Same-sex couples. Films reviewed: Unicorns, Solo, Rotting in the Sun
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall Film Festival Season in Toronto continues in October with ImagineNative — brilliant films and art by and about indigenous people in Canada and around the world from 17-22; and Planet in Focus, the International Environmental film festival, with features, docs and talks on nature, activism, and climate change, from the 12-22.
This week, I’m looking at three new movies about same-sex relationships, two of which played at #TIFF23. There’s a straight mechanic who unwittingly falls for a drag queen in a London pub; a Quebecois drag queen who falls for a French one in a Montreal bar; and a Chilean artist who meets an American influencer on a nude beach in Mexico.
Unicorns
Co-Dir: Sally El Hosaini, James Krishna Floyd
Luke (Ben Hardy) is a mechanic who lives in Essex, near London. He works at his father’s garage, and spends the rest of his time with his 5 year old son. His wife abandoned them when his kid was still a baby, but luckily his dad will babysit if he’s out on a date. For Luke dating usually means furtive sex and one-night stands with women he hooks with online. But one day, after leaving a London curry house, he stumbles into a nearby nightclub, and is riveted by the eyes of a beautiful woman performing an alluring dance on stage. Clearly, the feelings are mutual — Aysha seeks him out afterwards, for a snog and a grope at the stage door. Only afterwards does Luke realize the woman is actually a man in drag. He freaks and leaves. Aysha (Jason Patel) is disappointed — he thought Luke knew they were in a South Asian drag bar. But Luke is straight and almost sickened by what happened.
Still, there is something there. Luke agrees to act as a paid driver (and unpaid bodyguard) for Aysha and her fellow drag queens. They need transportation to get them safely to private “gaysian” (gay+asian) parties on the down low, in places like Manchester. 
The tips she gets at these parties pays her rent. Gradually, they get to know one another better. When Aysha really hits it off with his son, Luke starts thinking maybe she is just the woman he’s looking for. Problem is, he’s not trans, he’s a man named Afik. Aysha is just his drag name. Will the attraction still be there if Aysha goes away? And can a straight white man and a gay South Asian drag queen form a couple?
Unicorns is a poignant, romantic drama about two people from two sides of a deep divide. And while there is some shocking violence and unexpected plot turns, the filmmakers keep it real and subtle. This is co-director James Krishna Floyd’s (of mixed heritage) first feature, and does an excellent job of it. Ben Hardy is a well-known heart throb and soap star in the UK, while Jason Patel is a newcomer — this is his first role. Luckily, the two have amazing chemistry and are compelling to watch.
This is a good first movie.
Solo
Wri/Dir: Sophie Dupuis
Simon (Theodore Pellerin) is the youngest drag artist at a Montreal bar. He’s naive, trusting and sexually inexperienced. He performs elaborate acts dressed in outfits his older sister helps design. And he always looks forward to visiting his Dad, stepmother and sister for Sunday brunch. His mother is an internationally famous opera star, who left the family for greener pastures when he was a teen. But everything changes when Olivier (Félix Maritaud) a charismatic older guy in his late twenties shows up at the drag bar direct from Paris. Simon is blown away by his sex-centred drag performances, and wants to learn from him. Soon they are an item, in and out of bed, and onstage. Simon will do 
anything Olivier wants: moving in together, staying away from his family, even how Simon should perform his own acts.
But the concessions all seem to be one-way. Olivier sleeps with other men, insults Simon’s judgement, and plays mental tricks on him. Around this time, Simon hears some shocking news: his mother is coming to Montreal, back from a triumphant tour off Europe. He hasn’t seen her in years, so this will be the crucial reunion Simon has been longing for and waiting for for so long. How will their meeting go? What role will Olivier play? And will she come to watch his Solo drag performance?
