan Fraser.
At the same time, the Whale Was clearly made to win prizes. I’ve seen enough movies to know when an actor uses prostheses (Charlie is portrayed wearing a “fat suit”) and plays someone with a disability — whether a mental or physical illness or handicap — you know it’s Oscar bait. The thing is, Fraser is clearly a good actor and has a natural heft to his body, so I don’t think he needed all this extra elaborate makeup and costume. What is disturbing is the degree if Charlie’s self-loathing: he practically begs other people to call him hideous, grotesque and ugly. The thing is, it’s all in his mind. He’s actually a kind and pleasant guy, not the monster he’s trying to be. Don’t confuse the character’s psychology with the point of the film. And aside from a truly gross binging scene, The Whale is really a beautiful and tender film.
Matilda
Dir: Matthew Warchus
Matilda Wormwood (Alisha Weir) is a little girl who has never been to school. Her parents consider her a burden, so she lives in a tiny room in the attic, and educates herself at the local mobile library, where the kindly Mrs Phelps (Sindhi Vee) gives her a pile of books to read each day along with sage advice. But everything changes when a truant officer shows up at her door ordering her parents to send her to school. She starts her classes the next day at Crunchem Hall, a scary gothic structure behind a foreboding metal gate. It’s ruled by the cruel Headmistress Agatha Trunchbull (an unrecognizable Emma Thompson), who treats it as somewhere between a boot camp and prison, not a place for fun and games or learning. Her strict rules are enforced by older students who serve as her henchmen. And woe to any student who is caught, or even accused of, disobeying. They might have their ears stretched, or their pigtails pulled by Miss Trunchbull herself. Or worst of all, they could be sent to The Chokey, a miserable, one-person jail, a dark, wooden shack festooned with chains and locks. No, not the Chokey! Luckily, there is hope. Her teacher Miss Honey 
(Lashana Lynch) is as kind as the Headmistress is cruel. She quickly recognizes Matilda’s genius, and takes her under her wing. But the headmistresses is out to get her: she vows to break Matilda’s spirit and put her in her place. Will Matilda defy the Headmistress? And can she she outsmart her? Or will she end up in the Chokey?
Matilda is a fantastic kids’ musical, full of catchy songs and dances and a plethora of quirky characters within the huge ensemble cast, in the manner of Oliver! or Annie, but funnier. Based on the book by Roald Dahl, it’s full of Dickensian references but without Victorian morality to weigh it down: Matilda is a naughty girl who gets back at her tormenters with tricks of her own (She turns her father’s hair green and puts crazy glue on his hat brim.) Though it’s a timeless story, the art direction suggest a campy retro 1980s setting. Weir is a good 
Matilda, and Emma Thompson plays Miss Trunchbull to the hilt as an olympic hammer thrower, an intimidating fascist dictator, bedecked in khaki from head to toe. And Lashana Lynch is very sweet as Miss Honey. There’s also a story within the story, a fairytale about an acrobat and an escapologist; Matilda tells a chapter of that story to the librarian each day, like a modern-day Scheherazade. It’s very English, but with a nicely multi-racial cast. My only criticism is they occasionally get carried away with CGI effects, but not enough to spoil the film.
Kids will adore Matilda: the Musical, and I think grown-ups will too.
The Whale opens next weekend; check your local listings. Matilda is now playing theatrically in Toronto at the TIFF Bell Lightbox, and will start streaming on Netflix on Christmas Day.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
On the media. Films reviewed: A Wounded Fawn, Spoiler Alert, Empire of Light
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s December, but not everything is about Christmas. This week I’m looking at three new movies with themes set in the arts: there’s a woman who works at a cinema but never watches movies; a serial killer who finds himself part of an ancient greek play, and a writer for TV Guide who thinks his life is like a sitcom.
A Wounded Fawn
Co-Wri/Dir:Travis Stevens
It’s a fine art auction in NY City, and the collectors and dealers are in fighting mode tonight. The prized item is a small bronze sculpture from ancient Greece showing the Furies seeking revenge on a prone man. Kate (Malin Barr) gets the high bid and returns home triumphant with the piece in hand. So she’s surprised to see Bruce (Josh Ruben) a rival bidder, show up at her door. His boss still covets the statue and is willing pay double. Doubling her money in 24 hours seems like a good deal. She invites him in for a glass of champagne. But before long, she is dead on 
the floor in a pool of blood, and the sculpture — and Bruce — are long gone.
Later, Meredith, another beautiful young woman (Sarah Lind) is excited over an upcoming weekend in the country with her latest paramour. Her last boyfriend was abusive, but her new one seems nice, generous and attractive. And he’s into fine art just like Mer (she works in a museum).They set off for a fun filled adventure at his isolated cottage in the woods. She is thrilled to see the cabin is actually a finished home overlooking a dense forest, and decorated with modern art. But something is strange: she hears a woman’s voice in her ear warning her to leave. And she recognizes the Greek sculpture of the Furies on his coffee table — she authenticated it for an auction just a few weeks ago. (It’s just a copy, says Bruce) What she doesn’t know is that Bruce is a 
serial killer… and she might be his next victim. (Bruce is waiting for directions from a gigantic man-owl with blood red feathers who tells him who he should kill). Can Mer fight him off? And where do those strange voices come from?
A Wounded Fawn is a low budget, exquisitely-crafted art-house thriller horror. What starts as a simple slasher, soon turns into a revenge pic about halfway through, where Meredith, Kate and a third victim return as the Furies to visit punishment upon Bruce. What’s really remarkable is how it incorporates greco-roman aesthetics, mythology and theatre into what could have been a simple scary horror movie, to turn it into something totally original. While it’s not always clear whether something happens for real, or just inside Bruce’s damaged brain, it doesn’t matter. A Wounded Fawn is weird and fascinating, either way.
