More coming of age movies. Films reviewed: Kajillionaire, Summerland, Nadia, Butterfly

Posted in Canada, comedy, Coming of Age, Crime, drugs, Family, Japan, LGBT, Quebec, Road Movie, Sports by CulturalMining.com on September 25, 2020

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

TIFF is over but Toronto’s fall film festival Season has just begun, but with a difference this year. Many of the festivals, here and abroad, that were cancelled in the spring are now popping up in the fall. Look out for Inside Out, The Cannes film fest, SXSW, Toronto’s Japanese film fest, Toronto Jewish Film Festival, Planet in Focus, Rendezvous with Madness, ReelAsian, ImagineNative, Toronto Palestine Film Fest – which is on right now – and many more.

This week, though, I’m looking at three new indie coming-of-age movies. There’s an Olympic athlete who swims the butterfly; a gay virgin playing catfish with a guy he meets online; and a young woman born under the net of a family of grifters.

Kajillionaire

Wri/Dir: Miranda July

Old Dolio (Evan Rachel Wood) is a young woman born into a family of scammers. With her mom and dad (Debra Winger, Richard Jenkins) they plan low-level cons and split the proceeds three ways. Most of it goes to pay for food and rent: they live in an office located directly beneath a bubble factory that extrudes pink foam into their home twice a day. They’re always working; no time wasted on frivolities like holidays, presents or birthday dinners. No phoney-baloney words like “dear” or “hon”. Even her name is a scam: they called her Old Dolio after an elderly homeless guy who won a lottery, in the hope that he would leave her all his money when he died. (He didn’t.)

So Old Dolio grows up emotionally stunted and starved for affection. Now she’s in her early twenties living a loveless and strangely sheltered existence. She’s nervous and introverted. But everything changes when Melanie (Gina Rodriguez) – a voluptuous young woman her parents meet on a plane – says she wants to join their gang and pull off a big con. She’s Dolio’s exact opposite: self-confident, sexy and talkative. Someone she can spend time with. But is she a friend? A rival? A mark? Or something else entirely?

Kajillionaire is a weird and wonderful dark comedy, laden with odd, quirky characters. Evan Rachel Wood is fantastically deadpan as the awkward, stilted Dolio. It’s told in a series of linked tableaus about a strange family of socially inept, but inoffensive, criminals. It’s also a coming-of-age drama about a 26-year-old woman experiencing life away from her domineering parents for the first first time. Great film.

Summerland

Dir: Lankyboy

Bray (Chris Ball) is a naïve gay virgin in love. He met a guy named Shawn on an online, Christian dating site, and now they’re going to meet in person. The planned meeting is at a music festival called Summerland in a southwestern desert. Bray wants to go there with his best friend Oliver (Rory J Saper) – a young guy from London in America on a student visa. They share a house together. Oliver’s dating a beautiful young woman named Stacy (Maddie Phillips) who lives in a mansion but wants to leave it and move in with Oliver. She can’t stand her stepfather. There are three problems: Oliver’s visa has expired so he has to move back to England (but Stacy doesn’t know). Bray has been texting Shawn using Stacy’s selfies. Shawn thinks he’s been communicating with a girl, not a gay guy named Bray. And the car they plan to use has broken down. So Tracy decides to join their road trip to Summerland using her stepdad’s RV.

They set off on a journey down the west coast, passing through Seattle, Portland, San Francisco, and Las Vegas. Stacy wants to listen to audio books on an ancient Sony Walkman to improve her mind. But Oliver has other plans. He has a briefcase full of strange, new psychedelic drugs for them to sample on their way. Oliver and Stacy are constantly having noisy sex in the RV, while Bray is holding out for his one true love. Will they make it to Summerland? Will Oliver tell Stacy he’s moving back to England? Will Bray ever meet Shawn? And if he does will he admit he’s the one who’s been catfishing him – pretending he’s a woman online – all this time?

Summerland is a simple, endearing road comedy. It’s full of interesting characters they meet on the way, like Oliver’s honey-badger drug dealer, an existential new age philosopher, and a gay black wizard named Khephra who enters Bray’s brain.

Summerland is a funny movie, easy to watch.