Solo is a moving and tender portrayal — set within Montreal’s drag community — of a young man forced to face his demons and figure out who are his friends and who are his enemies. I know very little about the drag scene (I’ve never seen Rupaul’s Drag Race, for example) but it doesn’t require outside knowledge to understand what the movie’s trying to say. Theodore Pellerin is amazing as Simon, and — though much less sympathetic — so is Félix Maritaud. And for a movie about drag it’s surprisingly devoid of camp. If you’re looking for a tear-jerker with lots of musical performances, you’ll enjoy Solo.
Rotting in the Sun
Dir: Sebastian Silva
Sebastian Silva (Sebastian Silva) is a jaded Chilean artist and filmmaker who lives in an apartment in Mexico. He enjoys reading books about suicide and depression. When he’s not dodging work deadlines or dealing with construction noise in his minimalist apartment, he’s likely walking his dog Chima, doing pop art paintings of giant cartoony penises, or snorting bumps of pentobarbital. His beleaguered housekeeper Señora Vero (Catalina Saavedra, in a great performance) takes it all in, but never comments.
On the recommendation of a colleague he takes some time off to relax at a gay nude beach in Zicatela, but is non-plussed by all the body parts on display. When he almost drowns there, he meets Jordan Firstman (Jordan Firstman) an instagram influencer. Jordan thinks it’s Kismet — he saw one of Sebastian’s films just the night before, and here they both are washing up on shore. They must collaborate on a production. Sebastian is less 
enthusiastic, but Jordan insists. But when he arrives at Sebastian’s door in the city, he is nowhere to be seen. Is he ghosting him? Or has something really bad happened to Sebastian? And will Jordan ever solve this mystery?
Rotting in the Sun is a contemporary indie film in the style of a highly-sexualized comedy. It’s equal parts mystery, screwball comedy, and scathing social satire, with a fair amount of 
nonchalant, explicit sex. Silva reimagines Mexico as an uber-gay paradise, where the local park fountain has a statue of Michelangelo’s David, the beaches are packed with nude men, and every room in his apartment reveals an orgy behind closed doors. This constant decadence is contrasted with the panicky and naive Señora Vero desperately trying to hide Sebastian’s whereabouts. Silva and Firstman play exaggerated versions of themselves, to hilarious effect.
You know the expression “a bag of dicks”? This movie is a dump truck of dicks. But if you don’t mind looking at lots and lots and lots of penises, you’ll get a kick out of this shockingly subversive comedy.
Unicorns had its world premiere at TIFF; Solo had its Toronto premiere there and opens this weekend in Toronto; check your local listings. And Rotting in the Sun — along with a selection of other films by Sebastian Silva — is now streaming on Mubi.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Families. Films reviewed: Before You Know It, Downton Abbey, Once Were Brothers: Robbie Robertson and the Band
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week I’m looking at three movies exploring different families. There’s a band of brothers who form a band inside a big pink house; a pair of sisters who live inside a Greenwich Village theatre; and an extended family of aristocrats – and their servants – who live inside a stately mansion.
Before You Know It
Dir: Hannah Pearl Utt
Rachel and Jackie (Hannah Pearl Utt, Jen Tullock) are adult sisters who live inside a Greenwich Village playhouse. Homeschooled by their playwright Dad (Mandy Patinkin) since their mom died, their world is centred on their family theatre. Rachel, dressed in plain clothes and sensible shoes, is their always-reliable stage manager. Jackie – flamboyant, and self-obsessed – is an actress. Her impulsive behaviour gave her with an alcohol 
problem and a 13-year-old daughter named Dodge (Oona Yaffe). Rachel wishes she could date more, but she has too many responsibilities.
Life continues, until a major revelation shakes up their lives. Turns out their mom (Judith Light) is still alive, and has been living nearby under a stage name since they were kids! What’s more, she owns their 
theatre, and they might lose their careers, their home, their entire lives. Can Jackie and Rachel infiltrate a TV studio, meet their soap opera actress mom, and convince her to let them stay on at their theatre they call home? Or is this their final act?
