Secrets. Films reviewed: Sweet Angel Baby, Nobody 2, PLUS TIFF50!
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
As summer starts to wind down, I’m looking at two new movies that take you to places you’ve never been. There’s a drama about a young woman’s sexual secrets in a tiny Newfoundland outport and an action/comedy about a middle-aged man trying to keep his profession a secret while on vacation at a run-down amusement park.
But first I’m looking at more movies coming to TIFF in September.
TIFF Directors
TIFF is less than a month away, and I haven’t seen anything yet, but here are a few more movies — by international directors — that caught my eye.
Laura Poitras, has made two crucial docs so far: Citizen 5 about whistleblower Edward Snowden and All the Beauty and the Bloodshed about artist Nan Goldin’s fight with the Sackler family. Her newest doc, Cover Up, looks at the legendary investigative journalist Seymour Hersh, who broke the My Lai massacre and Abu Ghraib stories.
Guillermo del Toro — who splits his time between Toronto and Mexico City — is a specialist in gothic horror, (Devils Backbone, Cronos, Pinocchio, Nightmare Alley, The Shape of Water, Crimson Peak ) so it’s no surprise he’s doing his own version of Frankenstein. This should be great.
You may not have heard of Christian Petzold, but he’s one of the most creative and distinctive German directors around. (Barbara,, Phoenix, Transit, Undine,, Afire) He makes mannered, artificial-looking movies, that still deeply affect the viewer. His newest pic, Miroirs No. 3 is about a woman who moves in with a witness to the accident that killed her boyfriend. I’m really looking forward to this one.
Hungarian filmmaker László Nemes who won an Oscar for his harrowing Son of Saul, and whom I interviewed on this show in 2018, is back with a new film called Orphan. It’s about a young man in 1950s Budapest who is raised idolizing his late heroic father, until he meets a brutish, horrible man who claims to be his real dad.
Raoul Peck is the Haitian filmmaker known for his powerful, political documentaries, like I Am Not your Negro about James Baldwin. His latest is Orwell: 2+2=5 a biography of that writer and how his book 1984 is still relevant.
I first encountered Annemarie Jacir’s film When I Saw You back in 2012, but it stuck with me. Palestine 36 — having its world premiere at TIFF — is about fighting the British in 1936, and it stars Hiam Abbas and Jeremy Irons.
Steven Soderbergh churns out several new movies each year — some great, some terrible. But I’ll give him the benefit of the doubt on his newest one about art fraud, The Christophers — starring Ian McKellen and James Corden — cause it looks kinda good.
Director Claire Denis who grew as a white French woman in colonial West Africa has made so many great movies (White Material, Beau Travaille) that I’ll watch anything she produces. Her latest The Fence is in English, and stars Matt Dillon, Mia McKenna-Bruce (who I interviewed on this show last year) and Ivorian actor Isaach De Bankolé.
These are just a few of the movies premiering at TIFF50.

Screenshot
Sweet Angel Baby
Wri/Dir: Melanie Oates
It’s a cold Sunday morning in a tiny outport in Newfoundland. It’s a picturesque town, with brightly coloured wooden houses scattered on hills overlooking crashing waves at the foot of cliffs down below. But this day the town’s priest has some bad news. The Vatican is selling the church and the land it stands on to pay court-ordered restitution for the child abuse crimes of a previous generation. But the chapel has been there for centuries, built by the villagers’ own great, great grandparents. And though it’s the centre of their lives, they can’t think of any way to stop it from being sold. Until one voice asks: Why don’t we raise money ourselves to buy it on behalf of the town. That suggestion comes from the much-loved Eliza (Michaela Kurimsky). She has pale skin and long auburn hair, is savvy, kind and pretty. And still single. The men all hit on her — even Shawn (Peter Mooney) her high school crush who is married with children. What they don’t know is she has a secret lover named Toni (Elle-Máijá Tailfeathers) an out-lesbian who
works as a waitress at the local diner and raises chickens for eggs on the side. They keep their relationship casual and hush-hush.