Nadia, Butterfly

Wri/Dir: Pascale Plante (Fake Tattoos)

It’s the 2020 Summer Olympic games in Tokyo, Japan. Nadia (Katerine Savard) is an Olympic swimmer from Québec. She’s been training since the age of ten and now, in her early twenties, is one of the fastest butterfly swimmers in the world. She lives a highly regimented life: home schooling, intense training, and a restricted diet. She’s massaged, prodded, tested and poked all day long – her body is a communal effort. But this will be her last competition – she’s retiring from competitive swimming to go back to school. And she leaves on a high note, winning a bronze medal in medley with the other three on her team: bilingual Karen (back stroke), newby Jess (breast), and her best friend Marie Pierre (Ariane Mainville) on freestyle. The two have been training together for a decade; Marie — she’s in her early thirties — is like a big sister to Nadia. And now that their races – and drug tests – are finished, she vows to take Nadia on a blow-out weekend inside the Olympic Village and out and about on the streets of Tokyo. Nadia’s been around the world, but only seen its swimming pools. It’s her first chance to explore on her own, to buy junk food from vending machines, get drunk… and maybe have sex. She meets a Lebanese fencer at a dance party and takes MDMA for the first time. But will she really leave competitive sports in her prime?

Nadia, Butterfly is a coming-of-age drama about a young athlete on the verge of leaving the only life she’s ever known. It covers a three-day period as she struggles over her decision. The film is immersed in the world of competitive sports, both the public side – its anthems, mascots and medals – and its hidden life. The film is saturated with the four colours of flags and uniforms: red, aqua, black and white. It’s a realistic, behind-the-scenes look at the Olympics, from the athletes’ perspectives. While I’m not really an Olympic fan (the movie was shot in Tokyo last summer) it still kept me constantly interested, if not deeply moved. But it’s the great performances of Savard and Mainville (as Nadia and Marie-Pierre) that really make the movie work.

Nadia, Butterfly is now playing in Toronto; check your local listings. Kajillionaire and Summerland open today.

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

Good dramas. 1917, Uncut Gems, The Invisible Life of Eurídice Gusmão

Posted in 1910s, 1950s, Brazil, comedy, Drama, Gambling, Judaism, melodrama, New York City, Sex, Sports, UK, War, Women, WWI by CulturalMining.com on December 25, 2019

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

A good drama is hard to find, and this week I’ve got three of them. There’s an action drama set in Europe in WWI, a melodrama set in Rio in the 1950s, and a dark comedy set in present-day Manhattan.

1917

Dir: Sam Mendes

It’s April, 1917 in the trenches. Two soldiers, Lance Corporal Blake (Dean Charles Chapman) and Lance Corporal Schofield (George Mackay) are summoned by an officer with an important mission. The Germans seem to be retreating and frontline soldiers are preparing to cross over no man’s land. But it’s a ruse. If the troops try to cross the fields they’ll be gunned down like lambs to the slaughter. And the telegraph lines are down. It’s up to Blake and Schofield to take a crucial letter to the isolated troops before they’re all wiped out. And to get there, they have to pass through enemy territory, inside German trenches, and across enemy lines. Why are two ordinary soldiers chosen for this impossible task? Blake has a brother in the squadron they’re warning. And Schofield? He happens to be nearby when Blake is summoned. Can the two men young men make it there in time? Or are they just another couple of casualties in this War to End All Wars?

1917 is a thrilling action movie set during WWI. It’s full of narrow escapes, shootouts, explosions and hand-to-hand combat, with our heroes riding, running, flying and swimming, all to get to their goal. It uses lots of tricks you’d expect to see in horror movies: from sudden encounters with piles of rotting corpses, to shocking encounters with rats. It’s also a “War is Hell” movie but it’s a bit foggy on the Us and Them narrative of a war from a hundred years ago. Should WWI German soldiers still be portrayed as evil, drunken cowards while British soldiers are brave, kindly, steadfast and resolute? Still, you do find yourself rooting for the heroes hoping beyond hope that they’ll survive.The acting, especially MacKay, is fantastic and it’s fun to spot all the famous actors with bit parts as military brass include Benedict Cumberbatch, Mark Strong and Colin Firth. But the best part of this movie is in an unexpected area. Roger Deakins camerawork is incredible, with shadow and searchlight, glowing candles and burning flames throwing chiarascuro images across the screen. It’s stunning to watch.

