Buffalo bros. Films reviewed: Bros, Dead for a Dollar, Butcher’s Crossing

Posted in 1800s, comedy, Guns, History, Horses, LGBT, New York City, Romantic Comedy, Western by CulturalMining.com on September 30, 2022

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

This week I’m talking about three guy movies — two westerns and a rom-com. There’s a bounty hunter searching in Mexico for a buffalo soldier; a young adventurer in the old west who joins a team hunting buffalo; and a gay man in New York City who falls for a guy from upstate… though probably not from Buffalo. 

Bros

Co-Wri/Dir: Nicholas Stoller

Bobby Leiber (Billy Eichner) is a 40 year old, gay New Yorker who hosts a popular podcast. As an undergrad he was discouraged from becoming an actor because he walked “too gay”. In journalism school, he was told his voice sounded too gay to be a newscaster. But his career is finally taking off. He’s on the board of directors of a soon to open LGBTQ+ history museum. His sex life is active — he has frequent sex with men he hooks up with online, but his love life is non-existent. He has never been in a relationship, or even had a second date. Until he meets a guy at a dance club, who is way better-looking than he’s used to. 

Aaron Shepard (Luke Macfarlane) is fit, handsome and very masculine — the ideal gay image. So the average-looking  Bobby is very surprised that Aaron knows who he is and likes his show. They have sex, but even more surprising, they actually go on a date afterwards. Bobby discovers that Aaron (who is a probate lawyer) is not just a dumb, boring jock. And Aaron is attracted to Bobby’s manner, sense of humour and self-confidence. Can a small-town, straight-acting bro and a sophisticated gay guy shake free of their preconceptions and prejudices and form a relationship? Or is that just a pipe dream?

Bros — co-written by Billy Eichner — is a laugh-out-loud funny romantic comedy. It satirizes gay life, politics and sex in unexpected ways. The dialogue is hilarious (well at least the first two-thirds, before it gets more serious) and is full of clever cultural asides, some of which I couldn’t follow, but enough to keep me laughing non-stop. There’s even an ongoing parody of conservative Hallmark TV movies. This isn’t your usual rom-com where opposites are kept apart until they eventually fall for each other and end with their first kiss. In this one, the nudity and sex come first, while dating is the hard part. I was unimpressed by the trailer, so was very happy to find the actual movie much, much better than I expected.

I like this one. 

Dead for a Dollar

Dir: Walter Hill

It’s the late 19th Century in Albuquerque, New Mexico territory. Max Borlund (Cristoph Waltz) is a gun-slinging bounty hunter whose current assignment is to rescue a rich man’s wife who was kidnapped and smuggled south of the border. Elijah the kidnapper (Brandon Scott) is a Buffalo Soldier in the US Army who deserted his post. Borlund  heads south with another Buffalo soldier, Sgt Poe as his guide. (“Buffalo soldier” was an informal term given to the all-Black regiments formed in the west after the civil war.) All he has to do is rescue Mrs Kidd and arrest Elijah in order to collect the very large bounty. But there are a few obstacles in his way.

Joe Cribbens (Willem Dafoe) a notorious card shark Borland arrested five years earlier, is about to be released from jail, and he wants to settle their differences using a gun. Tiberius, a dangerous jefe in Chihuahua, wants his cut of any money Borlund might make — and he has a posse of gunmen to support him. And finally there’s the kidnappee herself. Rachel Kidd (Rachel Brosnahan) tells Borlund, in no uncertain terms, that she’s with Elijah voluntarily. They fled to Mexico because they’re a mixed-race couple, and it’s her estranged husband, Mr Kidd, who is the real criminal here: he actually wants to kill her, not rescue her. But now Max is in a fix: Who can be trusted? And will justice be served?

Dead for a Dollar is a classic western done in the style of the 1960s spaghetti westerns. It’s filmed in sepia tones, giving it a weathered, almost nostalgic look. It has shootouts, posses, gunfights and ghost towns — the usual stuff — but with a few twists: sympathetic Black and Mexican characters, a tough-as-nails woman who is handy with a gun, and the first showdown I’ve ever seen between two players armed only with horsewhips! Director Walter Hill was huge in the ’80s (with movies like 48 Hours, The Warriors, and a lot of westerns) and he still seems to know what he’s doing.

Does it work? Occasionally the dialogue veers toward the corny, especially with Willem Dafoe, but Christoph, Brosnahan and the rest are understated just enough to keep it a believable western and not just a farce. 

Butcher’s Crossing

Co-Wri/Dir: Gabe Polsky (Based on the novel by John Williams)

It’s the 1870s in Kansas. 

Will (Fred Hechinger) is an idealistic son of a Boston minister, heading west in a covered wagon. He left Harvard to have some real experiences in the wild west. He arrives at Butcher’s Crossing a small frontier town, to visit JD McDonald (Paul Raci), an old family friend who his father had rescued when he was down and out. Now he has made his riches cornering the buffalo skin market in the area. But far from being grateful or kind, he rudely tells Will to go back where he came from — this was no place for a pampered city boy like him. So Will turns to a local legend instead. Miller (Nicholas Cage) is a big guy with a shaved head, a bushy black beard and an abrasive manner. But he agrees to take Will with him on the greatest buffalo hunt ever — if he agrees to finance it. Miller knows of a secret valley in Colorado, with untouched beasts just waiting to be slaughtered. Charlie (Xander Berkeley) a bible-thumping old souse, will serve as the cook, and Fred, (Jeremy Bobb) a man with a mercenary mind-set will be the all-important skinner, cutting the pelts off the carcasses.