Spoiler Alert
Dir: Michael Showalter
It’s the 1990s. Michael Ausiello (Jim Parsons) is a nerdy gay guy who lives in NJ but works in Manhattan. He grew up obsessed by TV, living his life as if he were a character on an 80s sitcom. Now he’s a writer for TV Guide, where he devotes himself to work and remains perpetually single. Until he meets Kit Cowan (Ben Aldridge) at a dance club — he’s handsome, fit and popular and says Michael is just his type —a tall geek. Kit’s also in the media — he’s a professional photographer. They hit it off, but keep certain secrets to themselves. Kit lives a free-wheeling sex life — he’s not one to settle down. And Michael never came out to his small-town parents (Sally Field and Bill Irwin); he’s afraid they won’t accept him. And he’s afraid to show Kit his apartment. What is he hiding there? His Smurf collection; a veritable fuzzy blue tsunami filling every nook and cranny. But after settling their deferences, they eventually move in together. Most of the Smurfs are packed away, Michael comes out to his parents (they still love him) and they settle into domestic bliss.
Flash forward 15 years, and their relationship is on the rocks; the spark has died and they’ve grown a bit distant toward each other. But everything changes when — spoiler alert! — Kit discovers he has terminal cancer. Can they handle his 
imminent death? Will their love be rekindled? And how will they spend what might be their last year together?
Spoiler Alert is a touching dramady about love and loss, based on a true story — Michael Ausiello’s own memoir of his life with Kit. Like the book, the movie begins with the death of Kit in Michael’s arms, hence “spoiler alert”. The director Michael Showalter, previously made The Big Sick, also about a couple and their family facing a serious illness. So is this the gay Big Sick? Not exactly — it’s a new story with a different style, like his version of Michael’s childhood as a sitcom, complete with laugh-track. And there are lots of funny parts. The bigger question is, is Jim Parsons up to playing a dramatic role, or is he forever stuck in peoples’ minds as Sheldon on the Big Bang? In this case, I think he pulls it off. He fits the role and manages to make him quirkily sympathetic. So if you’re into terminal illness comedies, here’s a good one to try on for size.
Empire of Light
Wri/Dir: Sam Mendes
Its the winter of 1981 in a sea-side city in southern England. Hilary (Olivia Coleman) is a middle-aged woman who works at the Empire Theatre as the front of house manager. It’s an art-deco movie palace, but like the town, it’s long past its prime. Half the screens are closed and the third floor ballroom has been taken over by pigeons. Hilary is lonely and depressed, on meds, recovering from a hospital stay. Her social life consists of ballroom dancing with old men, and her sex life is furtive encounters with her sleazy, married boss (Colin Firth) in his darkened office.
But her life changes when a young man, Stephen (Michael Ward) is hired to work there. She finds him attractive, ambitious (he wants to study architecture at university)` and compassionate: he nurses a wounded pigeon back to health. He’s mom’s a nurse, from the Windrush generation, but he wants more. Hillary may be his mom’s age but there’s something there. After a few intimate moments they start a clandestine relationship. But Michael’s real ambition is to leave this town — to escape increasingly racist street violence (he’s black), and to become more than just an usher. Can their 
relationship last? And if they break up, can the fragile Hilary handle it?
Empire of Light is a romantic time capsule of life in Thatcher’s England. It’s also about the joy and troubles of an intergenerational, mixed-race love affair. And it’s also about sexual harassment and anti-black racism in everyday life. And it’s also about Hillary’s mental illness, including her sudden, manic episodes. And it’s also about the rise of skinheads and the National Front, and the concurrent anti-racist ska revival. And it’s also about the collective friendship that develops among the people working at the Empire theatre. (Maybe too many ands for one movie?)
Like many of Sam Mendes films (which I generally don’t like), it’s pandering and emotionally manipulative and has a meandering storyline, that keeps you watching while it’s on, but 
leaves you feeling vaguely unsatisfied afterwards. But the acting is really good, especially Olivia Coleman and Michael Ward, who rise above the movie’s many flaws. Maybe even good enough to make Empire of Light worth a watch, despite all its problems.
Empire of Light and Spoiler Alert both open this weekend in Toronto; check your local listings. And A Wounded Fawn is now streaming on Shudder.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Films reviewed: Swan Song, Beyond Monet, Respect
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
With the end of lockdowns finally reaching Toronto, people are itching to catch up on what they’ve been missing — from getting their hair cut, going to an art gallery, or listening to a concert on the big screen. This week I’m looking at two movies and one experience. There’s soul in Detroit, hairdressing in Ohio, and French impressionism in downtown Toronto.
Swan Song
Wri/Dir: Todd Stephens
Pat Pitsenbarger (Udo Kier) was once known as the Liberace of Sandusky Ohio, known for his gaudy jewelry, his pastel pantsuits and his flamboyant style. The richest women in town flocked to his hair salon where he could accomplish miracles with just his fingertips and a can of hairspray. But now he’s long-forgotten, a penniless old man living in a nursing home with puke-green walls and fluorescent lights. What happened?
His protege Dee Dee (Jennifer Coolidge) opened up a larger salon across the street from his, poaching his longest clients, including Rita Sloan a millionaire and his oldest patron. Then his lover David died of AIDS. And since this was before same-sex marriage, their shared house was inherited by a distant relative, leaving him homeless. So for Pat, Sandusky is just history. Until a lawyer named Mr Shamrock arrives at his room with a new development. Rita has died, and in her will she insists Pat be the one to style her hair in her coffin. And if he does he’ll inherit 
25,000 clams. So Pat sets out on a long journey back to long-lost Sandusky, encountering strange people and places along the way. Will he get there in time for Rita’s swan song? And can he finish the job without any beauty supplies?
Swan Song is a very gentle, low-key, and slow- moving homage to the gradually fading world of small town gay life in America. Though nostalgic, it doesn’t present a white-washed version. It features Pat (loosely based on a real person) as an inveterate shoplifter, Eunice his best friend who is known for loitering in public toilets, as well as the seedy gay bar where they used to lip-synch torch songs. Udo Kier, the great German actor, has fun with his role, injecting his own trademark campiness. Swan Song is a cute and gentle, (though too slow-moving) LGBT comedy.
