Wood, Bricks and Rocks. Films reviewed: Black Bear, 18 to Party, Rocks

Posted in 1980s, Cabin in the Woods, Coming of Age, Family, Friendship, High School, Homelessness, Poverty, Suicide, UK by CulturalMining.com on December 4, 2020

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

This week I’m looking at three new indie movies. We’ve got alienated teens in the 1980s standing by a wall of bricks, a homeless high school girl in London named Rocks, and a fractious ménage a trois in a cabin made of wood.

Black Bear

Wri/Dir: Lawrence Michael Levine

It’s summertime in upstate New York. Allison (Aubrey Plaza) is an actress, a director and a writer. She’s staying in a beautiful wooden house, completely off the grid as she tries to write a new screenplay. But she’s easily distracted from her work: there’s a ramp running down from the house into a wide wooden doc on a placid lake. Then there’s the attractive couple who own the house and live there: Blair (Sarah Gadon), a feminist and former dancer, pregnant with their first child; and Gabe (Christopher Abbott) her bearded husband who holds antediluvian views. But freindy banter over wine and dinner turns to bitter bickering, with Allison caught between the two. Blair is convinced that Gabe is cheating on her with Allison. Tension builds until it explodes… leading to a dangerous outcome.

But wait! It’s not over.

We now watch the same scene again, but this time Allison and Gabe are married and own the cabin and Blair is the visiting actress. And they’re no longer alone: they’re actually shooting a movie, which Gabe is directing, surrounded costumes, makeup, camera, script, continuity, ADs and everyone else. And Allison (the actress playing the role) thinks Gabe – the director not the character “Gabe” (played by a bearded lookalike) – is fooling around with Blair, both in the script they’re shooting and off-set. So Allison is guzzling Jack Daniels straight from the bottle, the crew is all stoned on cannabis, and a big black bear is lurking outside. Can they finish making the movie? Which part is real, the first act or the second act? Or is it all just a meta illusion?

Black Bear is a fascinating study of brain-twisting double-think, as well as a slapstick comedy and living room drama. But does it work? I think it does, and that’s because of the great acting by the three. Aubrey Plaza is the queen of indies, always great, and in this film playing a slinky and sly independent woman almost losing it. Abbott and Gadon are equally good, each playing two very different versions of the same role, almost like an exercise in acting school.

Black Bear is a marvelous intellectual exercise that’s also fun to watch.

18 to Party

Wri/Dir: Jeff Roda

It’s September in the mid-1980s in a small town in New York. A group of 14-year-old friends are gathering outside a club where a big party is supposed to happen that night. But the doorman says no entry until the older teens are there. So they meet around the corner in a vacant lot, to catch up after summer vacation. They don’t have to worry about being out late; all the grownups in town are at a meeting about UFOs. There are two computer nerds, two former best friends, Kira and Missy (Ivy Miller, Taylor Richardson), an introverted artist, and best buddies Shel and Brad. But these friendships are built on strict hierarchies. Shel (Tanner Flood) is self-conscious kid who idolizes Brad (Oliver Gifford) a star soccer player. But a girl has a crush on Shel not Brad. Will they make out? Kira and Missy both hold festering grudges. And one friend is missing from the picture: Lanky (James Freedson-Jackson). Something major happened over the summer, and rumours abound. Is he in prison? Reform school? Or is everything just like it used to be? And hanging over them all is a suicide epidemic, with half a dozen kids at their school dead. There’s bullying, sexual insecurities, internalized anger and alienation. And a gun someone brought that night. Can these fragile friendships last through the evening? And will they actually get into the party?

18 to Party is a social drama that draws on movies from the 80s, sort of a combination of The Breakfast Club (but not as commercial and retrogressive) and River’s Edge (but not as creepy).  It’s dressed up with the hairstyles, clothes and music from that era, but the story is all it’s own. It’s shot in a very small area, like a play, where people exit and enter and cross the stage, but the camera seldom leaves the brick-wall area. The characters work, because while some of them fit classic stereotypes, they’re all multi layered. And the film deals with prejudices and themes unique to that era. I haven’t seen any of the actors before but they play their parts very well, especially Ivy Miller as the rebel, Tanner Flood as the main character and James Freedson-Jackson as the loose cannon.

This film’s worth seeing.

Rocks

Dir: Sarah Gavron

Rocks (Bukky Bakray) is a young woman who goes to an all-girl London highschool. She’s warm, funny, clever and buoyant, with a close circle of friends. Her bestie Sumaya (Kosar Ali) helps her with her first tampon – they’re that close. She lives with her little brother Emmanuel (D’angelou Osei Kissiedu) and their mom, originally from Lagos, Nigeria. (Their dad died years earlier.) But one day, her mom doesn’t come home from the bakery where she works. Turns out she was fired two weeks earlier.  Then Emmanuel notices the food in the fridge has gone bad – the power was cut off. And when, coming home from school, she notices some officials at their door, she realizes it’s time to get out of there.

So she heads out, exploring London while asking her school friends for sleepovers. She brings her brother everywhere, who, in turn, carries a little frog in a terrarium that he got from school. She takes care of Emmanuel he protects his friog. But as her money runs out and stress grows, she’s increasingly alienated from her friends. Will the social workers track her down? Will her mother ever come back? And what about Emmanuel?

Rocks – which debuted at TIFF last year – is an excellent high school drama told in that super-realistic European style.  It’s a different sort of coming-of-age drama, with kids facing much harsher conditions than you usually see in movies. But it’s not depressing. While there are some heavy tear-jerk scenes, its mainly funny, surprising and upbeat. It explores underground contemporary London, like sketchy hoods, makeup artists, pompous school teachers, and a fascinating portrayal of a Somali family. And Bukky Bakray is really, really good as Rocks.

I liked this movie.

Rocks, 18 to Party, and Black Bear are all playing theatrically in select theatres today – check your local listings, or are available digitally or Video on Demand

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

Against the Grain. Films reviewed: Judy vs Capitalism, Monkey Beach, The Trial of the Chicago 7

Posted in 1960s, Canada, Depression, documentary, drugs, Ghosts, Indigenous, Magic, Police, Politics, Poverty, Protest, Resistance, Trial, War by CulturalMining.com on October 23, 2020

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

Toronto’s Fall Film Festival Season continues with ImagineNative Film + Media Arts Festival, the world’s largets indigenous film festival, and Rendezvous with Madness, the first and largest arts and mental health festival in the world, both running through Sunday, the 25th.

