Mishmashed genres. Films reviewed: Sisu, Polite Society, Are You There, God? It’s Me, Margaret
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Spring Film Festival Season continues in Toronto, with Hot Docs on now — offering 200 great documentaries from around the world, with free daytime tickets for students and seniors! — and ReelAbilities Film Festival starts on May 11th, showing great films by, for and about the deaf and disability communities — and it’s fully accessible!
But this week I’m talking about three new movies — from Finland, the UK and the US — opening this weekend. There’s a WWII action-thriller that feels like a spaghetti western; an Indo-English action-comedy with a dash of Kung Fu, and a coming-of-age drama about puberty in the 1970s.
Sisu
Wri/Dir: Jalmari Helander
It’s 1944 in Lapland, Finland, and a grizzled old prospector (Jorma Tommila) is panning for gold. He knows there’s a war going on, but he just wants to be alone with his dog, his horse and his pickaxe. But then he hits a golden lode! Not just a few tiny nuggets, but huge glowing rocks. Now it’s time to pack up his bags and head off toward Helsinki to cash them in. What he doesn’t know, though, is that the Nazis are carrying out a scorched-earth policy, burning and killing everyone in Lapland. And a troop of SS soldiers, tanks and all, are heading his way. How can a feeble old prospector resist the Third Reich?
But this is no ordinary codger. When Finland was allied to the 
Nazis he singlehandedly fought hundreds of Soviet soldiers – his back is riddled with bullet holes and scars, but he is virtually indestructible. He is a living legend and the Russians know to steer clear of him. And now Finland has switched sides, from the Axis to the Allies. But the SS Obersturmführer (Norwegian actor Aksel Hennie: Max Manus) and his henchman Wolf (Jack Doolan) don’t have a clue who they’re dealing with. And when they spot his gold, they make it the mission of their squad to kill the old man and grab the booty. But which side will triumph in the end?
Sisu (the title is an untranslatable Finnish word that means something like a knuckle- breaking determination, and bravery, never to give in despite the odds) is an extremely violent action-thriller, told in a light, almost humorous way, about one man’s fight to the bitter end. It traces their battle on land, through minefields, underwater and high in the sky. The music and camerawork look like a 1960s spaghetti western, and the film has an almost cartoonish or fairytale feel. I’ve seen Tommila in a number of super-weird Finnish movies (Big Game, Rare Exports) directed by Helander, always about a not-so-nice hero in Lapland, with his actual son Onni Tommila always playing a role (this time he’s a German soldier). A unique genre, but one you should explore. If you’re into suspense and action with lots of violence, blood and gore, you’ll love Sisu.
Polite Society
Wri/Dir: Nida Manzoor
Ria and Lena are two sisters who live in London. When they’re not wrestling or trying to gouge each other’s eyes out, they are fantasizing about their future careers: Ria (Priya Kansara) as a stuntwoman, and Lena (Ritu Arya) as an artist. Ria relentlessly practices her killer kung-fu kick (to no avail) while Lena cultivates her brooding goth persona.
This doesn’t sit well with their Pakistani parents, who want their daughters to find respectable professions. That’s why they pay for Ria’s posh private school — so she’ll become a doctor.
But things turn bad when Lena drops out of art school and falls 
into a deep depression. Things get worse when she agrees to attend a party at a huge mansion, thrown by Salim (Akshay Khan) the most eligible bachelor in town, and the son of a millionairess (Nimra Bucha). But when he proposes to Ria, Lena knows something is not right. Why did this rich guy want to marry an art school drop out? What are his real motives? With the help of her best friends Clara and Alba she decides to delve into Salim’s past and expose his wrongdoings to stop the impending wedding. But is she barking up the wrong tree? And is it all just her childish imagination?
Polite Society is an English action-comedy, and though set within the South Asian community, aside from one song it’s a far cry from Bollywood. The humour is British and the fights are strictly Hong Kong. Throw in a bit of science fiction and some high school dynamics, and you’ll find an unexpectedly enjoyable mishmash of genres, in the style of Everything, Everwhere, All at Once… but entirely different. I liked this one a lot.
Are You There God? It’s Me Margaret
Wri/Dir: Kelly Fremon Craig (Based on the book by Judy Blume)
It’s the 1970s in Manhattan. Margaret Simon (Abby Ryder Fortson) is an 11-year-old girl who lives in an apartment with her parents. She loves school, her friends, her Grandma Sylvia (Kathy Bates) who lives nearby, and the city that’s all around her. So when her parents tell her they’re leaving The City and moving to suburban New Jersey, Margaret is devastated. And despite their assurances — it’s just across the river, Dad (Benny Safdie: Uncut Gems) got a promotion and Mom (Rachel McAdams: Morning Glory, A Most Wanted Man, Everything Will Be Fine, Doctor Strange in the Multiverse of Madness) won’t have to work anymore — to Margaret it’s another universe. That’s why she starts talking directly to God, since she has no one else to tell her secrets to. She was brought up with no religion — her dad’s Jewish and her mom’s Christian — but she still needs the God thing.
She soon makes friends her age, when their neighbour marches through their front door. Nancy (Elle Graham) quickly informs her
she’s richer, prettier and more popular than Margaret but she can join her clique anyway as long as she follows the rules: They must wear a bra, tell the group when they have a period, and share the name of the boy they’re crushing on. Problem is Margaret has no breasts, no period and Moose, the guy she likes, isn’t the right one. With friends like these, who needs enemies?
Are You There God, It’s Me Margaret is a retelling of the classic, pre-teen novel, and it’s fantastic. It’s funny and realistic, dealing with the problems and insecurities girls had to deal with before the internet. (And none of these worries have gone away). It’s set in the 1970s, complete with the classrooms, clothes and music of the period, but also the attitudes and zeitgeist. It deals with everything from spin the bottle to bullying. And if you have a heart I’m sure you’ll shed a tear at least once. Generations grew up on Judy Blume’s books, and the movie is faithful to the original but totally accessible to kids today (and their parents.) This is a great girls’ movie about the perils of puberty.
Polite Society, Sisu and Are You There, God? It’s Me, Margaret all open across Canada 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.
Mind Games. Films reviewed: Spiderhead, Chess Story, In the Wake
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Spring film festival continues through June with Toronto’s Japanese Film Festival and the Toronto Jewish Film Festival showing films for another week. Also on now is the Future of Film Showcase, Canada’s premiere festival for short films. It also has panels, coffee sessions and workshops, covering everything from casting to funding, from locations to issues like equity.