But Eliza has another secret even Toni doesn’t know about. She has an anonymous website — with many followers, worldwide — where she posts her artistic photos. They are all of herself — posed on the cliffs, in the woods, lying on lichen covered rocks. But these aren’t your usual selfies. In all these carefully composed pictures, she’s naked or scantily clad (with her face obscured, naturally.) But when someone in the village, somehow figures out she’s the woman in the photos, everything changes. Once one person knows, everyone knows, and her bucolic world collapses all around her.
Sweet Angel Baby is a moving drama about secrets, sex, frustration and cruelty in a small town in Newfoundland. It’s a lovely and touching story, filled with highly erotic — and occasionally absurd — images. Michaela Kurimsky is fantastic as Eliza a woman yearning to burst out of a culture that’s repressing her but still holds so many good parts of her life. I love the cinematography and art direction from the little red houses to a dead moose.
Sweet Angel Baby shows us a a new and different Newfoundland.
Nobody 2
Dir: Timo Tjahjanto
Hutch (Bob Odenkirk) is an average middle-aged, middle-class suburban guy, with a wife and two kids. He’s nobody, really. He goes to work each day, and comes home after everyone’s asleep. So what does he do all day? Fights and kills bad guys, sometimes 5 at a time. He’s good at it and likes his job. He works for a secretive syndicate that sends him out on death-defying assignments each day — he’s a professional killer, a hitman extraordinaire. But lately he feels like he’s missing out on life. He wasn’t there for his son Brady’s big game, or his daughter Sammy’s fleeting innocent years. And he barely sees his wife Becca at all (Connie Nielsen). So he decides to take his family to Plummerville, the same cheesy rundown amusement park his dad (Christopher Lloyd) took him and his brother to (RZA) when they were both kids. So they pile into the car and head out on the road for some good clean fun.
Problem is, trouble has a way of finding Hutch, wherever he goes. It starts with just a minor fight in a pinball ally involving the local highschool’s bully and his son. Hutch tries to stay calm, and not get involved, but it turns out the bully’s dad owns Plummerville, and the town itself is ridden with
corruption and organized crime; they use the theme park to launder money and smuggle guns and drugs. The local Sheriff (Colin Hanks) is a bad hombre, and on top of the heap is a sadistic gangster kingpin (or queenpin?) named Lendina (played by the much-missed Sharon Stone). She’s as bloodthirsty as she is cruel, and takes notice when an unknown tourist starts interfering with her profit-making. Can Hutch fight off all the villains and protect his family while keeping them all totally clueless as to the nature of his work?
Nobody 2 is an action comedy about an ineffectual dad who is secretly a killing machine. It’s a sequel to the original movie a few years back. Think: National Lampoon’s Vacation starring John Wick. The violence is great, running from choreographed fight scenes (using fists, knives, guns, and improvised weapons) to bigger stuff like booby traps, gattling
guns and hand grenades… all set against an aging, seedy amusement park (filmed near Winnipeg!). I know, we shouldn’t laugh at people being killed, but the humour — and the violence — seldom stops.
Nobody 2 is 90 minutes of violent fun.
Sweet Angel Baby and Nobody 2 both open this weekend in Toronto; check your local listings.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website culturalmining.com.
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Daniel Garber talks with Damien Eagle Bear about #Skoden at ImagineNative!
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s a few years back on the social networks. A new image appears, that of an older indigenous man posed with his fists raised as if for a fight. The meme catches people’s eyes and goes viral, appearing everywhere, accompanied by disrespectful slogans. Then, in a complete turn around, the meme is relaunched, this time accompanied by a puzzling indigenous expression: #Skoden, and becomes a symbol of native power, humour and identity. And a call to action… What is Skoden and who is the man in the meme?