This week I’m talking about three new movies – a doc, a drama and a courtroom pic – about people who go against the grain. There’s a young woman resisting ghosts, another woman fighting anti-abortion activists; and boomers protesting the war in Vietnam.

Judy vs Capitalism

Dir: Mike Holboom

Judy Rebick is a well-known activist and writer in Toronto. As a former Trotskyite revolutionary turned writer and TV commentator, she’s a pro-choice feminist and socialist known for slogans like “Radical is Practical”. She can be seen everywhere, from CBC panels to tent-city protests. A new documentary looking at her life divides it into six stages: Family – her dad was a baseball player quick to pick fights; Weight – she says she has a pair of hips “like two battleships”; Feminism – women’s bodies and the violence they face; Abortion – her hands-on role in legalizing reproductive rights in Canada; Others – her struggles with depression and mental health; and End Notes – her views on various political topics, like the rise of neo-liberalism, the war in Gaza, and as head of NAC, the National Action Committee on the Status of Women.

Did you know she single-handedly fought off a man trying to stab Dr Henry Morgantaler with a pair of garden shears? This film includes footage of that in slow motion. Each section begins with a speech – some mundane talks in lecture halls, others shouted through a bullhorn at a rally. Judy vs Capitalism is directed by artist/filmmaker Mike Holboom in his patented style: clear sound and straightforward narration, combined with avant-garde images: slow motion, high speed, underwater photography, blurred and melting visuals, random faces… basically Holboom’s interpretations of Rebick’s moods, memories, thoughts and ideas rather than the typical clips you might expect in a conventional biography.  Judy vs Capitalism is an experimental look at a Canadian icon.

Monkey Beach

Dir: Loretta Todd (Based on the novel by Eden Robinson)

Lisa (Grace Dove) is a young woman who lives in East Vancouver. She’s been there for the past two years with nothing to show for it but a bad hangover. Till her friend Tab tells her it’s time to go home, back to her family in the Haisla community in Kitimat. So she does. Her family is shocked but delighted to to see her – they weren’t even sure she was still alive. There’s her mom and dad, her little brother Jimmy (Joel Oulette) a swimming champ, and her Uncle Mick (Adam Beach) who told her at an early age to say “f*ck the oppressors!” Then there’s her grandma Ma-Ma-Oo (Tina Lameman) who taught Lisa everything she knows… including things she doesn’t want to know. Like why a little man with red hair keeps appearing. A crow talks to her, and ghosts (people who should be dead) appear to her in real, human form. (Tab, for example, was murdered but she’s still around.) Worst of all are the dreams and premonitions she keeps having – that her brother Jimmy, the swimmer – is going to drown. Are her powers a gift or a curse? Can she ever live normally? And can she keep Jimmy out of the water?

Monkey Beach is a good YA drama filmed in the gorgeous forests and waters of Kitimat in the pacific northwest, with a uniformly good indigenous cast. It incorporates traditional Haisla culture and practices with contemporary, realistic social problems, sprinkled with the supernatural. And it flashes back and forth between the present day and Lisa’s childhood. I like this movie but I can’t help but compare it to the CBC TV series Trickster, which is edgier, faster-moving and more complex. They’re both based on Eden Robinson’s novels – Monkey Beach was her first, showing many of the themes later explored in Son of a Trickster. That said, if you’re a fan of Trickster, you’ll want to see Monkey Beach, too.

The Trial of the Chicago 7

Wri/Dir: Aaron Sorkin

It’s the summer of ‘68 in the USA, and the youth are restless. Robert Kennedy and Martin Luther King had just been killed, with demonstrations springing up across the country. The US is embroiled in an increasingly senseless war in Vietnam and it’s an election year. So droves of young people converge on the Democratic National Convention in Chicago, to have their voices heard. The protests are brutally crushed by police and state troopers. Nixon is elected in November, and the protest leaders, known as the Chicago 7, are arrested and put on trial. The defendants are from the SDS – Students for a Democratic Society, a radical group that sprung out of the labour movement – led by Tom Hayden (Eddie Redmayne) and Rennie Davis (Alex Sharp); the Yippies, founded by Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin who use performance and pranks to forward their agenda; anti-war activist David Dellinger (John Carroll Lynch);  and Bobby Seale (Yahya Abdul-Mateen II) co-founder of the Black Panther Party, known both for its militant image and progressive social programs. The charge? Conspiracy, even though these group leaders had never met one other.

The Trial of the Chicago 7 is two-hour film that manages to condense hundreds of days of testimony into a few key scenes. This includes a shocking re-enactment of the binding and gagging of Bobby Seale in the courtroom. The script’s pace is fast, the production values excellent, and the acting is superb, especially Baron-Cohen in an unusual funny-serious role, Mark Rylance as their lawyer, William Kunstler, Frank Langella as the unjust judge Julius Hoffman, and Lynch as the veteran pacifist. Women are invisible in this film, except as receptionists, wives-of and one undercover FBI agent. I was glued to the screen the entire time. Still, it leaves me with an uneasy feeling Aaron Sorkin has done some subtle, historic slight of hand. He portrays the anti-war movement as mainly about honouring and saving the lives of American soldiers, not Vietnamese civilians. It buries the aims of the defendants beneath petty squabbles. And somehow he takes a protest aimed squarely at Democratic politicians — the hawks and conservative Democrats in a city and state run by that party — into a Democrats vs Republican division…!

Hmm…

Judy vs Capitalism is at Rendezvous with Madness; Monkey Beach is at ImagineNative, both through Sunday; and The Trial of the Chicago 7 is now streaming on Netflix.

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

Investigative Journalists. Movies reviewed: The Journalist, The Viewing Booth, The Best is Yet to Come

Posted in 2000s, China, Corruption, Crime, Israel, Japan, Meta, Movies, Palestine, Poverty, Realism, Suspense, Women, 日本映画, 中国电影 by CulturalMining.com on October 16, 2020

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

Is journalism still alive? We seem to have an endless supply of pundits with formulaic political viewpoints, but true investigative journalism is hard to find. But it’s still there – you just have to know where to look. So this week I’m talking about three new movies (two dramas and a doc) about journalists and the media. There’s a die-hard journalist in Tokyo looking for the truth; a cub reporter in Beijing looking for his first big story; and a documentary-maker in the US looking at how viewers interpret the news.

The Journalist (新聞記者)

Dir: Fujii Michihito (Based on the novel by Mochizuki Isoko)

Erika Yoshioka (Eun-kyung Shim) is a young reporter at Tôto, a medium-sized Tokyo newspaper. One day she receives an anonymous fax with a cartoon of a sheep drawn on the first page. Inside are government plans to open a medical researchlab in a backwater town. is it a prank? Evidence of a boondoggle? Or something more? She decides to investigate. But she has to be careful; her own father was a freelance journalist based in New York who ended up dead from suicide after revealing another storyl.

