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.
Three Historical Dramas. Films reviewed: Budapest Noir, An Act of Defiance, Bye Bye Germany
Hi, this is Daniel Garber at the Movies for culturalmining.com.
Spring Film Festival Season continues in Toronto, with Hotdocs rounding up its fnal weekend. Remember, daytime tickets to these amazing documentaries are free for all students and seniors.
And starting up now is Toronto’s Jewish Film Festival, featuring comedies, dramas, TV and documentaries from around the world. This week I’m looking at three historical dramas now playing at TJFF. There’s a mystery/thriller set in Budapest in the 30s, a comedy/drama in Frankfurt in the 40s, and a courtroom drama in Pretoria in the 60s.
Budapest Noir
Dir: Éva Gárdos
It’s 1936, and everyone in Budapest is preparing for the state funeral of Prime Minister Gyula Gömbös. Everyone but cynical reporter Szigmond Gordon (Krisztián Kolovratnik). Crime’s his beat, not politics and cigarettes and bourbon
are his life’s blood. And his only distraction is a beautiful woman. So he’s pleasantly surprised when he meets a mysterious woman in a downtown cafe. But today’s potential love interest is tomorrow’s news story when he finds her body in a pool of blood.
He calls on his ex-girlfriend Kristina, a photographer (Réka Tenki) to take pics of the crimes scene. (She’s back in Budapest after smuggling shocking photos out of Germany.) But when he tries to 
investigate the murder, he faces roadblocks at every turn, with no one but Kristina to help him. The chief of police, the politicians, and even members of the underworld seem to be blocking him from finding the truth. And for some reason her body has disappeared from the morgue.
His search leads him to pornographers, fascist gangs, a coffee
importer, a secret communist meeting, a madame at a brothel, and a punch-drunk boxer, all in an attempt to solve the mystery. Will he find what he seeks? Or is he digging too deep, uncovering things journalists aren’t supposed to see?
Budapest Noir is a look at the underbelly of a huge city in turmoil in turbulent times. It’s presented in a film noir style, narrated by a Bogart-type character complete with trenchcoat and hat, and borrows images from dozens of famous movies. Occasionally it veers from pastiche into parody with all its hollywood memes, but generally it’s a solid and well-acted homage, full of surprises.
An Act of Defiance
Dir: Jean Van De Velde
It’s 1963 in South Africa. The police raid a secret meeting in a farm house in Rivonia, arresting everyone there. The meeting was by the heads of umKhonto we Sizwe, the paramilitary wing of the African National Congress. Charged with sabotage, the accused face death by hanging, and it looks like they’re heading that way. Until a respected white Afrikaner lawyer, Bram Fischer (Peter Paul Muller), agrees to head the defence team. The 
defendants include Walter Sisulu, Harold Wolpe and none other than Nelson Mandela himself.
But the prosecutors are working hand-in-hand with the police, the 
government and the secret service. They tap phones, record private lawyer-client conversations, and send spies out at night to take pictures through windows. Turns out Fischer is not just a random defence lawyer helping out; he has deep ties to the anti-apartheid movement. As the trial progresses, he and his 
family become the targets of underhanded campaigns. Can he convince a conservative judge to save the defendents’ lives? Or will they, and he, end up in the gallows?
This is a fascinating and intense courtroom drama, about a 
period of South African history largely unknown outside of that country. It includes Mandela’s famous “I’m prepared to die” speech given during the trial, but he and the other defendents are minor characters. It’s mainly about Fischer and his family, including his wife Mollie (beautifully played by Antoinette Louw) and the fight against apartheid. It also includes some thrilling moments about the family avoiding an evil police force.
This is another good film to catch.
Bye Bye Germany (Es war einmal in Deutschland)
Dir: Sam Garbarski (Based on the novels of Michel Bergmann)
It’s occupied Frankfurt just after WWII. A quarter of a million holocaust survivors are living in DP (displaced persons) camps in central Europe, run by allied forces. They’re waiting to emigrate to America or Palestine. But in the meantime they have to support themselves. Enter David Bermann (Moritz Bleibtreu) a sweet-talking teller of tales with a pencil thin mustache and a mysterious past. He says his family has been in 
dry goods for generations. So he recruits a ragtag bunch of salesmen to help peddle his linens. But they wonder why he keeps disappearing for hours at a time. Where does he go?
He’s being interrogated by the stern but beautiful Special Agent 
Sara Simon (Antje Traue) a German-speaking G.I. assigned to weed out war criminals and collaborators from among the refugees. Why was Bermann given special treatment by the SS? His answer? He told funny jokes. Will Sara believe his outlandish stories? Will his business venture pan out? And will he and his friends make enough money to say Auf Wiedersehen to Deutschland?
