Organized religion. Films reviewed: Hand of God, Agnes, Benedetta

Posted in 1600s, 1980s, Breasts, Catholicism, Coming of Age, Horror, Italy, Lesbian, LGBT, Nun, Religion, Sex, Supernatural, Women by CulturalMining.com on December 4, 2021

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

It’s December and we’re entering holiday season, so I thought it’s time to talk about movies involving religion. So this week I’m looking at three new movies with (small c) catholic themes. There’s an adolescent boy in 1980s Naples who witnesses the “Hand of God”, a lesbian nun in renaissance Tuscany who is in love with God, and another nun in the US who may be possessed by the Devil.

Benedetta

Co-Wri/Dir: Paul Verhoeven

It’s the 1600s in Tuscany Italy. Benedetta (Virginie Efira) is a beautiful young  nun with blond hair and a quick wit. She was placed in small town convent as a young girl, paid for by a rich dowry her parents gave the Abbess (Charlotte Rampling). Now Benedetta is married to God, both metaphorically, and literally, in her mind. She goes through vivid spells, where she has sex with a violent Jesus after he slays all her attackers with a sword. She also has a streak of cruelty since she was told that suffering, by oneself and others,  brings one closer to God. The cynical Abbess thinks Benedetta’s trances are just an elaborate hoax. But everything changes when Bartolomea (Daphné Patakia) a gorgeous young novice, appears at their doorstep. 

She is illiterate, and the victim of horrific abuses from her father and brothers. Benedetta takes her under her wing, nurtures her and schools her in divinity, reading and math. In exchange, Bartolomea sleeps with her, awakening hidden desires. Could this be love? Benadetta says she’s having chaste, spiritual sex with Jesus himself, not carnal passion with the young novice. And her spontaneous stigmata — bleeding that appears in her hands and feet like Jesus on the cross — attracts pilgrims and followers from far and wide seeking advice and cures. But when she’s caught using a wooden statue of the Virgin Mary as a sex toy, things take a turn for the worse. A cruel Nuncio (Lambert Wilson) arrives from plague-ridden Florence for an inquisition. Will he manage to wring a confession from the two women? Or will Benedetta’s spiritual powers protect her from being burned at the stake?

Benedetta (based on  actual historical records)  is a bittersweet and passionate look at the life and love of a lesbian nun in Northern Italy. It’s sexually explicit with lots of matter-of-fact nudity throughout the film as well as some horrific violence  (remember, this is a movie by the great Paul Verhoeven who knows well how to keep bums in seats). This is a visually stunning film, with sumptuous views of sunlit cathedrals, long-flowing costumes, diaphanous bed curtains and beautiful faces and bodies. Never has a convent looked so erotic. But it’s also a fascinating look at faith in the face of cynical religious practices. Benedetta is a beautiful and shocking film.

Agnes

Wri/Dir: Mickey Reece

Sister Agnes (Hayley McFarland) is a young nun in a convent whose birthday celebration turns into a disaster. Now he’s tied to her bed, foaming at the mouth and speaking in strange otherworldly voices. What is going on?Enter Father Donoghue (Ben Hall). He’s a grizzled priest with a shady past, but also many successful exorcisms under his belt.  And he takes a newby with him, the devout Benjamin (Jake Horowitz) a divinity student who has yet to take his vows. Father Donoghue doesn’t believe that they’re actually possessed, just that they think they are. And only the elaborate song and dance of an exorcism will allow them to give it up. At the convent, Mother Superior (Mary Buss) a stickler for rules, is much less enthusiastic. She’s not comfortable with men under her roof, especially a young one without a priest’s collar. But she allows it to proceed. And the routine exorcism takes an unexpected turn.

The story picks up with Sister Agnes’s friend Sister Mary (Molly C. Quinn). She left the convent after the incident. Now she works at two jobs — a convenience store and a laundromat, —and is trying to live a normal life. But she doesn’t know what to do or how to act. Can she keep the faith? Matters aren’t helped when she meets a cynical stand up comic at a local dive bar (Sean Gunn). Can he teach her what she needs to know?

Agnes is a look at faith, and self-doubt within the church. It starts as a genre pic, a conventional, low-budget horror, but it ends up as a deeper and darker melodrama propelled by scary undertones. It’s called Agnes, but it’s actually in two acts, the second part mainly about Sister Mary. It’s unpredictable and uncomfortable, and sometimes a bit bloody. This may be the first Mickey Reece film I’ve ever watched but I can see why this indie filmmaker has such an avid following. The film has an interesting mix of experimental film and conventional, even kitschy, horror, comparable to avant-garde filmmakers like Ben Wheatley and Peter Strickland. Not for everyone, but I enjoyed it — and I think want to see more Mickey Reece.

Hand of God 

Dir: Paolo Sorrentino

It’s 1984. Fabietto (Filippo Scotti) is a young man at Don Bosco high school in Naples, Italy. He is precocious and well-read, — constantly quoting classic verse — but has neither friends nor sexual experience. He gets most of his advice from his big brother (who shares a room with him) and his parents. Dad (Toni Servillo) is a self-declared communist while his mom (Teresa Saponangelo) is a inveterate practical joker. Then there are all the odd-ball neighbours in their apartment building (including a former countess) and his even stranger family members. But foremost in Fabio’s eyes is his aunt Patrizia (Luisa Ranieri). She suffers from delusions which cause her to innocently expose her flawless naked body at unusual times — which provide fodder for the sexually-starved Fabio’s fantasies. 

It’s also the year when rumour has it that international soccer star Maradona may start playing for the local team — an obsession of most of his family. Third on Fabietto’s list — after sex and football — are the movies. Fellini is casting extras in Napoli — he goes to the audition —  while another up-and-coming director is shooting his latest film downtown. That director is also dating the very actress Fabio is dying to meet. Will he ever fulfill any of his wishes? And how will this pivotal year affect the rest of his life?