Uncut Gems

Dir: Josh and Benny Safdie

It’s the diamond district in present-day Manhattan. Howard Ratner (Adam Sandler) is a successful Bling jeweller peddling pricy kitsch to therich and famous in a small boutique encased in bullet-proof glass. He supports an unhappy suburban Jewish family, also setting aside money for his own peccadilloes: a mistress in a midtown apartment and tickets to NBA games. But he’s also a compulsive gambler throwing money at bookies. He’s in debt up to his neck, and the gangsters are circling. Two thugs in particular. Loan sharks, pawn shops, bookies, and legit business associates are all asking for their cut. But when Howard lands a lump of Ethiopian opals – the “uncut gems” of the title – he thinks all his problems are solved. By gazing into the glowing, coloured rocks he loses himself in a fantastical universe. He embarks on a complex plan: sell the gem to a superstitious star basketball player, pawn the priceless gaudy ring the player leaves as a deposit, and bet it all on a mammoth Las Vegas sports gamble. Will his plan pan out? Or will it all come a-tumbling down?

Uncut Gems is the latest Safdie Brother’s look at sympathetic, small-time losers and petty criminals, and the destruction they leave in their path. There’s a bit of excitement, but it’s more like a dark, absurdist comedy than anything else. They say Adam Sandler makes one credible acting movie for every ten horrible comedies. He proves his bona fides in this one, hands down. He’s great as the irrepressible and irritating Howard Ratner, complete with fake crooked and gummy teeth. But he’s a hard character to like…his problems are all of his own making, and his adulation for celebrity, sportsteams, cars and The Big Win is unattractive. I kinda sympathize with Howard but not really; I saw this four months ago at TIFF and remember feeling bothered and a bit angry by the end. But the humour, great acting, music, images, and elegant plot – from start to finish – helps redeem the unfomfortable feeling it leaves you with.

The Invisible Life of Eurídice Gusmão

Dir: Karim Aïnouz

It’s 1950 in a middle class family in Rio de Jeneiro. Guida and Euridice are inseparable sisters who do almost everything together. Guida (Julia Stockler) is 20 years old, small, buxom, adventurous and mature. She’s looking for love in all the wrong places, where she meets Iorgos, a handsome sailor from Greece. She leaves a note with her sister that she’s off on a ship to Europe to marry her love and will be back in Brazil soon. Euridice (Carol Duarte) is 18, the good daughter, tall with long, curly hair. She devotes all her energy to practicing the piano, with the hope that someday soon she’ll be accepted into the conservatory in Vienna.

But both of their plans are stymied by unwanted pregnancies. Guida comes home, pregnant and alone. Iorgos is a rat, with a wife and kids in Greece and a girl in every port. But when she walks through her door, her father throws her out, saying, “you’re dead to me, I never want to see you again”. She’s forced to move to a working class neighbourhood, get a job (she works as a welder at the docks) and raise her son.

Meanwhile, Euridice gets married to Antenor (Gregório Duvivier) the son of a business partner of her dad who owns a bakery. He’s a boor and an inconsiderate lover. She’s preparing for her Vienna audition in a few months but despite her church-sanctioned birth control methods, she ends up pregnant too, scotching any plans to study in Vienna. Guida assumes her sister is in Europe, and Euridice thinks Guida has disappeared without a trace (their parents block any communication with Guida, and both sisters have no idea the other is living in Rio.) Will the sisters ever see each other again? And will their ambitions be realized?

The Invisibie Life of Euridice Gusmao is subtitled, “a tropical melodrama” and that’s what it is: a passionate, lush story about the lives of two strong-willed women, torn apart against their will. Guida forging a new life as a single, working class mom, as Euridice navigates Brazil’s repressive middle class life in the ’50s. I loved this movie.

The Invisible Life of Euridice Gusmao is now playing in Toronto, and Uncut Gems and 1917 both opened on Christmas Day; 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.