The four set out into the bush,  and to everyone’s surprise Miller’s legendary Colorado valley does actually exist. The men dig in and start their gruesome massacre. The herd is untouched, so has no fear of humans. But the enormity of the mass slaughter starts getting to all of them. Except, that is, the obsessive Miller who is determined to kill every last one. Can the four of them stay together without going crazy? Can they leave the valley before they’re trapped by winter snow? And what will they do with the untold wealth their pelts will bring?

Butcher’s Crossing is a moving western about the mass slaughter of buffalo. The scenery and cinematography is stunning – they were given access to shoot among actual buffalo herds. It mainly deals with the brittle relationships amongst the four men. The acting Is good, especially Fred Hechinger, reprising his role in the White Lotus TV series as an earnest rich kid trying to find the meaning of life. And Nicholas Cage is allowed to do his requisite I’m going mental! scenes, but mercifully with the sound turned off. 

The story is similar to Ken Lum’s recent controversial Edmonton bronze sculpture which shows a buffalo hunter, sitting on a mountain of pelts, confronted by a stoic bison. What both imply (but never explicitly show) is the catastrophic effect the decimation of the buffalo populations had on countless indigenous nations. But that’s where the hidden force of this movie comes from — you can’t help but wonder: what are these men doing and why? The senseless slaughter of millions of buffalo in a very short period of time completely changed North American history. And the film leaves you feeling the heavy weight of our ancestors’ actions. 

Bros and Butcher’s Crossing both had their world premieres at TIFF this year. Dead For a Dollar and Bros both open across North America this weekend; check your local listings.

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

Gems at #TIFF22. Films reviewed: The Hummingbird, Will-o’-the-Wisp, Unruly

Posted in 1930s, 1970s, 1980s, Dance, Denmark, Disabilities, Family, History, Italy, LGBT, Mental Illness, Portugal, Women by CulturalMining.com on September 24, 2022

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

TIFF is finished and after viewing 45+ movies I feel pretty good about it. You’ll be hearing a lot more about TIFF movies like The Fablemans, The Whale, The Glass Onion, Women Talking, The Wonder and The Banshees of Inisherin  by the end of the year, but there are also a lot of movies, gems and sleepers, that get left by the wayside, without all the studios promoting them. So this week I’m talking about some of the other movies I saw there — from Italy, Denmark and Portugal — that deserve to be noticed. There’s a rebellious girl trapped on a remote island; a little prince seeking the facts of life in a firehouse; and a man called hummingbird whose fate is guided by a series of unusual events.

The Hummingbird

Dir: Francesca Archibugi

Marco Carerra is a man who places great importance on seemingly random occurrences. Take a fatal plane ride, for example.  When he’s a student in Florence in the early 1980s he starts winning big at poker.  But when he boards a plane heading for Yugoslavia with his gaming partner, Duccio, that man begins to freak, shouting hysterically at other passengers that they all are “dead” and the seats on the plane are ruined and decrepit. Marco is eventually forced to pull Duccio off the plane, thus missing the flight and their big card game. But it crashes, killing everyone on board. And Marco, with his deep belief in the significance of ordinary events, ends up marrying the flight attendant who also missed that flight. It’s just fate.

Another important date happened at their summer home on the beautiful Tyrhennian shoreline. The Carrera’s summer home is right next door to the Lattes’ house. And Marco has a huge crush on the beautiful Luisa, their daughter. But the night he thought he would lose his virginity to Luisa (for whom he would hold a torch forever) was also the night when his quarrelling parents went out for the evening, his brooding brother Giancarlo got so drunk he passed out, and their sorely neglected sister Adele committed suicide, turning all their worlds upside down. 

The Hummingbird — Marco’s nickname as an unusually small child until a sudden growth spurt in his teens after his father enrols him in hormone treatment — is a wonderful, novelistic  movie that traces the intricately woven story of Marco’s life, his love, his family, his wife, his daughter and eventually his granddaughter. But not in any obvious order. The story jumps back and forth between his childhood, his adolescence, and his middle and old age, keeping you guessing as to why he did what he did. When I say novelistic, I mean literally, with multiple characters coming in and out of his life making shocking revelations along the way, and calling into question his fundamental beliefs. It’s based on the novel Il colibrì by Sandro Veronesi which won the Strega Prize, Italy’s greatest fiction award, and it does feel like a classic story. What’s really surprising is it was published in 2020, during the pandemic, and the film must have been made since then. The movie stars Pierfrancesco Favino  as the adult Marco, Berenice Bejo as Luisa Lattes, Nanni Moretti as Marco’s friend, a psychiatrist (no spoilers here), and Kasia Smutniak as his tempestuous wife.