Hand of God (the title refers to a legendary goal scored by Maradona) is a coming-of-age story based on the filmmaker’s own recollections. It seems like the straight version of the popular Call Me By Your Name, another Italian feature. Set in the 80s, it’s also about a precocious adolescent’s first sexual experiences, situated within a quirky but loving family. There’s lots of 80s music, fashion and hairstyles to look at. Filippo Scotti also happens to looks a hell of a lot like Timothée Chalamet. That said, it is its own film, and fits very firmly within Sorentino’s work, including his fascination with celebrities as characters,

perennial actors like the great Toni Servillo  hapless men, as well as the requisite “naked woman with perfect breasts” who manages to turn up, in one form or another, in all his movies. Although Hand of God isn’t that original, and a bit contrived, it does have some very funny and a few honestly shocking scenes that should not be missed. I liked this one.

Hand of God and Benedetta both open theatrically in Toronto this weekend at the TIFF Bell Lightbox; check your local listings; and Agnes starts next Friday at the Carlton Cinema in Toronto.

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

In depth. Films reviewed: The Velvet Underground, Kímmapiiyipitssini: The Meaning of Empathy, The Power of the Dog

Posted in 1920s, 1960s, Addiction, Canada, drugs, Indigenous, LGBT, New Zealand, Uncategorized, Western by CulturalMining.com on November 20, 2021

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

We are all flooded each day with new images and stories, both broadcast and online, but don’t they all seem to be fleeting and ethereal, lasting no longer than the average news cycle or two. Rarely do we get in-depth examinations of anything. But movies can do that, opening your eyes to deeper thoughts. So this week I’m looking at three new movies — a western and two feature-length docs —that look at things up close. There’s cowboys in Montana, First Nations in Alberta, and avant-garde rockers in Greenwich Village.

The Velvet Underground 

Wri/Dir: Todd Haynes

It’s the early 1960s. Lou Reed is a Brooklyn-born teenager who lives in suburban Long Island.  He’s depressed and his parents send him for electroshock therapy. He teaches himself guitar listening to doo-wop and rockabilly on the radio. Later at university in Syracuse, he studies under Delmore Schwartz. He goes to Harlem with his girlfriend to buy hard drugs and writes poems about furtive sex with men he meets in dark alleys. John Cale is the son of a coal miner in Wales who studies classical music in London. They meet in the Village and start a band within the  exploding world of avant-garde film, music, art and poetry. Velvet Underground plays long, drawn-out tones with a dark drone grinding in the background, combining Reed’s dark lyrics and Cale’s musicality (he plays viola in a rock band!) They perform at Andy Warhol’s Factory and Nico, the enigmatic European actress, completes their sound. Though never a huge success and breaking up after a few years, the Velvets influenced generations of musicians.

This two-hour doc looks at the band itself (Reed and Cale, along with Moe Tucker and Sterling Morrison) and where it fit within New York’s burgeoning underground scene. Aside from the usual suspects, it talks about or interviews unexpected faces, musicians Jonathan Richman and Jackson Browne, and experimental  filmmakers like Jonas Mekas and Jack Smith. Aside from its meticulous retelling of group’s history, it’s the look of this doc that really blew me away.  Todd Haynes exploits that era’s avant-garde film techniques, from split screens to three-quarter projections, along with a good dose of 60s pop culture. And there’s a constant stream of music from start to finish, including rare tracks of early songs before they found their groove. I had to watch The Velvet Underground on my laptop but this beautiful documentary deserves to be appreciated on a movie screen.

Kímmapiiyipitssini: The Meaning of Empathy

Dir: Elle-Máijá Tailfeathers

It’s the mid-2010s and opioids are ravaging the Kainai Blackfoot First Nation in Alberta (that’s the largest reserve in Canada). Families are torn apart, and hundreds of lives are lost. The abstinence and cold-turkey programs just aren’t working, especially for the most marginalized, who end up homeless in cities.  So instead they start up harm reduction centres like those pioneered on the streets of Vancouver’s Downtown Eastside. This highly-personal documentary follows a number of addicts — of both opioids and alcohol — as they enter harm-reduction treatments and through its various stages. It’s spearheaded by the filmmaker’s own mother, Dr Esther Tailfeathers, a physician, but also includes Social workers, EMS, nurses and councellors, in drop ins, detox centres, hospitals and clinics, both on the reserve and in nearby cities like Lethbridge.

As the title suggests, caring and empathy saves more lives than punishment, threats or abstinence. Rather than kicking people out, it embraces them while standing by to treat overdoses, and on a bigger scale helping them find purpose and meaning, along with food, shelter and medical care. The doc also looks at the intergenerational causes that led to these addictions, from broken treaties to residential schools. Kímmapiiyipitssini: The Meaning of Empathy is gruelling in parts — and not an easy film to watch — but it is one that turns despair into hope.

The Power of the Dog

Wri/Dir: Jane Campion

It’s the 1920s. Phil Burbank (Benedict Cumberbatch) is durned mean cuss. He owns a ranch in Montana with his brother George (Jesse Plemons), and regularly drives cattle with his posse of young cowboys. They always stop by a roadhouse run by the widow Rose (Kirsten Dunst) and her skinny sensitive son Peter (Kodi Smit-McPhee). Phil went to one of them Ivy League schools in the east, but they don’t know nuthin about the life of a cowboy. He learned everything from an older buckaroo when he was just a lad, and now keeps a shrine to him in his stables. But like I said, Phil is a mean bastard who directs his venom all around him. He calls his brother fatso, and when George marries Rose, Phil torments her and drives her to drink. And he calls her son Pete a pansy. Until… Pete discovers Phil’s secret. He finds his illicit porn stash and catches him in a hidden grove luxuriating in mud-covered self-love. That’s when Phil changes his mind and decides to mentor Pete in the old cowboy ways. But is that what Pete is really after?

I walked into The Way of the Dog at TIFF expecting a conventional Western, but I saw something much bigger than that. It’s a subversive twist on a classic genre. It’s set in the 1920s, avoiding the blatantly racist portrayals of indigenous people in most Westerns (the “Indians” in “Cowboys and Indians”) which take place in the 19th century when settlers were slaughtering them with impunity in their western migration. This one is set 50 years later.  There are also no hold-ups or show-downs; guns don’t play a major war in this Western. It’s directed by Jane Campion who won big time awards for The Piano thirty years ago, but I hadn’t heard much about her for a long time. So I wasn’t expecting much. But this film really shocked me with its gothic tone, complex characters and twisted plot. The interplay between Cumberbatch and Cody-Smit is fascinating. All of this played out against the wide, western skies (it was actually filmed in New Zealand) makes The Power of The Dog a really great movie.