Before You Know It is a delightful story of three generations of women in a theatrical setting. Written by Jen Tullock and Hannah Pearl Utt it veers between a gently screwball plot and a somewhat more serious coming-of-age story about growing up, both for Dodge and the two adult sisters. Nothing spectacular, just a pleasant and fun indie movie.
Downton Abbey: The Movie
Dir: Michael Engler
The Crawley’s are an aristocratic family living in a stately mansion on a vast manor estate in post- Edwardian England. It takes a village to keep things going smoothly, and it’s almost as self-sufficient community living inside the walls. This includes the extended family and their in-laws but also the multitude of servants, footmen, groomsmen, maids, kitchen help, grounds keepers, valets, a butler and more. But the normal social order is threatened by some unexpected guests. The King is coming! The King is coming!
Amd this brings all sorts of problems. Violet, the dowager Countess (Maggie Smith) has a longstanding inheritance feud with Maud Bagshaw, a lady in waiting (Imelda Staunton) for theQueen. Tom Branson (Allen Leech), an Irish socialist and widower who started as a chauffeur but later married into the family, is suspected by a mysterious government agent as being disloyal to the King. Meanwhile, amongst the other half of the house, other troubles are revealed. Kitchen maid Daisy (Sophie 
McSheera) wonders whether longtime boyfriend William is right for her, especially since a handsome young plumber arrives on the scene. And when the Kings servants barge in and take over everything, they must concoct a plot to get back their rightful place within their own house. Meanwle Thomas Barrow (Robert James Collier) the usually secretive and conniving butler seizes the chance to explore his sexuality in a nearby town.
Downton Abbey,the movie is a continuation of the popular British nighttime soap that ran for many years. I remember watching the first two seasons of it before giving up.It concentrated on a dull patriarch andhis faithful butler, his bickering daughters and various servants seen skitting around behind the scenes. It felt like a Leaveit to Beaver sitcom superimposed ona feudal estate. Deadly dull, politically loathesome – I hated it. But I found the movie much more interesting. It concentrates as much on the “Downstairs” as on the “Upstairs”, there are real surprises, and the characters are allowed to grow and progress.
I’m as surprised as you that I actually enjoyed this movie.
Once Were Brothers: Robbie Robertson and the Band
Dir: Daniel Roher
It’s the late 1950s in Toronto. Robbie Robertson is a teenaged boy and aspiring musician who learns to play chords on visits to his mom’s family at Mohawk Six Nations. When Southern rocker Ronnie Hawkins brings his band to town, Robbie is mesmerized by their energy, showmanship and confidence, especially their stick-twirling drummer Levon 
Helm. He writes some tunes and joins the Hawks at age 16, alongside other multitalented Canadian musicians: Rick Danko, Garth Hudson, and Richard Manuel. They travel down south to perfect their style, playing alongside blues artist and country musicians. The Hawks outgrow their front man and set out on their own,
They tour Europe as Bob Dylan,s band rght when he goes electric.They are booed on every stage, but realize they have something special. They move into a big pink house in woodstock NY where 
they prefect their unique boendof folk,country, rock,blues and R&B. Robbie writes most of the songs while the entire band, one with the three vocalists, crafts each song. They start releasing their own songs under the name The Band and become one of the most influential North American groups of the ’60s and ’70s.
Once Were Brothers is a great music doc about the Band, as told through Robbie Robertson’s eyes. Through old photos, magazine clippings, period footage, and new interviews, it explores their brother-like friendship through its ups and 
downs, including jeolousy, addiction and car crashes. And looks at the rivalry between him and Levon Helm which eventually tore the band apart. It looks at their music, the pele they knew even their look — long hair and bearded, country gentlemen farmers, dressed like in 19th Century photos. It follows them from the early 60s through their Last Waltz, a giant concert filmed by Martin Scorsese. This is a beautiful, compelling story of the – can I say it? – legendary band.