Meanwhile, in a different part of Tokyo, a young government bureaucrat named Takumi Sugihara (Tôri Matsuzaka) gets an unusual call from Kanzaki, his former boss from five years earlier. He wants to meet for a talk. Sugihara used to work for Gaimushô, Japan’s foreign service, but switched to his current job after Kanzaki took the fall for a scandal at the Beijing Embassy where they both worked. Sugihara now works for Naicho, the secretive intelligence unit that operates out of the PMO. Rumour has it Naicho is used to surveil and plot against opponents to the ruling political leaders. Kanzaki wants to tell him something, but they both end up getting drunk instead. And not long after, he jumps off a building. His death brings together the dogged journalist Erika and the loyal bureaucrat Sugihara both of whom want to find out exactly what happened. What was Kanzaki’s secret and why is it so dangerous? Is it related to the sheep cartoon Erika received? Who else knows? And what will happen to the two of them if the scandal reaches the papers?

The Journalist is a tense, captivating story of deep-state corruption and sinister plots. The action alternates between Erika’s bright and crowded newsroom and the cold empty halls of Naicho where Sugihara reports to an evil and powerful boss. Korean actress Shim Eun-kyung is perfect as Erika in her unwavering search for the truth – she totally deserves the Japanese Academy award she won for this performance. The Journalist is a terrific movie.

The Viewing Booth

Dir: Ra’anan Alexandrowicz

This documentary asks: can news viewers, like you and me, ever change our political views because of politically-charged videos we watch on sites like youtube?  It follows a subject named Maya at an American university by filming her face has she watches a selection of 40 short news videos. The camera captures her comments and facial expressions, moment by moment, as she wavers between acceptance and rejection of what she’s watching, sorting them mentally according to whether or not they fit her outlook. She asks aloud: Is this footage real? Is it convincing? Is it biased? Does she believe it? And what does it mean?

She’s brought back six months later, this time viewing the same videos, right beside footage of herself from the first session. She observes herself observing videos (it gets super-meta here.) The videos in the doc are all from the occupied Palestinian territories and they range from innocuous to disturbing, showing settlers, Israeli soldiers, and Palestinians. (She concentrates on one video where soldiers dressed in large military masks walk into a home in the middle of the night, wake up small children,  ask each child their name, photograph each child’s face, then leaving without explanation.) Half the clips are from B’Tselem, a human rights group opposed to the occupation, and the other half were posted by various right-wing groups. The documentary tries to see whether exposure to opposing viewpoints can change a viewer’s mind or if it merely enforces the beliefs she already holds. Here’s the thing: it’s not a scientific study despite its clinical trappings; rather, The Viewing Booth is more of a meditation, the filmmaker’s personal reflection on the biases news viewers hold. Is it universally applicable or just about that single subject? I don’t know, but it is interesting – and unsettling – to watch.

The Best is Yet to Come (不止不休)

Dir: Wang Jing

It’s 2003. Han Dong (Bai Ke) is a would-be journalist in Beijing. Originally from northeastern China, he’s a high school drop-out who quit his steady job back home at a chemical factory to go for broke in the big city. But so far no luck. His girlfriend Xiaozhu (Miao Miao: Youth) who also worked at the factory lives in even worse conditions. But he keeps going to job fairs to try to get hired by a newspaper. And they keep rejecting him as unqualified, until… opportunity knocks when he visits a newspaper to pick up a minuscule 100 yuan paycheque for a short piece they published. He catches the attention of a veteran journo there takes him on as an intern, right beside college grads brandishing journalism degrees from prestigious schools like Bei Da. And he passes his first test, getting a scoop at the site of a coal mine disaster. But his next story could be a whopper.

He goes undercover taking a job at a sketchy medical clinic that pays cash for blood. No they’re not vampires. Rather they provide forged blood samples for applicants to jobs. Why? Because anyone who tests positive for Hepatitis B is categorically rejected. This effects maybe 100 million people for a disease that is not even contagious. It’s a crooked company that breaks the law. But is the law fair? Should he cover the story… or cover it up?

The Best is Yet to Come (based on a true story) shows how a self-taught, print journalist breaks into the big leagues despite all the odds against him. Its exciting plot keeps you questioning all the way through. This is Wang Jing’s first feature – he was assistant director to the great Jia Zhang-ke (Ash is Purest White, Touch of Sin) but with a very different style. It’s told in a straightforward chronological manner, no tricks or fancy camerawork. Great acting and story, The Best is Yet to Come gives an unusual look at both investigative journalism and a glimpse into real-life China – the grime and grit, the dark alleys, crowded tenements and poverty. And it leaves on a hopeful note: if you try hard and don’t give up, you can change the world.

The Best is Yet to Come played at #TIFF20, The Viewing Booth is showing at Planet in Focus Environmental Film Festival on now through the weekend, and The Journalist is available for streaming at the Toronto Japanese Film Festival through October 21st.

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

Histories. Films reviewed: Hollywood, Capital in the Twenty-First Century

Posted in 1950s, 1960s, Academy Awards, Acting, documentary, Economics, Ensemble Cast, Hollywood, Movies, Poverty, Slavery, Wall Street by CulturalMining.com on May 8, 2020

(Home recording, no music)

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

History, they say, is written by the victors, but that doesn’t mean there aren’t other histories still out there. This week I’m looking at two stories, a doc and a TV drama. There’s a pessimistic, economic history of the world; and an optimistic, revisionist history of Hollywood.

Hollywood

Creators: Ian Brennan, Ryan Murphy

It’s just after WWII in LA. Young people from small towns across the US are flocking to Hollywood in search of fame and fortune in the movies. People like Jack (David Corenswet), a handsome young actor who lines up each day at Ace studios on the chance of a day’s paid work as an extra. But a pretty face is no guarantee of steady work in Hollywood. So when a mysterious man named Ernie (Dylan McDermott) recruits him for a day job at a gas station he welcomes the extra income. He’s stuck in a loveless marriage with his pregnant wife who works at the famed Schwab’s Pharmacy (where actors hang out to get discovered). Camille (Laura Harrier) is a beautiful actress on contract at Ace, where she attends locution lessons to perfect her elegant mid-atlantic accent. Still she’s stuck playing demeaning roles as maids, simply because she’s black. Rock Hudson (Jake Picking) is a talentless but good looking actor who thinks his luck has changed when he is signed by an agent named Henry (Jim Parsons). But the power broker demands sexual favours from all his clients.