The Velvet Underground  is playing theatrically in Canada for one night only, Sunday, Nov 28th at 8 pm, at the Rogers Hot Docs cinema in Toronto; and Kímmapiiyipitssini: The Meaning of Empathy opens today, also at Hot  Docs; and The Power of the Dog just opened at the Tiff Bell Lightbox.

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

Daniel Garber talks with filmmaker Bretten Hannam about Wildhood premiering at #TIFF21!

Posted in Canada, Family, Friendship, Indigenous, Interview, LGBT, Mi'kmaq, Movies, Road Movie by CulturalMining.com on September 4, 2021

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

Photos of Bretten Hannam by Jeff Harris.

Link and Travis are half-brothers who live with their physically abusive dad in a trailer park down east. Link hates it there, but it’s the only life he’s known since his mother died when he was three. But when he finds a birthday card his dad has hidden from him, he realizes his mother might still be alive. So the two brothers run away. On the road they meet Pasmay, a Mi’kmaq who was kicked out of his home because of his sexuality. Together the three embark on a journey down a twisted path where mi’kmaw and two spirited cultures meet. For Link, it’s an education and an initiation into a world he finds both frightening and alluring. Can this mismatched threesome become a makeshift family? And will they ever find out what happened to Link’s mother?

Wildhood is a wonderful new film that’s a romantic drama, a coming-of-age story, and a picaresque adventure all in one. It encompasses brotherhood, family and identity — all told from an indigenous and queer point of view. It’s written and directed by Bretten Hannam and it’s their first feature film.

I spoke with Bretten Hannam from Toronto via Zoom.

Wildhood had its world premiere at TIFF21. 

Films reviewed: Swan Song, Beyond Monet, Respect

Posted in 1910s, 1960s, Art, Biopic, Black, France, Gay, Immersive Cinema, LGBT, Music, Ohio, Old Age, Women by CulturalMining.com on August 14, 2021

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

Death and Life. Films reviewed: Broken Diamonds, Old, Can You Bring It: Bill T. Jones and D-Man in the Waters

Posted in Dance, Dementia, documentary, Family, Fantasy, Horror, LGBT, Mental Illness by CulturalMining.com on July 24, 2021

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

Movies in Toronto are taking off. I saw a press screening in a movie theatre this week for the first time in 16 months! It felt a little bit strange and awkward but I can already feel myself adjusting to it. TIFF has announced its first batch of movies, including the world premier of the musical Dear Evan Hansen to open the festival (I’m reviewing another movie starring Ben Platt today). The ICFF is now running a series of outdoor movies including the 1911 silent classic, L’Inferno from Danté’s Divine Comedy. And actual, indoor movie theatres are also open now, even in Toronto, showing new, trashy popcorn movies.

This week, I’m looking at three “deadly” American movies – a drama, a doc and a fantasy/horror – all opening this weekend on various platforms. There’s a brother and sister brought together after a death, a dance performance inspired by a death, and tourists at a beach resort facing death.

Broken Diamonds

Dir: Peter Sattler

Scott (Ben Platt) is a young writer with a goal. He’s quitting his day job, selling all his possessions and flying off to Paris to write his first novel. At least that was his plan until his estranged father suddenly dies. Which brings him together with his sister Cindy (Lola Kirke). Cindy was once the big shot in the family, pretty, smart, an aspiring actress. She was the apple of her father’s eye while Scott was always an afterthought. But she’s been living in a mental institution on and off since high school. But, perhaps because of the turmoil of losing her dad, she acts out and gets kicked out and now she’s suddenly homeless.  She moves back into the empty family home. Now it’s up to Scott to take care of his big sister… or at least until he moves to Paris.

But it’s not that simple. They have a long history to work out. And when Cindy goes off her meds, things start to spiral out of control.  Can Scott act like a grown up and take responsibility for once? Can he help Cindy adjust to life outside of institutions? Is he his sister’s keeper? And will he ever get to Paris?

Broken Diamonds is a touching movie about a few weeks in the lives of adult siblings. It deals with family issues like death and inheritance, living with mental illness, and other people facing their own hidden demons. Though largely told through Scott’s eye’s, it’s sympathetic toward Cindy’s plight. The acting is good and the tone is light. That said, I found the story overly simplistic — neither Scott not Cindy seem to have any friend, lover or relative in their lives other than each other, but they haven’t spoken in years. And did they have to portray schizophrenia as a disease where “split personalities” with different names and voices start to appear as soon as she’s off meds? It also has a painfully awful and unnecessary denouement tacked onto the credits,  so if you decide to see this movie — and it’s seriously not bad, it’s watchable, it’s touching, and well-acted — run out of the theatre when the closing titles start to roll!

Can You Bring It: Bill T. Jones and D-Man in the Waters

Dir: Tom Hurwitz, Rosalynde LeBlanc

It’s the 1980s in New York City. Bill T Jones and Arnie Zane have a dance company in which they both perform. They’re also lovers. They met in the apex of gay culture and abandon in the late 70s. But now it’s the 80s and the AIDS epidemic is decimating the gay community, including the world of dance. Many of the people they work with, including Keith Haring who does their sets, and Alvin Ailey who commissions their work, are dying. Then Arnie dies too, throwing their company into disarray. As part of the grieving process, Jones decides to create a totally different kind of dance. The dancers are multiracial, men and women, gay and straight, and people with different body types, not just the stereotypical “look” dancers usually have. It incorporates athleticism and the Aids crisis within a fusion of elements of traditional ballet and modern dance. He calls it “post-modern” dance.

This spectacular dance opens to rave reviews and packed audiences. And over the past 30+ years it’s been performed in hundreds of productions. And what a performance — bodies being tossed into the air;  diving off one dancer’s back into another’s arms. And despite it’s modernity, it’s set to 19th century music by Mendelsohn. 

The film shows footage from the original production in the late 1980s, and interviews with many of those dancers. It also follow a young group at a university, going through the process of auditioning, rehearsing and putting together a new version of the same dance. Bill T Jones is present both in the original production and visiting this new one to offer advice during their rehearsals. 

Can You Bring It: Bill T. Jones and D-Man in the Waters is a documentary that traces the genesis and meaning of the original production and how it retains its relevance and dynamism today.  It’s both an historical document and an important work of art. Personally, I would rather have seen more dancing and less talking, but found it interesting nevertheless. 