#Skoden is the name of a new documentary about both internet memes and real people. It’s also a tribute to the late Pernell Bad Arm, the Blackfoot man depicted in the photo, by talking with his friends and relatives who remember him. #Skoden is written, directed and produced by award-winning documentary filmmaker Damien Eagle Bear, from the Kainai First Nation of the Blackfoot Confederacy. Damien’s films are known both for their playful irreverence and the crucial cultural points they cover. Th e doc was filmed in Lethbridge Alberta and on the Blood Reserve of the traditional Blackfoot Territory. #Skoden had its world Premier at Hotdocs where it won the Earl A. Glick Emerging Canadian Filmmaker Award.
I spoke with Damien from Toronto via ZOOM.
#Skoden is screening at the ImagineNative film festival on June 4th, 2025.
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A coup, a cult and a cry. Films reviewed: The Penguin Lessons, AUM: the cult at the end of the world, Bob Trevino Likes It
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
In these times of extreme uncertainty, many people feel there’s something missing in their lives but they’re not sure what. Some turn to new religions for spiritual fulfillment, others to pets they can love, or to chosen families to replace their inadequate biological ones.
So this week, I’m looking at three new movies, two dramas and a documentary about people trying to replace something missing. There’s an English teacher in Argentina who talks to a penguin, a caregiver in Kentucky looking for a replacement dad, and a religious cult in Japan trying to bring about the end of the world.
The Penguin Lessons
Dir: Peter Cattaneo
(Based on a true story)
It’s March, 1976 in Buenos Aires, Argentina. Tom Michell (Steve Coogan) is a newly-hired English teacher at a boys’ prep school for rich kids. It’s run by the strictly by-the-book Headmaster Buckle (Jonathan Pryce). No pets and no politics. Divorced, middle-aged and jaded, Michell cares little about morals. He describes himself as like Hemingway but without money and who never wrote anything. The boys in his class are spoiled and unruly; they don’t listen to a word he says. But bombs and rifles can be heard even within the walls of this elite academy. There’s a US-backed coup d’etat going on out there to install a military dictatorship! When the school closes for a week, Michell and fellow-teacher Tapio, a hapless Finn (Björn Gustafsson) head out to the Punta del Este in Uruguay to sit out the coup. But a romantic seaside stroll with a woman Michell meets turns — much to his chagrin — into a mission to save a flock of birds caught in an oil spill. They clean a penguin’s feathers, but by morning, the woman’s gone, and the penguin won’t leave him alone. He reluctantly takes him back to the school, in the hopes of donating him to a zoo. But the school kids adore him, and actually start to pay attention as long as the bird is around. But all is not well. Plainclothes police are disappearing anyone who disagrees with the government, including the beautiful but opinionated Sofia (Vivian El
Jaber), the school’s cleaning woman.
Can a little penguin bring peace to the school and pull them all together? What will happen if Headmaster catches him with the bird? And will Michell ever stick his neck out to challenge the status quo?
The Penguin Lessons is a touching, cute, nostalgic and easily digestible story set during a dark and sinister era. Director Cattaneo brought us similar English crowd-pleasers like The Full Monty. And I’ll see anything with Steve Coogan in it. This movie is full all the cliched crowd pleasers: kids, animals, history, and a wise-cracking cynic who might have a soul. But I don’t care. That penguin is just soooo cute.
OK, I admit it, I’ve been played, I’m a sucker of a critic who fell for a bird… but so will you.
I liked this movie.
AUM: The Cult at the End of the World
Wri/Dir: Ben Braun, Chiaki Yanagimoto
It’s March, 1995 in Tokyo when something unexpected and terrifying happens. Someone lets loose poison gas at Kasumigaseki station, where three train lines converge. 5,800 people are injured and 13 of them killed. And this is a planned attack, not an accident. Who is responsible and why did they do it?
