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

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

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

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

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

Peninsula

Dir: Sang-ho Yeon

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

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

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

Antebellum

Wri/Dir: Gerard Bush, Christopher Renz

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

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

Anything for Jackson

Dir: Justin G Dyck

Wri: Keith Cooper

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

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

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

I like this movie.

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

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

Daniel Garber talks with filmmaker Samuel Kiehoon Lee about Gyopo

Posted in Canada, Clash of Cultures, Drama, drugs, Eating, Ensemble Cast, Korea, Secrets, Sex, Sex Trade by CulturalMining.com on November 1, 2019

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

It’s a typical day in Seoul, Korea. Young people lift weights, have a picnic in the park, go to work, move out of their apartment, sing karaoke, go drinking, have sex. They meet, interact, and drift apart. The interesting thing is none of these people are actually Korean. They may look Korean, they may speak Korean, they may have Korean names, but they’re not Korean Koreans. They’re Gyopo.

Gyopo is also the name of a new feature film that chronicles the ups and downs of gyopo millennials over the course of one day in Seoul. It’s fresh, filthy and fun. The film was directed by award-winning Toronto-based filmmaker Samuel Kiehoon Lee. Samuel is a grad of CFC Director’s Lab and is currently doing his MFA at York University.

I spoke with Samuel Gyopo Lee in studio at CIUT 89.5 FM.

Gyopo is having its world premier at Toronto’s ReelAsian Film Festival on Saturday, November 9th at the TIFF Bell Lightbox.

Quirky films at TIFF 19. Entwined, Parasite, 37 Seconds, Love Me Tender

Posted in Class, Disabilities, Fairytales, Fantasy, Greece, Japan, Korea, Manga, Mental Illness, Poverty, Switzerland by CulturalMining.com on September 6, 2019

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

TIFF – the Toronto International Film Festival – started last night with over 300 movies to see. There’s more glamour and celebrity than you can shake a stick out down on King St. West. But this week I’m going to talk about some of the unusual, odd or quirky movies you might otherwise miss. There’s a woman in the woods in Greece, a poor family in a Korean mansion, a disabled manga artist in Japan, and a house-bound woman in Switzerland.

Entwined

Dir: Minos Nokolakakis

Panos (Prometheus Aleifer) is a young doctor starting a practice in a remote Greek village. But on a drive through the forest, his car hits a beautiful young woman, all dressed in white. Though injured, she flees into the woods. He follows enchanted music until he finds her cabin. It’s an old place built around an ever burning hearth, with music coming from an ancient windup Victrola. But to his horror, he finds her under the spell of a violent, old man who keeps her as his bride. He defeats the ogre, drives him to a hospital and comes back for the woman, Danae (Anastasia Rafaella Konidi).

He intends to bring her to the city for counselling and medical care (she has a strange skin disease). But Danae refuses to leave – she owes it to the trees, earth and sky to keep the hearth burning. Instead she gives him strange potions that make him sleep for days, or possible months. And whenever he tries to leave the forest the trees seem to lead him back to the cabin. Who is this strange woman? What does she want? How old is she? What is she hiding behind her locked door? And is he her lover…orher victim?

Entwined is a contemporary take on classic fairytales, with a bit of mythology thrown in. Though somewhat predictable, it’s pretty to watch, well-acted and… well, I like fairytales.

Parasite

Wri/Dir: Bong Joon-ho

Ki-woo (Choi Woo-shik) lives with his family in a desolate basement apartment in Seoul. They’re destitute but clever; Ki-woo earns money writing exams for rich but stupid college applicants. So when Min offers him his parttime job tutoring a highschool girl, he smells bucks. Big Bucks. She lives in a beautiful home built by a famous architect, along with her bratty little brother, vapid mother and absentee Dad, a CEO. Through some skillful manoeuvring Ki-woo manages to find jobs for his sister, father and mother in the same house, as, respectively, art therapist, chauffeur and housekeeper without ever letting on they are all related. Only the youngest notices they “all have the same smell”. They’re the sort of people who take the subway, explains the father. They all have a disgusting smell that never comes off…

Now that they all have well-paid employment they can turn their lives around, and leave their apartment. Until… something awful happens which sends their lives spinning in a new direction. [No Spoilers: this movie depends on its surprises].

Parasite starts as a knock off of last year’s Shoplifters, about a poor family making do. But once they’re in the rich house, the plot spirals outward in ever-more shocking, funny, and impossible directions, until it becomes a bizarre fantasy.

Brilliant.

Parasite won the Palme d’Or at Cannes.

37 Seconds

Wri/Dir: Hikari

Yuma (Kayama Mei) is a woman in her twenties who lives with her single mom (Misuzu Kanno). She was born with Cerebral Palsy, and depends on her mother for basic functions, including bathing, dressing herself and getting around in her electric wheelchair. Though she can’t walk, she’s a gifted manga artist who works for an instagram star named Sayaka. Sayaka passes Mayu’s work as her own, and pretends she doesn’t know her at book signings. But when Maya tries to publish work under her own name, she gets snubbed.The only publisher who will consider her work is a comic book porn publisher. But when they meet, Maya is told the sex scenes just aren’t real enough. Come back after you get some sexual experience. Now Mayu has a goal, which opens a new world to her, and uncovers some secrets from her past. But can she get what she wants under the ever-watchful eye of her over-protective mother? And can an inexperienced and naïve disabled woman find independence and happiness?