Old

Wri/Dir:M. Night Shyamalan

Prisca and Guy (Vicky Krieps and Gael Garcia Bernal) are a married couple with two precocious kids: daughter Maddox, age 7 and Trent who is 6.  Guy is an actuary and Prisca is a museum curator. They’ve just arrived at a luxury resort, for what might be their last time together. Prisca is facing a medical condition and  their marriage is on the rocks. Maybe a few days on a beautiful tropical island can solve all their problems? Soon they’re in a minibus headed for a private beach for a day of sun and fun. The resort has even packed huge picnic hampers of food for them to enjoy. And it’s a stunning beach with white sand and crystal waters, surrounded by steep cliffs, reached only through a passageway in the rocks. Joining them on this excursion are an angry doctor with his elderly mother, his model-like wife and their little girl; another couple — she’s a psychologist and he’s a nurse; and a famous rapper with his girlfriend.But strange things start happening. A dead body washes up on shore. And something’s wrong with the kids — they’re growing up. As in puberty! In just an hour they’ve turned into teenagers with Trent and the other former 6-year-old sneaking away to make out in a tent. They’re in love, and before you know it she’s pregnant! What is going on?

It seems that on this beach they’re all aging at the rate of 10 years an hour, which means they could all be dead of old age by the end of the day. Their cel phones don’t work, and anyone who tries to leave becomes dizzy and faint at the border of the beach. What is happening… and why? And will anyone escape?

Old — based on a graphic novel — operates on a really neat sci-fi fantasy premise. It’s not just horror, there are lots of intriguing and unexpected parts. There are some impossible missteps, most of which I can’t mention without revealing the ending. For example, a psychologist with epilepsy has a tonic clonic seizure at the hotel but doesn’t bother bringing her anti-seizure meds with her on a trip the next day? Lot’s of little errors like that. But even so, I found it a surprising and fascinating story, beginning to end. M Night Shyamalam has been churning out a series of not-so-great movies since The Sixth Sense (1999), but maybe Old means he’s getting better again.

Old and Broken Diamonds both open this weekend, either theatrically or VOD check your local listings; and you can now watch Can You Bring It: Bill T. Jones and D-Man in the Waters at the Digitall TIFF Bell Lightbox and at Virtual Hotdocs. 

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

Potatoes, Radios and Poppies. Films reviewed: Potato Dreams of America, How to Fix Radios, Poppy Field #InsideOut!

Posted in Bullying, Canada, Christianity, Coming of Age, Conservatism, Corruption, LGBT, Police, Queer, Romania, Slackers, USSR, Vladivostok by CulturalMining.com on May 28, 2021

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

Inside Out, Toronto’s LGBT film festival, kicked off last night, and is open for digital viewing across Ontario. It has movies, docs and shorts from around the world, many showing here for the first time.

This week I’m looking at three of these new movies two of which are directors’ first features. There’s a “little potato” in Russia, a broken radio in Canada, and a field of poppies in Romania.

Potato Dreams of America

Wri/Dir: Wes Hurley

Little Potato (Hersh Powers) is a school kid in 1980s Vladivostok, in the USSR a land of Perestroila and Glasnost. But he can’t stand communism, he puts all his faith in Jesus and wants to go to America, where it’s just like the movies and everyone has coloured TV. So he is overjoyed when his devoted and progressive mom, a prison doctor becomes a mail-order bride and takes him with her to Seattle. He likes his new school and stepdad, and is thrilled to see the relative openness toward gay people. But the teenaged potato (Tyler Bocock) wants to assimilate and doesn’t American attitudes. And when his step father’s Christianity turns out to be  steeped in homophobia he’s afraid they’ll both be on the next plane back to Russia. Will Potato’s dreams be ruined?

Potato Dreams of America is a highly stylized, theatrical and campy version of the real  memoirs of Russian American director Wes Hurley. And it’s full of surprises. I’m only allowed a capsule review here, but let me just say, if you like to watch a view of gay life in Russia and America, with lots of homoerotic details, occasional two-dimensional sets, and characters who burst into song, you’ll love this one.

How to Fix Radios

Dir: Casper Leonard, Emily Russell

It’s summer in a rural town town in Ontario. Evan (James Rudden) has found a summer job — cleaning up the land around a ramshackle hut before acomes in and clears it all away. He’s a quiet loner, a high school student who lives with his dad in an isolated home ad dresses in basic clothes: Shorts, T-shirt and ball cap. So he’s taken aback when he meets his supervisor. Ross (Dimitri Watson) is his opposite: a combative angry attitude, dressed in overalls, with bright pink hair, black fingernail polish and a pierced septum. He’s here, he’s queer and he doesn’t care who knows it. Evan has never seen anyone like him, but they gradually become friends. They meet up with Ross’s sister to go on picnics, and retreats to an abandoned house by a lake that everyone uses. And there they share intimate secrets by the campfire. 

But things are complicated. 

Small towns have gay people but they also have bullies. Ross is constantly tormented by a thug named Jake who rides around on his three wheeled RV, smoking pot and drinking beer with his chowderhead friends.  Problem is, he’s also the son of their employer who owns the land they’re cleaning up and pays their salaries. Why don’t you move to the city, Evan wonders. Because, Ross says, he likes the quiet and trees there, and the nature all around him. And he doesn’t want a moron like Jake determining what he does with his life. But how much longer can Ross endure the punches and taunts from Jake?

How to Fix Radios (the title refers to one of Evan’s skills) is a warm look at friendship and the life of a queer kid in small-town Ontario. It’s an ultra-low-budget, indie film shot last summer during COVID, with all the spacing and location rules that entailed, which may explain why the sound quality is dodgy (some lines are lost or else overpowered by background noise.)  But  the great music, beautiful images and engaging characters make it a treat to watch. 