Decades early, a child named Chizuo is born into a post-WWII family with visual disabilities. Years later he opens a yoga school to attract paying customers. Somewhere along the way, it changes first into a religious sect, and later into a bonafide cult with tens of thousands of members. The group is called Aum Shinrikyo, and they set up headquarters on the banks of the sacred Mt Fuji. Their guru, now known as Shoko Asahara, with long hair and beard and flowing pink robes, convinces his worshippers that he is a god with supernatural powers.
Popular music and anime videos extolling Asahara attract lots of favourable media attention, and detached young Japanese join in droves to experience miracles like levitation. These followers drink his bathwater or take tiny transfusions of his blood, even as he drains their bank accounts dry. Others have wires attached to their brains. Only bland food is permitted, no sex, no free-thinking. The cult expands internationally, migrating to Moscow once the Soviet Union falls, converting countless Russians to their cause. And while they’re there, they get ahold of military-grade artillery, chemical and biological weapons which they ship back to Japan. And eventually this leads to the horrific Sarin gas killings, in Tokyo and Matsumoto.
AUM: The Cult at the End of the World is an extensive, shocking and at terrifying documentary about this bizarre and dangerous cult. It covers the story throughout Asahara’s life and beyond, using period footage and new talking-head interviews. It goes right to the source — its victims, innocent people wrongly blamed for Aum’s crimes, journalists who follow the story, and advocates who — long before the sarin attacks — were trying to free friends and relatives from their clutches. Perhaps most chilling of all are the interviews with Joyu the high-ranked Aum Shinrikyo member who was allegedly behind some of its most heinous chemicals weapons.
I found this documentary extremely engrossing and well researched, narrated in the form of an oral history by those most affected by these atrocities. I couldn’t stop watching this one. I wonder why there have been loads of movies about the Manson Family, but relatively few on Aum Shinrikyo. This one helps fill that gap.
Bob Trevino Likes It
Wri/Dir: Tracie Laymon
(Based on a true story)
It’s present-day northern Kentucky. Lily Trevino (Barbie Ferreira) is young woman who works as a caregiver for Dapne (Laureen “Lolo” Spencer) a woman with a degenerative condition. Lily has no friends, and
her boyfriend dumped her using texts. Robert Trevino, her dad (French Stewart) is a flippantly cruel and self-centred man-boy responsible for most of Lily’s neuroses. He blames her for ruining his life (her mom died as an addict when she was a child). But things hit rock-bottom when her dad cuts off all communication with her. In a desperate search on Facebook to see what he’s up to, she ends up “liking” a different Bob Trevino. This Bob (John Leguizamo) is everything her own father is not. He’s kind, honest and giving, someone who pays attention to her texts. Bob works as a contractor out of his trailer. He has few hobbies — he likes gazing at the shooting stars, while his wife Jeanie (Rachel Bay Jones) is into making scrap books. When childless Bob and parentless Lily finally meet face to face, they feel a familial warmth they can’t quite explain. Jeanie thinks Lily’s a grifter or an aspiring catfish, trying to get his money. While insecure Lily is afraid of messing things up. Can two people, who live in different states ever have a real friendship? And is this new friendship superficial or deep?
Bob Trevino Likes It is a very cute, very sweet tear-jerker of a movie about friendship, kinship and chosen families. Much of the story is told through text messages and Facebook posts.
Barbie Ferreira plays Lily as a non-stop faucet. She weeps in the opening, she cries in the middle and bawls at the end. And as the viewer, I cried along with her. John Leguizamo — once known for his over-the-top comedy — is at his most restrained in this one. But despite all the tears, it’s told in a light, humorous way.
This is a really nice indie movie.
Bob Trevino Likes It is now playing across Canada, with The Penguin Lessons opening this weekend in Toronto; check your local listings. And Aum is now available on VOD.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website culturalmining.com.
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Some gems at #TIFF23. Films reviewed: The Movie Teller, Do Not Expect Too Much From the End of the World, The Promised Land
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
TIFF is coming to an end this weekend, but plenty of movies still playing, with free screenings of Peoples Choice winners, including the Midnight Madness and Platform series. But this week I’m talking about three gems that played the festival, from Chile, Romania and Denmark. There’s a performer in the Pampas, a driver in Romania and a would-be farmer in Jutland.