37 Seconds (the title refers to the amount of time she was deprived of oxygen in childbirth) is a wonderful and warm, feel-good movie. It’s a bittersweet coming-of-age story about a disabled woman in a big city, as she encounters aspects of adult life – including sex work, porn and sex toys – she knows nothing about. No spoilers, but the story also takes her on an unexpected journey, unrelated to the other plot line.

First-time actor Kayama Mei is both touching and adorable as Yuma, and breaks new boundaries as a disabled actress. 37 Seconds is an unexpected treat.

Love Me Tender

Wri/Dir: Klaudia Reynicke

Somewhere in Italian-speaking Switzerland. Seconda (Barbara Giordano) is an adult woman who lives with her parents in an apartment overlooking a courtyard. She likes to dance in a green leotard and stare at passersby outside her window. Life is uneventful until two things happen: her mother suddenly dies and her father disappears leaving just a post-it note on the fridge. At first she feels free to do what she wants and eat what she wants. She throws her meds out the window. But she finds she also has adult responsibilities: feeding the cat and the fish, — at which she fails miserably – keeping the house in order and, most important, feeding herself.

And she encounters a rude debt collector who leaves threatening voicemail messages, and a hapless young man Santo (Antonio Bannò) who collects deposit bottles. But when she runs out of food, she realizes she has to go shopping. Problem is, she’s never been outside her home – she has acute agoraphobia. But rather than starve to death, she dresses in protective blue armour – a zippered jumpsuit – and ventures into the outside world for the first time.

Love me Tender is a fantastical comedy abut an unusual woman living with mental illness. Klaudia Reynicke’s style feels a bit like Yorgos Lanthimos’ early films, with the simplistic tone and the childlike behaviour of adult characters… but she does it in a manner all her own. And Barbara Giordano is just so good, imaginative and full-body-expressive as Seconda… she totally owns the role.

Entwined, Parasite, 37 Seconds and Love Me Tender are all playing at TIFF. Go to tiff.net for details.

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

Post-Halloween movies. Films reviewed: Suspiria, Boy Erased, Burning

Posted in 1970s, Berlin, Christianity, Dance, Death, Drama, Horror, Italy, Korea, LGBT, Mysticism, Psychological Thriller, Religion, Suspicion, Witches, Women by CulturalMining.com on November 2, 2018

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

Yeah, I know Hallowe’en was two days ago, but there’s still lots to be scared about. (Don’t you watch the news?) So this week I’m looking at three new movies that involve horror, thrills or just bad things happening to good people. There’s a dance troup in Berlin that reeks of brimstone, a gay conversion clinic in Arkansas that exudes homophobia, and a young writer in Korea who thinks he smells death.

Suspiria

Dir: Luca Guadagnino

It’s 1977 in Berlin with the Cold War raging, the wall dividing the city in two, and RAF bombs exploding in Kreuzburg. Into this world walks Susie (Dakota Johnson) a naïve Mennonite girl from Ohio, with pale skin and a long red braid. She’s there to dance, if a prestigious, all-women’s dance school will have her.

Have her they will.

So she moves into their huge headquarters the next day. It’s a grand old building, right beside the Berlin Wall, with mirrored rooms, a dormitory and a theatre. It’s owned and run by a group of older women, headed by their choreographer and former prima donna Madame Blanc (Tilda Swinton), known for her long black hair and floor-length dresses. They are preparing for a relaunch of their masterwork, a primitivist, flamenco-style piece called Volk. And since their lead dancer, Patricia (Chloe Grace Moretz), has mysterously disappeared, Susie is ready to take her place.

But behind the scenes, something wicked this way comes. Susie keeps having terrifying dreams. There’s a power struggle between Madame Blanc and “Mother Markus” — the school’s founder. And strangest of all, the house itself – with its secret passageways and intricate pentagrams etched into the floor – seems to transform the dancers’ violent moves into lethal weapons… with terrifying results. And Doktor Klemperer, an enigmatic psychiatrist with a secret past, is attempting to bring police – men! – into this inner sanctum of womanhood. Is this dance troupe actually a coven of witches? And will Susie be their next victim

Suspiria (based on Dario Argento’s classic horror pic) is a visually stunning film, an unusual combination of modern dance and the occult. There are so many scenes in this two-and-a-half hour movie of dance rehearsals — including an amazing performance near the end — that you almost forget it’s a horror movie. But the twisted limbs, breaking bones and endless flow of blood, blood, blood, brings you back. Luca Guadagnino (he directed Call me by your Name, A Bigger Splash, and I Am Love) is back with another aesthetically overwhelming film, recreating 1970s Berlin, and starring, once again, the fantastic Tilda Swinton in many, hidden roles. Though not that scary, this arthouse horror is always fascinating.