Poppy Field

Dir: Eugen Jebeleanu

It’s present-day Romania. Cristi (Conrad Mericoffer) is a member of the Gendarmerie, an elite  national police force run military style, using tightly-knit squads. They’re called in to handle dangerous riots and criminal acts. But tonight they’re at a movie theatre. How come? A lesbian drama, sponsored by an LGBT group, is scheduled to play that night. But the theatre has been occupied by a group of right-wing Christian activists. Draped in Romanian flags and carrying icons of the Virgin Mary, they say they’re trying to stop the pornographic “Homosexual Mafia”. The people in the audience say they just want to watch a movie. The tension is rising, but for some reason, Christi, unlike the other gendarmes, is standing far back, doing nothing. What is bothering him? But when he is confronted by a gay man, he loses it and beats the man up. This outs his whole squad in potential trouble. Why did he do it? Christi is gay too, but doesn’t want the other cops to know. He even has a Parisian lover waiting to meet him tonight in his apartment. Has Christi’s secret been revealed? Will he lose his job? And can he face his inner demons?

Poppy Field (and I have to admit, I have no idea what the title means) is a realistic and tense drama about a gay Romanian cop being pushed to the brink by his two separate lives: a passionate personal life and a rigid and violent workplace.  The film is divided in the same way: part one is a night with him and his lover Hadi, and part two is a day at work. This is an excellent movie — a first feature but done in the style of current Romanian cinema: hyper realistic, done in real time, dealing with social issues. If you’ve ever seen contemporary Romanian movies like Police: Adjective, you’ll immediately recognize the style. Director Jebeleanu uses the fantastic veteran cinematographer Marius Panduru gives it his distinctive, minimalist look. Mericoffer, as Christi, rarely speaks, but you can see the angst brewing beneath his stone-cold features.

Short, sharp and fast-moving, Poppy Field is a great art house pic.

Potato Dreams of America, How to Fix Radios, and Poppy Field are all playing  now at Inside Out, Toronto’s LGBT Film Festival.

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

More Hot Docs! Films reviewed: Dark Blossom, Who We Are: A Chronicle of Racism in America, The Big, Scary “S” Word

Posted in 1700s, 1800s, 1900s, Denmark, documentary, Goth, History, LGBT, Protest, Racism, Slavery, Socialism, US by CulturalMining.com on May 7, 2021

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

Hot Docs — Canada’s International Documentary Festival — continues through the weekend with  tons of great movies online. Free tickets each day for students and seniors. I plan to binge watch documentaries this weekend before it’s over.

Here are a few I want to see:

Four Seasons in a Day – a novel look at the ferry across the border between Northern Ireland and the Irish Republic; 7 Years of Lukas Graham — about the eponymous Danish band; Gaucho Americano — about real cowboys from Chile working in the Western US; and Archipelago — a stunning animated look at an imaginary animated island in Quebec.

But this week I’m talking about three more docs at hotdocs, all directed by women, two of which offer a new take on American history. There’s the dark past and present of American racism; the brighter side of 200 years of populist, home-grown American socialism, and — for something completely different — a look at three dark goths in sunny, rural Denmark.

Dark Blossom

Wri/Dir: Frigge Fri 

Josephine is a young woman who lives in a small town in Northern Jutland, Denmark. She hates sports, and rejects the H&M conformity of her high school classmates. She prefers to wear black, accentuated with theatrical makeup, wigs and a pierced septum. If you haven’t guessed yet, she’s a brooding goth. Luckily, Jose is not completely alone. She’s best friends with two guys: Jay, whose parents are devout christians but who prefers big hair and dark fantasies; and fashion-obsessed Nightmare, who knows choice curse words in Punjabi (from his father’s side) but can’t find a boyfriend. They give each other home-made tattoos, and go out on adventures in the grassy fields. They’re totally into roadkill, boiling dead weasels to make jewelry from their bones. Together they form a tight 3-goth posse. 

But things start to fray when Jose meets a guy she really likes. And when she moves to Copenhagen to live with him, Nightmare takes this as a personal slight. Will the three best friends ever get back together, or is this a permanent shift? And will Jose trade in her animal skulls for Hello Kitty dolls?

Dark Blossom is a highly personal look at three young non-conformists in rural Denmark as they express their fragile feelings of friendships in their art fashion and music.

Who We Are: A Chronicle of Racism in America

Dir: Emily Kunstler & Sarah Kunstler (whose father was the famous civil rights lawyer William Kunstler)

Can a country be both good and bad? Cana country founded on slavery be a bastion of freedom and liberty? So asks Jeffery Robinson, a director of the ACLU in a lecture he gave in New York City on Juneteenth (June 19th) in 2018 to mark the emancipation of enslaved people in the US. This lecture interspersed with vintage photos and personal interviews — looks at the history of slavery and racism and the dominant role it holds in the country. And like the toppling down of old statues, this iconoclast exposes some of the worst aspects hidden in plain sight. Did you know the third verse of the Star Spangled Banner celebrates the capture and killing of escaped slaves? They sing it for you, on stage. Andrew Jackson, whose face greets you on each $20 bill — and whom ex-president Trump says he adores — was a major advocate of the slave trade who proudly owned 150 human beings. A large part of the US economy, both the North and the South, was based on the trade of cotton, tobacco and rice, all of which were produced mainly by slave labour. And that’s just before the US Civil War. 

The film looks at the rise of the Ku Klux Klan, massacres of black neighbourhoods, widespread lynching, segregation, the Jim Crow laws, widespread incarceration and police violence. It covers how ingrained anti-black racism is in the foundations of sectors you might not ever think about, including the financial system, real estate, education, insurance, and government.

This is all told by Robinson himself in a personal way: he grew up in a manly white neighbourhood in Memphis, Tennessee, during the beginning of integration and the implementation of civil rights there. So we see him revisit and talk about his own past, what has improved and what remains the same. Who We Are is an excellent and meticulously researched look at the history of racism and white supremacy within the US, covering hundreds of years in just two short hours.

The Big, Scary “S” Word

Dir: Yael Bridge

With its two-party system, its entrenched political views, and its relative lack of class mobility, the US is considered one of the most conservative, developed countries in the world. But what is often forgotten is the longstanding streak of leftist populism and socialism throughout its history. And with the explosive rise in popularity of politicians like Bernie Sanders and AOC, and movements like the Democratic Socialists, the “S” word no longer holds the negative connotations it once did. This movie  digs up some really unusual facts that will suppose almost everyone who watches it. Did you know it was the republican party who originally espoused socialist ideals after the civil war? And that Karl Marx wrote regular columns in American newspapers? He was intrigued by the socialism in the US long before he write his books. It looks at the cooperative communities that sprung up in the mid 1800s in places like Wisconsin; and the non-commercial Bank of North Dakota that saved the farmers there from losing their land and homes.