The Movie Teller
Dir: Lone Scherfig (An Education, The Riot Club, One Day, The Kindness of Strangers)
Based on the Chilean novel by Hernán Rivera Letelier
Maria Margarita and her three brothers Minto, Mauricio and Marcelino, live in a remote company- town in the Pampas where they mine saltpeter. Her mother is a beauty, obsessed with radio soap operas, her father a gruff man with a big moustache. Their biggest source of pleasure is their weekly trip to the local cinema. But when their dad is badly injured — but not killed — in a work accident, they are suddenly without income. And their father, now in a wheelchair, can’t go to the movies anymore.
So the four kids decide to take the movies to him, by describing what they saw. The three brothers were not very interesting but Maria Margarita blew them all the way with her renditions — the love scenes, the fights, the commentaries all perfectly reproduced. Soon word spreads and everyone in town wants to watch her perform. But will it solve their deeper problems? And can it bring their mother home again (she abandoned her family once her husband was injured)?
The Movie Teller is a magnificent, romantic coming-of-age story (each of the four kids are played by three different actors as they grow up). The main events of their lives — like Maria Margarita’s fight with with a dust devil, or her first date with the son of the union organizer — are played out against historical events in Chile, culminating in the US-backed coup that killed Allende and brought dictator Pinochet to power. (You can guess what year it is by the movies they’re seeing). Though a bittersweet story, it feels like a classic drama. Despite the fact they’re in the middle of a desert the film is rich, lush and colourful. And it’s filled with quirky, endearing — or hateable — characters. Danish director Lone Scherfig makes a movie about movies in a cinematic style.
Wonderful.
Do Not Expect Too Much From the End of the World
Dir: Radu Jude (Bad Luck Banging or Loony Porn)
Angela (Ilinca Manolache) is an overworked PA working for a low-rent film studio in Bucharest. She has bleached-blonde hair and wears a dress covered in metallic sequins. She spends long hours driving across the city on minor assignments. Her latest? To interview people who were badly injured while working at a foreign-owned furniture factor. She sees people missing fingers, paralyzed, or in wheelchairs. But this is not an expose; the company wants this for a promotional campaign telling people to wear their helmets… though most of them weren’t injured on their heads.
Everywhere she goes, she pulls out her smart phone and records a short video she posts on Instagram or TikTok swapping her face with a cartoonish version of Andrew Tate’s. She calls her persona Bobito, who spouts a series of bawdy, obscene, misogynistic, and reactionary punchlines, told in the most offensive way possible. Later she picks up marketing exec Doris Goethe (Nina Hoss) from the Austrian furniture company they’re making the film for. Will Angela survive another gruelling day? Or will tiredness turn to a fatal traffic accident?
Do Not Expect Too Much From the End of the World is a
biting satirical film about contemporary Romania. It mocks pop culture, government censorship, corporate greed, in a way sure to offend almost everybody. Thereme, Deloitte, KFC, Ukraine, Orban, Putin, Germans, American gun culture, nothing is off limits. This is an avant-garde film, not a conventional one, with very long takes — as long as half an hour — with no cuts. The scenes in her car are grainy black and white, while other scenes are brightly coloured. There are also clips from a 1981 Romanian movie about a female cab driver in Bucharest and the macho Transylvanian man she meets (the same actors appear in this film 40 years later.) And what Radu Jude film would be complete without a a seemingly endless montage of photos, almost like a slide show?
I think this film is brilliant, just like his previous one, but much easier on the eyes. If you’re OK with political satire and unconventional cinema, you should check this one out.