Luckily, these three actors all have love interests. Jack soon discovers his job isn’t about pumping gas. It’s a front for male sex workers to peddle their wares for Hollywood’s rich and famous. Powerful women, including an older woman named Avis (Patti LuPone), grant him a chance for a foot in the door in a real movie. At the gas station, he works beside Archie (Jeremy Pope) a black writer hoping Ace studios will produce his script about a failed actress

HOLLYWOOD

who kills herself by jumping off the famed Hollywood sign. His first client is none other than Rock Hudson, looking for male companionship. Camille is in a relationship with Raymond (Darren Criss) a director at Ace. He says he’s part-Asian but can pass as white. And he wants to direct that movie Archie wrote, bringing all the main characters of the series together in one production. But is Ace Studios – and America – ready for a multi-racial romance?

Hollywood is a TV mini-series that appears to give an insider’s view of the post-war movie industry, but actually it makes it all up. The infamous casting couch – where directors or producers forced woman to have sex with them in exchange for a part – is reversed here to make men both the victims and the objects of desire. In this fantasy world, 1940s Hollywood produces movies written by, directed by, and starring non-whites. Studios are headed by women, actors come out publicly as gay and the Academy Awards happily nominates lots of African-Americans. In reality, desegregation and repeal of Jim Crow laws was decades away, “miscegenation” – mixed racial marriage – was still illegal, homosexuality was a crime, and even today Hollywood (and the Oscars) are still as white as snow.

About the only true part of this series is the gas station used as a front for male hustlers. All of this was revealed in a book and a documentary featuring the late, great Scotty Bowers (I interviewed him here in 2018.) The Netflix series is the story of his career… but he’s never mentioned by name, even once. I don’t dislike the series – it’s never boring, it’s fun to watch and has beautiful production values along with many interesting new players in the cast – but, like most Netflix productions, historical accuracy applies to hairstyles but never to the script.

Capital in the Twenty-First Century

Dir: Justin Pemberton

Based on the book by Thomas Piketty

What is capital? How is it distributed? How has that changed over the past three centuries? These are just some of the questions dealt with in this new documentary. In the 18th Century 99% of capital – meaning wealth, money and land – was controlled by the aristocracy, less than 1% of the people. Life expectancy was low, and life for the poor was nasty, brutish and short. But revolutionis, in France and elsewhere, didn’t mean a transfer of power and weath from the top to the bottom. Government was still controlled by those with the most money and laws were passed to ensure they didn’t lose their wealth. The rise of colonialism in the Americas, Africa and Asia led to more wealth in Europe extracted from the lands and people they now controlled. Slave-based agriculture generated even more capital – in the form of human beings – now bought, sold and traded like commodities. And people working in factories could be arrested even for quitting a job, and imprisoned for being poor or in debt. But, following the widespread death and destruction of WWI and the following worldwide depression, came the first signs of a transfer of power and capital from huge corporate monopolies and the very rich to the rest of the people.

Following WWII, the remaining aristocracy was heavily taxed, and wealth was transferred to the average person in the form of housing, education, health and the welfare state. People were finally rewarded for study and hard work. They were able to move up from poverty. This lasted for a few decades, until it began to unravel with new ideologies introduced by Thatcher and Reagan. Unions and welfare were suddenly bad. Greed was good. And once again, wealth was transferred from the poor and shrinking middle class back up to the top 1%. That’s where we are now.

How can we reverse these awful changes?

This documentary is a fascinating — and fast-moving – condensed look at economic history over the past 300 years and how it affects us today. It’s narrated by Pickety and other economists in a very accessible and easy to understand way. And it’s beautiful to look at, filled with thousands of tiny, quick film clips, mostly one to three seconds long, of stately homes and Victorian factories, mints printing dollar bills, Thatcher talking to schoolgirls, and people breathing through face masks in a horribly polluted Beijing. The images and music are as meticulously researched as they are lovely. Constant eye-candy.

Even the talking heads, those usually dull academics interviewed in the doc, are enthusiastic and interesting, and uniformly filmed against lavish backgrounds and scenery. And it’s filled with cool sequences. l loved one about a psychological experiment where volunteers play Monopoly without a level playing field – it favours certain players at random. These newly “rich” players are recorded acting rude, scarfing pretzels and generally behaving entitled as soon as they discovered the rules were tilted in their favour. So if you want to learn about history and economics and what to do about it, but don’t feel like reading thousands of pages, Capital in the 21st Century is a great place to feed your brain without wearing it out.

Hollywood is now streaming on Netflix; Capital opens May 8 in Toronto at the Hotdocs Virtual Theatre; 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.

Lost causes. Films reviewed: Tammy’s Always Dying, Planet of the Humans, She’s Allergic to Cats


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

I had a strange dream last night. I was in an old-school movie palace (in real life, all movie theatres are still closed) fumbling around in the dark, trying to find a seat while maintaining social distance. I finally found an empty seat way up in the second or third balcony but there was a huge pillar blocking the screen. So I had to twist around until I was almost lying prone until could catch a glimpse of the movie, far below…

But you don’t have to go such lengths to see unusual films – they’re on your device or TV at home. So this week I’m looking at three new indie movies, now playing. There’s an ex-environmentalist tilting at windmills; a depressed mom in Hamilton jumping off bridges; and a neurotic filmmaker in Hollywood obsessed with bananas.

Tammy’s Always Dying

Dir: Amy Jo Johnson

Kathy (Anastasia Phillips) is a working-class woman in Hamilton, Ontario. She has a steady boyfriend, a career, a nice car and a mother who loves her. OK, that’s an exaggeration. She actually has a ramshackle existence teetering on the brink. She drives a wreck, works in a

dive bar for Doug (Clark Johnson) an older gay black guy who’s her only friend. Her so-called boyfriend Sean (Aaron Ashmore: 22 Chaser) is married with two young kids who meets her periodically for quickies in his tool shed.

And then there’s her mom. Tammy (Felicity Huffman) is a total mess: a penniless alcoholic, she’s depressed and suicidal. Her only pleasure is watching confessional talk shows on daytime TV. Each month she can be found, like clockwork, on a pedestrian bridge, ready to throw herself onto the railway tracks far below. But Katherine always arrives just in time to save her mom’s life.

Until… Tammy finds herself facing a physical problem that almost trumps her financial and mental difficulties. Turns out she’s dying of cancer, stage 4 cancer, with less than a year to live. Can Katherine convince her to take chemo to extend her life? Or will she abandon her mom, buy a Toyota and move to Toronto?