This week, I’m looking at three new movies about people forced to play games. There’s a prisoner playing chess in WWII Vienna, another prisoner forced to play mind games in a secretive American facility; and a detective playing cat-and-mouse with a murderer… ten years after an earthquake in Japan.
Spiderhead
Dir: Joseph Kosinski (Top Gun: Maverick)
Jeff (Miles Teller) is an inmate in a remote, high-security prison. Located inside a brutalist cement building on a placid lake, it can only be reached by boat or pontoon prop plane. But inside it’s a virtual paradise. Doors are kept unlocked, prisoners chat on colourful sofas while eating canapés, and are free to pursue their favourite pastimes. They can even become friends with other prisoners — like Lizzy (Jurnee Smollett). No violence or distrust here; the benevolent warden Steve (Chris Hemsworth) makes sure of that.
So what’s the catch?
All prisoners are kept placid by a little gadget attached to their bodies, which — through remote control — releases chemical serums directly into their bloodstreams which controls their moods. They are also forced to attend sessions — controlled by Steve and his assistant behind a glass wall — where they test the potency of their pharmaceuticals. Sometimes it’s as simple as making them laugh at deliberately unfunny jokes. Other times they’re placed in the room with a stranger — a female prisoner in Jeff’s case — to see if drugs can make them so thirsty and the other seem so attractive (like “beer goggles” times 1000) that they can’t help having sex on the spot. But things take a sinister turn when Jeff is taken behind the glass wall and ordered to remotely inject painful drugs into other prisoners’ bodies. Can Jeff resist the psychological and chemical pressures put on him? What is Chris’s motive behind these experiments? And is there anything Jeff 
can do to stop him?
Spiderhead — the title is the name of the prison — is a sci-fi psychological thriller, about the dangers of pharmaceuticals and whether we can resist authority if it goes against our beliefs. The film is partly based on the Milgram experiment of the 1960s, where volunteers behind a glass wall were ordered to send increasingly painful electric shocks to actors pretending to be patients. In Spiderhead it’s taken to even greater extremes.
Is this movie good? It’s not too bad — I actually enjoyed it, loved the location and sets (it’s shot in Australia), the cheesy 1980s soundtrack, and the fun concepts, along with some huge movie stars… but the ending is as predictable as it is implausible. The concept is much better than the story. But if you just want be entertained for a couple hours, you could do worse.
Chess Story (Schachnovelle)
Dir: Philipp Stölzl
It’s 1939 in Vienna, and Josef Bartok (Oliver Masucci) is living the high life. He always dressed in formal black and white, and only the finest scotch and the best cigarettes ever pass through his lips. He loves telling jokes with his friends, and waltzing with his beloved wife Anna. As long as the Viennese keep dancing what could go wrong? But that night German soldiers march into Austria declaring Anschluss; it’s all one Reich now. Jacob springs into action, scanning through his ledgers and memorizing the codes before throwing them into a blazing fire. You see, his job is to keep the riches of the Austrian royalty safe from the Nazis in numbered Swiss bank accounts. Hours later he is arrested, but not killed, by the Gestapo and locked in a hotel room. If he tells them the numbers they say they’ll let him go — they just want the money. But solitary confinement can play tricks on your brain. He stays alive by studying a chess book he smuggled into the room.
Later, he is on a ship with Anna heading to America and freedom. But he can’t resist playing 
chess against Mirko, an unusual world chess champion, who is illiterate and can barely form a sentence. But as reality begins to warp, he can’t help wonder if he’s on a ship or still a captive of the nazis. And where is this chess game really taking place?
Chess Story is an historical drama based on a story by Stefan Zweig, the last thing he wrote. He died during the war, in Brazil not Austria, but clearly he was damaged before he left. Everything you see in this film is filtered through Josef’s mind, so you’re never quite sure what is real and what is imaginary. Oliver Masucci who plays him is excellent, portraying a man’s descent from carefree joker to broken soul. It feels almost like an episode of The Twilight Zone episode, but with the emphasis on the characters, not on the twist.
In the Wake (Mamorarenakatta mono tachi e)
Dir: Zeze Takahisa
Det. Tomashino (Abe Hiroshi) is a policeman in northeastern Japan. He is investigating the mysterious death of two middle-aged men, both found starved death in different locations. Is there a serial killer out there, and if so, what are his motives? Turns out they both worked out of the local welfare office. He turns to a young welfare case worker Mikiko (Kiyohara Kaya) to help him put the pieces together. This is also the site of a mammoth earthquake and tsunami, ten years earlier. The detective remember it well, as he lost both his wife and his young son. Now he’s a loner who has yet to deal with his losses.
Meanwhile, Tone (Satoh Takeru) a troubled young man, just out of prison for arson, gets a job in a welding factory. And he wants to get in touch with his makeshift family former after the earthquake: a little kid, and an elderly woman named Kei (Baishô Mitsuko) who cared for the two lost orphans. But things have clearly changed. Could they have driven him… to murder?
In The Wake is a Japanese drama set immediately after an earthquake and a decade later. While it’s ostensibly a police procedural, about a detective trying to catch a killer, it’s also a 
surprisingly powerful and moving drama, that takes it much deeper than your usual mystery. It shifts back and forth between the two periods, as all the major characters were also survivors of the quake. And it delves into the terrible inadequacies of Japan’s austerity cutbacks to to their already inadequate welfare state. The movie features Abe Hiroshi, a huge star from Kore-eda’s films; Baishô Mitsuko , who was in movies by the most famous Japanese Kurosawa and Imamura; and Satoh Takeru best known for the Rurouni Kenshin series. I was expecting something simple, and lucked into a really good movie instead.
Spiderhead is now streaming on Netflix; Chess Story is now playing digitally at TJFF, The Toronto Jewish Film Festival; and In the Wake is playing at the other TJFF, the Toronto Japanese Film Festival, on one day only, June 25th, at the Japanese Canadian Cultural Centre.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Grand Ambitions. Films reviewed: Edge of the World, The Sign Painter, Lune
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s spring Film festival season in Toronto. Inside Out continues through the weekend featuring some more pics, like Knocked a Swedish psychological thriller about a lesbian widow who hears knocks in her apartment at night; and Being Thunder, a doc about a two-spirited, genderqueer teen’s experiences at a pow wow. The Toronto Japanese Film fest starts today and runs through the month — more on this one next week — and the Toronto Jewish Film Festival, featuring films from around the world, has just begun.