Beyond Monet
Claude Monet was a fin-de-siècle French painter who daubed his canvases with bright spring colours. Critics at the time referred to his work derisively as impressionism, thus providing a name for the movement. But as his fame grew, his eyesight faded, and by the end his works veered to the nearly abstract. Today, though, his paintings of fields, gardens, water and most of all waterlilies are among the most famous of that era. Beyond Monet is an exhibition, not of his art, but rather an immersive experience. His works are projected on a circular, 360 degree wall and ceiling, about the size of a football stadium. The works themselves are constantly rising, falling, or gradually turning around inside the exhibition space, so you can see all of it without moving from your area. It’s constructed around a large wooden cupola in the centre, along with shiny, round landing pads spread all around to sit on. The images are softly animated: waves in his paintings rise and fall; in his winter scenes, snow seems to blow against the landscapes, while flowers and lillies bloom before your eyes. And a constantly-shifting — and at times quite lovely — original soundtrack of music and sound effects (like birds, crickets or waves) adds to the mood.
The exhibition is in three parts. The first consists 0f a few curved wooden bridges and some gossamer sheets hanging from the tall ceilings. It also has a series of bilingual signs explain the art. You pass through a hallway festooned with cheap mylar strips, into the main room where the actual show takes place.
Is seeing an original canvas by Monet the same as a projection, however well-rendered and animated, in a large space? No… not even close. This isn’t art, it’s about art. It reminds me of those parks with miniature versions of the Eiffel tower and the Taj Mahal.
What it is, though, is a pleasantly relaxing experience for those who want to appreciate Monet without the trouble of seeing his actual stuff. Interestingly, the entrance features an assortment of empty wooden canvas frames, to remind us, I suppose, that the real art is still on museum walls. But with the pandemic on, perhaps Beyond Monet is a way to get the feeling of his work without travelling far. And the show is well- ventilated, well-spaced and with a limited number of guests at any one time.
Respect
Dir: Liesl Tommy
It’s 1952. 10-year-old Aretha Franklin, known as “Ree”, lives in a middle class Detroit neighbourhood. Her father (Forest Whitaker) is a firebrand baptist preacher with a huge congregation. He is a colleague of the Rev Dr Martin Luther King, who Ree calls Uncle Martin. He holds Saturday night get-togethers where little Ree is the featured performer in a musical household. Still a child, she has the voice of a full-grown woman, and performs be-bop and scat singing, not just gospel. Her father intends to make her a star. By the late 50s he gets Aretha (Jennifer Hudson) signed with John Hammond at Columbia Records where she records old jazz standards with a full orchestra. But without any hits.
Then everything changes in the late 60s when she is taken under the wing of producer Jerry Wexler at Atlantic, the man who coined the term Rhythm and Blues. He introduces her to the back-up players at Muscle Shoals, men who know how to feel the music. Aretha brings in her sisters as back up singers, and 
the rest is history. She becomes the queen of soul and her songs internationally famous.
This music biopic follows her career over a 20 year period, from 1952 to 1972. And it’s not a smooth and steady ride. It’s called Respect partly because of her hit single but also to point out the lack of it she experiences from both her domineering father and her tempestuous relationship with the often violent and manipulative Ted (Marlon Wayans) her sometime husband and manager. It also exposes the harsh underbelly of her stable, middle-class life. She is raped at an early age (this is implied not shown) and gives birth to a number of sons while still in her teens (her grandma takes care of them.) Her father says she has “demons” inside, but maybe it’s just her trying to break free, whether through her music or alcoholism, from the relentless disrespect and physical and mental abuse she suffers for much of her young life.
Respect is part performance, part melodrama, alternating between a near constant flow of music interspersed with re-enactments with her family, business, and love life. We see her ups and downs (mainly her downs), along with many — maybe too many — fights, tantrums and meltdowns. Biopics have two choices: either hire great actors with mediocre or dubbed voices, or great singers. Hudson is the latter. She has a fantastic voice, featured here in so many genres — gospel, jazz, soul and pop — which holds the movie together. The melodramatic scenes are a mixed bag, some very moving, others cringe-worthy. Whitaker is really good as CL Frankin, and Hudson is in nearly every scene. While Respect is not a great movie, I greatly enjoyed watching it.
Look for Swan Song on VOD and digital formats. Respect opens theatrically in Toronto this weekend — check your local listings. And Beyond Monet is exclusively showing at the Metro Toronto Convention Centre now.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Self-reflexive. Films reviewed: Akilla’s Escape, Truman & Tennessee, Censor
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 — a crime drama, a horror movie and a documentary. — that also look at themselves. There’s a possible killer named Akilla, a horror movie about horror movies, and a doc about two famous gay writers… who write about themselves.
Akilla’s Escape
Co-Wri/Dir: Charles Officer
It’s present-day Toronto. Akilla (Saul Williams) is a smart and well-read guy, who was born in Jamaica, grew up in Queens NY, and ended up in Toronto as a teenager. He has built a career with a successful grow-op he calls “the farm” for twenty years, but feels it’s time for a change. There’s been a rash of gang violence and he wants out. But on the same day, he interrupts a robbery gone wrong, leaving dead bodies in its wake. Most of the remaining local gangsters get away with two bags full of cash and drugs which should be in the hands of organized crime. But one of them — whom Akilla knocks out during the robbery — is still lying unconscious on the floor. And when he pulls off his mask, he sees young Sheppard (Thamela Mpumlwana), a 15-year-old boy who reminds him of himself at that age. He doesn’t want to hand him over to the mob because they’ll kill him… but he also needs to recover the stolen cash and drugs — otherwise
he’ll be the one to suffer. Can he get Sheppard to confess, avoid a hitman from the Greek mob, and catch a fugitive killer… without dying himself?