The film looks at a huge range of topics eloquently explained by dozens famous talking head like Cornell West and Naomi Klein, as it covers centuries of American history. It also follows some people making history now, like Lee Carter a former Marine turned state politician after he was screwed by his private employer, and Stephanie Price an Oklahoma public school teacher forced to take on a second job just to raise her son (she joined in the statewide teachers strike).

If you’re into history, and not the kind they teach you in high school, check out the Big Scary “S” Word; it’s punchy, fast moving, well-edited, highly informative and most of all, entertaining.

Dark Blossom, Who We Are: A Chronicle of Racism in America, The Big, Scary “S” Word, are all playing at Hot Docs now through May 9th.

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

O Canada! Films reviewed: Jump Darling, Underplayed, Death of a Ladies’ Man

Posted in Addiction, Canada, comedy, documentary, Drag, Drama, Family, Ireland, LGBT, Montreal, Music, Uncategorized, Women by CulturalMining.com on March 19, 2021

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

There are tons of great movies finally opening up this week, including Night of the Kings which I reviewed last fall, one of my favourite movies of the year, at the digital TIFF Bell Lightbox. 

This week I’m looking at three new Canadian movies ready to be seen There are female DJs who want to be noticed, a Toronto drag queen who who wants to see his grandmother, and a Montreal poet who wonders why he keeps seeing his dead father.

Jump, Darling

Wri/Dir: Phil Connell 

Russell (Thomas Duplessie) is an aspiring actor whose career is going nowhere. His only role? As Fishy Falters, a drag queen gig he landed at a Toronto gay bar called Peckers. And even that falls apart when he trips on his way to the stage in a symphony of disaster. His husband, a successful Bay Street lawyer who bankrolls his acting career, rubs salt in the wound: take some acting courses or go to. auditions, but no more drag, it embarrasses me. 

Russell takes this as an ultimatum, packs up a suitcase and heads out the door. He lands up at his grandmother’s place in Prince Edward County to borrow her car os he can drive off to unknown parts..    She greets him at the door with a scream and a knife. Margaret (Cloris Leachman) lives alone. She was once a figure skater (I was hired by the Ice Capades! she says) and a formidable bridge player, but since her husband died she’s been frail, forgetful and depressed.  Russel’s mom (Linda Kash) wants to send her off to an old-age home, but Margaret would rather die. So Russel agrees to stick around and help take care of her. Meanwhile he starts frequenting a tiny bar in town, where he thinks his drag act could catch on. Will he pull Margaret out of the dumps? And will hr return to Toronto, triumphant? 

Jump, Darling is a bittersweet family drama about a young gay man trying to express himself in the inly way he knows, and an elderly woman dealing with old age and loss. (The title Jump Darling refers to her husband’s suicide) This is a first time feature both for the director and Thomas Duplessie as Russell, and they pull it off quite nicely. The characters are three-dimensional not cookie-cutter. Of course it helps having the late, great Cloris Leachman in her final role, and Linda Kash who ties the two sides firmly together. This is a good movie. 

Underplayed

Dir: Stacey Lee

The music business is vast and diverse, but not equitable. Did you know that of Billboard’s top 100 DJs, only 7 are women? Same holds true in the electronic music sector, even fewer studio producers are women. And only a tiny fraction of these are women of colour. Why are there so few and why don’t we ever hear about them? This documentary looks at the industry and its history, and follows a handful of female DJs, electronic musicians and producers as they play their music in clubs, concerts and festivals over the course one summer. 

Many trailblazers in electronica — from Wendy Carlos to Daphne Oram — were women, but names like Moog dominate the collective memory. And in the electronic DJ world, at raves and festivals, women find it nearly impossible to get their proverbial feet in the door. The filmmakers talk to stars like Tokimonsta, musician Alison Wonderland, Toronto-based superstar Rezz, and newcomers like Tygapaw out of Brooklyn. The documentary shows both their professional lives — at concerts and in studios — and also gives them a soapbox to talk about the troubles they face on the road and in the workplace. Underplayed is an informative look at under-representation and equity in the electronic music world, with some cool digital graphics and great beats playing in the background. 

Death of a Ladies’ Man

Wri/Dir: Matthew Bissonnette

Samuel O’Shea (Gabriel Byrne) is a Canadian poetry prof at McGill and a notorious philanderer. He sees his ex-wife Geneviève (Suzanne Clément) at Thanksgiving and Christmas along with his adult children. Josée (Karelle Tremblay) is a foul-mouthed artist who hangs out with a junkie, and his son Layton (Antoine Olivier Pilon) is a brawler for a minor league hockey team who is also gay. He meets them each once a week for lunch. But his life is falling apart. He drinks heavily and his creative output — he’s a writer — is zero. And when he catches his second wife in bed with another man, he is deeply offended — How dare she… he’s the adulterer, not her! But that’s not all.

His father (Brian Gleeson) is frequently visiting him at home. Problem is, he died in Ireland decades ago when Samuel was just a boy. Other hallucinations come and go: a female bodybuilder with a tiger’s head, and the grim reaper himself. Is he going crazy? Turns out Samuel has an inoperable tumour pressing on his brain. So he decides to turn his life around. He packs up and heads to Ireland, to write his novel. There he meets Charlotte (Jessica Paré) a Quebecoise former model who works in a corner.  Is third time the charm? Will he beat his tumour? Will he ever stop boozing? And will he reconcile with the ones he loves?

Death of a Ladies Man, is a densely-packed, mood-heavy saga about an Irish-Canadian man in his sixties dealing with his life.  Although it’s set in present day Montreal and Ireland, the movie has a very nostalgic feel, and it’s brimming with Canadiana.. The title comes from a Leonard Cohen song, whose music appears throughout the film.  Samuel feels like equal parts Duddy Kravitz and Ginger Coffey, a Montreal everyman… all grown up. His son is named Layton (Irving Layton was Leonard Cohen’s poetry mentor.) When he leaves Canada the soundtrack instantly switches to Un Canadien Errant. He hallucinates figure-skating hockey players and fur trappers… Could he possibly be any more Canadian?