Keep an eye out for this sleeper and be sure watch it when it comes out.

Will o’the Wisp

Dir: João Pedro Rodrigues

It’s present-day Portugal. Prince Alfredo (Mauro Costa) is a pale young prince with curly blond hair.  heir to the crown. He lives in a palace full of statues and paintings recalling his family’s colonial history. (Though the country gave up its monarchy in 1910, his mother still considers Republican and Castilian the two worst insults in their language.) But with Alfredo coming of age his father, the king, decides to tell him what’s what. He takes him for a walk through the royal forest to admire the tall pine trees there. But his father’s description of tumescent tree trunks throbbing with sap so excites the lad, that he is forced to rethink his future. He doesn’t want to be king anymore, now he wants to be a fireman — specifically one who will protect those trees, about which he has an erotic attachment. 

At the fire station, Afonso (André Cabral) a handsome black student is tasked with introducing the prince to the firehouse and the forest. He introduces him to the other fireman, they practice exercises, search and rescues, recussitation, fireman carries, and sliding down poles, but for Alfredo, everything has a sexual subtext. Soon the subtext turns to out-and-out sex, with the two young fireman rolling around on the forest floor while shouting pornographic and racist epithets in the throws of ecstasy. But can the the little prince find happiness in the arms of a fireman? Or are his regal responsibilities too heavy a burden to bear?

Will o’the Wisp is one of the strangest, least classifiable films you’ve ever seen. It’s an historical  romantic science fiction comedy, and an arthouse-modern dance- musical satire. It’s only 67 minutes long, but in that short time you’ll see The-Sound-of-Music kids in school uniforms singing weird songs as they pop their heads out from behind trees; homoerotic exercise montages, and elaborate dance routines on the firehouse floor. I can’t say I understood all the cultural references that had the Portuguese viewers in the audience howling with laughter, but I could experience the beauty, ridiculousness and shock running throughout the picture. 

Unruly 

Co-Wri/Dir: Malou Reymann

It’s the 1930s in a working-class Copenhagen neighbourhood. Maren (Emilie Kroyer Koppel) is a free-thinking teenaged girl who knows what she likes and what she hates. She likes getting drunk, dancing to jazz and hooking up with guys. And she hates authority figures — including her mom —  telling her what to do. But when her family cuts her off and she becomes a ward of the state, she doesn’t realize her past actions will have grave consequences. She refuses to cooperate with a doctor (Anders Heinrichsen) trying to diagnose her “ailment”. He declares her unruly and out of control, and sends her off to a remote island known for its hospital for mentally handicapped women. Sprogø island is festooned with pretty flowers and picturesque homes where the patients are taught to be submissive, cooperative, quiet girls, under the watchful eye of Nurse Nielsen (Lene Maria Christensen). They are schooled in sewing, cooking and cleaning on the all-female island (though Marin is able to secretly meet with a young repairman). It’s a hospital, not a prison, she is told, but there’s no way to escape. And if you disobey, or even spread bad attitudes, you are strapped to a table and kept in solitary confinement.

Her roommate, Sørine (Jessica Dinnage) acts as the rat, reporting on any woman who disobeys the rules. But as Maren gets to know her better she soon discovers the real reason for Sørine’s behaviour: she just wants to be reunited with the child they took away from her. Will Maren learn to accept her fate? Will she find a way to escape the island? Or is she stuck there forever?

Unruly is a deeply moving drama based on an actual hospital that operated in Denmark until the 1960s. Its many crimes included involuntary sterilization, mis-diagnoses, torture and authoritarian rule. Instead of having a series of stock characters, with easy to categorize heroes and villains, all the women develop over the course of the film, giving it an unexpected profundity. This film is a lovely and tragic look at a terribly flawed institution and the people it affected.

Will-o’-the-Wisp, The Hummingbird, and Unruly all premiered at TIFF.

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

War movies at #TIFF22. Films reviewed: The Inspection, The Greatest Beer Run Ever, All Quiet on the Western Front

Posted in 1910s, 1960s, 2000s, Germany, LGBT, Vietnam, violence, War, WWI by CulturalMining.com on September 17, 2022

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

When military budgets soar, and “war games” are held more frequently, when Presidents and Prime Ministers make speeches about liberty and democracy, when lots of military experts start appearing on cable news networks, rattling their sabres… it usually means governments are gearing up for war. And art imitates life. War movies — you know, the kind of films with all-male casts showing bravery and camaraderie, and lots and lots of guns, tanks and bombs — are becoming popular again.

This week I’m talking about three new war movies that had their world premieres at TIFF. There’s high schoolers in Germany who want to enlist in WWI, a guy from New York who wants to bring beer to his buddies in Vietnam, and a homeless black, gay man who wants to join the marines. 