Akilla’s Escape is a complex and engrossing crime drama set within Toronto’s Jamaican community. Through a series of flashbacks, it’s told in three parallel stories about people dragged into a life of crime largely against their own will: young Akilla in Queens, Sheppard in Toronto, and adult Akilla in the present day. It’s nicely shot in a distinctive style coloured with reds and yellows to differentiate the different time periods. Saul Williams is really good as Akilla, both thoughtful and intense; and, in a twist, Sheppard and the 15-year-old Akilla are both played by the same actor, Thamela Mpumlwana!
Interesting movie — I like this one.
Truman & Tennessee: an intimate conversation
Dir: Lisa Immordino Vreeland
Truman Capote and Tennessee Williams first met in the 1940s when they both were rising stars. Capote was still a teenager while Williams was in his late twenties. And they both were gay authors. Tennessee was a compulsive writer dedicated to his craft, while Truman yearned for celebrity, not just success. Tennessee wrote a series of incredibly successful plays, most of which were later turned into hit movies, all about the lives, loves and tragedies of southern woman. You’ve probably seen at least some of them: The Glass Menagerie, Cat on a Hot Tin Roof, A Streetcar Named Desire, to name just a few. Truman Capote wrote novels, memoirs and true crime reports, like In Cold Blood, Breakfast at Tiffany’s, and Other Voices, Other Rooms. They went on vacations together, along with their long-term lovers, to exotic locales in Italy and Morocco.
They both drank heavily and popped pills supplied by the notorious “Doctor Feelgood”. But by the 1970s their fractious friendship ended in bitter rivalries. Truman wrote a story with a character based on Tennessee, whom he described as “a chunky, paunchy, booze puffed runt with a play moustache glued above laconic lips who has a corn-pone voice.” In response, 
Truman is said to have “gone so far in his shtick that all his work will be seen now in the shimmer of a poised stiletto”.
This documentary is composed of scenes from their films, still photos (by photographers like Richard Avedon and Cecil Beaton), and a few key TV interviews (with David Frost and Dick Cavett). Visually it’s experimental, with lush green leaves, trees and rippling water superimposed kaleidoscopically on much of the period footage, giving the film a drifting, ethereal feel.
It’s narrated by the authors themselves, as voiced by actors Zachary Quinto (Star Trek) as Tennessee Williams and Jim Parsons (Big Bang Theory) as Truman Capote. It’s full of personal details of their superstitions, phobias, addictions, jealousy, loneliness and lust. Did you know that Truman Capote wanted Marilyn Monroe, not Audrey Hepburn, to play Holly Golightly in Breakfast at Tiffany’s (which was based on an actual friend of his)? And Tennessee Williams tells all his viewers to walk out of his movies just before they’re over, because, he says, Hollywood’s happy endings ruin them all. These just give you a taste of all the secrets revealed in this movie.
If you like these two writers, you must see this doc.
Censor
Co-Wri/Dir: Prano Bailey-Bond
It’s the mid-1980s in Thatcher’s Britain. Enid (Niamh Algar) works for the censor board. In teams of two they rate, classify, cut or ban the many videos flooding the country. She’s meticulous in her work, logging frame by frame any images she thinks show too much. Scenes that don’t make the grade include a gouged eyeball that “looks too realistic”, or “excessively visible genitalia”. Pressure is especially strong these days because the tabloid press blames a rise in crime on the prevalence of “video nasties” — low-budget horror movies washing up on the sacred shores of Albion.
Things get worse when a gruesome real-life murder seems to mimic a scene from a horror movie she once approved. And once the papers print her name, she is inundated by paparazzi, journalists and non-stop anonymous obscene phone calls to her home. Meanwhile, at work, she is visited by a particularly sleazy and salacious film producer, who says she would be perfect to star in his next movie. Turns out his past video nasties include a film about two teenaged sisters, one of whom was violently killed. Thing is, Enid’s own sister disappeared 
after a walk in the woods when they were both still little girls, and she has made it her life-long goal either to find her or find out what happened to her. Is this film somehow related to her and her sister? Is the film studio a murder machine, making snuff films? Or is it all in her head?
Censor is a psychological horror pic that traces a bureaucrat’s slide from proper office worker into the depths of violence and depravity. It’s about the making and censoring of those low-budget horror movies in the 80s, but it’s also a horror movie in its own right. Its style matches the videos it’s sampling — the music, sound effects, costumes — giving the whole film a surreal feeling.
This is good, over-the-top horror.
Akilla’s Escape is now playing on VOD; Truman & Tennessee: an intimate conversation opens today digitally at the Rogers HotDocs cinema; and Censor also opens today on your favourite VOD platform.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Implanted ideas. Films reviewed: Held, Kenny Scharf: When Worlds Collide, Moffie
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 — a doc, a war drama and a thriller horror — about ideas implanted into our minds. There’s an eighties artist digging up TV images from the sixties; a soldier in eighties South Africa with Cold War racism and homophobia drilled into his head; and a married couple forced to re-enact outdated sexual roles by the orders of a device… drilled into their skulls.
Held
Dir: Travis Cluff, Chris Lofing
Emma and Henry (Jill Awbrey and Bart Johnson) are a married couple, both professionals. They plan to meet at a remote luxury resort in order to bring the spark back into their relationship. Eight years ago they had an amazing vacation in Monterey, just the two of them; but lately, they’ve been drifting apart. Emma arrives first, driven by a vaguely suspicious-looking guy named Joe (Rez Kempton). Why does he ask so many personal questions? She’s relieved to see the house is protected by a large wall. She checks out the digs — it’s a minimalist wonder, all glass and white walls, and incredibly safe from intruders. There are alarms and code systems everywhere, a modern kitchen, and a lovely orchard just outside. And Henry left her some flowers on the doorstep — red roses… how romantic!