Around the world in 167 days. Film reviewed: Maiden

Posted in 1980s, documentary, Feminism, Sports, UK, Women by CulturalMining.com on July 12, 2019

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

The movie industry has its ups and downs, and so does its release dates. And this week is one of the slowest all year, with no big-budget releases, and virtually no indie movies either. And the one getting the most publicity is one I will not review, or even mention its name. I haven’t seen it, but, word has it, it’s a bizarre piece of propaganda that crept up from south of the border to appease the religious right, a fringe group in Canada but a major force in the US.

Basically, it paints reproductive rights — specifically abortion — as the terrain of depraved and greedy doctors who cruelty chop up screaming babies in order to sell their parts for profit. It could make for a good science fiction / horror movie, but they’re marketing it as a “true story”. Anyway, if you find yourself in line at a movie theatre, be sure to avoid making any Unplanned decisions in your choice of film. Avoid it at all costs.

This week, I’m talking about a new documentary with a woman who wants to sail around the world.

Maiden

Dir: Alex Holmes

It’s England in the 1980s. Tracy Edwards is a young woman who works as a bartender seaside town. She has no real goals and ambitions but is drawn to the sea. So she decides to get a job as a cook on a sailboat. But she is shocked to find no one would hire a woman, even as a cook. Boating is a man’s world, they say, and not a place for “girls”.

But this “girl” – she’s actually in her early 20s – decides if you can’t join ’em, beat ’em… at their own game. She puts together an all-women crew, and enters the legendary Whitbread round the world boat race. But first she needs sponsors and a sailboat. She mortgages her home to buy a rusty old hull and spends the next couple years in an all-male shipyard, putting it into ship-shape condition. Then there’s the money. Much as in other sports, sponsors don’t want to give any money to women. But she eventually finds someone to put up the bucks. (No spoilers, but he happens to be a king.)

The journey has four legs after leaving Portsmouth: first to Punta del Este, Uruguay; next to Western Australia and on to Auckland, NZ; then to Fort Lauderdale, Florida, and finally back to Portsmouth.

The press treats her, and the very idea of an all female crew, as a novelty, a human interest story. Do you fight

My beautiful picture

all the time? Can you control your emotions? Are you physically able? But as the journey progresses, they come to be seen as serious competitors, not just novelties. And they learn to own the media, donning swimsuits to enter a port to distract journalists after a less than stellar segment. But will they make it around the world?

Maiden – the name of the boat and the documentary – is a gripping sports movie with a feel-good ending. It interviews all the players 30 years later, but also includes stunning footage filmed by the crew themselves during their voyage.

It’s full of fascinating details… like the fact you can start smelling land at sea five days before you reach it. You really feel like you’re there with them, seaspray in your face, dodging icebergs in the south seas, or strapped to the mast. It’s an exciting, hazardous and gruelling trip around the world using only the power of wind. (GPS and the internet wasn’t around yet; you navigated using maps.) And the willpower and determination of Tracy Edwards and the rest of the crew.

Great doc.

Maiden opens 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.

Light on their feet. Dykes in the Street, We are the Radical Monarchs, Gordon Lightfoot: If You Could Read My Mind, Diamantino

Posted in 1950s, 1960s, 1970s, 1980s, documentary, Fantasy, Feminism, Folk, LGBT, Movies, Music, Portugal, Protest, Refugees, Sports, Toronto, Women by CulturalMining.com on May 24, 2019

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

Spring festival season continues in Toronto with Inside Out LGBT Film Festival. It premiers queer movies and docs from around the world. This week I’m talking about films at InsideOut and some general releases.There’s a musician who’s a light foot, a soccer player who is light on his feet, and some women marching in solidarity, boots on the ground.

Inside Out LGBT Film Festival

Inside Out opened last night and runs for the next 10 days. It features some major releases, like the Elton John Biopic Rocketman, Mindy Kaling’s Late Night, and the latest chapters in Armistead Maupin’s amazing serial Tales of the City.

I’m not allowed to talk about any of those films yet, but let me tell you about a couple of great new docs on radical lesbians.