The Inspection

Wri/Dir: Elegance Bratton

Ellis French (Jeremy Pope) is a 25-year old man who sleeps in a homeless shelter in Jersey City, NJ. His single mother (Gabrielle Union), threw him out as a teenager when he came out as gay. He spent the next 10 years living on the streets. Now he plans a new beginning: to turn his life around by joining the marines. But bootcamp is not a nurturing environment. As the sergeants say, we are going to break you all down, and if you survive it, we’ll build you back up again. The breaking down process consists of bullying and violence visited on anyone deviating the norm, be they gay, muslim or just insecure. Sgt Laws (Bokeem Woodbine), in particular, has it in for French, and seems to want kill him — literally.  Another recruit, Harvey (McCaul Lombardi) goes out of his way to make French’s life in bootcamp unbearable. Luckily he does find a few friends, including Sgt Rosales, who takes his side. Can he survive bootcamp and become a marine? And can he ever make his estranged mother proud of him again?

The inspection is based on the memoirs of the film’s writer/director Elegance Bratton. It’s a passionate and deeply-moving first film about a gay son and his fundamentalist mother, while trying to succeed in a toxic environment. There have been many movies before about life in bootcamp (especially Stanley Kubrick’s Full Metal Jacket) even for a gay man (the South African film Moffie, for example) but The Inspection is still a new take. My only criticism is it seems to be, as a whole, an “oorah-oorah” celebration of military life, despite the prejudice and corruption within it. Without a negative thought, anywhere, about war itself.

The Greatest Beer Run Ever

Co-Wri/Dir: Peter Farrelly

It’s 1967 in Inwood, N.Y.,  a white, working-class neighbourhood in northern Manhattan. Chicky Donohue (Zach Efron) is a high school drop out who sleeps in everyday and during waking hours can usually be found getting drunk with his buddies at a local bar. Full of piss and vinegar, Chick has lots of big ideas but rarely follows through; no one take him seriously. Lots of his friends and neighbours either signed up or were drafted to serve in Vietnam, but his time served in the Merchant Marines exempts him. His sister marches in rallies against the Vietnam War at Columbia, but Chicky is firmly on the America, Love it Or Leave it side.

But one day, sitting at the bar with his friends, he wonders why no one is doing anything for their buddies in Nam: Minogue, Pappas, Duggan and the rest. So he boasts he’ll buy them some beer and give it to them personally. And that’s what he does — fills a duffel bag with cans of PBR, signs up on a ship headed for Saigon, and just goes there. His ship captain gives him three days to find his friends if he ever wants to leave Vietnam. The only Americans who travel in that country are journalists or military. And no one goes north into battle zones voluntarily. Except Chicky. He starts tracking them down to everyone else’s disbelief. As they say, only someone as dumb as him could survive a trip like this.

He happily passes as a CIA agent until he witnesses what they actually do (like the torture and murder of prisoners). And the Vietnamese in the countryside aren’t welcoming him with open arms — they’re terrified he’s going to murder them. And those bombers all around? They’re dropping napalm everywhere. Later he joins forces with a journalist (Russel Crowe) to discover the truth. But will he ever get the beer to his buddies and make it back alive?

The Greatest Beer Run Ever is a fun and fast-moving bro-dramedy based on a true story. It’s set during the Tet Offensive as the war escalates. It has a terrific soundtrack of 60s pop and psychedelic music. Zach Efron is good as a dumb cluck who gradually wakes up to what the war is really about. And while there are some Vietnamese characters, like most American war movies, it’s all about America. It’s hard to tell whether this film is pro-war or anti-war; rather it seems to be pro-soldiers but against the war in Vietnam and especially the lies the generals told. 

All Quiet on the Western Front (Im Westen nichts Neues)

Dir: Edward Berger

(based on the novel by Erich Maria Remarque)

It’s 1917 and the world is at war. Paul Bäumer (Felix Kammerer) is a skinny student with glasses at a Catholic boys’ school in a German town. After a rousing speech by their schoolmaster — who dubs the boys “Iron Youth” — all of his classmates rush to join the fight for God, the Kaiser and the Fatherland. But Paul is still too young to enlist, so he forges a letter to sign up with his friends, looking forward to the fun and adventure that surely lies ahead. 

But once they arrive in occupied northern France, they soon discover this war consists of an endless wasteland of trenches. The “new” uniforms they’re fitted with are recycled from the bodies of dead soldiers. They are forced to train wearing horrible gas masks, and thrown into battle.  And a hellish fight it is. Paul — along with his friends Haie, Kropp, Müller, Kat and Tjaden — soon realizes that the only way they’re going home is in a coffin.

All Quiet on the Western Front is a scathing look at the machinery of war and how it uses soldiers as cannon fodder. Even while a German diplomat (Daniel Brühl) is busy negotiating armistice, the generals continue killing as many soldiers as they can until the bitter end. The film graphically shows soldiers incinerated by flame throwers, shot, bombed, stabbed by bayonets, and run over by tanks… even killed in brutal, hand-to-hand combat by the main sympathetic characters. While it provides some relief — one soldier steals a goose from a farm to the joy of his squad-mates; another falls for an art deco poster of a French woman that he sticks to the trench wall — there’s a feeling of doom pervading the entire movie. It has good acting, a soundtrack that is as brilliantly ominous as the theme from Jaws, the photography is deadly, and the makeup — soldiers’ faces coated in a deathly layer of mud and blood  — is especially striking. It’s as violent as American movies like Saving Private Ryan, or Hacksaw Ridge, but without the veneer of heroism and bravery. It shows the futility of warfare in all its enormity. This is a gruelling and shocking testament against all war and the military industrial complex.