The Promised Land (Bastarden)
Co-Wri/Dir: Nikolaj Arcel
It’s Jutland in Denmark in the 18th century. Captain Ludvig Kahlen (Mads Mikkelsen) is trying to start a farm in an expanse of inhospitable heath land. He wants to make his fortune, live in a mansion, and be knighted by the king. He’s the illegitimate son of a nobleman and his maid, who served 25 years in the German army, but left with only a meagre pension. He has Royal permission to start a farm there — many have tried, none have succeeded — but faces unexpected obstacles. First, there are few people who want to work there. He ends up hiring a husband and his wife, Ann Barbara (Amanda Collin), fleeing servitude in a manor house at the hands of a noble. He was cruelly tortured, she was sexually assaulted.
Then there’s the noble, Frederik de Schinkel (Simon Bennebjerg) a snotty young man, who craves absolute power over all of Jutland. Just by existing on the land, Kahlen challenges his authority, and de Schinkel goes out of his way to stop him. It also doesn’t help that his beautiful cousin Edel doesn’t want to marry him — she only has eyes for Kahlen. Then there are the vagabonds who live in the woods attacking any passing visitors. That’s where he meets a foul-mouthed little girl named Anmai Mus (Hagberg Melina), who the thieves use as a lure. After much squabbling, and dramatic happenings, he, Ann Barbara and Anmai Mus form a
makeshift family to face the elements as they attempt to produce the first crop ever grown on that land. Will he succeed or fail?
The Promised Land is an epic and novelistic historical drama, about a stubborn and driven man looking to fulfill his big dreams. It’s full of sneak attacks, and revenge plots. Mads Mikkelsen is marvellous as Kahlen, a man who risks his life for the sake of a title or rank, at the expense of the people he really cares about. The large cast is terrific (I mentioned only a few of the Dickensian characters) and the cinematography is panoramic.
This is a fantastic movie.
The Movie Teller, Do Not Expect Too Much From the End of the World, and The Promised Land all played at #TIFF23, which runs through tomorrow. Go to tiff.net for details.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
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Daniel Garber talks to director Mahmoud Sabbagh and stars Hisham Fageeh and Fatima Al Banawi about Barakah meets Barakah at #TIFF16

Hi, This is Daniel Garber at the movies for culturalmining.com and CIUT 89.5 FM.
Barakah is a municipal civil servant in Jeddah, Saudi Arabia. He drives a tiny white truck and gives tickets to people defying city bylaws. He lives in a rundown flat with his shrieking aunt (a midwife), and his complaining uncle (a down-and-out former musician).
Bibi is a hugely popular culture critic and fashion plate with a
million followers on Instagram. She shares her opinions and photos…but only from the lips down (to keep her identity a secret). She’s rich, famous and single.
After a series of chance meetings, Bibi and Barakah realize destiny is at play, and the two of them just might belong together. Problem is: how do you date in a country where unmarried men and women can’t kiss, hold hands… or even appear together in public without an escort? Will Bibi and Barakah ever get to know each other? And how can two people of different backgrounds bridge the gap between them?
Barakah meets Barakah is a cute romantic comedy having its world premier at the Toronto International Film Festival. It’s a humorous look at the troubles of dating inside restrictive Saudi Arabia. But it’s also a lament for the loss of the once vibrant Saudi culture. It’s directed by Mahmoud Sabbagh, and stars Hisham Fageeh and Fatima Al Banawi, as the star-crossed lovers.
Barakah meets Barakah is only the second contemporary Saudi film to screen in Canada. I spoke with Mahmoud, Hisham and Fatima on location at TIFF16.
Photos by Jeff Harris.
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Daniel Garber interviews CODY CALAHAN about his new film ANTISOCIAL
Toronto — called Antisocial, which says things online are not normal at all.It envisions a world where a mysterious virus is spreading like wildfire across the planet, turning everyone into robo-zombies!
Antisocial follows a group of university students preparing for a New Year’s Eve bash right when the virus hits. Who will live and who will die? And can the virus be stopped?
Antisocial is now playing in Toronto and the film’s director, Cody Calahan, tells us more…
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