When Henry arrives, they share a toast over glasses of whiskey. But then things get weird. They both start to feel dizzy — are 
there roofies in their drinks? They wake up the next morning in a daze. Their cel phones are gone. Emma is dressed in an old-school negligee. Did someone do this to her in her sleep? And the roses? Henry says they weren’t from him. Their clothes have all disappeared, replaced by 6os-style dresses for her and suits for him, and large TV screens that play old-school songs urging them to dance a foxtrot. Dance?
The doors are all locked, and a strange detached voice starts giving them orders. Obey us! If you follow our directions you will not be harmed! Mr Creepy Voice wants them to stick to traditional sexual roles — men open doors for women, who respond by thanking them. If they disobey, they get zapped by a high-power, hugely painful device that’s been implanted into their heads the night before. And now they’re expected to make love under a watchful eye. Who is this maniac and what’s his agenda? Is it Jordan Peterson? Or an incel? Why does he cling to outdated sexual norms? And will they ever escape from this bizarre house of horrors?
Held is a heart pounding , psychological thriller about a couple held hostage for no known reason. There’s a big revelation about two-thirds of the way through (no spoilers) which I predicted… but even so, it gripped me till the very end. It is quite violent and disturbing, so not for the faint of heart, but I found Held a super-twisted and scary movie, just the thing for late-night viewing.
Kenny Scharf: When Worlds Collide
Wri/Dir:Max Basch, Malia Scharf
Kenny Scharf is born into post-war LA, the land of artificial smiles, perma-tans, non-stop TV and brightly coloured plastic. He grows up in a nuclear family amidst the prefab suburbs of the San Fernando valley. He likes art and design and has a steady hand that can draw a perfect line without a ruler. But Andy Warhol and New York City beckons and he ends up a student at SVA (the School of Visual Arts) beside Keith Haring with whom he eventually shares an apartment in Times Square. It’s the early 1980s, and together with the younger Jean-Michel Basquiat, the three start spreading their art all over the city: on subways, toasters, TV 
sets, and crumbing tenement walls. Kenny can’t stop putting painting on everything he sees.
Eventually people with money start to notice, and the East Village art scene explodes. Kenny Scharf’s work incorporates found art, day-glo colours, and cartoonish TV images of George Jetson, Barney Rubble and 1950s suburban housewives. These figures are vomited across canvas in a cosmic orgy of detailed mayhem, the work of spray paint and fine brush strokes. Grotesque smiles and googly-eyed faces adorn his prolific paintings and sculptures, like a Peewee’s Playhouse of fine art. The East 
Village art scene spills over into the world of performance, music, fashion and nightclubs, blurring the lines. Kenny is doing it all. Next comes money and fame, one-man shows and installations,…until it finally crashes and burns. Many of the artists die in the AIDS epidemic, but Kenny survives, moving back to LA with his Brazilian wife and kids and continuing his work.
Kenny Scharf: When Worlds Collide (the title is from one of his massive paintings) is a documentary look at his life and art, from childhood to the present, presented using never-seen period footage, video, recordings and art. It’s an amazing story brought to life. To be honest, I’m always suspicious of docs on living artists — did they make this film just to raise his recognition and pump up the value of his work? Who knows? But life as an artist is never easy. This film is co-directed by another artist, Kenny’s own daughter Malia, which lets us look into his private life and thoughts, and his never-ending outflow of colour and plastic… while steering clear of any stories of sex, drugs and debauchery. It’s her dad… what do you want?
I liked this movie.
Moffie
Wri/Dir: Oliver Hermanus
It’s 1982 in Apartheid South Africa. All white boys and men are required to serve in the army for two years starting at age 16. Nick (Kai Luke Brümmer) is still wet behind the ears and doesn’t want to go. But his mother and boorish step-father send him off with a big celebration. His father slips him a porn mag to keep him company. But Playboy centrefolds are not his thing. The train to the camp is loud and rough, filled with oafs drinking till they puke, picking fights and shouting racist abuse at any African they pass. Nick makes one friend on the way, Michael (Matthew Vey), an anglo and a nice guy to boot. At the base, they are spat on, kicked, punched and made to repeat inane 
slogans by an especially sadistic sergeant. All hatred is aimed toward the three enemies of the state — Africans, communists, and homosexuals. And heaven help anyone caught supporting any of them, or worse being one of them. The sleeping quarters are filled with testosterone-fuelled idiots, spouting racist nonsense but exuding a constant masculine sexuality that clouds Nick’s thoughts.
But war is war (there’s a longstanding border conflict with neighbouring Angola) and they’re expected to fight. When Nick finds himself sharing a sleeping bag in a foxhole with a friendly soldier named Stassen (Ryan de Villiers) he’s forced to reassess his sense of desire and sexuality. But will he survive this two year ordeal?
Moffie (the title is an Afrikaans anti-gay slur), is a realistic internal look at the unrelenting racism and paranoia drilled into the psyche of white South Africans’ during Apartheid. (Unspoken, but implied, is the the violence that this visited upon the non-white South African majority on a daily basis) It’s also an intensely moving story, full of lust and longing, regret and horror. Dialogue alternates between Afrikaans and English. It has stunning cinematograpy, and a great soundtrack. The acting is fantastic, with a largely unknown cast, many on screen for the first time. Moffie is a powerful war film.
I recommend this movie.
Moffie opens today on VOD on Apple TV and in the summer on IFC Films Unlimited; Held also starts today on VOD on AppleTV, iTunes and other platforms; and Kenny Scharf: When Worlds Collide will open next Thursday.