All Quiet on the Western Front, The Inspection and The Greatest Beer Run Ever all had their world premieres at TIFF, which continues through the weekend.

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 Gail Maurice about Rosie at #TIFF22

Posted in 1980s, Adoption, Canada, Drag, Family, Homelessness, Indigenous, LGBT, Métis, Montreal by CulturalMining.com on September 3, 2022

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

It’s the 1980s in a working-class neighbourhood of Montréal. Fred is an artist whose day job is working at a sex boutique. Adopted as a child, she ran away from home at 16 and never looked back. Now she’s best friends with Flo and Mo, two gay streetwalkers who make up her current family. But she’s thrown for a loop when a social worker shows up at her door with a six-year-old girl, who says Fred is her closest living relative.  What??

She tries to explain she’s close to eviction, living hand-to-mouth, she’s a Francophone while Rosie only speaks English, and knows absolutely nothing about raising a child. But who can resist a cutie-pie like Rosie?

ROSIE is a new, feel-good comedy/drama about life on the edge in 1980s Montreal. It deals with chosen families, marginalized groups, homelessness, and indigenous and queer people in urban settings. (Both Rosie and Fred were adopted  as indigenous kids into white families)

The film is directed by actor and filmmaker Gail Maurice. It may be her first feature, but you’ve probably seen her unforgettable roles on TV shows like Trickster, and in movies like Night Raiders.

I spoke to Gail in Toronto via ZOOM.

ROSIE is having its World Premiere at #TIFF22 on Sept. 9th.

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Urban chaos. Films reviewed: Crimes of the Future, The Divide

Posted in Art, Canada, Corruption, France, Horror, LGBT, Meltdown, Police, Politics, Protest, Sex, Uncategorized, violence by CulturalMining.com on June 4, 2022

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

Spring film festival season continues in June, when the idea of sitting in an air-conditioned movie theatre starts sounding better and better. The Female Eye film fest is on next Thursday through Saturday at the TIFF Bell Lighbox, showing films by female directors. Look out for Go On and Bleed about an American draft-dodger in 1971 — it’s directed by J. Christian Hamilton, host of Dementia 13, playing psychedelic music at this station. And if you’re down California way, catch the 3rd Annual Blue Water Film Festival, celebrating the United Nations World Oceans Day, with movies about Antartica, whales, oceans.

But this week I’m looking at two new movies — both opening this weekend in Toronto — about urban chaos and society in decline. There’s a film from France about an artist and a protester seeking refuge in a hospital; and another one from Canada about an artist who treats radical surgery as performance.

Crimes of the Future

Wri/Dir: David Cronenberg

Picture a future where you don’t just sit in a chair, it latches onto you with grotesque bone-like appendages. It’s a world that diverged away from ours in the 1980s or 90s. People still carry huge clunky portable phones, they keep files in filing cabinets, and everything’s analogue.  But technology has taken an unexpected turn — humans have “evolved”… drastically so. Pain and pleasure sensations have mainly disappeared, so people seeking sexual fulfillment might slice pieces of flesh of their lovers’ bodies… and then snack on it in a non-lethal, cannibalistic orgy.  Government has largely collapsed, and police operate undercover in cels of corruption. 

In this future world, Saul Tenser (Viggo Mortensen) and Caprice (Lèa Seydoux) are a celebrity couple known for their artistic performances. Fans flock to events where Caprice records Tenser cutting open his belly to excise fully-grown, tattooed organs from his body, organs that developed spontaneously. Afterwards they visit a clandestine quasi governmental office where two dry bureaucrats Timlin and Wippet (Kristen Stewart and Don McKellar) file their cases in the appropriate folders. 

But there are complications. An undercover cop wants Tenser to be his informant. A young father named Lang (Scott Speedman) is also seeking out Lang and Caprice. He recently lost his son when his ex-wife murdered the boy because she didn’t like the way the boy ate plastic trashcans.  He’s also stalking Tenser; but why?

Crimes of the Future is an extremely strange movie, maybe Cronenberg’s weirdest yet. Its full of sex, art and cringe-worthy gross-outs. Things like after Tenser gets a living-flesh zipper sewn into his belly, Caprice unzips it to performs oral sex on his gaping wound.  It’s grotesque, but I’m not even revealing any of the most crucial horrific scenes. The costumes and special effects are terrific, and the locations (the movie was shot in Greece) are appropriately seedy and falling apart.

Does any of this make sense? Well it does, kinda.

It fools around with our fear of Big Pharma and the physical changes it could make to our bodies. It also deftly satirizes the worlds of art, celebrity and government. There’s an otherworldly feel to the whole movie, the stuff of dreams (or nightmares). It’s slow moving and very creepy but this isn’t a screamer-type horror movie, more of a constant supply of shock and yuck. Viggo Mortensen acts like a vampire or an unwrapped mummy, always shrouded in hoods  and shawls, while Lèa Seydoux as Caprice is equal parts model and body-modification fanatic. Do I like this movie? Not exactly, it creeps me out and occasionally slides into the ludicrous, but I’m glad I saw it — with some of its images permanently burned into my brain’s synapses. 