The movie — a Canadian-Irish co-production — runs into trouble with all the “meta” elements: it’s hard to tell whether you’re watching the character’s hallucinations, the plot of the book he’s writing, or the writer-director’s own fantasies. Everything centres on Samuel, and though Gabriel Byrne (who is great) is surrounded by some of Quebec’s best actors, they’re all only background figures. 

Does it work? I think it does — it’s delightful to watch, wonderfully photographed and redolent with great Canadian music — just don’t mistake art for reality.

Underplayed and Jump, Darling are now playing, and Death of a Ladies’ Man opens today.

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

International Women’s Day! Films reviewed: True Mothers, The World to Come, My Salinger Year

Posted in 1800s, 1990s, Adoption, Family, J.D. Salinger, Japan, LGBT, New York City, Romance, Women by CulturalMining.com on March 5, 2021

Monday is International Women’s Day, so this week I’m looking at three new movies that celebrate women. There’s a woman who encounters her adopted son’s birth mother; an aspiring writer in 1990s Manhattan; and two women in 19th century, upstate New York. 

True Mothers

Wri/Dir: Naomi Kawase

Satoko (Hiromi Nagasaku) is a married professional woman in Western Japan. She and her husband enjoy their kids-free lifestyle — fine dining, travel, and a high-rise luxury condo. But they long for a family of their own, and so far, it isn’t working., despite various medical interventions. Then one day on a talk show they see a woman telling about her organization. It’s called Baby Baton because the infant is passed on like a baton from the birth mother to its new parents. Adoptees have to pass rigorous requirements, including that one parent must quit their job and become a full-time house parent. Unsurprisingly, Satoko takes that role. And they bring home the newborn baby of a 14-year-old junior high girl named Hikari (Aju Makita). That was five years ago. Now they are devoted to their adorable adopted son, Asato. But their world is turned upside down by a knock on the door by a woman who claims to be the boy’s mother. And, she says, she wants him back.

True Mothers is a touching intimate story of two women’s lives. The movie is divided in half, The first part is all about Satoko and her husband and son, the trials and tribulations of raising a child. The second half is about Hikari the birth mother, and her life since giving up the baby. It explores her time on a misty remote island off Hiroshima (at the Baby Baton headquarters), where she spends the final months of her pregnancy, but also the dark turn her life takes afterwards. Naomi Kawase is one of very few female directors in Japan, and as in all her movies, the story is gently told but full of pathos. Well-acted and very moving with lovely cinematography, True Mothers pulls no punches when dealing with the reality of fertility, unplanned pregnancy, and the other side of adoption. 

Very nice movie.

The World to Come

Dir: Mona Fastvold

It’s the 1850s in rural upstate New York. Abigail (Katherine Waterston) is a morose young woman with a stern demeanour and long black hair. She lives in a farmhouse with her husband Dyer (Casey Affleck). They have a flock of sheep, chickens and milk cows. They used to have a little daughter, the light of their lives, but she died before she was five. Since then, it’s been a loveless marriage and the two barely speak to each other, just coasting through life without a purpose. Dyer records financial records in his ledger, while Abigail writes her thoughts and observations in a black-bound diary. But everything changes when they meet their new neighbours who rent a farm over the hill. Tallie (Vanessa Kirby) has ginger hair and fiery eyes, and she swooshes past in elegant gowns. Her husband Finney (Christopher Abbott) has a dark side carrying bitter grudged just waiting to explode. Abigail and Tallie become instant friends, sharing thoughts, sharp observations, secrets. Their husbands notice the change — why are they smiling? Why are they so happy? Could these two friends like each other more than their husbands? 

The World to Come is a passionate and poetic romance, about two women who find love along the harsh frontier. It’s narrated by Abigail’s diary entries and love letters from Jan to July of the same year, and the story is told in a literary style, like the turning pages of a book. But it’s not all talk, it’s a beautifully shot movie full of burnished wood, wrought iron, fireplaces, cotton dresses and candlelight. It’s filmed on location, with harsh winter blizzards and beautiful spring days. And while not explicit, there are sensuous scenes of Abigail and Tallie kissing furtively in dark doorways, or sneaking off into the woods. Very famous cast: Vanessa Kirby plays Princes Margaret in The Crown, and Katherine Waterston is in Fantastic Beasts and Inherent Vice. And the husbands, Christopher Abbot and Casey Affleck, are very well known, as well. While I wasn’t deeply moved by this movie, I did care about what happens to the characters, and the film itself is visually very nice to look at.

My Salinger Year

Wri/Dir: Phillippe Falardeau (Based on the Memoir by Joanna Rackoff) 

It’s the 1990s in Manhattan. Joanna (Margaret Qualley) is a young grad student and aspiring poet, who is visiting the city to experience literary New York. She has a boyfriend back in Berkeley, but in the meantime she’s camping out in her best friend Jenny’s cramped Village apartment. Her “room” is a tiny space in the corner separated by a folding paper screen. And she lands a plumb job; not as a a writer or working for a publisher, but in the office of a venerable agency. The company is headed by Margaret (Sigourney Weaver) who looks like a stately Susan Sontag. Margaret’s biggest client is JD Salinger, author of Catcher in the Rye and Franny and Zooey, whom she calls Jerry. He hasn’t published anything since the ’60s, but he’s still wildly popular. As Margaret’s assistant, Joanna’s main job is dealing with the bags of fan mail delivered each day. Salinger is a recluse, and never sees any mail — they shred each letter, but not before reading it, and sending out a hand-typed — we’re talking typewriters here, no computers allowed in the office — form letter, saying thank try for your kind letter, unfortunately JD Salinger won’t see it. 

Meanwhile Joanna is luxuriating in the literary life: having lunch at the Waldorf, rubbing shoulders with famous authors (though never Salinger). She goes to poetry readings at the right cafes and moves in with her handsome new boyfriend Don (Douglas Booth), a working-calls writer who’s also a bit of a dick. Will Joanna stay on in Manhattan or return to California? Can she forge a career as a literary agent? And will she ever meet Salinger?