Tammy’s Always Dying is a bittersweet drama about mental illness, poverty and fanmily relations. Its shot against the bleak industrial steel mills of Hamilton. It has some humour and light parts, as it satirizes daytime TV. The acting is good all-around (though Felicity Huffman’s excruciating attempt at a Canadian accent sounds more like a Wisconsin dairy farmer). While it didn’t blow me away, it does have some very touching scenes. If you’re looking for a good, realistic tear-jerker, this is one to see.

Planet of the Humans

Wri/Dir: Jeff Gibbs

Our planet is heading toward environmental destruction. Can we stop climate change by switching to greener renewable energy? So asks a new controversial documentary. The filmmaker follows eco-skeptic Ozzie Zehner around the US, and what they find is not good. Rather than replacing carbon fuels, these new energy sources just switch one carbon-based energy for another. Environmental movements, they say, are just ways for major corporations to greenwash their image… and make big bucks from government subsidies. And green energy is not so green after all. All of which are very real concerns.

The problem with this movie is it is full of silly comparisons, half-truths and a near total lack of credible statistics. Instead, it discredits genuine improvements without offering any alternatives. For example, they show up with a camera at a protest against fracking and ask random people not about the troubles with fracking but rather – what are your feelings about biomass? Huh? And when the people they talk to don’t give them the answer they’re looking for, they suggest maybe environmentalists are hiding something.

Their argument against solar energy and wind turbines? The panels are manufactured, solar energy doesn’t work in the dark, and their equipment eventually wears out. But instead of supporting their arguments with stats – such as does a given energy source uses more energy than it produces? – they go for cheap gotcha scenes, where a rock concert that claims to be powered by solar energy is caught using a generator when it starts to rain. It’s like a child’s version of a documentary… and one that offers no alternatives except despair.

Yes, we need to reduce our use of fossil fuels. Yes, corporations are co-opting some environmental movements to profit off government subsidies. And yes, green energy equipment has to be manufactured. But burining coal is not the same as hydropower or windmills. Broken solar panels littering a desert is not the same environmentally as mining oil sands. To write off an entire movement as fraudulent based on factoids and interviews with random strangers – and without any research to back it up – is not the way to expose malfeasance. And spreading misinformation doesn’t help much either.

I’d give this one a miss.

She’s Allergic to Cats

Wri/Dir: Michael Reich

Dorky Mike Pinkney (Mike Pinkney) is a single guy who lives in a small house in Hollywood. He came there with big plans: to shoot a remake of Carrie with cats playing all the roles. He shares his idea with his best friend Sebastien (Flula Borg) who isn’t impressed. He says Michael is a giant, sad dirty man-baby. In the meantime he works at a day job, grooming dogs (badly). There he meets the beautiful and glamorous Cora (Sonja Kinski). She’s Mickey Rourke’s daughter’s personal assistant, and she brings in the star’s dogs to be groomed. Is this love at first sight? Not exactly, but at least they might go on a date some evening.

But Mike doesn’t tell her about his real problems. His home is filthy and infested by rats, which his landlord – a musician named Honey (Honey Davis) – won’t do anything about. And he ocassionally slips into psychedelic fantasies, full of sinister cats, buckets of blood, and a wooden bowl of rotten bananas, spinning, spinning, spinning around in his brain. Sometimes people he’s talking to seem to be possessed by Satan.

Will Mike make his video art? Will he and Cora fall in love? Will he win his battle with the rats? And what about the missing pug?

Needless to say, this is not an ordinary movie, more of an impressionistic, experimental indie collage of images, characters and music. It’s a comedy, a mystery, and a fantasy. It’s shot on grainy video, with frequent cuts to fuzzy, 80s-style video art. And full of odd references to movies, from The Boy in the Plastic Bubble to Congo. It’s pretty funny and pretty strange without being over the top. If you like unusual movies – She’s Allergic to Cats feels like a cross between Peter Strickland and John Waters – you might enjoy this one.

I did.

Tammy’s Always Dying opens today across Canada on all VOD platforms; Planet of the Humans is streaming on Youtube; and She’s Allergic to Cats is available on demand from Giant Pictures.

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

Films Reviewed: The Body Remembers When the World Broke Open, Marriage Story, 63 Up

Posted in Canada, Depression, documentary, Drama, Family, Indigenous, Poverty, TV, UK, Women by CulturalMining.com on December 13, 2019

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

How much of our lives are changed by free will, and how much is predetermined by fate, class or outside circumstances? This week I’m looking at three films about people affected by changes they didn’t plan on. There’s two indigenous women thrown together, a married couple torn apart, and fourteen people following divergent pathways in their lives.

The Body Remembers When the World Broke Open

Wri/Dir: Kathleen Hepburn, Elle-Máijá Tailfeathers

Rosie (Violet Nelson) is a pregnant young woman who lives with her boyfriend and his mom in Vancouver’s East End. She likes tie dye hoodies and watching TV. Alia (Elle-Máijá Tailfeathers) is a middle class woman debating whether she’s ready for a child with her partner. The two meet at random on a sidewalk, Alia emerging from an alienating medical procedure, Rosie from a violent incident at home. Her boyfriend attacked her, leaving on a daze, with a bruised face, barefoot and pregnant, standing in the rain. Alia dismisses her own problems and concentrates on getting a safe sheltered space for the woman she has just met. They are both indigenous women, but do they have anything else in common? Or are they just ships passing in the dark?

The Body Remembers as the World Broke Open is a very moving, personal drama about two women, and how their lives briefly intersect. They are followed with a handheld camera, and the movie takes place in real time, without breaks, as if you are there with them. It explores differences of class and appearance – Alia can pass for white – and all that carries: violence and abuse, and how police behaviour depends on the appearance of a victim. This is an amazing depiction of a multifaceted urban indigenous story told from the characters ownpoints of view. It takes you on a heartfelt journey even as it destroys common stereotypes. Great acting, a realistic script and an urgent, constantly-moving style keeps you on edge the entire time.

I like this movie.

Marriage Story

Wri/Dir: Noah Baumbach

Charlie and Nicole (Adam Driver, Scarlett Johansson) are a happily married couple in Brooklyn. He’s originally from the midwest and she’s from LA, but they both think of New York as their home. He’s a theatre director with a show headed for Broadway, and she’s an actress featured in the plays he directs. But when she heads to California to shoot a TV show, their perfect marriage turns out to be not so perfect. Turns out they haven’t slept together in a year, and Charlie is having an affair with another actress from within their own theatre. And now their living on opposite coasts of the country. Still, Charlie is shocked and devastated when Nicole tells him she’s staying in LA, with their son, and filing for divorce. Can their marriage be saved? Should it be? What will happen to their careers? The broadway show? And who will stay with their son.