The Divide (La fracture)

Wri/Dir: Catherine Corsini

Raf (Valeria Bruni Tedeschi) is a middle-aged, middle-class liberal cartoonist in Paris.  She’s also a neurotic, relentless  nag, given to sending  countless text messages  at 3 am. The recipient of the texts is her lover Julie (Marina Foïs), an editor and publisher who shares her bed. They live together along with Julie’s teenaged son.  And Julie has had it — she wants to break up. And despite Raf’s pleas, she refuses to budge. They take their fight onto the street, but when Julie stomps away in anger, Raf slips and falls, ending up in hospital. But this is no ordinary day.

It’’s 2019 in Paris, and France is angry. Macron’s corporate and wealth taxes cuts, are making people angry. So are his austerity measures, cutting unemployment insurance and the general social Gas prices are rising, and surveillance cameras are appearing on the streets…So a huge coalition of truckers, precarious workers, and anarchists converge on the Champs Elysée to stop traffic and get noticed.

But the police crack down on the Yellow Vest protesters, sending dozens to hospital. So doctors and nurses are overworked and overwhelmed with patients. One is Yann (Pio Marmaï) a trucker in Paris just for the afternoon to check out the protests. He has shrapnel in his leg, and if he doesn’t get home by morning he’ll lose his job. Kim (Aïssatou Diallo Sagna) is a nurse in the hospital, dealing with the sudden influx of injured patients… and he own baby is not doing well. Meanwhile the police are trying to break in to arrest the injured protesters. And Raf and Julie’s teenaged son — who went to the demonstrations — is still missing. Can the chaos of the hospital bring these very different people together? Or is the divide too great?

The Divide is a terrific, realistic day in the life of a group of Parisians stuck in a crisis. I like the French title, La Fracture better, because it’s about Raf’s broken arm, but also about the huge divisions in French society. In its really warm and quirky view of diametrically opposed people forced to confront one another and work together,  it humanizes all sides of the conflict. And there were lots of revelations — the yellow vests protesters were not right-wing followers of Le Pen… but they were angry at Macron. And while all this is going on, the on again, off again relationship of Raf and Julie, is resolved, one way or another by the end. The direction, script and acting are all just fantastic — Aïssatou Diallo Sagna won a César for best supporting actress and the film won the “Queer Palm” award as well. And after I watched it I remembered I‘ve seen this director’s work before, back in 2015; Summertime (La Belle Saison)  was one of my favourite films that year. Which made me realize that this was no fluke, Corsini is a genius. The Divide is a wonderful warm human drama.

The Divide is playing at the Inside-Out film festival through Sunday; and Crimes of the Future opens this weekend in Toronto; check your local listings.

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

Witches and Poets. Films reviewed: Benediction, Lux Æterna

Posted in 1920s, 1930s, Drama, Feminism, France, LGBT, Movies, Poetry, UK, WWI by CulturalMining.com on May 28, 2022

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

Spring film festival season is in full swing this week in Toronto, with ReelAbilities, Inside-out and the Toronto Arab Film festival all on right now. TAF is a pan-Arab film festival; featuring movies from 19 countries, including dramas, docs, animation and experimental, and it’s on through Sunday. ReelAbilities has films by for and about people from disabled and deaf communities and it’s running through June 10th in a hybrid format. And Inside out, Toronto’s LGBT festival is on now through Sunday June 5th, featuring many world premieres, and presenting at the TIFF Bell Lightbox. 

Some of the movies at Inside-out I’m looking forward to seeing include a stunning-looking musical from Rwanda called Neptune Frost, Camilla Comes Out Tonight, an Argentinian coming-of-age drama,  So Damn Easy Going a Scandinavian story of the messy relationships of a young woman with ADHD, and The Divide, about the breakup of a couple in France during the “yellow vest” protests

But this week, I’m looking at two new movies both opening this weekend in Toronto that handle narratives in an experimental way. There’s a film from France about a burning witch, and a biopic from the UK about a war poet. 

Benediction

Wri/Dir: Terrence Davies

Siegfried Sassoon (Jack Lowden) is a Lieutenant in the British Army at the western front in WWI, known for his bravery and valour. He’s also famous as a war poet. An aristocrat, he’s a descendent of the Sassoon clan, late of Baghdad, Bombay and Shanghai. But by 1917, he is sickened by the war and the death of his men, so he writes and publishes a formal letter protesting it. Instead of being courtmartialed, he is diagnosed as shell-shocked and sent to a psych ward near Edinborough. There he befriends a young soldier named Wilfred afflicted with night terrors, and together they write poetry for the hospital’s literary magazine, the Hydra.