Boy Erased

Dir: Joel Edgerton

Jared (Lucas Hedges) is a 19 year old in Arkansas. He’s on the basketball team, has a steady girlfriend and works parttime in his dad (Russell Crowe)’s car dealership. He also goes to church: his dad’s a Baptist minister and his mom (Nicole Kidman) an active member. Everything’s hunky dory… until he gets outed as gay by an anonymous caller. Word spreads, church elders come knocking at the door, and Jared is sent off for a heavy dose of brainwashing.

Love In Action is a “gay conversion therapy” centre, with very little love. It’s headed by Victor (Joel Edgerton) a self-taught therapist full of vapid platitudes and pseudo-freudian pop psychology. He’s backed up by a violent ex-con (Flea) who hurls abuse at the patients in an attempt to scare them straight. The other patients/prisoners include the military-like Jon (Xavier Dolan, playing against type), the bullied Cameron (Britton Sear), and others who tell him to “fake it” – just repeat what they tell you until you’re out of there. But if he does, will they erase his very being? And can Jared ever get out of this godforsaken place?

Based on a true story, Boy Erased is a realistic look at one young man’s experiences in a gay conversion clinic. It’s well-acted and I found it moving (though predictable) in parts. But it’s also an incredibly uptight, desiccated, visually-starved, anti-sex movie that seems made for Sunday school church groups. No nudity — everyone’s buttoned to the top. In this movie, any “sex” is relegated to a rape scene. It’s one thing to have uptight characters, but does the film itself have to be so repressed?

This may be an important topic, but it’s a dreadful movie.

Burning

Dir: Lee Chang-dong

Present-day Korea. Jong-su (Yoo Ah-in) is an aspiring writer in his twenties who lives on his dad’s dairy farm near the Demilitarized Zone. On a trip to Seoul he runs into a woman he barely recognizes. Hae-mi (Jeon Jong-Seo) is a former highschool classmate who – post plastic surgery – works as a glamour girl spinning the prize wheel at a department store. And Haemi likes Jong-su. She lives in a small apartment that only gets sunlight for a few mites each day. Haemi is an flakey extrovert into mime. Jongsu is reserved, quiet and introspective. Soon enough, they’re lovers, but then Haemi says she’s going on a trip to the Kalahari desert to experience “The Great Hunger”.

And she comes back wth a new friend, named Ben (Steven Yeun) she met at the airport flying home. Ben is Korean, but rich, privileged and vaguely foreign. He’s one of those Gangnam-style guys, with a fancy apartment and a pricey car. He’s smooth, slick and ultra-blase – like Andy Warhol — but in a weirdly creepy way. And now he’s dating Haemi. They visit Jongsu at his farm, get drunk and smoke some pot. And Ben confesses his secret – he gets off on burning down greenhouses. And never gets caught. And soon after, Haemi disappears without a trace. Ben acts as if nothing is wrong but Jongsu is not so sure.. Is Ben a psychopath? Or is Jongsu losing touch with reality? And what about Haemi?

Burning, based on a story by Murakami Haruki, is a tense, creepy psychological thriller. The three main actors are all great in their roles: Steve Yeun — that nice guy in The Walking Dead — is perfect as the possible serial killer, and Yoo Ah-in is amazing as the shy boy seething wth inner tension.

Fantastic.

Suspiria, Boy Erased, and Burning all open today in Toronto; check your local listings.

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

Daniel Garber talks with director Tiffany Hsiung about The Apology

Posted in Canada, China, documentary, Korea, Philippines, Slavery, Women, WWII by CulturalMining.com on December 3, 2016

img_1617Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Japan joined the European race for colonies late in the game. But they took to it with a vengeance, expanding ever southward. First Taiwan, Korea, and Manchuria, and by the the-apology1930s they began to seize territory in Eastern China, Southeast Asia and Islands of the Pacific and South China seas. And at the vanguard of all this was the Japanese Imperial Army. To keep the soldiers free from disease they initiated a program of Comfort Women (従軍慰安婦). Over img_1619200,000 girls and young women from Japanese colonies across Asia were forced into sexual slavery to serve the troops. Because of the shame involved, the survivors remained silent for fifty years. What happened to them, what are their stories, and what apologies do they seek?img_1621

The Apology is a new NFB feature documentary that follows three elderly Comfort Women – from Korea, China and the Philippines — who survived that horrible ordeal. It is a highly personal film, seen through Hsiung’s eyes as she documents the three Grandmothers’ lives while they still have a chance to tell their stories.

The Apology opens in Toronto today. I spoke with Tiffany Hsiung in studio at CIUT.