Marriage Story is a compact film about a relationship falling apart. It follows the characters – along with her family and their son – as it turns from a disagreement to a fight to a legal battle. I watched this movie not in a theatre but at home on Netflix. The problem with home viewing is that you can turn it off halfway through and come back later, something you can’t do in a movie theatre. That’s what happened to me. I was bored and distracted for the first half-hour, and didn’t want to sit through a happy and successful family’s divorce. It was irritating, annoying. Charlie is an entitled, selfish doofus, while Nicole can’t take responsibility for her own actions, pinning it all on him.

But I later returned to watch the rest… and I am so glad I did. It turns into a fantastic, subtle portrayal of a loving couple torn apart by their own actions and a legal system that leaves them scrambling. It also becomes almost a brilliant musical, in which both characters (in separate, plausible settings), break into Sondheim songs to explain their situations to their friends and families. Driver and Johannsson are both excellent and believable in their roles and their lawyers (Laura Dern, Ray Liotta, Alan Alda) provide a sharp and cynical counterpoint the couple’s real emotions.

63 Up

Dir: Michael Apted

“Give me the child at age seven and I’ll show you the man.” That’s how a segment called Seven Up began on a UK current affairs show in the early 60s. 14 children were brought together on a playground and interviewed on camera. Upper class boys in line for elite public schools and then on to Oxford or Cambridge and the seats of power. Working class kids from London’s east end; a couple from the North, one from a farm, and two taken from a “Home for Boys”, an orphanage-like institution. The short piece wondered what will become of these post-war baby-boomers as the world

changes? Seven years later a young Michael Apted took on the responsibility and followed them every seven years with a new film looking at what has become of them. Each successive version surprises and delights audiences who wonder what has happened to these kids – now adults – as they gradually age: their opinions on relationships and politics, whether they have transcended their class or background, what are their hopes, and later, what are their regrets.

63 Up is a fascinating study, almost the only one of its kind, that traces a generation throughout their lives. It began in a very different era, when class is all-important, while gender or ethnicity are afterthoughts and sexuality never mentioned. Since there were only three girls in the initial show, three women it remains, and in the early years they are asked domestic questions, nothing about politics, or professional goals. But the subjects end up having fascinating lives. One emigrates to Australia, another follows an academic path to an American professorship. Others stay close to home. And two subjects face death. One of the most endearing stories follows a man troubled by depression whose life takes a surprising turn. And for all of them, the series both keeps track of their lives and affects them as they become public figures, almost celebrities, in a largely private world… before social networking made everyone’s lives common currency.

The Body Remembers When the World Broke Open starts today at the TIFF Bell Lightbox and Marriage Story continues there and on Netflix; and 63 Up starts next Friday at the Hot Docs Cinema.

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

Top to Bottom. Films reviewed: The Kindness of Strangers, The Two Popes, Knives Out

Posted in Argentina, Catholicism, comedy, Crime, Family, Homelessness, Movies, Mystery, New York City, Poverty by CulturalMining.com on November 29, 2019

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

With the awards season coming up, Hollywood is starting to release the big ones with famous stars and directors. This week I’m looking at three such movies. There’s a drama about the downtrodden, a biopic about religious leaders at the top, and a comedy mystery about a large group of suspects caught in the middle… of a possible murdet.

The Kindness of Strangers

Wri/Dir: Lone Scherfig (An Education, The Riot Club, One Day)

Manhattan is a lonely place, especially for people down on their luck. Alice (Andrea Riseborough) is an empathetic ER nurse who volunteers at a soup kitchen and moderates a forgiveness group. But her long hours are taking a toll on her psyche. Clara (Zoe Kazan: The Ballad of Buster Scruggs, The Big Sick) is a wide-eyed young mom from Buffalo on vacation with her two boys _ well thats what she tells them. In fact she’s penniless, fleeing her husband, a cop Richard (Esben Smed: Lykke Per) who beats up their kids. She keeps them fed by shoplifting, dumpster diving and stealing hors d’oeuvres from parties. Marc (Tahar Rahim: A Prophet, The Past) is an ex-con, recently freed from prison by a lawyer, who lands a job managing a Russian restaurant. And Jeff (Caleb Landry Jones: ByzantiumContraband, The Last Exorcism) is an earnest simpleton who can’t hold onto a job. If he doesn’t pay his rent soon, he’ll be out on the street.

Luckily, some strangers are kind. But will Alice find happiness, Clara find refuge, Marc find friends, and Jeff find a job? Or are they just more victims in the Naked City?

The Kindness of Strangers follows seemingly unrelated stories as they gradually come together in unexpected ways. Danish director Lone Scherfig’s movies are always good, even the bad ones. And this is a good one. It’s basically a Christmas movie but without any santas or angels. Lots of snow, but no presents. Church basements but no preaching. Some criticism: Only 7% of homeless in NY City are white, but in this movie it’s 100%. Although it veers into corn territory once or twice, this tear jerker is miles beyond any Hallmark movie, and seems genuinely sympathetic to the downtrodden. It deals with real problems, and leaves you feeling warm inside.

The Two Popes

Dir: Fernando Meirelles

Jorge Bergoglio (Jonathon Pryce) is a popular priest in Buenos Aires, Argentina. He loves soccer, pizza and dancing the tango. He preaches humility and compassion to the poor, and though he’s a Cardinal, dresses in plain clothes. He is flying to the Vatican to request early retirement. Pope Benedict (Anthony Hopkins) is a conservative German, whothis the Vatican was moving in the wrong direction and has to be fixed. He loves the pageantry and finery of the Vatican, from the fancy clothes to the elegant trappings. He likes eating alone, a bowl of plain broth with Knödel. And he invites Bergoglio to join him at his country retreat. There conversation goes nowhere, with one asking to retire, and the other refusing. They disagree on practically everything. Why are they meeting and will they ever find common ground?

The Two Popes is a dramatization of a meeting between – not a spoiler! –  two Popes: Benedict who stepped down amid scandal, and Francis, the first pope from the Americas, who took his place. It’s a highly visual film, shot in a semi-documentary style. It gives us a “Pope’s-eye view” of the inside of the Vatican, with all its sumptuous finery and grandeur. I once saw Pope John Paul II appear at the window; in this movie you’re inside the window looking down at the crowd, which is very cool. And the larger-than-life characters – as imagined by Welsh actors Hopkins and Pryce in effective performances – are humanized and normalized. They’re just like you and me.