Before You Know It (at the Tiff Bell Lightbox) Once Were Brothers and Downton Abbey all open today in Toronto; check your local listings. And Toronto’s fall festival season continues through the weekend with the Toronto Palestine Film Fest.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Women and their Discoveries. Movies reviewed: The Kindergarten Teacher, Diary of a Teenage Girl, She’s Funny That Way
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week I’m looking at three movies about women and their discoveries. There’s a drama about an Israeli kindergarten teacher who discovers her 5-year-old student is a poetic genius; a coming-of-age story about a teenage girl in San Francisco who discovers what sex is all about; and a screwball comedy about an escort who longs to be discovered as a Hollywood star.
The Kindergarten Teacher
Wri/Dir: Nadav Lapid
Nira (Sarit Larry) is a kindergarten teacher in Israel who attends a poetry group. She leads a lackluster life: her kids have moved out and her husband is dull. But then she notices a kid in her class named Yoav (Avi Shnaidman). She sees him pace back and forth, almost in a trance, and recite an amazing poem he had composed in his head. Not a kid’s nonsense rhyme – a dramatic, spare masterpiece with biblical allusions, and profound observations.
His nanny Miri (Ester Rada) says it’s just something the kid does. His father – a rich, divorced restaurateur — is unimpressed. To him, poetry is a
waste of time.
But Nira is blown away by his poems and feels she has to do something more. Mozart was composing symphonies in his head at the age of four. If no one records Yoav’s masterworks and shares them with the world, a poet of a generation could be lost. Yoav becomes the centre of all her attention, in and out of class. He gives her a new sense of purpose. She realizes her reaction doesn’t quite make sense – especially in an era where poetry has lost its importance — but she vows to “save” Yoav and his poems, whatever the consequences.
The Kindergarten Teacher is an excellent drama with an unexpected twist. It may have a simple premise, but it’s a subtle, disturbing and complex film. Nira’s character in particular touches on a wide range of troubling issues: racial discrimination, morality, sexuality, misrepresentation, and art. The Kindergarten Teacher is a very good movie.
Diary of a Teenage Girl
Wri/Dir: Marielle Heller
It’s the mid-1970s in San Francisco, and the city is rife with hippies, underground comix and free sex. And right in the middle of all this is Minnie (Bel Powley), the 15-year-old girl of the title. She lives with her mom (Kristen Wiig) and her little sister. Mom dresses to kill and thinks of Patty Hearst as her model. She drinks and parties till she passes out. Mom’s current boyfriend is Morgan (Alexander Skarsgård), a tall guy with a goofy blonde moustache. Mom likes to think of Minnie as her friend and confessor – no secrets between them.
But there is a secret: Minnie’s first sexual experience – and her 
ongoing relationship – is with Morgan. She chronicles her story (and all her other newly-awakened sexual adventures) using a tape-recorder she keeps hidden in her closet. She also hones her comic book skills with explicit, black and white drawings, modeled on the work of underground comic artist Aline 
Kominsky. Together with her best friend Kimmie (Madeleine Waters) she explores the sex, drugs and counterculture of San Francisco. She’s quick to undress and loves teaching the guys she meets new tricks. But can her secrets stay secret?
Bel Powley is excellent as Minnie, a quirky, adventurous girl testing the waters between childhood and adulthood as she comes to terms with her family. Diary of a Teenage Girl is a nice, light story with an adult theme, made beautiful with animated sequences of her drawings.
She’s Funny that Way
Dir: Peter Bogdanovich
Izzy (Imogen Potts) is a young sex worker and aspiring actor from Brooklyn. She has a devoted following as an escort, (including a judge who stalks her) but less so as an actress. When she spends the night with Arnold (Owen Wilson) a successful director in town from L.A., her life changes. He says I’ll never see you again but here’s $30,000 (he hands her a suitcase of money) to pursue your goal as an artist and leave prostitution behind. She agrees. The next day her agent gets her an audition for a Broadway play – in the role of a prostitute. She’s a natural! Everyone loves her audition except the play’s director – it’s 
Arnold from the night before! The other lead actors in the play are Arnold’s wife (Kathryn Hahn) and her possible ex-lover (Rhys Ifans) – both of whom are staying in the same hotel. Add an angry psychiatrist (Jennifer Anniston) a stalker and a private detective to the mix, and you get lots of confusion, fake names and lovers hiding in bathrooms.