Dykes in the Street

Dir: Almerinda Travassos

…looks at the evolution of the dyke march in Toronto over the past 35 years. It started in 1981 with 300 women matching down Yonge and Bay streets organized by Lesbians Aganst the Right. This informative documentary combines talking heads with historical footage from the period. It talks to women who were there then and at subsequent marches ten, fifteen and thirty-five years later, as it becomes more inclusive and diverse.

Another radical lesbian documentary is shot in Oakland California:

We Are the Radical Monarchs

Dir: Linda Goldstein Knowlton

…tells about a new alternative to scouts and girl guides. Founded by Anayvette Martinez and Marilyn Hollinquest the Radical Monarchs go camping, learn fun songs and chants and earn badges. But they also wear berets reminiscent of the Black Panther Party, and learn about social justice activism and black and brown history in Oakland.  There’s even a Black Lives Matter badge! Adorable kids working for a good cause.

These are just a few of the dozens of great movies playing at InsideOut.

Diamantino

Wri/Dir: Gabriel Abrantes, Daniel Schmidt

Diamantino (Carloto Cotta) is a Portuguese soccer player at the top of his game. Like no other player, he can weave his way through a crowded field as if he’s all alone. His secret power? he sees other players as enormous fluffy pink dogs frolicking in the grass. That’s the source of his success. Diamantino is fit, popular and incredibly rich. He owns a mansion and a yacht. He’s also naïve, gullible and very stupid. Which makes him vulnerable to adversaries and villains alike.

When he first encouters refugees he is so upset he decides to adopt a teenaged boy from Africa who loves soccer. What he doesn’t realize is the “teenaged refugee” is actually the much older Aisha (Cleo Tavares) a gorgeous, lesbian secret agent. She is working undercover to find evidence of fraud and corruption in Diamantino’s many businesses.

Diamantino also has twin sisters, Sonia and Natasha (Anabela and Margarida Moreira), the real villains. They depend on their brother to finance their lavish lifestyle and don’t want to lose it… so they start spying on the spy. Something seems suspicious about that boy. Throw in some right-wing nationalists who want Diamantino to endorse their cause, and an evil scientist named Dr Lamborghini (Carla Maciel) – who drives a Lamborghini! –  and you can see all the obstacles our hero has to face. Can Diamantino survive a cruel world and remain a soccer great?

Diamantino is a bizarre and fantastical comedy, an explosion of pastel eye-candy across the screen. It’s told in an exaggerated storybook style, but deals with important issues. I can’t keep calling every movie “like nothing you’ve ever seen” but it’s safe to say this one really is.

I liked this one a lot.

Gordon Lightfoot: If You Could Read My Mind

Wri/Dir: Martha Kehoe, Joan Tosoni

Like many Canadians I’ve heard of Gordon Lightfoot and vaguely familiar with some of his songs. But before watching this documentary I knew little about his life. Originally from Orillia Ontario, he worked his way through the folk scene in Toronto’s Yorkville and NY City’s Greenwich Village. He studied music in LA and learned to compose and arrange at an early stage, and began writing his poetic lyrics even earlier. His widely covered songs range from traditional folk melodies, to country and western, pop, rock and even the long neglected ballad genre. (The Wreck of the Edmund Fitzgerald – a six-and-a-half minute retelling of a shipwreck the year before, became an unexpected smash hit in the 1970s.)

This movie fills in a lot of gaps about his music, his career, personal problems (like alcoholism) and the meaning behind many of his lyrics. It shows him composing, recording and performing his hits, giving an inside perspective rarely seen. My only criticism is it didn’t need the overwrought ass-kissery, celebrity musicians gushing about how great Lightfoot is. (He knows it, and we know it – it feels like a eulogy, and he’s very much alive.) Luckily, that only takes up about 10-15 minutes. The rest of the documentary is outstanding, with unequalled visual and sound research. They found a recording of him singing in the church choir as a teenager, and footage of him chatting with Alex Trebec in the 1960s. There are countless family photos and films and period shots of Toronto streets meticulously covering sixty years. Just amazing. And all his best songs and performances spread out from beginning to end, getting better and better as it goes.

I went in expecting nothing, and was blown away by this great music doc.