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 Chris McKim about his new doc Wojnarowicz: F**k You F*ggot F**ker
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s the 1980s in New York, a city in decay, nearly bankrupt and crumbling, with the AIDS epidemic looming just around the corner. David is the son of an abusive dad who grew up in Hell’s Kitchen. He’s a rebel, in a punk band and into transgressive writers like Genet and Rimbaud. He earns money selling sex in Times Square. He expresses himself through murals in abandoned piers, and stencil graffiti spray-painted on city sidewalks. He samples found images, photocopying and 
rephotographing them. But suddenly he’s at the epicentre of a new art movement in the East Village. His paintings appear at the Whitney Biennial and people are paying money for his art. Eventually he becomes a central voice in both the art and gay rights movements before he died in his thirties in 1992.
Who was this David Wojnarowicz, anyway?
Wojnarowicz: F**k You F*ggot F**ker is the name of a new documentary about the life and work of the artist, writer and activist. The film incorporates voice recordings, film, video and stills as well as new interviews with his contemporaries. It follows the events of his life where art, culture, sexuality and politics interacted. The doc is produced by WOW Docs / World of Wonder’s Randy Barbato & Fenton Bailey and directed by award-winning filmmaker Chris McKim, known for his wide range of projects from co-creator of RuPaul’s Drag Race to the Emmy-winning documentary Out of Iraq.
I spoke with Chris McKim in L.A., via ZOOM.
Wojnarowicz opens today in Toronto at the digital TIFF Bell Lightbox
Older. Films reviewed: Nomadland, Supernova, Can’t Get You Out of My Head
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
As the baby boomers age, so do the characters in their movies. This week I’m looking at two dramas and a documentary about travelling around. There’s an older woman exploring the western US in her dilapidated mobile home; two older men driving through northern England in their old camper; and an intense documentary series that takes you across the twentieth century and back again.
Nomadland
Wri/Dir: Chloe Zhao
(Based on the book by Jessica Bruder)
Fern (Frances McDormand) is an ornery, older woman with short grey hair who lives in Empire, Nevada, a company town that processes gypsum. She likes wearing overalls and reciting Shakespeare. She followed her beloved husband to Empire decades earlier with the promise of lifetime employment. It proved true for him — he died at work. But the empire has fallen. Now she’s a widow, the plant is closed, the company has pulled up its stakes, and the town itself no longer exists; it’s been wiped off the map, literally. She’s broke with no prospect of work, so she packs up all her stuff, piles it into a ramshackle RV, and sets out on the highway. She’s not homeless, she’s houseless. Her home is on wheels.
She encounters a group of people like her, camping in RVs in the 
desert, like old war horses put out to pasture. They’ve got no money — instead they share goods at a trading post, sing songs around a campfire, and do each other favours like fixing flat tires. They live entirely off the grid. (You’ve heard of Burning Man? This is Burning Van.) Fern meets Dave, a friendly guy with a greying beard (David Strathairn), and she begrudgingly shack up with him. They go their separate ways looking for work where they can find it. But she meets up with him again in the Badlands as she travels across the American west. Will they live together permanently? Can Fern settle down? Or will she stick to her nomadic life and the freedom of the open road?
Nomadland is an engrossing, gritty drama about an older woman on the road trying to make it on her own. It’s all about finding friendship and hope amidst loneliness and poverty. Frances McDormand is remarkable as Fern, acting alongside non-actors, ordinary people playing themselves.
This is Chloe Zhao’s third feature, and like her earlier films, it feels part documentary, part drama, slow paced and very real.
It’s all shot on location, against magnificent and stark scenery, the desert, the mountains, the sterile interior of an Amazon warehouse and the rustic kitchen of the famous Wall Drugs. Nomadland isn’t a Hollywood feel good movie — its even mildly depressing in parts, but on the whole it’s a magnificent and moving picture. Just Great
Supernova
Wri/Dir: Harry Macqueen
Sam and Tusker are a middle aged couple who have lived together in England for decades. Tusker (Stanley Tucci) is a successful American novelist, bald-headed with a sharp tongue. He loves staring at the night sky and thinking about distant galaxies. Sam (Colin Firth) is an English concert pianist who likes wooly sweaters and old friends. Together they used to travel the world on long trips exploring Paris, Italy, and Kyushu, Japan. Now they’re on a drive in an old rundown camper through the rocky hills and steep green ravines of the Lake District. They’re heading for a concert hall where Sam is giving a recital after a long hiatus. Tusker is working on his latest novel. On the way, they stop to celebrate a birthday in Sam’s childhood home. Surrounded by closest friends and family, driving on a scenic highway, snuggling up together in their camper with their shaggy dog… what could be bad?
The bad is Tusker’s early-onset Alzheimers. He was diagnosed a 
while back and it’s starting to reveal itself. Everything still works normally but he dreads the day when he can no longer control himself. I’ll always be there for you, says Sam. But Tusker doesn’t want that to happen. He wants to be the driver, not Sam’s passenger. Will
Supernova is a tender and loving drama about dying and loss. It’s full of profundities about destiny and memory, picturesque stone houses, and music on the car radio. It’s nicely acted and subtly carried out. But maybe too subtle, by half. It didn’t really move me. There’s a single idea — Tusker doesn’t want to lose control, Sam doesn’t want to lose Tusker — but it feels repetitive, exploring the same conflict over and over. I like the intimacy and familiarity of the characters, but the movie is too simple and Tucci’s portrayal of someone with dementia didn’t quite ring true.
Can’t Get You Out of My Head
Wri/Dir: Adam Curtis
What do Jiang Qing, Lee Harvey Oswald, the Red Army Faction, a London slumlord, the Mau Mau Rebellion in Kenya, Petrodollars, and Appallachian coal miners,all have in common? They’re all part of the documentary series directed by Adam Curtis, on the history, economy, psychology and politics of the twentieth century. He explores the fall of empires, but also the failure of revolutions. He also looks at the origins of false conspiracy theories, as well as actual conspiracies, like the CIA’s use of LSD on unsuspecting patients. Basically, he looks at what movements, schools of thought, and major changes going on today, and what inspired them.