After the war he joins other writers, musicians and artists around London. One evening, while reciting his dark poetry at a soiree, he meets Ivor Novello (Jeremy Irvine), a hugely famous celebrity whose sentimental songs — like Keep the Homefires Burning  kept up morale during the war. By that evening they are sleeping together with Ivor unceremoniously dumping his previous boyfriend Glen. But while Siegfried is a passionate romantic, Ivor is cold and cruel; he cares more about his looks and career than love or commitment. So after a messy break up, Siegfried has a series of relationships with various bright young aristocrats like Stephen Tennant in the 1920s-30s. But will he ever find true love?

Benediction is an impressionistic biopic about the life of Siegfried Sassoon and his friends and lovers between the two wars. This means he’s as likely to see Edith Sitwell reciting her doggerel as running into Lawrence of Arabia at a wedding rehearsal. But you never forget that this is a Terrence Davies movie, his unique style always apparent. Like singing — whether it’s soldiers breaking into song, actors on a west-end stage or just sitting by a piano at a party. And Sassoon’s own voice recites his poetry over photos of war dead. Flashbacks might fade from one to the next then back again reflecting the thoughts of a character, often with black and white newsreels projected in the background. There’s a lush, dark look to the whole film, in its music, images and sets. The acting — especially Lowden and Irvine but also Calam Lynch as Stephen Tennant and Gemma Jones as his ultimate wife Hester — is terrific all around. (The movie flashes forward to a reclusive and bitter Sassoon (Peter Capaldi) with a wife and adult son in post WWII England.) Benediction is romantic in the classical sense, more like a Wagnerian opera than a rom-com. The script is exquisitely written, with almost every line a bon mot, a witty observation or a cutting insult. Benediction is experimental and idiosyncratic in style but with a deeply moving story.

I really like this film.

Lux Æterna

Wri/Dir: Gaspar Noé 

Béatrice Dalle and Charlotte Gainsbourg (played by themselves)  are two French famous actresses making a film together. Beatrice is trying her hand as director and Charlotte is the star. The film they’re shooting, on set, is a feminist reboot of accused witches being burned at the stake by religious zealots in the manner of the Inquisition. They chat about the meaning of burning witches as a misogynistic crime.  But all is not well. 

The producers of the film, are plotting to get Beatrice fired, so a young man named Tom is ordered to follow her everywhere and record it on film, with the hope of catching an error. Meanwhile, an American actor, Karl (Karl Glusmann) is trying to have a meeting with Charlotte, various models are desperately looking for the proper costumes and hair, and all of the personal assistants are incompetent. Worst of all, though, something is wrong with the lighting system, which begins generating as series of multi-coloured strobe lights, the kind that can induce a tonic-clonic seizure. Can the scene be shot? Or will panic destroy everything before it’s caught on film?

Lux Æterna is simultaneously an experimental piece of art, and a satirical look at the film industry, the Me Too Movement and the backlash that followed it. Gaspar Noe is the enfant terrible of French filmmakers, all of whose films somehow provoke and torture its viewers. In the past it was through extreme violence, horror, drugs or explicit sex. This time, it’s (theoretically) supposed to induce tonic-clonic seizures among epileptic viewers of the film. Why? Because the aura leading up to as seizure is said to be the ultimate psychedelic experience. (Not sure who said it because I can assure you there’s nothing pleasant about having a seizure!) Anyway, about a quarter of the film consists of the gorgeous multicoloured strobe effect projected over the crucified bodies of the witches. Another portion is in the titles themselves (Gaspar Noe is the master of creative titling — no font is accidental in any of his films) with old Roman capitals used to advance the plot. All the characters use their real names, and the shooting takes place on a movie set, just in case you need more meta. 

If you like Gaspar Noe — I love his stuff but it’s certainly not for everybody —  well, Lux Aeterna is his latest artistic experiment. A large part of it resembles Dreyer’s 1928 silent film The Passion of Joan of Arc, beautifully done, as if photographed on Calvary. And the strobe light effect is hypnotic though irritating. There’s very little plot or acting involved, with lots of gratuitous nudity, but, hey, it’s only about an hour long. I like everything he does, but this is not a major work, more like him fooling around. If you like art, you might enjoy this experiment, just don’t expect a normal movie. 

Benedction is playing at the TIFF Bell Lightbox; and you can see Luxe Aeterna at the Revue Cinema in Toronto; check your local listings.

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 Kevin Hegge about TRAMPS!

Posted in 1970s, 1980s, Canada, documentary, Fashion, Interview, LGBT, Music, UK, Underground by CulturalMining.com on May 21, 2022

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

Photo by Jeff Harris.

It’s the late 1970s in a Covent Garden, London nightclub with an exclusive policy. To get in you have to look amazing in some way. An older man in blue jeans gets turned away at the door. The man is Mick Jagger, the place is Bowie Night at the Blitz Club and the doorman and organizer is Steve Strange. And so a new movement, born out of the ashes of punk, is dubbed the New Romantics by the mainstream press. But who were these tramps, really?

Tramps! Is a new documentary that looks in depth at East London in the early 1980s, along with the art, fashion, film, music, hats, makeup, hair, magazines, sexualities, aesthetics  and lifestyles that grew out of it. It’s a stunningly beautiful kaleidoscope of colour, a collection of period photos and footage combined with new interviews with the main players. And it talks about the celebrities who emerged from it, like Boy George, Leigh Bowery, Derek Jarman, Phillip Sallon, Judy Blame, and many others.