Gordon Lightfoot and Diamantino both open today in Toronto at Hot Docs cinema and theTiff Bell Lightbox, respectively. Check your local listings. Dykes in the Street and We are the Radical Monarchs are two of many fine movies at Inside Out over the next 10 days.

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

Does isolation mean alienation? Films reviewed: Une Colonie, The Grizzlies, High Life

Posted in Coming of Age, High School, Indigenous, Inuit, Nunavut, Quebec, Science Fiction, Sex, Sports, Witches, Women by CulturalMining.com on April 19, 2019

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

Does isolation mean alienation? Or can it be its cure? This week I’m looking at three movies about people who choose to live their lives in isolated areas. There’s an astronaut with a baby in outerspace, a girl in a village in rural Québec, and a lacrosse team in a remote town in Nunavut.

Une Colonie (A Colony)

Dir: Geneviève Dulude-De Celles

It’s the first day of high school and Mylia (Emilie Bierre) is overwhelmed. She’s a 14-year-old girl from rural Quebec. She’s used to seeing her mom and dad, her four-year-old sister Camille (Irlande Côté) and some chickens and cows. When she wants to get away she hides in secret shelters she builds in the woods. But she doesn’t know how to handle the noise and stress of her new school and the hundreds of people there. And she doesn’t quite understand her new classes in history and citizenship. What does that mean, anyway?

Luckily she makes two friends with different paths to choose from. Jacinthe (Cassandra Gosselin-Pelletier) is sophisticated, sexually active and popular. She offers the pretty but naïve Mylia an exciting life full of “lipstick parties”, online challenges and social networking. She sets her up on alcohol-infused dates with strange boys she has nothing in common with. But she also whispers behind her back, spreading rumours that her mother is a stripper.

The second path is offered by Jimmy (Jacob Whiteduck-Lavoie) a neighbour from the Ibanaki Nation. He has strange powers – like taming wild animals – as well as a trampoline he lets Camille bounce on. But he is forced to sit through a history class that describe his people as “simple savages” engaged in depraved orgies. He is bullied for not speaking “proper” Québec French. And he hates seeing Mylia act like the rest of them, people who always colour within the lines. Can Mylia hold onto her idyllic, rural life even as she learns to conform and mature?

Une Colonie is a wonderfully thoughtful coming-of-age story seen through the eyes of a young woman. It deals with Québec both as colony and colonizer and the blurred lines separating the two. It doesn’t fully explain everything you see — it lets you make sense of it as the story is revealed. Une Colonie won best picture and Emilie Bierre best actress at the Canadian Screen Awards, and rightly so. This is a terrific movie, espcially for a first film.

The Grizzlies

Dir: Miranda de Pencier

It’s 2004 in Kugluktuk, a small village in Nunuavut. Russ (Ben Schnetzer) is an idealistic but inexperienced high school teacher newly arrived from the south. He starts by meeting his students. There’s Kyle (Booboo Stewart) who runs away from home each night. Zach (Paul Nutarariaq) punches him in the face when he tells him to speak English. Spring (Anna Lambe) is deeply in love with her boyfriend. Miranda (Emerald MacDonald) is silent but observes everything.

Russ may speak no Inuktitut but he can still see a problem… an epidemic of death by suicide. He decides to do something about it: start a lacrosse team! He manages to pull a team together, and even gets them a place on the national championships in Toronto. But can the Grizzlies raise the money, convince the local council to support them, and overcome the many social problems they face? Or is Russ just another fly-by-night white saviour from the south, quick to make promises he can’t keep?

The Grizzlies, based on a true story, is a typical sports movie, about an unlikely team that tries to overcome its obvious obstacles using heart, grit and comradery. What’s different is it’s shot in Nunavut, in English and Inuktitut, with a mainly Inuit and indigenous cast. And it interweaves realistic scenes of actual culture — you get to see people sharing and eating raw seal meat — with the dark side of history, including issues like the residential schools. It’s not earth-shattering, but The Grizzlies works as a meaningful movie that’s also fun to watch.

High Life

Wri/Dir: Claire Denis

It’s the future.