If you’ve never seen his documentaries before, now — with all the recent confusion and strangeness and unprecedented changes — is a perfect time to start. Curtis has a unique filmmaking style, that manages to 
tell its story without ever shooting any new footage. Virtually all his visuals are taken from meticulously researched material from the BBC’s archives. They’re edited together in a constantly changing, almost convoluted way but that all makes sense in the end. And all his docs are narrated, relentlessly, by the filmmaker’s own distinctive voice. And they have such an unusual look, as if they are made of long-forgotten, dusty film spools he dug up in someone’s basement but that also somehow explains what you heard on the news news three days ago. You may or may not like his style, but I guarantee he will tell you things you never knew before.
Nomadland opens today, Supernova is playing at the Digital TIFF Bell Lightbox and you can find episodes of Can’t Get You Out of My Head for free on YouTube.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
The Fathers and the Mothers. Films reviewed: The Goddess of Fortune, Zappa
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
In Toronto, we’re locked up at home, while in the States they’re huddled around Covid-lit fires eating turkey as Rome burns. This week I’m looking at an two new movies, an Italian drama and an American documentary. We’ve got impromptu fathers in Rome, and the mothers of invention in LA.
The Goddess of Fortune
Wri/Dir: Ferzan Ozpetek
Arturo and Allesandro (Stefano Accorsi, Edoardo Leo) are a happy Italian couple in a long-term relationship. Arturo is an academic translator who works at home, while Allesandro is a plumber. There relationship is strong but missing some of it’s original pizzazz. They still sleep together in the same bed, but the don’t “sleep together”. Allesandro settles for quickies on the sly, while Arturo is celibate. But they still have their friends and neighbours, a close-knit family 
that spans the straight and LGBT world in all its aspects, ethnicities and languages.
But their lives are disrupted by an unexpected arrival. Annamaria (Jasmine Trinca: The Son’s Room, The Best of Youth) is a single mom with two kids, the stern Martina and the innocent Sandro. She was dating Allesandro when he met Arturo, but remains close after they broke up. Now she’s visiting Rome for medical tests – she suffers from extreme migraines – and is leaving the kids with them for a few 
days. Allesandro takes Sandro on his plumbing trips, teaching him how to fix pipes, while Arturo serves as a temporary teacher for Martina. But the idyllic relationship begins to fade as jealousies and suspicions rise to the surface. Is Arturo having a secret affair? Is Sandro Allesandro’s biological son? Is Annamaria’s ailment more dangerous than they thought? And if things get worse, who will take care of the kids?
The Goddess of Fortune is a warm-and-fuzzy gay family drama with great 
characters and some surprising plot turns. With an attractive cast, it’s beautifully shot amidst the decaying palaces and frescos of Palermo, Sicily, which gives parts of the film a spooky feel. The director, Ferzan Ozpetek, is well known to Toronto audiences – originally from Istanbul, he’s been making romantic dramas in Italy, usually with a gay theme, for 20 years now. If you like his films, or just feel-good dramas in general, let The Goddess of Fortune shine bright on you.
Zappa
Dir: Alex Winter
Frank Zappa was an American composer, musician and prominent counter-culture figure. He is known for his driven personality, his prolific output, and his innovations in the field of experimental music, as well as for his hit singles and albums. His music is uncategorizeable, but is simultaneously both frenetic and precise, with a subversive feel, far outside the mainstream. This new documentary looks at his entire life and career, using largely unseen super-8, video, TV and film from Zappa’s vast collection.
Frank Zappa was born into an Italian-American family in Baltimore during WWII. His dad worked in an arms factory making nerve gas and chemical weapons. The beakers and gas masks his dad brought home for the kids to play with instilled in young Frank a love of explosives and both a fascination with and repulsion toward the macabre US arms industry, a view that stayed with him for most of his life. (He was also a fan of Spike Jones and Ernie 
Kovacs.) The family moved to small-town California in his teens where he started composing and performing music. His entry into the avant-garde was spurred by a Look magazine article mentioning Edgard Varese, described as an unlistenable composer (reason enough for him to want to hear more). He later worked as a greeting card artist, and wrote the scores for low-budget films. He was driven out of Cucamonga in a vice-squad sting that accused him of making porn movies.
But when he arrived in LA in the 60s, he found his stride. He began performing at the Whiskey a Go Go, where he met his wife Gail. And with his band, The Mothers of Invention, began recording and touring his music. Classic songs like Dynamo Hum, placed him within the “sexual revolution”. He was also a hero within the psychedelic drug movement, though he said he didn’t touch 
the stuff. While never a huge hit, his albums sold well, he had a devoted fan base, and was respected by other musicians. To give you an idea of his eclectic nature, Zappa performed with or alongside people like Lenny Bruce, John Lennon and Yoko Ono, Flo and Eddie of The Turtles, violinist Jean-Luc Ponty and conductor Zubin Mehta. The members of The Mothers changed over the years, but all were accomplished musicians whom Zappa directed with an iron grip. He was not known for showing emotions and had no tolerance of imprecise performances. (He was a mean mofo.)
In the 1980s he left the establishment and formed his own independent record company. Ironically, he hit his first commercial success and had his only top 10 hit with a novelty song, Valley Girl, where his daughter, Moon Unit Zappa, provided a perfect imitation of the San Fernando dialect. Later he became an outspoken critic of government censorship, including the classifying of popular music using warning labels. He was also invited to perform in Prague 
just as Czechoslovakia (where he was considered a national hero) threw off Soviet control. He died of cancer in the early 1990s.
This documentary film by Alex Winter is an overwhelming panoply, a barrage of audio and visual images, both public and private, as well as new interviews with musicians he worked with. It’s less concerned with Zappa’s private life than his astoundingly prolific career and his innovations in experimental music. It’s produced by his son Ahmet and features a lengthy interview with his late wife Gail, so, while not a white-washed hagiography, it’s not a scandal-doc, either.