Tramps is the work of award-winning Toronto filmmaker Kevin Hegge, whom I last interviewed on this show back in 2012 about  his documentary She Said Boom: The Story of Fifth Column.

I spoke with Kevin Hegge in Toronto, via Zoom.

Tramps! is premiering in Toronto at the Inside Out film festival on May 31st, 7 pm, at the TIFF Bell Lightbox.

Daniel Garber talks with Ry Levey about Out in the Ring

Posted in 1960s, 1970s, 1980s, Canada, documentary, Fighting, LGBT, Pop Culture, Sports by CulturalMining.com on May 21, 2022

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

Picture this: scantily clad men and woman grope each other in same-sex displays. Over-the-top performers dressed in outrageous costumes , wigs and makeup, posture  before shrieking crowds. What are we talking about here: gay and lesbian porn? Or maybe Rupaul’s Drag Race? No! This is the world of pro-wrestling, known for both it’s outright campy behaviour and its homo-erotic displays, along with a deep-seated record of discrimination against LGBT wrestlers. That was the past, and things have changed. But what is it like now to be “out in the ring”?

Out in the Ring is a new documentary, over four years in the making that traces the history of LGBT people in and around the world of pro-wrestling. It talks with athletes, present and past, famous and infamous. It also meticulously traces their history, giving both an insiders’ visceral view and an outsiders’ critical stance. And it delves deep into the sometimes shady business of pro-wrestling.  It’s the work of producer/ director Ry Levey — a labour of love.

I spoke with Ry Levey in Toronto via ZOOM.

Out in the Ring is having its world premier at the Inside Out film festival on June 3rd, at 4:45 pm at the TIFF Bell Lightbox.

Daniel Garber talks with filmmaker Chase Joynt about Framing Agnes at Hot Docs

Posted in 1950s, 1960s, documentary, L.A., LGBT, Mystery, Queer, Secrets, Trans, UCLA by CulturalMining.com on April 23, 2022

Garber-April-23-22-interview

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

Photos by Jeff Harris.

It’s the late 1950s in Los Angeles. While the world’s attention is on Christina Jorgensen, the charismatic transgendered celebrity who flew back from Copenhagen as a new woman, a much quieter clinic at UCLA was also conducting treatment and surgery of transgendered patients. And into this office stepped a young woman named Agnes who said despite being a cis male she grew breasts spontaneously upon reaching puberty — a celebrated case. But later Agnes admitted she made it all up so she would qualify for gender reassignment surgery. Why did Agnes have to lie to get much-needed treatment?

Framing Agnes is a new and unusual documentary based on newly uncovered medical files that look at Agnes and her other unsung contemporaries from that era. Made in the style of a 1950s talk show, it includes reenactments, off-screen conversations, period footage as seen through a present-day filter. Using trans actors, it meticilously presents interviews as “real”, immediately followed by footage showing that they’re only acting. It deals with hot topics, ranging from gender, sexuality and identity, to trans youth, and visibility vs invisibility. This first feature is the work of  prize-winning writer and filmmaker Chase Joynt, who co-directed No Ordinary Man, about jazz musician Billy Tipton, and co-authored You Only Live Twice with Toronto artist Mike Holboom.

I spoke with Chase Joynt in Chicago, via Zoom.

Framing Agnes is premiering in Toronto at Hot Docs on Sunday, May 1, 8:30pm at the TIFF Bell Lightbox. 

Daniel Garber talks with Agam Darshi about her new film Donkeyhead

Posted in Canada, comedy, Coming of Age, Death, Denial, Drama, Family, LGBT, Punjab, Religion, Saskatchewan, Sikh by CulturalMining.com on March 12, 2022

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

Mona is a youngish woman in Regina, Saskatchewan who is living the life of Reilly. She lives rent free in a big old house, received a whopping advance on her first novel, she’s dating a successful lawyer, and  she sees her dad regularly. So why is she such a mess? Because she still lives in her crumbling, childhood home, her lover is married with kids, she has perpetual writer’s block and never wrote the book,  she spends all her time taking care of her bed-ridden, cancerous father downstairs, and they seem to hate each other’s guts. But when his health takes a turn for the worse she realizes she has to call her siblings to come see him before he dies. But a happy reunion it ain’t.

Donkeyhead is the name of a great new tragicomic movie about a dysfunctional Sikh-Canadian family reunited around their dying father’s bed. It’s funny, it’s moving and always surprising. It’s written, directed and produced by Agam Darshi who also performs in the lead role of Mona. Agam is a successful actress and also the co-founder of the Vancouver South Asian Film Festival, but as a director Donkeyhead is her first feature. It deals with family issues, childhood grudges, assimilation vs tradition, and impending death, all set within Regina’s Punjabi Sikh community.

Donkeyhead opened theatrically this weekend in Regina, Saskatoon and Toronto.

I spoke with Agam Darshi from Toronto via ZOOM.

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