This week I’m looking at three new features (two from the TJFF), from Malaysia, Latvia, and Canada, about people with grand ambitions. There’s a a sign painter in Latvia who wants to be an artist, a Victorian explorer making friends with head-hunters in Borneo; and a radical anti-apartheid feminist who wants to vote for Nelson Mandela.
Edge of the World
Dir: Michael Haussman
It’s the 1840s in Sarawak, Borneo. James Brooke (Jonathan Rhys Meyers) is an India-born British explorer, collecting butterflies and plants to send back to the academy. He arrives by ship on the shores of this island beside his cousin Crookshank (Dominic Monaghan) and his nephew young Charley (Otto Farrant). But once he enters the jungle they’re captured by warriors who celebrate victory by chopping off heads. Luckily they are brought before two Malay princes to rule on their fate. Prince Makota (Bront Palkarae) is aggressive and devious — he sees a chance to gain British guns and cannons. The younger Prince Bedruddin (Samo Rafael) on the other hand, likes James, as in lust — a future ally and bed-partner?
He says James has semangat — a certain virility and vitality fit for a ruler. James, on the other hand, only has eyes for the beautiful Fatima (Atiqa Hasholan). But after a battle, the Sultan of Brunei makes him king, the Rajah of Sarawak. But danger awaits at every turn of the river, with the snake people, and double-crossing royals, out to get him. And the British Empire would love to get their hands on the gold, coal and spices. Can he hold onto his kingdom, and fight off enemies abroad and at home? Or will his 
head land up as just another trophy on somebody’s mantlepiece?
Edge of the World is an exciting adventure in Southeast Asia when most of the world was still coloured pink (the British Empire). This is based on a true story, celebrated at the time, and told by Malaysians themselves. It includes Dayak music and dance, and a multi-ethnic, multi-linguistic cast (Malay, Chinese, Indigenous, Indian, and European). Far from a tribute to colonialism and imperialism, most of the British (save for Sir James) come across as cruel, greedy and racist murderers.
If you like historical dramas — this is a good one.
The Sign Painter
Dir: Viesturs Kairišs
It’s the 1930s in a remote, small town beside a river in Latvia. Ansis (Davis Suharevskis) is a gawky, gangly young man who works with his father as a sign painter, but secretly wants to be an artist, painting on canvas, not words on doors and walls. His other secret is his love for a beautiful young woman. He visits Zisele (Brigita Cmuntová) Romeo and Juliet style, climbing ladders to knock on her window. She’s a modernist, often reading books on free love. But like Romeo and Juliet, they are separated two forces: her father, Bernstein — a local Jewish shopkeeper (Gundars Abolins) — and Ansis’s Catholic priest. Neither want them to marry, and it doesn’t help that he’s poor. There are also others in the mix. The self-centred Naiga (Agnese Cirule) — the literal girl next door, her father owns the pharmacy next to Bernstein’s shop — has a crush on him. And then there’s Andreas, a bombastic Baltic German, who has the hots for Zisele. Who will end up with whom? But all of their young plans are up in the air when war comes, and the country already under a fascist dictator, is invaded first by the Soviets, and later by the Nazis. What are their fates?
The Sign Painter is a tragi-comedy about life in Latvia during the 30s and 40s as seen through the eyes of one young man. It starts out with a light humorous tone — a sign painter gets lots of work changing the name of main street, with different colours — from Green to Red to Black — and fonts from roman to cyrillic to gothic, depending on who’s in charge. But about half way through, it takes on a much darker tone, as changing political whirlwinds bring arrests, deportations and massacres. Based on a novel, it’s laden with characters and unexpected plot turns.
I like this movie.
Lune
Dir: Arturo Perez Torres,
Aviva Armour-Ostroff
It’s 1994 in Toronto. Miriam (Aviva Armour-Ostroff) is a single mom who is excited. She’s a radical feminist an artist and a long-time anti-apartheid activist. She’s generous and helpful, giving food and comfort to random homeless people and political dissidents. Why is she so excited? Her birthplace, South Africa, is about to have their first free election — and she wants to go back and vote for Nelson Mandela. Problem is she is penniless (she lives in an apartment above a pawn shop) jobless, and nearly friendless — though she’s has many, many sexual partners. And then there’s her daughter Eliza (Chloe Van Landschoot). Eliza is finishing high school and trying to get a scholarship to a Montreal Dance Academy. She’s dating Mike (Vlad Alexis) a naive, young DJ with very well-established 
parents. Miriam says she wants to take Eliza and Mike to South Africa with her to witness democracy at work. Did I mention? Miriam and Eliza are white, and Mike is black.
Mike is enchanted by Miriam’s antics and thrilled by the idea of rediscovering his poetry, music, creativity and inner blackness. Eliza, though is pissed. What about her dancing? What about her boyfriend? She’s seen episodes like this throughout her life. 
Miriam is off her meds and in an increasingly manic state. So even as her creativity and enthusiasm grows, so does her recklessness. Can they make it to South Africa and back in one piece? Or is this all just a pipe dream?
Lune is a drama about an unusual family in Toronto in the 90s. It’s an amazingly moving piece, a biting satire and an explosion of creativity from spoken word to art to modern dance (Eliza retells her own story in the form of a dance, done by Chloe Van Landschoot.) Vlad Alexis is perfect as the bourgeois black guy trying to get woke. But the centre of it all is co-writer, co-diirector and star Aviva Armour-Ostroff, who as Miriam pushes all her boundaries in a shocking performance, grounded in politics you rarely see. Miriam talks like a combination of Edina Monsoon and Cornell West… with a good dose of cannabis-induced lunacy. (The title, Lune, divides the film into chapters marked by the stages of the moon).
Lune is a fantastic movie, and has already won the 2021 Micki Moore Award. Don’t miss this one!
Lune has it’s Canadian premier at TJFF today and is playing through Saturday; The Sign Painter has its Ontario premier at TJFF on June 8th and 9th; and Edge of the World opens today on VOD and all major platforms.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Guys doing stuff. Films reviewed: Nobody, Six Minutes to Midnight, Judas and the Black Messiah
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
A few weeks ago. I did International Women’s Day, so this week I’m looking at three new movies about guys doing stuff. There’s a WWII drama about a spy in a school for Nazi girls, a ‘60s drama about an FBI rat in the Black Panther Party, and an action-thriller about an ordinary, middle-aged man who decides to fight against the Mafia.