Whether or not you’re a fan of his music, Zappa is a must-see documentary, an unforgettable look at the man, the era he lived in, and the influence he had.
Zappa is available on VOD and in selected theatres starting today; and The Goddess of Fortune is on VOD beginning next week.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Lost Boys. Films reviewed: Stage Mother, Summerland
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week I’m looking at two new movies – a comedy and an historical drama. There’s a Texas mom who inherits a San Francisco drag bar from her late son; and a reclusive Englishwoman during WWII dragged out of isolation to care for someone else’s son.
Stage Mother
Dir: Thom Fitzgerald (Cloudburst)
It’s a conservative small town in Texas. Maybelline (Jacki Weaver: Animal Kingdom) is a woman in her 70s who lives with her husband Jeb, a good ol’ boy. She spends most of her time as the choirmaster at a local Baptist church, or sharing gossip with her sister Babette. One day, her quiet life is disrupted by a phone call from San Francisco. Their adult son Ricky is dead. So she hops on a plane to attend the funeral and sort out his affairs. They’ve been estranged for many years but she’s still the next of kin. But when she visits his apartment an angry man named Nathan (Adrian Grenier: Entourage) 
slams the door in her face. And the funeral service itself is full of salacious double-entendres and drag queens vamping on the church stage. What’s going on?
Luckily, she meets Sienna (Lucy Liu: Kill Bill) a bleach-blonde single mom with a cute little baby who was Ricky’s friend (the baby was named after him) She explains it all to Maybelline: Ricky was not just gay, but also a drag performer who owned a bar in the Castro district called Pandora’s Box. 
Nathan was his lover, and the club’s manager, but since they weren’t married he’s left high and dry. Hence his anger and bitterness. So she visits the club to see what’s what. It’s a sad, depressing place with few patrons. And the lipsynch act is tired. She decides to turn the business around as a tribute to her late son.
She’s used to dealing with divas and wigs at her Baptist church choir; how different can this be? So she takes the three drag queens – Joan of Arkansas (Alister MacDonald), Cherry (Mya Taylor: she was amazing in Tangerine), and 
Tequila Mockingbird (Oscar Moreno) under her wing to teach them how to sing for real. Turns out they all have great voices. But each has baggage to sort out. Joan has a drug problem, Cherry is dealing with her transition, and Tequila has been rejected by his family. Meanwhile, Maybelline meets a man in a hotel who is everything her husband Jeb is not – kind, elegant and sophisticated. What should she do? Can she save the bar and turn her own life around? Or will she just give it all up and move back to Texas?
Stage Mother is a musical/comedy about an older woman who finds her new mission in a San Francisco drag bar. It’s a very camp romp, cute but not so funny, and extremely predictable. About a third of the film consists of the traditional drag performances themselves, with all the songs, dances, and lipsynching, as well as the elaborate costumes and makeup, the torch songs and jokes… everything you want if you’re into drag. Australian actress Jacki Weaver makes for a great Texas mom, Lucy Liu is almost unrecognizable as Sienna, and the drag trio – Cherry, Joan and Tequila – are totally believable as performers. Drag is very popular these days, with lots of TV shows devoted to it, so if that’s your thing and you can’t get enough of it, you’ll probably like Stage Mother.
But it didn’t do much for me.
Summerland
Wri/Dir: Jessica Swale
It’s WWII in Kent County, England. German bombs are falling on the big cities, but it’s peaceful in the countryside. Alice Lamb (Gemma Arterton: Byzantium; Hansel and Gretel Witch Hunters) is a recluse who lives alone in a cliffside house. Locals call her a witch and schoolkids torment her with practical jokes. She’s a writer, not a witch, and earns her living researching folktales and magic from a scientific bias. She’s currently obsessed with Fata Morgana – mirages of ships or castles that sometimes appear over the ocean. She’s been living on her own since a painful breakup in university.
But her solitude is broken when a boy is left at her door. 
Frank (Lucas Bond) is an evacuee, the child of an unnamed airforce pilot and a government bureaucrat sent to the town to escape the Blitz. He’s a sociable boy who likes playing and asking questions. It’s hate at first sight. She rejects him categorically, but is forced to take care of him for a week, until they find somewhere else to place him. Can Alice and Frank somehow learn to get along?
Summerland is an elegantly constructed and touching film about people forced to live together in extreme times. The main storyline alternates with flashbacks to Alice’s passionate love affair with a woman (Gugu Mbatha-Raw: Free State of Jones) that left her with a broken heart. It also looks at Frank’s growing friendship at school with a free-spirited girl (Dixie Egerickx: The Secret Garden) who lives with her grandmother in the town. The backstories of all these characters are gradually revealed, 
along with a few unexpected, exciting twists. There have been so many movies about life in WWII that references here can be reduced to quick tropes – a toy airplane, a burning building – without seeming clichéd. The acting is good, the characters endearing, and the beautiful scenery and wardrobe make it a pleasure to watch. I cried at least twice over the course of the movie.
So if you’re looking for a romantic historical drama, artfully told, this is one for you.
Summerland and Stage Mother both open today digitally and VOD.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Daniel Garber talks with Scott Jones and Laura Marie Wayne about their new doc Love, Scott
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Photos by Jeff Harris.
Scott Jones is a young musician just back in Canada after a stint abroad. He’s giving music lessons in a small town in Nova Scotia, when something terrible happens. He’s brutally attacked by a stranger and left
to die. But he doesn’t die. He comes back with a new mission: to use music to tell Canadians about the reallife consequences of homophobia. Despite his disability, he conducts a full choir to tell his story and spread his love.
And he’s the subject of a new, deeply personal 
documentary made by a close friend he met in music school. It’s a story of hatred and loss that leads to love and rebirth. The NFB documentary is called Love, Scott.
It’s director Laura Marie Wayne’s first film.
I spoke with Scott and Laura at CIUT 89.5 FM during Hot Docs.
culturalmining.com 
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