My Salinger Year is a true memoir based on the writer’s own early career. It’s delightful to watch —who would have guessed we could feel nostalgic for the 90s? She experiences the city, wandering into places like the New Yorker magazine’s offices. And it’s full of wonderful vignettes about the quirky people she meets in her office (played by Colm Feore, and others.) It also shows us the writers of the fan mail, each of whom addresses the audience directly, reciting the texts of their letters. The film is made by Quebec director Philippe Falardeau (Monsieur Lazhar) and is shot around Montreal. As always, his movies are full of warm, funny characters and lots of  detail; he doesn’t gloss over what’s going on. Falardeau also has some weird trademarks — characters break into music videos or start dancing — which I don’t quite get, but luckily it doesn’t detract from the story. You can tell Sigourney Weaver and Margaret Qualley loved making this movie, and if you’re into writing or reading books, or the whole literary milieu, you’ll enjoy it, too. 

True Mothers, The World to Come, and My Salinger Year are all playing today on VOD or streaming sites.

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

Younger. Films reviewed: Cowboys, Night of the Beast, Saint Maud

Posted in Colombia, Coming of Age, Drama, Family, Horror, Kids, LGBT, Metal, Music, Thriller, Trans, UK, Western by CulturalMining.com on February 12, 2021

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

February is the ugliest month of the year, but you can escape the misery of frigid cold and overcast skies with lots of festivals accessible from your home. The Toronto Black Film festival is on now, as is the TIFF Next Wave festival, offering free films, made by and for the quaran-teens and quartan-twenties among us. (Free digital screenings if you’re under 25). This week I’m looking at movies about children and youth. There’s a transgendered kid in Montana, two metalheads in Bogota, and a religious young nurse in Yorkshire.

Cowboys

Wri/Dir: Anna Kerrigan

It’s summertime in Flathead, Montana. Troy (Steve Zahn) is on a camping trip through the wilderness in a state park near the Canadian border. He’s with his young son Joe (Sasha Knight) who is kitted up like a true cowboy in boots, denim and a big belt buckle. They follow trails and eat beans right out of the can. And they’re riding a white horse they borrowed from Troy’s friend Robert (Gary Farmer). What they don’t know is their faces are appearing statewide on TV and in newspaper headlines. It’s an amber alert, and Troy is accused of kidnapping Joe. What’s going on?

The problem is Joe was born as Josie, and raised by his mother Sally (Jillian Bell) as a girl. Joe hates the dresses his mom makes him wear and the barbie dolls she gives him to play with. He secretly changes from dresses to jeans at school and wears his hair tied into a ponytail. Sally says she gets it, you’re a tomboy. Joe says, not a tom boy, I’m a boy. And only his father accepts it. Problem is Troy is on parole, separated from Sally, and heavily medicated to handle his erratic mood changes. He thinks he’s helping Joe escape. They’re heading for safety across the Canadian border, pursued by an armed SWAT team and Faith (Ann Dowd) a hardboiled local police detective. Who will be captured, who will survive, and can father and son stay together?

Cowboys is a nice, gentle  family drama and adventure story about a trans boy struggling with his identity and how his parents treat him. It’s shot on location against breathtaking scenery in Montana. The acting is good all around (though Steve Zahn almost overdoes it in one of his trademark meltdown) and I’m not sure of young actor Sasha Knight’s gender, but he plays the part of a trans kid very believably.

Night of the Beast

Dir: Mauricio Leiva-Cock

Chuki and Francisco are best friends. Chuki is round faced with long curly hair, and lives with his deeply religious mom. He has a crush on the waitress at a local coffee shop. Francisco is more suave mature and streetwise — he has a girlfriend named Vale. His mom died, so he lives with his depressed dad. The two of them are metalhead who live in the city of Bogota, Colombia. They go to high school together, but not today. Today they’re playing hooky to attend the greatest concert ever by the greatest band in the world, Iron Maiden! And they stan that band to the umpteenth degree. They have tickets but the  concert doesn’t start till tonight, so they spend the day exploring the city, its parks, record stores, and darker corners. But over the courseof their journeys they get mugged at knifepoint and lose their tickets. This leads to fights between the two fast friends, sending them off on separate paths. Will Chuki and Francisco ever make up? And will either of them get to see the concert?

Night of the Beast, (La Noche de la Bestia) is a short (70 min) coming- of-age story about a day in the life of two urban teenaged boys. It’s a simple story but a really interesting one, spanning family generations set against a a really cool city. It packs in tons of stories over the course of their picaresque journey, spanning railroad tracks, a planetarium, a stadium, and encounters with frat boys, police, and rock bands. And the film is punctuated by animation where black and white  quivering lines, like the intricate pen-and ink doodles they write on their schoolbooks, appear at times around the people and places they see, adding rocker energy to their memorable day.

Saint Maud 

Wri/Dir: Rose Glass

Maud (Morfydd Clark) is young a nurse who lives in a seedy seaside resort town in Northern England.  She used to work in a local hospital but left after an incident. She lives in a tiny, spartan flat at the top of a twisting narrow alley. Maud lives a monastic life of penitence to address the sins from her past, guided by the voice of God inside her head. She works for a private company which sends out nurses to provide care for the terminally ill. Her latest patient is Amanda (Jennifer Ehle), who lives alone in a stately brick house. 

She’s a celebrated middle-aged dancer and choreographer, whose days of glory are gone. Now she sits idly by dressed in an elegant turban, smiling like a chimney,  surrounded by the paintings and posters of her youth. Amanda’s life is still saturated in her devil-may-care attitude, with past lovers, both men and women, appearing at her bedside to share laughs. Maud disapproves. She believes she was sent to save Amanda from eternal damnation before she dies. And she’ll do whatever’s necessary to set her on the right path. What is the root of Maud’s strange beliefs? Is she a potential killer or a saint sent from heaven? And are darker forces at play? 

Saint Maud is a shocking and scary horror movie set in Yorkshire, England. There’s violence and blood, and it’s saturated in religious iconography and images. Morfydd Clark is stupendous as the monastic Maud, and the very different past personality she’s trying to escape from. Jennifer Ehle is also amazing as the cynical, world-weary dancer. As I said, this is a horror movie, but rather than slashers and screams, it’s shot like a softly glowing Rembrandt painting, viewed through Maud’s eyes. The costumes, hair, music, art direction, everything is absolutely perfect not what you expect from a boiler plate scary movie. And — no spoilers — be prepared for a shocking finish.

Saint Maud is one great horror movie.

Cowboys and Saint Maud both starts today, and Night of the Beast is part of the Next Wave film festival playing this weekend at the digital TIFF Bell Lightbox.

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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