Nobody
Dir: Ilya Naishuller
Hutch (Bob Odenkirk) is a ordinary guy who lives in the suburbs with his wife and two kids. He works at a dull desk job in a nondescript factory, a life that, while not perfect, is what he wants. But when his house in broken into by a pair of amateur burglars., everything falls apart. His his son no longer respects him and his wife seems bored by his very existence. She married a wimp. Something has got to change. So Hutch sets out to channel his anger and aggression.
He gets his chance when a pack of hoods boards a city bus and begin harassing and threatening a teenaged girl. So he decides to pick a fight. They’re younger, stronger and meaner than he is, and there’s six of them. Is there something about Hutch we don’t know? The good news is he beats all six to a pulp, sending them to hospital. The bad news is one of them dies. Worse news is he’s the younger brothers of a notoriously powerful Russian mob boss named Yulian (Aleksey Serebryakov). Yulian is cruel, sadistic and vengeful, with a 
veritable army of supporters. Can Hutch face down an entire Russian mob? Or is he, and his family, doomed to die?
Nobody is a great action thriller, extremely violent but quite entertaining. There are car chases and excellent fight scenes — many without guns — and a pace that is constantly moving. You might know Odinkirk from the Breaking Bad spin-off Better Call Saul, not your average action hero, but he pulls it off perfectly. And Serebryakov as the villain 
is also fascinating — he’s actually a famous Russian actor, in movies like Leviathan. Also Christopher Lloyd as an elderly action hero, and RZA, of Wu Tang fame, rounding out the slate. This is actually a Russian movie (though it’s mainly in English and shot in Winnipeg) and the director, Ilya Naishuller, does really cool stuff with his camera, eliding entire days into just a few seconds on the screen. I like the look and feel and mood and music he uses. There’s nothing deep or socially relevant or meaningful about this film, it’s just a fun and exciting action movie about fights, explosions, guns and cars, skillfully done.
Six Minutes to Midnight
Dir: Andy Goddard
It’s the summer of 1939 in Bexhill-on-Sea, a small coastal town in southeastern England. The girls at Augusta-Victoria College, a prestigious boarding school, are out for their morning swim. They’re excited because a new English teacher is coming that day. The school is run by a stern headmistress (Judi Dench) who is adamant about teaching girls poise, grace and maybe a bit of knowledge. And while she’s suspicious of the new “gentleman teacher” Thomas Miller (Eddie Izzard), she likes the fact he plays the piano. And the girls — including Ilsa (Carla Juri), their leader, Astrid the rebel, and Gretel the bullied girl with glasses — all enjoy singing in class. But what’s so special about this 
school? All the young women there are Germans. And not just ordinary Germans, but the daughters and granddaughters of the Nazi elite.
Mr Miller knows all about this before he arrives. He’s a British spy on a secret mission: to find out what’s going on behind closed doors. But when his handler, a Colonel, is assassinated before his very eyes, things get dangerous. He’s blamed for the killing, labeled a German spy, and has no way to contact headquarters to clear his name. Meanwhile, German sympathizers are everywhere — who can he trust? Europe is on the brink of war, and something major is about to happen to the girls in the 
academy. Can Miller free himself, save the girls, and stop the German war effort? Or is he doomed to failure?
Six Minutes to Midnight is an enjoyable WWII thriller. It’s filled with classic skullduggery, like hidden cameras, double crossers and political intrigue. Eddie Izzard and Judi Dench are good, along with James D’Arcy as a police captain, Jim Broadbent as a bus driver, plus a bevy of talented German and Swiss actresses.
I guess I’m a sucker for British historical dramas, but… they do them so well!
Judas and the Black Messiah
Dir: Shaka King
It’s the summer of ’68 in Chicago. Fred Hampton (Daniel Kaluuya) is the young local head of the Black Panther Party. They supply meals for poor kids and plan to open a medical centre. He takes up with Deborah (Dominique Fishback) a young idealistic poet. Fred is also known for his rabble-rousing speeches, done without a mic, calling for revolution, instead of just posturing: Political power doesn’t flow from the sleeve of a dashiki, he says. You have to do something, don’t just talk about it. Because 1968 is a time of change, with the war in Vietnam, the Democratic convention, and massive marches and demos going on in downtown Chicago.
Naturally, J Edgar Hoover and the FBI don’t like it at all. They label the Panthers “dangerous extremists” and decide to go all out to stop them, with their notorious and illegal operation known as 
COINTELPRO. They plan to infiltrate, jail or kill the Panthers, whom they call a subversive criminal group.
Meanwhile, there’s Wild Bill O’Neal (LaKeith Stanfield) a petty grifter and car thief who poses as an FBI agent to rob other blacks. He’s caught, threatened with prison or worse, and forced to work as a rat for the FBI. It’s a carrot and stick operation. His handler, Roy Mitchell (Jesse Plemons), possibly 
the whitest guy in the world, shares the wealth — cigars, expensive alcohol, and envelopes of cash. He just has to betray the panthers, incite violence, and draw maps of their headquarters for illegal break-ins and assassinations.
Judas and the Black Messiah is a fantastic historical dramatic thriller about major social movements and the the US government’s attempt to stop it. The title suggests it’s about two clashing forces, Hampton and O’Neal, the revolutionary and the traitor, facing off. But actually they seldom interact. It’s actually a story divided into two points of view, the FBI, and the Black Panther Party. It’s full of stuff I hadn’t heard about — things like Hampton organizing working-class whites, Puerto Ricans and Blacks in order to form a united front based on class, not race. Kaluuya and Stanfield were in the movie Get Out together and they’re both unrecognizable; they totally get into their roles here. It’s an important issue told in a cinematic way… and it’s nominated for for academy awards this year.
Great movie.
Nobody and Six Minutes to Midnight are available starting today, and Judas and the Black Messiah is coming soon.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Sublime mainstream. Films reviewed: Tainted, Fisherman’s Friends, Volition
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Theatres are still closed indefinitely, but does that mean you can only watch movies at home? No! Drive-ins are making a big comeback, and in Toronto the Lavazza Drive-in Film Fest is running a different international film each night at Ontario Place beginning July 20-31, thanks to the Italian Contemporary Film Fest.
This week I’m looking at three mainstream movies; two from Canada and one from the UK. There’s a record exec who finds sea shanties sublime; a former hit man who wants to leave his life of crime; and a man who can read the future who wants to change time.