Monte (Robert Pattinson) is a single dad raising an infant girl at work and at home. They live on a space ship hurtling towards a distant blackhole. How did they get there and where did the baby come from? Through a series of flashbacks we see what life was like back on earth and later on board the spacecraft. It used to be peopled by healthy young astronauts working together both as scientists and as scientific subjects, experimenting and being experimented on.

The ship has everything they need: regular video reports sent from earth, a garden growing succulent fruit and vegetables in a misty arboretum; areas for exercise; and spacesuits for outdoor repairs. There’s also an orgasmic chamber that spins, throbs and penetrates anyone needing sexual release.

They are ruled by a doctor in a white lab coat (Juliette Binoche). She dispenses pills in exchange for sperm samples from the men, and use of the women’s wombs. She calls herself a shaman who wants to create life in outer space. Only Monte, nicknamed the Monk, refuses to participate. But far from placid and cooperative, an atmosphere of violence and sexuality hangs heavily over the voyage. It turns out these astronauts were chosen for their good genes inside prisons back on Earth, where they were serving life sentences for violent crimes. What will happen to them?

High Life is an unusual and fascinating space fantasy like few movies you’ve ever seen. Instead of flashing lights, laser beams or robotic mechanicals, this movie stresses bodily fluids – with semen, breast milk, drool, and unexplained pools of milky white discharge spilling onto the metal floors. It shifts from sex and violence to warm scenes of family bonding. The cast is uniformly amazing from the stoic Pattinson to the witchlike Binoche.

I’ve seen High Life twice now, and I liked it even more the second time. Claire Denis is a genius.

The Grizzlies and High Life both open today in Toronto; check your local listings. Une Colonie is showing as part of Cinefranco’s Tournée du Quebec.

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

When I grow up… Films reviewed: Fighting With My Family, Never Look Away

Posted in 1930s, 1940s, 1950s, 1960s, Art, Biopic, comedy, Communism, Disabilities, Germany, Nazi, Sports, UK, Women by CulturalMining.com on February 22, 2019

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

One question every kid hears is What do you want to be when you grow up? When I was three I wanted to be a fire truck. But how many stay true to their earliest ambitions? This week I’m looking at two movies about people who stick to their childhood passions. There’s an historical drama from Germany about an aspiring artist and a biopic from the UK about a perspiring wrestler

Fighting with My Family

Wri/Dir: Stephen Merchant

Saraya Knight (Francis Pugh) is a thirteen-year-old girl in a working-class neighbourhood in Norwich. Her mom and dad (Lena Headey, Nick Frost) run a business: the WAW, or World Association of Wrestlers. But like everything else in that world, it’s a bit of an exaggeration. They have one gym where they train local kids to wrestle, and take their family’s matches on the road in their shiny white van. Her life is fully immersed in the sport. Black haired and petite, Saraya uses black eyeliner and dresses in heavy metal gear. She has posters of her wrestling heroes on her wall and even made her own championship belt out of cardboard. But she has one problem: she chokes under stress.

So her big brother Zack (Jack Lowden) takes her into the ring and teaches her how to wrestle. He is her sparring partner, and they soon become an accomplished tag team. She’s a natural. But they have bigger ambitions: to be make it to the top. So when the WWE is coming to the UK they sign up for the tryouts. This is Zack and Saraya’s one chance to make it big. The auditions are led by Coach (Vince Vaughan) a hard-boiled veteran who takes no prisoners. Will Zack get in? And will he take Saraya with him? Turns out, Coach chooses her, not him!

Suddenly she finds herself in Florida surrounded by palm trees, suntans and bikinis while Zack is left in Norwich taking care of his new baby. Saraya — now called Paige — is overwhelmed by the gruelling, boot-camp workouts and the loneliness she faces. Zack feels abandoned so he cuts her off. And the fledgling wrestlers she’s paired with are all former models, dancers and cheerleaders… who don’t know how to wrestle. Professionals finesse their jabs, throws and punches so they don’t hurt so much.

Her parents and all the kids at the gym back home are rooting for her, but Paige is filled with doubt. Can the little “freak from Norwich” ever make it in pro-wrestling?

Fighting With My Family is a very cute, palatable and easy-to-watch comedy biopic, about the real female pro wrestler known as Paige. I have to admit I knew next to nothing about pro wrestling before I watched it.