Hidden identities. Films reviewed: Made in France, Moonlight, The Handmaiden

Posted in 1930s, 1990s, African-Americans, Crime, Cultural Mining, Drama, France, Korea, LGBT, Sex, Terrorism, Thriller by CulturalMining.com on October 28, 2016

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

Hallowe’en weekend is a time of mysteries and hidden identities. If you want to stay home and shiver, there’s a new movie streaming channel called shudder.com that only does the scary. Everything from Japanese horror, to low budget slashers, to classics like Werner Herzog’s Nosferatu. (And don’t miss The Editor, the hilarious spoof of 1970s Italian giallo horror.) But if you want to head out, there are some great movies opening in Toronto. This Hallowe’en, no monsters; instead I am looking at hidden identities. There’s a shy Korean maid who’s actually a con artist, a French terrorist who’s actually an undercover journalist, and a black kid in 90s Miami, whose sexual identity is a secret… even to himself.

img_3644-640x426Made in France

Dir: Nicolas Boukhrief

Sam (Malik Zidi) is a red-bearded, freelance journalist, the son of an Algerian dad and a French Marxist mom. To research a story, he attends a radical mosque that holds meetings in a metal-gated storage locker. There he meets three other French men. Christophe (Francois Civil) is a rich Catholic guy who sees himself as img_3865-640x426a gangsta, like Tony Montano in Scarface. Driss (Nassim Si Ahmed) is a tough boxer, radicalized while in prison for drug offences. Sidi (Ahmed Drame) is a good son, whose African cousin was killed by French soldiers in Mali. Ironically, only Sam, the undercover journalist, has any religious training or can speak Arabic.

img_8249-640x426They fall under the command of a mysterious man named Hassan (Dimitri Storoge). His motives are a secret. He says he trained at a bootcamp in Pakistan and is in contact with a terrorist group. Sam is married with a kid, and is staying in a flop house to keep them safe. But when he reports his story to the police, they threaten him with prison unless he stays with the cel and finds img_9133-640x426out who their “big boss” is. Can he survive life with this ragtag gang and the sinister Hassan? And will innocent people die in the process?

Made in France is a tight thriller told from the point of view of would-be homegrown terrorists. It has never been screened there, for obvious reasons – it was made just before the terrible Charlie Hebdo shootings and postponed again following the Bataclan massacre. But it still stands up as a good crime thriller.

MoonlightMoonlight

Wri/Dir: Barry Jenkins

Chiron is a small, shy kid who lives in a mainly black neighbourhood in 1990s Miami. He is relentlessly bullied after school, with his crack-head mom never there to defend him. Juan (Mahershala Ali, Luke Cage) comes to his rescue when he sees the kid chased into an abandoned building. He takes him home where his wife feeds and comforts him. But Chiron remains completely silent, not trusting himself to speak. Juan vows to be his protector and Moonlightserves as his mentor, teaching him to swim at the local beach. The boy views him in awe and adulation. Ironically, Juan is the neighbourhood drug kingpin, the one supplying the crack that’s destroying his mother.

Chiron is relentlessly bullied and beaten up. Only one friend, Kevin, shows any affection. He can’t understand why he lets other kids beat him up, and call him the “F” word. He gradually matures, but is always drawn back to that stretch of moonlit beach where he formed and later expressed his sexual identity.

MoonlightMoonlight is a superb coming-of-age drama, portrayed by mainly unknown black actors. It’s moving and surprising. The gradually-paced, subtle story is told in three chapters: as kid, adolescent and adult (wonderfully played by Alex Hibbert, Ashton Sanders, Trevante Rhodes)

Chiron goes through a troubled childhood, an explosion in high school, adopting an unexpected persona as a grown-up. But in each section he revisits his declining mother, his unreliable best friend Kevin,  and that stretch of moonlit beach. Fantastic film, brilliantly told.

97b32291-67f9-48f7-a0c7-bcf7a46c6544The Handmaiden

Dir: Chan-Wook Park

It’s 1930s Korea. Sook-Hee (Kim Tae-Ri) is a shy handmaiden who lives in a grotesque mansion run by a fabulously rich Japanese baron. Hired for her Japanese ability, she works for an uptight heiress named Lady Hideko (Kim Min-Hee). Imperial Japan annexed Korea in 1910, and is now trying to Japanize the entire country.  When a suitor arrives seeking the Lady’s hand in marriage, Sook-hee serves as her confidant. The 383a2f0a-21c2-41ac-bb80-cc81816180dedashing Count Fujiwara (Ha Jung-Woo) has swept her off her feet and promises a wonderful life in Japan. But Sook-Hee seems to have fallen hopelessly in love with her naïve mistress, and wants to school her in the Sapphic arts. This love triangle spells trouble.

But wait! Nothing is quite what it seems. All the players in this drama are actually Korean speakers. Uncle Kouzuki is a nouveau riche 30465dc1-7ad7-4f9f-96c0-809875d0d181Korean robber baron who invested his money in Japanese erotic books. His proper niece reads them aloud to a select crowd of well-paying gentlemen. Meanwhile, both Sook-Hee and the Count belong to a Korean street gang of pickpockets and con artists, who, in a complex scheme,  have infiltrated the mansion to defraud them of their millions. Jealousy, lust romance and deceit swirl around 0981b274-14bd-480d-9e06-5bc5179f5ed7this strange foursome. But who’s fooling whom?