Tainted
Wri/Dir: Brent Cote
It’s a small city in north Ontario. Lance (Alan van Sprang) is a nice guy with a bad reputation. He used to be a hitman who could take down a rival gang unarmed. He took the fall for the Russian mob and did 15 years in Millhaven, but now he’s on the straight and narrow. No more killing, no more gangs. He keeps to himself in his low-rent apartment, listening to ancient blues singers on a portable record player. The only person he talks to is Anna (Sara Waisglass: Degrassi) a lonely musician who lives down the hall and sings at a local dive bar. But when there’s a massacre of Russian gangsters by Aryan Nations, he’s 
called in to even the score. You see, he’s the only one who can infiltrate the neo-nazi gang, due to the enormous swastika still tattooed on his chest.
In exchange, Gregor (John Ralston) – a small-time Finnish drug runner who operates out of his wife’s pastry bakery – promises to leave him alone forever, along with a wad of cash and a forged passport so he can just disappear. He does the job. But when they try to bring innocent Anna – the only person he feels for – into the gang war, he becomes a burning stick of dynamite that the Russians, the Finns and the neo-nazis all want to kill. But who will survive?
Tainted is an excellent action- thriller about an expert hitman trying to leave his tainted past, who finds himself sucked into the criminal spiral he wants to escape. It’s set among the mean streets of Sault Ste Marie as the opiate dealers fight for dominance. It’s tense, bitter and hardboiled, filled with choreographed fight sequences in warehouses, parking lots and dive bars. If you’re in the mood for some violent noir, this one is a cut above.
Fisherman’s Friends
Dir: Chris Foggin
It’s 2010 in St Isaac’s a small fishing village in Cornwall, known for its lobsters, a rustic pub, and Cornish patriotic sentiments. Danny (Daniel Mays) is a record exec who specializes in boy bands. He’s there on a daytrip with his work pals for some gambling and boozing on a yacht. The boat doesn’t show, so they spend the day exploring the ancient port and stumble upon a group of fishermen singing sea shanties in the local square. His boss orders him to sign the fishermen up for a record contract, and don’t come back to London until the deals done. The singers aren’t interested, and 
his own boss just meant it as a joke.
But Danny is stubborn. He moves into a bed and breakfast run by Rowan (Tuppence Middleton) a young single mom who doesn’t like him at all. (What’s a tosser, mum? asks the little girl). Rowan’s dad, Jim (James Purefoy) can’t stand him – and he’s one of the singing sailors Danny wants to represent. Can he win the sailors trust and sign them up? And would anyone, anywhere want to listen to middle aged fisherman singing old songs?
Fisherman’s Friends (like the throat lozenges) is a cute family drama about a cynical Londoner finding authenticity in a working-class small town. It’s a bit formulaic – think Kinky Boots, Made in Dagenham, or Pride – but it works. There’s music, local folklore – never wear green or say the word rabbit on a fishing boat – and even a bit of romance.
One thing: I’m no expert on Cornish accents but why did some of the actors sound like pirates? And I mean Pirates of the Caribbean not Pirates of Penzance. (Aaaargh!). Never mind that, Fisherman’s Friends is a funny, pleasant and palateable movie, a real crowd-pleaser.
Volition
Co-Wri/Dir: Tony Dean Smith
James (Adrian Glynn McMorran) is a 30-year-old who rents a room above a body shop in East Vancouver. He’s an alcoholic gambler, perpetually in debt with no ambition. He does have one unique talent, though: precognition. He can predict the future. It comes to him in a series of dream-like, disconnected visions. And he writes them down on a calendar to try to make sense of them. Ocassionally it’s useful, like when he saves a woman named Angela (Magda Apanowicz) from being attacked in an alley – she ends up crashing at his place. So he’s not surprised when he’s called in by 
low-level mobster named Ray (John Cassini) for a big job. He knows about James’s special skills. Ray’s uneasy about a stolen sack of cut diamonds he’s passing on to a buyer – is it a set up? – so he asks James to hold onto the jewels for 24 hours until he gets a vision guaranteeing Ray’s safety. In exchange James will get 100K solving all his problems.
Problem is Ray’s own henchmen are the one’s trying to double-cross him. When things go south, James and Angela’s jump into a car to escape. Now the gangsters are chasing him and a mystery man steals all the diamonds. But his visions keep getting stranger and 
stranger… until he makes a shocking discovery: he can physically relocate to the past in order to change the present. Can James manipulate events to save his and Angela’s life? Or will time travel be his undoing?
Volition is a gritty science- fiction mystery thriller, filled with unexpected plot turns. It really pulls you in with new twists and constant suprises. It has a tight script and small cast, set among the gritty working class neighbourhoods of BC. If you like fast-moving crime dramas and time-travel stories, you’ll love Volition.
Volition, Fisherman’s Friends and Tainted all open this week on VOD.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.
Good not good. Films reviewed: Bombshell, A Hidden Life, Cats
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Ever watch something that’s bad, but still has good parts? Or a beautifully rendered piece of art that doesn’t live up to its potential? This week, I’m looking at three new films, that I liked but didn’t like, or hated but still enjoyed. There’s one farmer in wartime Austria, three women at Fox News, and a hundred cats in London.
Bombshell
Dir: Jay Roach
It’s Fox News studios in New York City. Megyn Kelly (Charlize Theron) is a top TV journalist and news anchor, Gretchen Carlson (Nicole Kidman) is co-host of Fox & Friends, Donald Trump’s favourite show, and newcomer Kayla Pospisal (Margot Robbie) is a committed conservative evangelical, trying to advance her career. What do these three women have in common? Theyre all smart, conservative and attractive (Carlson is a former Miss Minnesota.) And they were all hired by Roger Ailes (John Lithgow). Ailes is the highly profitable Fox News CEO, the man who singlehandedly shifted cable journalism from neutral news-source to a font
of blatantly partisan right-wing talking points, leaving CNN in its dust. He’s also paranoid and hideously ugly, called Jabba the Hut behind his back.
The Fox News he runs is a place where cameras are positioned to show off female newscasters’ legs. Male employees advance because of their work. Female employees are also judged on looks, and work in a blatantly sexist office culture. And Ailes is the centre of it all, using his position power to exploit, harass and sexually assault young women. Kelly shares her 
concerns with her husband and Pospisal with her lesbian lover and Fox News staffer (Kate McKinnon) who says she doesn’t want to hear about it. But Carlson refuses to take this lying down. She launches a lawsuit against Ailes and Fox News. But will other journalists, like Kelly and Pospisal (a composite character based on real people) join her struggle, or stay loyal to Ailes?