But I think you have to deeply care about the doctrine, policies, politics and rituals of the Catholic Church to truly appreciate this movie.

Count me out.

Knives Out

Wri/Dir: Rian Johnson

Harlan Thrombey (Christopher Plummer) is a hugely successful mystery novelist. He lives in a gothic mansion with his nurse Marta (Ana de Armas). All of his descendents are in town to celebrate his landmark birthday. There’s hard-boiled Linda, a real-estate agent with her hanger-on hubby and playboy son (Jamie Lee Curtis, Don Johnson, Chris Evans). Flaky, new-age entrepreneur Joni (Toni Collette) with her college-age daughter (Katherine Langford) and alt-right son (Jaeden Martell). Goateed Walt’s family (Michael Shannon) handles the publishing side of his dad’s burgeoning book empire. And Greatnana (K Callan) who observes all but says nothing. There are the usual family squabbles, But by morning, everything has changed. Thrombey is found dead in his bedroom in a pool of blood, an apparent suicide… but is it? And if it’s murder, whodunnit?

Investing the crime are two hapless cops (LaKeith Stanfield and Noah Segan) and a private detective named Benoit Blanc (Daniel Craig). Blanc has an eagle eye and a deep southern drawl. Everyone is a suspect and has something to hide. Everyone but Marta, who is allergic to lying. She actually throws up if she says anything untrue.

Knives Out is an extremely entertaining mystery comedy, in the style of Agatha Christie and Murder She Wrote. Almost every line is clever, overflowing with biting cultural references: Benoit Blanc is referred to as CSI from KFC, and there are pastiches of everyone from Gwynneth Paltrow to Ben Shapiro. I’ve seen this one twice already and I could easily watch it again next year.

Knives Out is now playing in Toronto, and The Two Popes opens today at the TIFF Bell Lightbox. The Kindness of Strangers opens next Friday; 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.

Exploding. Films reviewed: Atlantics, The Mystery of Henri Pick, Waves

Posted in Africa, African-Americans, Books, Death, Drama, France, High School, Movies, Mystery, Poverty, Romance by CulturalMining.com on November 22, 2019

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

Toronto Fall film festivals this weekend include Blood in the Snow, featuring Canadian horror and genre films, with the festival’s first short film from Newfoundland called New Woman. And CineFranco features French-language films from Ontario and around the world.

This week I’m looking at three new movies about metaphoric explosions. There’s a literary explosion in France, spontaneous combustion of a marital bed in Senegal, and a highschool wr3stle4 in Florida who feels ready to explode.

Atlantics

Wri/Dir Mati Diop

It’s Dakar, Senegal.

Ada (Mame Bineta Sane) is a pretty young woman set to marry a guy named Omar. He drives a swank car, lives in an expensive apartment and comes from a rich family. So why isn’t she happy? Because she’s in love with Suleiman (Traore) a handsome construction worker, building a monstrous tower in the city. She made out with him in the sand just yesterday – they’re a committed couple. Ada wants to hang with her friends Fanta and Dior at a beachside bar, not cooped up in a kitchen as a good pious wife.

But what she doesn’t realize is Suleiman has disappeared. None of the construction workers ever got paid, so they all hopped aboard a sailboat for a chance at better work in Europe. This means the kiss on the beach may have been their last one. So she goes ahead with the wedding, until… weird things start to happen. Their marital bed burst into flames. Strange-looking people appear inside high-security condos demanding retribution. And a diligent police inspector thinks Ada and Suleiman are behind it all. Will Ada marry her true love or the arranged marriage? And what is the cause of these supernatural events in downtown Dakar?

Atlantics is a fascinating study of life in urban west Africa seen through the eyes of a young woman. It combines contemporary problems – wealth distribution, the spread of viruses, and migrant workers – with a dose of magic realism. It’s shot around the Atlantic beaches of Dakar giving it all a glowing and haunting feel, an entirely new image unseen in west African films.

Atlantics is Senegal’s choice for best foreign film Oscar.

The Mystery of Henri Pick

Wri/Dir: Rémi Bezançon

Daphné and Fred are a young couple in Brittany with a literary bent. Daphné works for a major publisher and Fred is promoting his first novel. They have high hopes. So when Jean Michel Rouche (Fabrice Luchini) – the hugely popular TV literary critic – skips the promised review of his book (sorry, we’re out of time) they are both deeply disappointed. To pull herself out of the dumps, she visits a unique bookstore only for the “refusée”. That is, manuscripts that have been rejected by publishers.

And after looking at shelf after shelf of terrible writing she finds a masterpiece, a passionate love story about the dying days of Russian poet Alexander Pushkin! It’s erotic and sublime, a literary gem. She rushes it to her publisher, an instant bestseller. What’s especially intriguing is it was written by a certain Henri Pick, a pizza maker who died two years earlier. To promote the book, Daphné brings Henri’s widow and his adult daughter Joséphine (Camille Cottin) to Paris for an interview with the book critic, live on TV.

But things go awry when Rouche says he doesn’t believe a pizza maker – who owns no books and has never written a word in his life – could have penned such a masterpiece. In the mayhem that ensues he’s fired from the TV show and his wife leaves him. But he won’t let it drop. Soon he’s travelling across the country to find out who really wrote the novel. Was it Henri Pick? And will Jean Michel’s obsession lead to his ruin?

They Mystery of Henri Pick is a light comedy with a literary twist. It’s cute, somewhat funny, and well acted, with lots of cameos by greats like Hanna Schygulla. And it gives you a peek into the complex and arcane world of the French literary obsession.

Entertaining movie.

Waves

Wri/Dir: Trey Edward Shults

Tyler (Kelvin Harrison Jr) is a Florida high school senior headed for glory. He’s a champion wrestler, a top student and in love with his girlfriend Alexis. He lives in a beautiful upper middle class home with his father (Sterling K Brown) his mom (Renée Elise Goldsberry) and his sister Emily (Taylor Russell). Hhis doctor tells him to take it easy – he’s straining his body to the point of permanent injury, and the pain is getting worse. But his dad is pressuring him to win! win! win! for ultimate success. And the opiates he’s popping to stop the pain are messing up his mind. Until…he can’t take it anymore and it all explodes in a terrible event.

But wait… the movie is only half over!