Bye Bye Germany is a very entertaining, but bittersweet, memoir of life as a jew in postwar Frankfurt. Antje Traue is the perfect foil for Bleibtreu’s charming but sketchy Bermann. I liked this movie.
You can catch Bye Bye Germany, An Act of Defiance and Budapest Noir at TJFF over the next two weeks. Go to TJFF.com for details.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Daniel Garber talks with director Håvard Bustnes about his new doc Golden Dawn Girls
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s the 2010s in Greece. The EU and northern European banks are foreclosing on Greek debt, demanding the country adopt austerity measures. There is talk of Grexit — Greece 
pulling out of the European Union altogether. Newcomers, fleeing war in the Middle East and Africa, are seeking refuge on their shores. And new political parties are springing up amidst the turmoil, with one, the leftist Syriza, eventually rising to prominence. But on the extreme right, another party arises. Golden Dawn combines Nazi regalia, fascist ideology, and anti-immigrant violence in its attempt to seize power. What is Golden Dawn, 
what does it stand for, and who are the people in its inner circle?
A bold new documentary looks at the party from an insiders’ point of view. The filmmaker gained access by appealing to the women closest to the party leaders – a 
mother, a wife and a daughter – who offer their candid insights while the men are in jail. The documentary is Golden Dawn Girls, by the noted Norwegian filmmaker Håvard Bustnes.
I spoke to Håvard in Norway via telephone from CIUT 89.5 FM in Toronto.
Golden Dawn Girls will have its North American premier at Toronto’s Hot Docs International Documentary Film Festival on May 1st, 2018.
Strong female roles. Films reviewed: In the Fade, The Little Girl Who Was Too Fond of Matches PLUS Forever My Girl
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s funny. A few years ago I was wondering what happened to all the female movie stars? They had been pushed into the margins, with hardly any good female roles. This year, though, there are more great female performances than you shake a stick at. Saoirse Ronan in Lady Bird, Francis McDormand in Three Billboards, Sally Hawkins in The Shape of Water, Daniela Vega in A Fantastic Woman, Claire Armstrong in Dim the Fluorescents, Annette Bening in Film Stars Don’t Die in Liverpool, and so on.
So this week I’m looking at some more powerful performances by women in very intense movies. There’s a woman in Hamburg confronting Nazi terrorists, and an isolated teenager in rural Quebec reacting to the outside world.
The Little Girl Who Was Too Fond of Matches (La petite fille qui aimait trop les allumettes)
Wri/Dir: Simon Lavoie
It’s some point in the distant past in rural Quebec. Two brothers with dirty faces and scruffy hair (Marine Johnson and Antoine L’Écuyer) live with their father on an isolated farm in the woods. They’re close enough to the next village to hear churchbells in the distance, but they never go there. It’s a grand old stone manor filled with empty rooms and whole sections blocked off. The teenaged boys are forbidden from seeing them. If you go there, says their father (Jean-François Casabonne) you will die.
The house is lit by church candelabra arranged on altars with lanterns carried through the dark halls. The boys can read but most books are forbidden. They listen to liturgical records on their wind-up gramophone. And the younger brother sometimes visits a terrible monster, locked up in a dark shed. He feeds it apples and pieces of bread through gaps in a wooden cage.
The boys dress in frontier clothes and priest’s hassocks. Younger brother has to keep watch – his bullying older brother often jumps him in the woods and does something to him he doesn’t understand. He keeps his chest tightly 
wrapped in cloth – his father insists. But he still has questions. He has seen pigs mating in the sty. Why don’t I have a penis? His father says, I told you, it fell off when you were younger. He also believes babies are made out of clay.
It’s a rough life, but it’s all they know, save for faint memories of a beautiful woman in a white dress, and two little girls in pinafores. In fact they can’t remember ever seeing someone from the outside. Until one day when a young man (Alex Godbout) drives to the house on a motorcycle. The town needs to survey the property, he says, but Père and Frère chase him away with their rifles. Is he a knight in shining armour? Or does 
he signal an invasion by the churchgoing villagers? And when something happens to Père, the two boys discover the house’s secrets, and some of their own. Like the fact that the younger brother… is pregnant!
The Little Girl Who Was Too Fond of Matches is a powerful, surreal drama with an almost fairytale feel. It tells the story of naïve teenagers whose father (who went mad) is their only source of information. It’s shot in stunning black and white, and is filled with sinister images of the all-pervasive Québec church. It’s creepily fascinating with fantastic acting by L’Écuyer and Johnson. This is a great — but highly disturbing — movie.