She’s Funny that Way is funny that way, in the manner of an old-skool screwball comedy. Imogen Potts’s (with a hit-and-miss Brooklyn accent) is wonderful as Izzy, and the rest of the cast is loaded with dozens of stars in cameo roles.
Now screwball comedies are a neglected genre, and one I really like. But even more interesting is the backstory for this film. Peter Bogdanovich was a huge director in the 70s, with What’s up Doc, Paper Moon, and The Last Picture Show, all either set during the depression, or else – like this one — done in the style of old Hollywood movies.
Maybe you remember the name Dorothy Stratten. (Her story has been told
in films like Star 80.) She was a sex worker from Vancouver, a Playboy centrefold, very pretty, who wanted to become a Hollywood star. And Peter Bogdanovich gave her her big break, casting her in a movie called They All Laughed. But her ex-husband was still obsessed with her and stalked her… and murdered her before the movie was released. A tragic story. But there’s more: Bogdanovich paid for the schooling of Dorothy’s younger sister, Louise, and after she graduated, he married her. She went on to write the script for this movie. This movie is a tribute to Dorothy Stratten told not as a tragedy but as a classical Hollywood comedy with a happy ending.
She’s Funny that Way, Diary of a Teenage Girl and The Kindergarten Teacher 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
Zaniness. Movies reviewed: The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared, God Help the Girl PLUS October Film Festivals!
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking 
at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Get ready: it’s fall film festival season in Toronto. Coming next week are: BRAFFTV, the Brazilian festival of film and television; Estdocs, the Estonian 
Documentary Festival; and RIFF, the Reel Indie Film Festival – featuring music-themed films. These festivals are packed with hidden treasures. Followed by Toronto after Dark for horror, sci-fi, action and cult: perfect for October. And ImagineNative, the film and media arts festival celebrating works by indigenous artists and filmmakers from 
around the world.
Lots of festivals – don’t they make you want to get out, see the world? (Lame segue?) Well, this week I’m looking at two movies about people who climb out their windows! One’s a musical drama about a beautiful, young woman in Glasgow, Scotland who just wants to make music; the other’s a screwball comedy about an extremely old man in Sweden who just wants to blow something up.
The Hundred-Year-Old Man who Climbed Out the Window and Disappeared (Hundraåringen som klev ut genom fönstret och försvann)
Dir: Felix Herngren
It’s Allan Karlsson’s 100th birthday at his old-age home in small-town Sweden, but Karlsson (Robert Gustafsson) isn’t interested. So he climbs out his 1st floor window and buys a bus ticket to the nearest town (population:1). But before he leaves he is ambushed by 
a motorcycle gang skinhead carrying a large metal suitcase. Somehow, Karlsson ends up on the bus with the suitcase… but no skinhead. And so begins his journey 
with the guy in the next village, a perpetual student they meet hitchhiking, an animal rights activist, and the circus elephant she liberated. And they’re being chased by the local police who think Karlsson was kidnapped, and the gangsters who want that suitcase back – and the millions of krona stuffed inside it. But that’s just half the story.
The other half is all about how the 100-year-old man has lived his life: as a demolition expert – a guy who blows things up. You may be thinking: Bombs? In Sweden? But yeah! The Swede’s seem to have a knack for it, what with Alfred Nobel’s dynamite, Ivar Kreuger (the Match King), and the country’s enormous weapon industry. Karlsson’s expertise leads him to repeated brushes with famous leaders. From Franco to Stalin, from Truman to Reagan, somehow he’s there (like a Zelig or a Forrest Gump) at all the crucial moments.