Waves is basically two short films played back to back. The second film takes place later on, this one focussing on Tyler’s sister Emily. Emily is still at a school where her brother’s name is a pariah. She’s pursued by the sympathetic Luke (Lucas Hedges), one of Tyler’s wrestling teammates. What does he want from her?

Meanwhile her father finally opens up to his neglected daughter: was everything his fault for pushing his son too hard?

Waves is an unusual family drama, told in two related stories. Does its two-part structure work? Ultimately yes, though at first it left me feeling confused and puzzled. Beautifully shot with nice music, Waves also has a uniformly good cast, but Kelvin Harrison Jr in particular is terrific. Following his great performances in It Comes at Night and Luce, Harrison is once again playing a teenaged boy with a dark side, each time creating an entirely different (and almost unrecognizable) new character.

Shults with Harrison is a force to be reckoned with.

Waves opens today in Toronto; check your local lostings; Atlantics starts at the TIFF Bell Lightbox, and The Mystery of Henri Pick is playing at the Hotdocs Cinema as part of Cinefranco.

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

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

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

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

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

Entwined

Dir: Minos Nokolakakis

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

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

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

Parasite

Wri/Dir: Bong Joon-ho

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

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

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

Brilliant.

Parasite won the Palme d’Or at Cannes.

37 Seconds

Wri/Dir: Hikari

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

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

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

Love Me Tender

Wri/Dir: Klaudia Reynicke

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

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

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

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

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

Need help. Films reviewed: Capernaum, The Upside

Posted in Clash of Cultures, comedy, Coming of Age, Disabilities, Drama, Kids, Lebanon, Migrants, Movies, Poverty by CulturalMining.com on January 11, 2019

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

If January has left you broke or in debt, but you still want to see some movies, there are free alternatives out there. Kanopy – free for anyone with a Toronto library card, is an online streaming service with a huge selection of incredible movies and documentaries you can sign out digitally for free. Workman Arts and Rendezvous with Madness is showing a selection of cool movies about mental illness, for free later this month — reserve tickets online. And the Japanese Consulate in Toronto and the Japan Foundation are sponsoring three Japanese movies, first come, first serve. Both of these series are playing at the Hot Docs cinema in January.

This week I’m looking at two movies about people who need help. There’s a homeless kid in Beirut trying to help a motherless toddler, and a homeless ex-con in New York trying to help an extremely rich man who is paraplegic.

Capernaum

Wri/Dir: Nadine Labaki

Beirut, right now.

Zain (Zain Al Rafeea) is a foul-mouthed, poor kid who doesn’t go to school – his parents never registered him when he was born. He shares a bed with his three sisters, including Sahar (Haita ‘Cedra’ Izzam) the oldest. When she has her first period, Zain senses danger. He’s afraid their parents will marry very young Sahar to their predatory middle aged landlord Assaad. His fears turn out to be true, and she’s carried out of their home kicking and screaming. Zain has had enough… so he runs away. On a bus he meets an elderly man in a knockoff superhero costume – I’m cockroach man – and follows him to a rundown carnival. There he meets Tigest (Yordanos Shiferaw), an Ethiopian woman fluent in Arabic with a baby named Yonas (Boluwatife Treasure Bankole). She uses a fake ID – she draws a beauty spot on her face each morning, but without she could be deported. She’s poor too, but takes Zain under her wing; he takes care of the baby while she’s at work. Everything’s going fine until… She doesn’t come home one day. What happened to her? Now 12 year old Zain has to serve as 1-year-old Yonas’s dad, searching the streets for milk and diapers for the baby, food and water. Zain is forced to pose as a Syrian refugee to get any help. But how long can a homeless child – taking care of a baby – last in a big cruel city?

Capernaum (the Lebanese word for chaos) is a funny, delightful and fascinating drama that’s also brimming with pathos. It’s a genuine tearjerker, I cried at least three times – couldn’t help it – but despite the tears, surprisingly this is not a depressng movie. It’s told in a series of flashbacks based on testimony in a courtroom. Zain is there suing his own parents for giving birth to him. The trial serves as the backdrop, but it’s mainly about Zain’s journey as an undocumented kid. Most of the characters are played by non-actors, but all of them, especially Zain al Rafeea are superb and real-seeming. It deals with very heavy topics – including human trafficking, refugees, poverty, child neglect and abuse – but this film manages to handle it with just the right degree of sadness, punctuated with enough humour to stop it from sliding into misery

This is only the second film I”ve seen by Nadine Labaki. I still remember Where do We Go Now (2011) a simple story about the women in a village trying to stop the conflict between Christians and Muslims. That was a cute movie, but this one is 100 times more clever, sophisticated, and skillfull.

I liked this film a lot.

The Upside

Dir: Neil Burger

Phillip (Bryan Cranston) is a billionaire widower who lives in a penthouse suite in New York City, He hasn’t large live in staff, including Yvonne (Nicole Kidman), his kind but prudish financial manager. He loves opera, poetry, fine art…, and paragliding. Or at least he did until a terrible accident left him paralyzed except for his neck and head. Now he’s despondent and ready to die. But Yvonne insists on hiring a new caregiver.

Dell (Kevin Hart) is a deadbeat dad with a teenaged son and an ex wife he can’t support. He’s a ne’erdowell on parole with a long prison record, and if he can’t prove he’s looking for work he’ll be back behind bars. Somehow he ends up in Phillip’s penthouse just when they’re hiring. To everyone’s surprise Phillip hires the extremely rude and unqualified Dell, mainly because he wants to die, the sooner the better. Dell is just as shocked to get the job, especially when he sees the first paycheque. But somehow the two hit it off, and little by little, Phillip crawls out of his shell and learns to live again. But how long can it last? Will Dell’s prison record come back to haunt him? And can Phillip ever recover from the loss of his one true love?

The Upside is a Hollywood remake of Intouchables, the French comedy that was a box office smash. I’ve never seen the original – apparently based on a true story – but I doubt this one will be a big hit. It’s very predictable, with some godawful jokes. Faking a tonic-clonic seizure to avoid a speeding ticket? (Please don’t.) Uneducated Dell mispronouncing famous names and three sylable words? Of course he panics at the idea of touching another man’s penis, even inserting a catheter. (Really?) Dell’s black, you see, but don’t worry white people, he likes Aretha Franklin not that newfangled hip hop stuff. (Sigh).

That said, there are some funny scenes; Hart and Cranston are likeable in their roles and together make a good buddy movie, and Nicole Kidman is unusually understated.

Is The Upside a great movie? No, but I enjoyed it anyway.

Capernaum and The Upside 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.

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