In The Fade (Aus dem Nichts)
Wri/Dir: Fatih Akin
It’s present-day Hamburg. Katja Sekerci (Diane Kruger) is a happily married woman with a young son named Rocco. She likes artistic tattoos, going to saunas with her best friend Brigitte and making love to her husband. Nuri is of Kurdish ancestry, but wears his hair like a samurai. They were married when he was still in prison. Now he runs a translation office in a Turkish section of town.
Katja’s life is nearly perfect until something devestating happens. An explosioin levels her husband’s office killing him and their son. It turns out it was a bomb, possibly the work of terrorists. And Katja thinks she knows who did it. She saw a blonde woman park her bike right in front of the office on the day of the explosion. In fact she even spoke to her so she knows she’s German. But the police, the press, even her own mother, keep looking at the victim as the cause of the killing. Is it the Turkish Mafia. Islamic 
terrorists? Drugs?
Katie talks with Danilo her lawyer and good friend (Denis Moschitto) to make sense of it all. They realize it must be be a right wing terrorist — a nazi — who did this. Eventually the police make an arrest based on her description, and two Nazis, a young couple named Edda and Andre Möller (Hanna Hilsdorf, Ulrich Brandhoff) are put on trial for the killings. But will they be convicted?
In the Fade is a great dramatic thriller that combines Katja’s grief and sorrow with her need for vengeance. It’s told in three chapters: her interactions with her family, in-laws and the police; the trial itself; and the heart-pumping aftermath, when she decides to track down and punish the killers. Diane Kruger is just fantastic as Katje, the best I’ve ever seen her, and she puts her whole body and soul into the part. You can really feel her anger, grief and frustration, but she never overacts.
I liked this movie a lot.
Also opening today is this romantic drama:
Forever My Girl
Wri/Dir: Bethany Ashton Wolf (based on the novel by Heidi McLaughlin)
Liam Page (Alex Roe) is a Country & Western superstar. He writes and performs his own songs with a back-up band. He can fill a New Orleans stadium with adoring fans. Teenaged girls will chase him, screaming, down a city street when he appears in public. They love his smooth voice, handsome face and his sentimental songs. But offstage Liam is a real prick. He’s emotionally vapid, sleeping with different groupies each night. He’s rude and abusive toward his affable, bearded manager Sam (Peter Cambor) and his LA publicist Doris. And he’s addicted to alcohol and drugs.
He carries only one thing to remind him of his life as a smalltown boy: an old flip phone with a recorded 
message. But after a tragic turn of events, he finds himself back in his hometown, St Augustine, LA, for a funeral. He may be famous, but in “the Saint” his name is mud. You see, he was engaged to marry his highschool sweetheart Josie (Jessica Rothe) eight years earlier, but left her standing at the altar, without an explanation or apology. When she sees him now, Josie greets him with a sucker punch. And he discovers he has a 7-year-old daughter named Charly (Abby Ryder Forston) that Josie has been raising on her own.
Can Liam change his ways and conquer his demons? Will Josie ever talk to him again? Can he spend time with his precocious daughter? And can his father, the town preacher, forgive his selfish son?
I’m not a big fan of country music or conventional romances involving small-town churchgoers — this is not the kind of movie I rush to see. It takes few risks and most of the characters walked straight out of Central Casting. But I found it entertaining anyway. I assumed the aw-shucks, southern boy Liam was played by a non-actor, a country singer who basically played himself — woodenly, at that — and performed his own tunes. Turns out I was way off the mark. This UK actor had me convinced he was a real country singer from the Deep South!
In the Fade and Forever My Girl open today in Toronto; check your local listings. The Girl Who Was Too Fond of Matches is playing at Canada’s Top Ten festival; go to TIFF.net for details. Also opening today is Hostiles (read my review here) and My Piece of the City (listen to my interview with director Moze Mossanen here).
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
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Daniel Garber talks with Andrew Gregg about Skinhead, his new documentary on CBC Docs POV
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Neo-nazis, white supremacists and the alt right have captured headlines for more than a year now. Vandalism has escalated to demonstrations, shootings to terrorism. And some say the election of Donald Trump has given these groups new power in mainstream politics. But surely that’s an American phenomenon, with no traction in Canada….right? A new 
documentary looks at the extreme right in Canada and pokes holes in the illusions of complacent Canadians.
The documentary is called Skinhead. It tell the story of a former skinhead and white supremacist named Brad, his beliefs, and what led him to 
abandon his ideology. Skinhead is written and directed by award-winning documentary filmmaker Andrew Gregg. (I previously interviewed him here and here.)
I spoke with Andrew in studio at CIUT 89.5 FM.
Skinhead will be broadcast on CBC TV on Sunday, November 26th at 9:00 pm.
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