Bombshell is a fast-paced news drama based on recent real-life events. It’s told in a light, punchy and easy-to-digest format, which makes the few dramatic scenes showing sexual harassment all the more powerful. Theron, Kidman and Robbie are all terrific and believable in their roles. On the ther hand, the movie barely touches on the awfulness and deceit of Fox News itself. And while it skewers Ailes it leaves the notorious Rupert Murdoch strangely untouched. Bombshell tells a great story, as seen by three strong women, around sexual harassment, but doesn’t concern itself with other political matters.
A Hidden Life
Wri/Dir: Terrence Malick
It’s WWII in Austria. Franz Jägerstätter (August Diehl) is a simple farmer deeply in love with his wife Fani (Valerie Pachner). They live with his mother, her sister and their three little girls inthefoothills of a dramatic mountain range. Together with their neighbours they till the fields, harvest the grain and carry it, on the back of a donkey, to the miller. They go to church on Sunday and dress up in masks and costumes to honour the harvest. Their life is idyllic until… Franz gets drafted for army duty a second time. Enough, he says. I’m not going. No more Heil Hitler’s, no more military uniforms, no more separation from my wife and kids. Enough! Neighbours and government officials try to convince him to sign a loyalty oath, but he refuses. He is sent to prison, leaving his wife and sister-in-law to plow the fields among neighbours who aren’t friendly anymore. Only their constant letters keep them sane and I love. Will Franz sign the oath, or will he stay steadfast to his beliefs, even at risk of death?
A Hidden Life is a lush and beautiful rendering of a simple act of resistance in wartime anschluss Austria. It’s directed by Terrance Mallick, and is instantly recognizable by its swirling images, breathy voiceovers, lush music and stunning camerawork. People clutch earth in their fingers, and reap fields with scythes. Good passionate acting, featuring cameo performances by Matthias Schoenaerts, Franz Rogowski, and the late, great Bruno Ganz.
On the other hand… it’s three hours long. Three hours! Why does it take so long to tell such a simple story? Why? It’s not exactly boring or tedious since it’s done so beautifully, but similar stories have already been told (and in a more dramatic fashion, like Oliver Hirschbiegel’s 13 Minutes/Elser – Er hätte die Welt verändert). As a movie critic, I try to avoid terms like “self-indulgent”, but this movie is strictly for fans of Terrence Mallick.
Cats
Dir: Tom Hooper
It’s nighttime in a fantastical, pre-gentrified London, where abandoned alley cats rule the streets. The Jellicle Cats are gathered for their annual meeting, presided over by Old Deuteronomy (Judy Dench), who will choose one cat to be reborn. Each contestant performs before the queen: There are dancers (Francesca Hayward, Steven McRae) singers (Taylor Swift, Jennifer Hudson), comics (Rebel Wilson, James Corden), a 
magician dressed in black and white (Laurie Davidson) and even an old theatre cat (Ian McKellen). But the age-old ceremony is challenged by the evil Macavity (Idris Elba) who is kidnapping each cat after their performance. Who will be chosen to ascend to the skies? Will peace and order return to the Jellicle cats? And can newbie Victoria join the gang?
Cats is a strange hybrid of theatre, and movie special effects. Each act is performed on a vast soundstage, keeping close to how it would look before a live 
audience. The cat people’s faces and bodies are human, but augmented, using CGI, with cat ears, moving tails and furry bodies. Some of them wear elaborate costumes, while others run around “naked”, covered in sleek fur. But they’ve all been digitally neutered, with no sign of breasts or genitals anywhere. The script is abysmally bad, almost babyish, with “jokes” like cat got your tongue? and relentless fat jokes. Fat jokes? Really?
Music ranges from torch songs to chorus lines. There are a few great scenes, like cockroaches 
doing elaborate Busby Berkeley formations as Rebel Wilson eats them, one by one; and impressive dance routines, along with some good songs… but I can’t figure out who the movie is trying to appeal to? Small children? Theatre buffs? Taylor Swift fans? I don’t think it knows, either.
Still… I kinda liked it, if just for the spectacle of it all. It’s bad, but it’s watchable and loaded with great singers dancers and prize-winning actors all of whom are far, far more talented than the material they’ve been given.
And I think these weird cat people will haunt my sexual nightmares for years to come.
Bombshell, A Hidden Life and Cats all open today in Toronto; check your local listings.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
When I grow up… Films reviewed: Fighting With My Family, Never Look Away
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
One question every kid hears is What do you want to be when you grow up? When I was three I wanted to be a fire truck. But how many stay true to their earliest ambitions? This week I’m looking at two movies about people who stick to their childhood passions. There’s an historical drama from Germany about an aspiring artist and a biopic from the UK about a perspiring wrestler
Fighting with My Family
Wri/Dir: Stephen Merchant
Saraya Knight (Francis Pugh) is a thirteen-year-old girl in a working-class neighbourhood in Norwich. Her mom and dad (Lena Headey, Nick Frost) run a business: the WAW, or World Association of Wrestlers. But like everything else in that world, it’s a bit of an exaggeration. They have one gym where they train local kids to wrestle, and take their family’s matches on the road in their shiny white van. Her life is fully immersed in the sport. Black haired and petite, Saraya uses black eyeliner and dresses in heavy metal gear. She has posters of her wrestling heroes on her wall and even made her own 
championship belt out of cardboard. But she has one problem: she chokes under stress.
So her big brother Zack (Jack Lowden) takes her into the ring and teaches her how to wrestle. He is her sparring partner, and they soon become an accomplished tag team. She’s a natural. But they have bigger ambitions: to be make it to the top. So when the WWE is coming to the UK they sign up for the tryouts. This is Zack and Saraya’s one chance to make it big. The auditions are led by Coach (Vince Vaughan) a hard-boiled veteran who takes no prisoners. Will Zack get in? And will he take Saraya with him? Turns out, Coach chooses her, not him!
Suddenly she finds herself in Florida surrounded by palm trees, suntans and bikinis while Zack is left in Norwich taking care of his new baby. Saraya — now called Paige — is overwhelmed by the gruelling, boot-camp workouts and the loneliness she faces. Zack feels abandoned so he cuts her off. And the fledgling wrestlers she’s paired with are all former models, dancers and cheerleaders… who don’t know how to wrestle. Professionals finesse their jabs, throws and punches so they don’t hurt so much.
Her parents and all the kids at the gym back home are rooting for her, but Paige is filled with doubt. Can the little “freak from Norwich” ever make it in pro-wrestling?