Based on Sarah Waters’ Dickinsian novel, The Handmaiden is a fun, sexual romp relocated from Victorian England to prewar Korea. With trapezes, bondage, marionettes, even tentacles, this movie is a total perv-fest. The story is told and retold from the point of view of the three characters. But far from a lesson in lesbian politics, the movie seems told from a male perspective, its twisted plot serving mainly as a vehicle for the audience’s sexual titillation.

Made in France is playing tonight as part of the Cinefranco International Film Festival. Go to cinefranco.com for details. Moonlight and The Handmaiden both open today in Toronto: check your local listings. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Talking to People. Movies Reviewed: Dear White People, Mourning Grave, Propaganda, PLUS November Film Festivals!

Posted in African-Americans, College, comedy, Conspiracy Theory, Cultural Mining, Horror, Korea, Movies, Politics by CulturalMining.com on November 7, 2014

reelasian-header

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign,PiF2014_LOGO-Orange- festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

rendezvousFall festival season continues in November! Ekran Polish festival is on right now, with wonderful films like Ida, on tonight; ReelAsian, which just started, Planet in Focus – environmental films, on now; Rendezvous with Madness96c1a290cd6169be3a2d8459f9d9e1fe_0_1150movies about addiction and mental health, starts Monday; and the EU film Festival with free films from across Europe, starting later this month. This week I’m looking at three movies about social issues. An American dramedy about a college student who talks to white people, a South Korean chiller-thriller about a high school student who talks to dead people, and a North Korean documentary about a man who talks to… well, to any people willing to listen.

68294-DWP-Sam GroupDear White People
Wri/Dir: Justin Simien

It’s a small town college where students live in “houses” — sort of like fraternities. Your house says everything about your status and something about your political beliefs as well. The school has a white president and a black dean. Sam (Tessa Thompson) is a progressive undergrad who stands up for her ideals. She broadcasts a somewhat controversial talk show on campus 68288-DWP-8E-1-Pub-Siteradio. She’s black, but calls her show Dear White People. Her house is headed by Big Man on Campus Troy (Brandon P Bell) a popular athlete, whose dad just happens to be the Dean. And who is dating the daughter of 68292-DWP-H46A5230the president. Another student, the pretty and vivacious Coco (Teyonah Parris) is more interested in getting famous, so she’ll do almost anything to convince a TV producer to make her the star of a reality show on campus. And observing all this is fuzzy-haired Lionel (Tyler James Williams), a budding journalist… who 68289-DWP-H46A4216might also be gay.

But when Sam wins the election as head of the house, toppling Troy from his lofty heights, things start to change. She puts in new rules and tries to change the political outlook… but then comes the blowback.

Another house plans a huge party, where people – as in white people — are encouraged to dress and act “black”. Minstrelsy rears its head, even in the 21st century.

How do Coco, Lionel, Troy and Sam choose to react? To lie down or walk away? Or stand up and fight back? This ensemble cast shows the lives of middle-class African Americans from a new angle. While the film covers a lot of ground, the ensemble cast is uniformly good, across the board. Dear White People is both an enjoyable comedy and a cogent political satire, exposing the errors and vulnerabilities of characters on both sides of the political spectrum. I like this movie.

MourningGrave_still3Mourning Grave

Dir: Oh In-chun

In-su (Kang Haneul) is a high school student from the big city. He recently moved back to his childhood home in a small town, to get away from his troubles. He likes to sit in the park, sketching pictures of pretty girls he sees. And what do they all have in have in common? They’re all ghosts – he sees dead people.

In fact, he can’t even tell if he’s seeing someone who’s living or dead, but he carries an inherited charm that spins if he’s near a ghost. They’re attracted to him mainly because he MourningGrave_stillhelps them redress the wrongs that led to their death. But his new high school isn’t the peaceful place he hoped it would be. Turns out, the school bully remembers him from his childhood, and knows that he’s that weird kid. And the bully’s pretty girlfriend is as cruel as he is. In-su is the only one to challenge them when they’re MourningGrave_still5hurting someone – the rest of the kids just turn away.

And haunting the school is a ghost of a dead student who is always seen wearing a cotton mask over her mouth. Who is she? At least there’s someone who likes him — a pretty girl with very pale skin, who shares his drawings. Will he stop the bullying? Will the ghosts ever find peace? And will his lazy uncle (another adept) help him exorcise the school of its ghosts? This is a cute Korean ghost story that wavers from rom-com, to high school drama to supernatural horror. With a cast of unknown actors, it’s packed with movie references – from the blood in Carrie to the ghost in Ju-on. Nothing too deep, but I liked it — it’s fun.

propaganda1Propaganda
Dir: Slavko Martinov

A propaganda film about the rest of the world smuggled out of North Korea? That’s what a new film claims to be. BUt don’t expect the usual rosy-cheeked, red army kitsch. This film is actually a sophisticated, British-style monologue narrated by a Korean man sitting in a chair facing the camera. He wears a corduroy blazer but his face is pixillated. And over his voice is a woman’s voice simultaneously narrating in English. And it’s illustrated by a non-stop barrage of short images, each lasting not more than a second or two. There’s historical footage, current advertising, TV clips, vintage photos. If you’ve ever seen a film by the great English documentarian Adam Curtis, you’ll immediately recognize the style. But the content? Not exactly.