Not a deep movie, but a totally zany, screwball-comedy look at the 20th century through the eyes of a hapless demolition expert. The 100-Year-Old Man is engaging, very entertaining and great fun.
God Help the Girl
Dir: Stuart Murdoch
Eve (Emily Browning) is a young Australian woman who lives in a Glasgow mental hospital. She spends her time lying in bed listening to radio DJs. She is waif-like with pale skin, auburn hair and huge eyes. Quite beautiful but quite depressed. She has songs to sing and 
words to express, but no one to hear them. So, one day she just climbs out the window and walks away, singing.
She wanders into a Glasgow concert hall and there she meets James, a guitarist in a fistfight with his obnoxious drummer. Glasgow is run by NEDs (non-educated delinquents) he says. James (Olly Alexander) is a skinny, wimpy guitar player with curly hair and glasses – a Scottish Michael Cera.
He works as a lifeguard but has “the constitution of an abandoned rabbit.” Eve tells him she’ll find him again at the pool. Could it be love?
Back at the mental hospital, her doctor tells her that she needs support – a home, food, a job and friends – and good health before she can worry about less important things like her music. But for Eve, music is everything. She sneaks out 
to play the piano and compose songs. And she manages to record her music on a cassette tape.
She gives the tape to Anton (Pierre Boulanger), a tall, dark and handsome French rock musician she meets. They make out and she instructs him to pass it on to the radio DJs. He is impressed by her beauty. “You have exquisite breasts” he tells her.
James, meanwhile, is impressed by her talent – Eve can compose 
songs spontaneously, based on the thoughts in her head. And she has such a pleasing and rich voice that she could sing a diner menu and people would still listen. (In fact, Eve gets a job as a waitress.)
He takes her meet to Cassie, his music student. Cassie (Hannah Murray – who also played a Cassie in Skins) is a free spirit who wants to learn to play the guitar and write songs. Eve wants people to hear her music. James wants to cut a record. Hey, let’s form a band! So they do.
They write some catchy tunes – in the style of sixties pop — and sing and dance and pose. But what will the future bring?
Will the DJs ever listen to her tape? Will Eve and James ever realize their true love? Will James ever see his dream of recording a record? And will the band ever perform?
This is a cute refreshing musical written and composed by Stuart Murdoch of Belle and Sebastian fame. It’s full of songs and dances that pop up after each serious event. But it leaves you thinking: is the movie a series of music videos linked by a storyline? Or a drama with a bunch of highly-stylized musical performances popping up? Either way, I enjoyed it a lot.
The Hundred Year Old Man and God Help the Girl both open today. Check your local listings.
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5
Daniel Garber talks with Kelly McCormack and Alec Toller about their new film PLAY: THE FILM
OK folks, listen closely: there’s a new movie, called Play: the Film starring “play” actors who play actors in a play.
director (Alec Toller). And the play’s director rewrites the script because he wants to turn it into a TV movie. So an actor takes revenge.Love, Romance and Passion. Movies reviewed: Trishna, My First Wedding PLUS Burlesque Assassins
Hi, this is Daniel Garber at the Movies, for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference.
In the heat of the night, Toronto has been boiling over with record hot temperatures and high tempers, tragic shootings and a bizarre machete mugging.
But hot nights can also lead to steamy romance, passion and ultimately to love. So this week I’m looking at two movies that deal with romance. One’s about a wedding that might lead to disaster; another where the lack of a wedding might ruin the relationship.
Trishna
Dir: Michael Winterbottom
Jay (Riz Ahmed) is a confident Oxbridge toff touring India with his buddies. But when they see a young woman performing a dance at their hotel in Rajasthan Jay is smitten and decides to pursue her. And the dancer Trishna (Freida Pinto), notices him too — clearly the feelings are mutual. Jay’s father owns a palatial hotel in Jaipur, and since Trishna’s father’s accident (he was the jeep driver for the travelling Jay and his friends), her extended family has no income. So she takes him up on his offer and goes to work for the hotel, and study at the local college. All’s going well until she is accosted by some tuffs, rescued by her white knight Jay on a motorcycle and then taken back to the hotel, where they succomb to passion. But by the next morning she feels ashamed and what happens and flees home.