Fighting With My Family is a very cute, palatable and easy-to-watch comedy biopic, about the real female pro wrestler known as Paige. I have to admit I knew next to nothing about pro wrestling before I watched it.
What did I learn? That this sport is “fixed”, but it’s not “fake”… the wrestling part is real, and it can really hurt. That it’s a theatrical performance, much like a circus. That you have to win over an audience if you want to make it. And that your persona, while a big exaggeration, has to have some truth in it or no one will believe it. The movie is filled with salty language but no sex or violence (except in the ring). Pugh and Lowden are great as the brother and sister. Yes, it’s predictable and sentimental and I’m not going to call it a “great movie”, but I had a good time watching it.
Never Look Away (Werk Ohne Autor)
Wri/Dir: Florian Henckel von Donnersmarck
1937, Germany.
Little Kurt, with his aunt Elisabeth (Saskia Rosendahl), visits an exhibition in Dresden filled with avant-garde art. He loves the beautiful colours of fauvism, the strange distortions of cubism, and challenging images by Grozs, Kandinsky, 
Mondrian. But is he too young to understand the art show was put on by the Nazi government to condemn this art as bad and “degenerate”? No, he understands perfectly what they’re saying, and rejects it all.
But he listens to his aunt when she warns him to keep his drawings secret. Later, when the lovely but 
eccentric aunt has a strange episode they lock her up in a mental hospital. While she is there, top-ranked Nazi doctors decide to throw away not just “degenerate” art but imperfect people. Anyone with a mental illness, physical disability or a developmental handicap is sent to the gas chambers. Doctors write 
either a blue “minus” (keep) or a red “plus” (kill) on their files. This includes Elisabeth, condemned to death by a top Nazi gynecologist (Sebastian Koch).
Later, after the war, Kurt (Tom Schilling) is accepted into the Dresden Art Academy. But now his talent is stifled by the communist government who only want him to paint socialist realism: stern men and 
rosy-cheeked women harvesting wheat as they stare toward a brighter future. At the academy he meets the kind and beautiful Ellie Seeband (Paula Beer), and wins her heart. Even under communism, Ellie is a “golden pheasant” from a rich, high-ranked family. They fall in love and meet for secret trysts. But when 
her parents come home they have to be extra cautious. While her mother is sympathetic, her father, Professor Karl Seeband, tries his best to break them up. But what no one realizes, this professor is the same doctor who sent Kurt’s aunt Elizabeth to her death!
Kurt and Ellie eventually make it to West Germany, where he joins the prestigious art academy in Düsseldorf, and lands a private studio to create the art he really wants to make. The art 
professor tells him his work is good but not yet special, but he still detects the talent hidden there. Will Kurt ever find his true calling? Will Seebald’s hidden war crimes be exposed? Can Ellie emerge from beneath her oppressive father’s shadow?
Never Look Away is an epic, fictionalized drama about the life of a well- known artist, spanning German 
history from the Nazi era, to the communist east, and to the changes in the west in the 50s and 60s. It stars some of Germany’s biggest names: tiny Tom Schilling with his high-pitched voice is still playing young men in his late thirties (and he’s great as Kurt). Paula Beer 
(Transit) is sweet as Ellie, Sebastian Koch is suitably sinister as the hidden Nazi Zeebald, and Saskia Rosendahl (who was amazing in Lore) once again wins as Elisabeth. The cinematography and music are all wonderful. But something seems missing from this huge drama.
At one point Kurt makes an 
interesting point: Take six random numbers. On their own they have no meaning. But if they are the winning numbers on a lottery ticket suddenly they become important and beautiful. I went into this movie blind, knowing nothing about it. While watching it, I kept thinking what’s the big deal about Kurt? But when he starts experimenting with smeared, black-and-white, photorealist paintings, I thought, wait a minute, those look like Gerhard Richter’s paintings! And suddenly the movie makes sense. It becomes a winning lottery ticket. Not a perfect movie – not as good as this director’s Lives of Others – but definitely worth watching.
Oscar nominee Never Look Away and Fighting With My Family both open today in Toronto; check your local listings.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Daniel Garber talks with filmmaker Barry Avrich about Prosecuting Evil
Barry Avrich
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Ben Ferencz was a diminutive boy, the son of a bootmaker, who spoke no English, living in Hell’s Kitchen. 25 years later he’s heading a legal team as a chief prosecuter at the Nuremberg Trials in post-war Germany. How did he get from here to there? And where did he take his of belief in international law and the responsibility of governments for their war crimes?
Prosecuting Evil: the Extraordinary World of Ben Ferencz is the title
of a new documentary that tells Ben Ferencz’s story in his own voice, from the Nuremberg Trials to the International Criminal Court. He narrates his own life in a series of interviews, illustrated with ample period photos, news footage and personal pics and documents. Supplemented by words from family, colleagues and famous lawyers (like Rosalie Abella and Fatou Bensouda) the film deals with justice on an international level.
It’s written and directed by award-wininng Canadian producer and filmmaker Barry Avrich, well known both for his documentaries (Filthy Gorgeous: The Bob Guccione Story; Blurred Lines: Inside the Art World) and his films of Shakespearean plays.
I spoke to Barry in studio at CIUT 89.5 FM.
Prosecuting Evil premiered at TIFF18 and is opening today in Toronto at the Ted Rogers Hot Docs CInema.
Christoph Schlingensief: Approach those you fear. Films discussed: The German Chainsaw Massacre, The 120 Days of Bottrop, Foreigners Out! Schliegensief’s Container
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Christoph Schlingensief was a performance artist, TV producer and filmmaker known for his pranks. A Till Eulenspiegel for the new millenium. He was born in 1960 in Oberhausen, Germany and made his first film while still a kid. He became a devotee of avant garde film, music videos, mainstream Hollywood, and the New German Cinema.
His work incorporates Brechtian theatre techniques and its exaggerated, in-your-face style. In any given film you can find contemporary art, TV clips, historical footage, and even samples of his own past work, edited into the project. He became widely known in German-
speaking Europe — though not outside it — for his TV shows, especially an impromptu talk show shot on Berlin’s U-Bahn. Sadly, he died of cancer in 2010 at the age of 49.
You’ve probably never seen his work, so this week, I’m going to talk about a special series of three movies now playing in Toronto, sponsored by the Goethe Institut (and co-presented by the Laser Blast Film Society and KinoVortex). There’s a look at German unification using cannibal serial killers, an epitaph to New German Cinema in the form of naked people running rampant, and a take on right-wing politcs and xenophobia using a mock reality show… that “deports” undocumented immigrants!