It starts out as a funny and fascinating look at western capitalism (supposedly) seen through the eyes of a fish-out-of-water North Korean, trying to makes sense of the consumer economy. We’re treated to hilarious shots of Oprah giving out prizes, and talentless celebrities in skimpy clothing. Americans PR, it decides, is what rules the world. We think we’re free, but public relations, Propaganda still grabs 52marketing and advertising has turned us all into slaves and zombies. Next, the film harshly criticizes certain western nations:  Australia for what it did to its indigenous population,  Israel for the Palestinians, the US for what it did to everyone. (Canada is conspicuous by its absence.) Japan comes under special criticism for annexing Korea, drafting the population into forced labour, suppressing Korea’s language and culture, and kidnapping thousands of “Comfort Women” (sex slaves for the Imperial Army). Oops, sorry, I got that wrong. The main beef this North Korea has with Japan is that it kills Propaganda still grabs 112whales and dolphins.

Then it goes right off the cliff into Truther territory. We’re told political parties and voting means nothing, the jews caused WWI, the Bush family rules the world, 9-11 was a hoax, and the W.H.O. uses vaccinations to secretly poison babies in developing countries . Uh-oh…

In any case, if you want an unusual look at our culture of consumption (as well as the usual internet-style conspiracy theories), this film is totally watchable — if you can get past the dubbing of English over Korean.

Dear White People opens today, check your local listings; Propaganda starts next week at the Big Picture Cinema on Gerrard St E., and Mourning Grave plays this Saturday at ReelAsian, on for the next ten days. Go to Reelasian.com for details.

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

Daniel Garber talks to Albert Shin and Igor Drljaca about their new film In Her Place at TIFF14

Posted in Canada, Cultural Mining, Depression, Drama, Korea, Movies, Women by CulturalMining.com on September 5, 2014

Albert Shim and Igor Drljaca In Her Place © Daniel Garber

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

Three women come together in a run-down farm in rural South Korea: A beleaguered single mother struggling financially; a troubled daughter with an unwanted pregnancy; and a rich woman from Seoul. She’s moving in with them for awhile. And what brings them together? The unborn foetus. The mother wants it to go away. The daughter is struggling with internal conflicts. And the rich woman wants to take the future baby In Her Place.

IN HER PLACE is also the name of a new dramatic feature about family, names, order and IN_HER_PLACE_-_STILL_4_-_300dpi1chaos, gain and loss. It’s made by Toronto writer/director Albert Shin and producer and collaborator Igor Drljaca. Their films have played internationally and garnered awards and critical praise. This movie is having its world premier at the Toronto International Film Festival. I spoke with Albert and Igor, in studio, to find out more.

TIFF 13: Sex + Violence. Movies Reviewed: Tom on the Farm, R100, Moebius

Hi, this is Daniel Garber at the Movies for culturalmining.comand CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

Hollywood knows: sex and violence = bums in seats. But they also know that you have to keep it fresh and new. So this week I’m talking about three movies that, in very different ways, explore topics of sex, violence and the power dynamic between the two.

I’m looking at three movies playing at TIFF, one from Quebec, one from Japan, and one from Korea. One’s about a city boy who falls prey to an domineering farmer; one’s a businessman who falls prey to a gang of dominatrices; and one’s a family who fall prey to their own morass of escalating horribleness.

tomatthefarm_01Tom at the Farm

Dir: Xavier Dolan

When Tom (Xavier Dolan) drives out to the country to read a eulogy for his young lover, Guy, he thinks he’ll be gone after the funeral. He agrees to spend the night at his mother’s house, even sleeping in his bedroom. But, in the middle of the night, he is attacked by a mysterious man. It’s Frank (Pierre-Yves Cardinal), the homophobic older brother of his late lover. He threatens Tom if he tells Agathe, his mother (Lise Roy), that Guy was gay, or that he was his lover. Tom is forced to pretend Guy had a girlfriend, thus erasing his own status. But it doesn’t stop there.

Frank is a domineering, abusive bully. He’s also much bigger and stronger than the diminutive Tom. Soon, Tom is put to work milking cows, dressed in Guy’s old clothes. Frank dismantles his car, and chases him down when he tries to run away. He’s trapped. Tom finds himself falling into the role of Frank’s submissive younger brother, regularly punched, kicked and threatened with death. Sexually frustrated Frank channels all blame onto Tom. And Tom has a mental shift where he finds himself sexually attracted to Frank and accepts any physical and mental abuse as his own fault.

What is Frank’s problem anyway? Why doesn’t he have any friends? What’s his hidden secret? And will Tom ever come to his senses and get the hell out of there?