If this all feels like a Victorian novel, that’s because it is: it’s an 
adaptation of Thomas Hardy’s Tess of the D’Urbervilles, but set in modern-day India. Scooters instead of horses, jeeps instead of stagecoaches, but class is still the big divider. Trishna comes from a poor family, and although given a taste of the high life — a Bombay apartment as Jay dabbles as a Bollywood producer, or in Jaipur at the posh hotel — there’s a clear difference between Jay’s status and hers. He moodily shifts from boyfriend to employer, and the dynamics of their relationship also 
changes. He says in the Kama Sutra there are three types of women you can sleep with: a sophisticated woman, a servant or a courtesan. He doesn’t mention wife. Trishna wonders which one she is. There relationship could be a passing fancy for him, but for a disenfranchised woman it’s all she’s got.
Trishna is a very moving and realistic romantic drama, partly scripted, partly improvised — almost documentary like. Pinto and Ahmed are both great as the lovers, and the director, Michael Winterbottom is as experimental and surprising as ever. His movies range from 24 Hour Party People to A Cock and Bull Story (a comic adaptation of another British novel — in this case Sterne’s Tristram Shandy)
While he has no specific style – his style can change drastically from film to film — Winterbottom’s always an interesting director who constantly expands the boundaries of what you can call a movie. Trishna follows a traditional story, but by shifting the culture and language from 19th century England to 21st century India Winterbottom can take the age old story of poor girl meets rich boy and turn it into an entirely new type of film.
My First Wedding
Dir: Ariel Winograd
Adrian and Leonora are a happy couple, dressed up and ready for their country club wedding outside Buenos Aries. The wedding planner is organizing everything, family and friends are all arriving, and a rabbi and a priest are being driven out there to officiate. Adrian (Daniel Hendler) is Jewish, while Leo (Natalia Oreiro) is Catholic. But as they separately rehearse their wedding vows, Adrian panics when he loses Leo’s wedding band. She’ll kill him if she finds out. so, to postpone the wedding, he must send the Priest and Rabbi off on a wild goose chase, hide the truth from his bride, and find the ring (with help from cousin Fede).
The wedding planner recommends they go through the wedding in 
reverse order — party, dine, drink, and dance… and say the vows at the end instead of the beginning. Sort of an upside down wedding. But things get even more complicated. Leo’s snobbish mother, herself divorced, is disappointed in her choice, Adrian’s family are all quarrelling, his grandfather wants to smoke pot, and past lovers — Leo’s former professor, the dashing Miguel Angel (Imanol Arias); and Adrian’s second cousin who still likes him — all seem to be working hard to ruin the wedding. Angel announces that marriages are like cities under seige: everyone inside wants to get out, while everyone outside is trying to get in. With the divorces and collapsing relationships all around them, the title (My First Wedding) begins to make sense.
This is a funny, classic screwball comedy about what can go wrong at a wedding. The two leads are great as is the very large supporting cast. It’s a light enjoyable rom-com from Argentina, told from the groom’s perspective.
Trishna and My First Wedding both open today in Toronto, check your local listings. Also playing tonight (at the Bloor Cinema) is a neo-burlesque, cabaret style movie called Burlesque Assassins (directed 
by Jonathan Joffe), about some killer spies (with names like Roxi D’lite) who double as cold-war exotic dancers as they travel the globe to catch the villains. Lots of guns, 1950’s uniforms, and more cleavage than you can shake a stick at. Also on this weekend is the documentary “They Call it Myanmar: Lifting the Curtain” about Burma and its people. It’s showing free at the East Gallery, just across the street from the AGO on Dundas.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM, with podcasts and complete reviews available on my web site CulturalMining. com.
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