The German Chainsaw Massacre (1990) (Das deutsche Kettensägen Massaker a.k.a. Blackest Heart)
It’s Germany just after the reunification of East and West. Almost everyone has moved westward, but a tiny few remain in the East. This includes the beautiful but downtrodden Clara (Karina Fallenstein) who is repeatedly abused by her drunk husband. She fights him off with a kitchen knife, jumps into her Trabant and heads for greener 
pastures. But little does she know, she’s going from bad… to wurst.
She meets up with her boyfriend Artur only to see a stranger slash up poor Artur’s body. And when she seeks help at roadside inn, she’s accosted by a sex-craazed lesbian dressed in black (Sussanne Bredehöft, who also plays Clara’s husband), 
and her equally weird colleagues. Behind closed doors they put rubber masks on anyone who stays there and brutally chops them up before grinding them into sausage. Can Clara defeat these evil cannibals? Or will she end up on someone’s BBQ?
The German Chainsaw Massacre is the second chapter of Schlingensief’s German Trilogy. It’s a genuine horror movie, but so over-the-top that you can’t take it seriously. Its actually very funny, in a disgusting sort of way, mimicking American slasher movies while also satirizing German fears of reunification. (I think it’s also a comment on how ordinary people in the East were treated like pack animals — or sausages! — to feed the hungry West German labour market.)
The 120 Days of Bottrop (1997)
Whatever happened to German Cinema? Schlingensief wants to know. Where are the great directors like Fassbinder, the stars like the beautiful Romy Schneider and 70s heartthrob Helmut Berger? So he decides to get Fassbinder’s stars back together again to film a remake of Pasolini’s most controversial movie: Salo or 120 days of Sodom.
The original film was about Nazi occupied northern Italy, where they conducted horrific S&M orgies using people as sex slaves for their entertainment. This new
version, though, is a low budget German art film, and the actors only agree to come out of retirement for the chance of working with Helmut Berger (or maybe sex with the nude models.)
But professional jealousy and rivalry soon takes over, and everything falls apart. The “director” is a mock-Fassbinder complete with fake moustache, while the cast is composed of leches and divas who are going crazy, entering dementia or attempting suicide.
Can this film ever be made? And will Helmut ever show up?
This film is a panoply of meta-references to other movies. Schlingensief is there as Jesus on the cross (who a Klansman tries to set on fire) alongside medieval nuns (Pasolini-style), New York pop-art fashion (Warhol-style), with cameo performances ranging from the omnipresent Udo Kier, to Roland Emerich, Germany’s big-budget schlockmeister. Bottrop is a funny (if ridiculous) satirical look at the last gasp of New German Cinema.
Foreigners Out! Schliegensief’s Container (2002)
Dir: Paul Poet
It’s June 2000 in peaceful, culture-loving Vienna, when something unheard of happens. The conservative party forms a coalition with the ÖVP, Austria’s extreme rightwing Freedom party, headed by Nazi apologist Jörg Haider. The ÖVP is populist and xenophobic, portraying asylum seekers as drug dealers and killers (sound familiar?). That’s when Christoph Schlingensief set up a display – inside a shipping container – right beside Vienna’s Opera house, called Please Love Austria, to commemorate 
this coalition.
He brought in a dozen people of varied ethnicities, dressed them in fright wigs and let them live there for a week on display, in person and online, 24/7. And like the reality show Big Brother, viewers are asked to vote to evict two contestants each day. The catch is, these evicted contestants, whom he says are illegal immigrants, are led off by security guards and (supposedly) deported! And just in case you didn’t get the message, a huge white banner on the container’s roof says: Ausländer Raus! (Foreigners Out!) And Schlingensief gleefully announces the colour of the people Austrians vote to deport – dark skin first, light skin later.
Naturally, this art installation triggers extreme reactions. On the far right, people began to shout and demonstrate to deport all foreigners. Some leftists take it at 
face value, and attempt to storm the container to “rescue” the so-called foreigners and tear down the sign. And many in the middle hate the negative attention it brought to Austria… though it’s Austria that voted Haider in.
This documentary covers the art installation and the public reaction to it over its week-long run. And punctuated it with the media coverage it received, notably from the Krone group of wildly popular tabloids, who many blame for Haider’s election.
The show never overtly takes the standpoint of the immigrants. They’re just props in his sideshow. Rather it exposes society’s creepiest undercurrents that are usually kept hidden. And it illustrates Schlingensief’s theory that the best way to expose the worst beliefs is to repeat them out loud where everyone can hear them. The louder the better.
It’s only through exaggeration that we can show reality. This exhibit ran almost twenty years ago, but I think anyone can see that it’s more relevant now than ever.
The German Chainsaw Massacre, 120 Days of Bottrop, and Foreigners Out! Schliegensief’s Container are playing on May 10th, 15th and 17th at the Tiff Bell Lightbox as part of Goethe Institiute’s three-part tribute to avant garde filmmaker Christoph Schlingensief.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Source: Christof Schlingensief: art without borders, (c) 2010, Tara Forrest and Anna Teresa Scheer, editors, with a foreward by Alexander Kluge.
Daniel Garber talks with director Adam Bhala Lough about Alt Right: Age of Rage at #Hotdocs
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Photos by Jeff Harris.
In post-WWII America, the extreme right operated undercover. Klansmen wore hoods and Nazis were reviled in the mainstream. But recently — especially since the election of Donald Trump — the 
ultra-right has re-emerged as a significant, recognizable group. And under self-proclaimed leaders like Richard Spencer, they have redubbed themselves the “alt right”. But what is the alt right, who are its members and what do they want?
Alt Right, Age of Rage is a new documentary that looks at this rise, which culminated in the notoriously violent, 
torchlit rally in Charlottesville, Virginia in 2017. The film follows neo-Nazis like Spencer and their encounters with anti-fascist protesters like Daryle Lamont Jenkins. The film was directed by Adam Bhala Lough, known for documenting fringe 
political groups, whether on the left, the right or neither. Alt Right: Age of Rage had its Canadian debut at Hotdocs Toronto’s International Documentary Film Festival.
I spoke with Adam in studio at CIUT.
He talked about the “Alt Right”, Richard Spencer, Jared Taylor, white supremacy, platforming, Charlottesville, The Southern Poverty Law Centre, Daryle Lamont Jenkins, Antifa… and more!
Alt Right: Age of Rage premiered at Toronto’s Hot Docs International Documentary Film Festival.
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