This is Xavier Dolan’s 4th film, and the first one based on someone else’s play. This one’s a weird, captive-of-a-redneck horror story, with lots of pyscho-sexual overtones. I like it.  It’s not perfect: Tom’s sudden transformation from city boy to hick seems too abrupt; and if he really feels threatened, why doesn’t he just call 911? But Frank and Tom’s abusive relationship – the core of the movie — seems disturbingly real. And Dolan’s careful filmmaking and precise editing leaves you with a chilling feeling at the end. It reverberates in the windmills of your mind long after it’s over.

r100_03R100

Dir: Matsumoto Hitoshi

Katayama (Omori Nao) is a shy milquetoast guy who sells mattresses for a living. His wife’s in a coma, so he takes care if his six year old son. He wants nothing more than to listen to Beethoven’s 9thSymphony. But, to escape from his daily stresses, he turns to leather- clad dominatrix for temporary relief. But his life changes dramatically when he signs an unbreakable one- year contract. He will experience the ultimate thrill – never knowing when or where a dominatrix will appear to shock and humiliate him. In his workplace bathroom, on the street, in front if his kid.

Soon enough, it has taken over his life, with hitherto unknown sexual kinks inflicted on him. There’s the Queen of Voices who terrifies Takayama by perfectly imitating his comatose wife’s voice at inopportune moments. And even a queen of spit, who orchestrates elaborate performances punctuated by huge amounts of saliva, shot at r100_05him from across the room.

Can he escape from all this craziness? And does he really want to? You can tell when he reaches a new level of submission and humiliation when his face is distorted and animated ripples of contentedness flow outward from his mind.

Meanwhile, every so often, the movie switches to the dull people producing this film, sort of a meta-movie-subplot, trying to make a movie with the ultimate restricted rating. R14, R20, refers to the age when you can view a film. This movie, they say is so dirty you have to be R100 to watch it.

I dunno. It has its funny parts – very funny parts — but it gets more and more extreme in its absurdity, as the movie goes on, until it really make no coherent sense whatsoever. It’s just a shaggy dog story, with a ridiculous — but still funny —  ending.

Omori Nao is excellent as the nerdy anti-hero. Director Matsumoto Hitoshi is a dry, stand-up comic, part of the Japanese duo Downtown. If you’re into cheap-and-silly Japanese BDSM/leather/comedy, then this is the movie for you. Otherwise…

moebius_02Moebius

Dir: Kim Ki-duk

A father, a mother and their teenage son live in South Korea. Dad has an affair with a woman who has a small convenience store down the street. Mom (and son) find out. Mom goes ballistic, and grabs a dagger she keeps hidden beneath a heavy Buddha’s head. Dad fights her off, so she breaks into her son’s room instead, and cuts off his penis. When he tries to get it back, she swallows it, and runs away. (That all happens in the first few minutes of this movie.)

Husband and son are forced to live without a Mom, and without one penis. Dad researches the internet for bizarre ways to help his son achieve orgasm, including rubbing a a pumice rock on your foot until it bleeds. Will dad cut off his own penis to give to his son for a penis transplant? Or will the son chop one off a random moebius_01stranger? Who deserves Dad’s ex-girlfriend? Father, son or both? And will they learn to accept being stabbed in the back… literally? (I really do mean literally.)

OK, this is one of the weirdest movies around. It’s filled with rape, incest, violence, alterna-sex, repeated dismemberment (of a particular member – that one), and more. It’s told as a sort of a pantomime: no one speaks throughout the whole film. But its set up like a fable or a storybook, with each scene passing swiftly to the next. It deals with revenge, retribution, repentance but in a very simplistic way. Also interesting is the mother and lover are played by the same actress wearing different wigs and makeup. It’s not funny or cute, just non-stop, extremely repetitive violence. But, I have to say, it was really well made for what it is.

But what is it? Apparently, Kim Kiduk the director, felt his scripts had been stolen by his interns. I’m guessing here, but maybe the whole movie was his thumb in the nose to the powers-that-be in the Korean film industry. Who knows? Am I glad I saw it? I guess I am – it is unique and unusual (although, structurally, it’s like all his movies with a simple, symmetrical, yin-and-yang plot).

I saw R100 at TIFF, immediately – I mean immediately, five minutes later — followed by Moebius, a double- feature like no other. See these two if you dare. You will never forget them.

Tom at the Farm, R100, and Moebius are all playing at TIFF. Go to tiff.net for tickets.

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

Odd Jobs. Movies reviewed: Pieta, C.O.G., Now You See Me PLUS Inside-Out

Posted in Cultural Mining, Family, Gay, Korea, Magic, Movies, Poverty, Psychology, Uncategorized by CulturalMining.com on June 1, 2013

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

We’ve all had some pretty strange if short-lived jobs. I’ve worked as a newly-hatched chick crate stacker (horrifying… they kept on dying) and handing out government information pamphlets dressed as the letter “i”, with an enormous round, foam ball over my head (as the dot).

Well today I’m talking about three movies where the main characters have very unusual jobs. There’s a violent sort of insurance adjuster in Korea; a stuck-up Ivy League grad student who decides to be a migrant fruit-picker; and a group of magicians who try to rob banks.

PIETA_key still (2)Pieta

Dir: Kim Kiduk

Kang-do is a tall, baby-faced man in his thirties who lives in a rusty, dusty industrial district of Seoul. Most of the factories there are tiny shops with zero employees outside the owners. Maybe there’s one machine punching out metal parts. So it’s a constant scramble for cash. It’s a poor area, and only Kang-do (Lee Jeong-jin) seems to be doing well. He sells the one thing everyone needs: money.

He’s just an ordinary a loan shark. But he collects his payments in an extraordinary way. He makes them sign up for insurance, and then pay back their debt according to what the insurance form pays: a broken leg, an injured hand, the loss of a finger. He casually pushes people off abandoned buildings, but only from the second floor. He’s selfish, cruel and emotionless, without even a shred of conscience – the devil incarnate. He has no one to answer to except his boss – no pesky extended family to hold him back: his mother abandoned him when he was a child.

But who shows up at his door one day, offering to cook and clean, but a stranger (Jo Min-soo) — PIETA_key still (4)an older woman – who says she’s his mother! She sings him his childhood lullaby. She wants to make up for abandoning him. He is still bitter and untrusting but she won’t give up. She even helps him in his cruel debt collection – since it’s all her fault for not teaching him right from wrong. It’s up to Kang-do to learn to trust, change his ways and open his heart to the only one who cares for him. Is the strange woman really his mother? Why did she choose to come back after all these years? And will the introduction of love – and a conscience? — upset his equilibrium and his job?

Pieta, like most of Kim Kiduk’s movies, has a neatly symmetrical storyline with a twist, coupled with extreme violence, and largely unsympathetic, over-the-top people. The ending is very good, the quirky, extreme characters are played well, and I love the gorgeous industrial look of the film, but it’s so grim, so relentless, so nnngggrrhhh that it’s just not a lot of fun to watch, except perhaps for its schadenfreude. It’s disturbing. I appreciate the way the story plays out, but I can’t say I loved this movie.

Groff COGC.O.G

Dir: Kyle Patrick Alvarez

Sam (Jonathon Groff) has just finished his MA at Yale but doesn’t want to live with his estranged mother. So he decides to earn some money communing with The People – apple pickers on a farm out west. Unfortunately, he studied Japanese in University, not Spanish. He expects to meet up with a classmate but he soon finds himself abandoned without friends. He’s soon brought down to size. The entitled, intelligent and successful rich kid soon learns the reality of real work, alienation, low wages, and unfair bosses. Next he’s working in the factory sorting fancy apples. A sympathetic employee, Curly (Corey Stall) offers him a promotion, but the benefits come with unstated duties, chez Curly. Finally he is driven to stay with an evangelical jade carver Jon (Dennis O’Hare) who is preparing for the county fair. Can a gay, cynical intellectual accept Jesus into his heart?

Groff Stoll COGThis is a really funny – not laugh out loud, but a grim humour – movie about the calamities hapless Samuel lands in, and the hard-to-take people he encounters. He’s made fun of as much as the people he meets. It’s based on a story by David Sedaris, and is just as funny but the movie exists, perfectly, outside of his book, as its own entity. Groff is great as an understated Sam, and Corey Stall (as Curly) has perfected the affable but skeezy guy – similar to his role as Russo on the TV show House of Cards. This is a very good movie.

NOW YOU SEE MENow You See Me

Dir: Louis Leterrier

Four people, entertainers all, receive tarot-card invitations from a mysterious source. There’s a conjurer (Jesse Eisenberg), a hypnotist / conman (Woody Harrelson) an escape artist (Isla Fisher) and a spoon-bender and pickpocket (Dave Franco). They meet up in New York City where they are dubbed the Four Horseman (not “of the apocalypse” – it’s just a name) and trained as a new act. Their gimmick? They can rob banks halfway around the world and give the loot to a screaming audience.

Their act is a huge media success.

As good magicians, they understand the point of a long-range trick, or a years-long setup, so NOW YOU SEE MEthey follow their directions perfectly. Soon they are being financed by a millionaire (Michael Caine), chased by an FBI detective who swears he’ll catch them (Mark Ruffalo), and also pursued by a man who earns his living debunking magicians as frauds (Morgan Freeman). And everyone wants to find out who is the fifth horseman? Is he one of the magicicians themselves? An unknown rival? A member of an illuminati-style cult? And what will the magicians’ final revelation bring?

OK. Some of the lines in this movie are pure cornball, the CGIs are often distracting, the actors are much better than the roles they’re playing, and there are a few too many twists to the plot. But never mind all that… I thought Now You See Me was a completely enjoyable, big-budget popcorn movie. A lot of fun.

Now You See Me opens today, and Pieta will be at the TIFF Bell Lightbox starting today. C.O.G played at Inside-Out Film Fest which continues through Sunday. Ghost in the Machine – a documentary about another strange job also opens today. Directed by Liz Marshall and beautifully shot, it follows an animal rights activist who, instead of freeing caged animals, takes their photos and shows their suffering to the world. And Lore, the amazing Australian movie about young German woman, a displaced person trying to find her way home right after WWII, also opens today, at the TIFF Bell Light Box.

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

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