What did I learn? That this sport is “fixed”, but it’s not “fake”… the wrestling part is real, and it can really hurt. That it’s a theatrical performance, much like a circus. That you have to win over an audience if you want to make it. And that your persona, while a big exaggeration, has to have some truth in it or no one will believe it. The movie is filled with salty language but no sex or violence (except in the ring). Pugh and Lowden are great as the brother and sister. Yes, it’s predictable and sentimental and I’m not going to call it a “great movie”, but I had a good time watching it.

Never Look Away (Werk Ohne Autor)

Wri/Dir: Florian Henckel von Donnersmarck

1937, Germany.

Little Kurt, with his aunt Elisabeth (Saskia Rosendahl), visits an exhibition in Dresden filled with avant-garde art. He loves the beautiful colours of fauvism, the strange distortions of cubism, and challenging images by Grozs, Kandinsky, Mondrian. But is he too young to understand the art show was put on by the Nazi government to condemn this art as bad and “degenerate”? No, he understands perfectly what they’re saying, and rejects it all.

But he listens to his aunt when she warns him to keep his drawings secret. Later, when the lovely but eccentric aunt has a strange episode they lock her up in a mental hospital. While she is there, top-ranked Nazi doctors decide to throw away not just “degenerate” art but imperfect people. Anyone with a mental illness, physical disability or a developmental handicap is sent to the gas chambers. Doctors write either a blue “minus” (keep) or a red “plus” (kill) on their files. This includes Elisabeth, condemned to death by a top Nazi gynecologist (Sebastian Koch).

Later, after the war, Kurt (Tom Schilling) is accepted into the Dresden Art Academy. But now his talent is stifled by the communist government who only want him to paint socialist realism: stern men and rosy-cheeked women harvesting wheat as they stare toward a brighter future. At the academy he meets the kind and beautiful Ellie Seeband (Paula Beer), and wins her heart. Even under communism, Ellie is a “golden pheasant” from a rich, high-ranked family. They fall in love and meet for secret trysts. But when her parents come home they have to be extra cautious. While her mother is sympathetic, her father, Professor Karl Seeband, tries his best to break them up. But what no one realizes, this professor is the same doctor who sent Kurt’s aunt Elizabeth to her death!

Kurt and Ellie eventually make it to West Germany, where he joins the prestigious art academy in Düsseldorf, and lands a private studio to create the art he really wants to make. The art professor tells him his work is good but not yet special, but he still detects the talent hidden there. Will Kurt ever find his true calling? Will Seebald’s hidden war crimes be exposed? Can Ellie emerge from beneath her oppressive father’s shadow?

Never Look Away is an epic, fictionalized drama about the life of a well- known artist, spanning German history from the Nazi era, to the communist east, and to the changes in the west in the 50s and 60s. It stars some of Germany’s biggest names: tiny Tom Schilling with his high-pitched voice is still playing young men in his late thirties (and he’s great as Kurt). Paula Beer (Transit) is sweet as Ellie, Sebastian Koch is suitably sinister as the hidden Nazi Zeebald, and Saskia Rosendahl (who was amazing in Lore) once again wins as Elisabeth. The cinematography and music are all wonderful. But something seems missing from this huge drama.

At one point Kurt makes an interesting point: Take six random numbers. On their own they have no meaning. But if they are the winning numbers on a lottery ticket suddenly they become important and beautiful. I went into this movie blind, knowing nothing about it. While watching it, I kept thinking what’s the big deal about Kurt? But when he starts experimenting with smeared, black-and-white, photorealist paintings, I thought, wait a minute, those look like Gerhard Richter’s paintings! And suddenly the movie makes sense. It becomes a winning lottery ticket. Not a perfect movie – not as good as this director’s Lives of Others – but definitely worth watching.

Oscar nominee Never Look Away and Fighting With My Family both open today in Toronto; check your local listings.

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

Popcorn Movies. Films reviewed: Cold Pursuit, What Men Want, The Prodigy

Posted in comedy, Crime, drugs, Horror, Psychology, Sex, Snow, Sports, Thriller by CulturalMining.com on February 8, 2019

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

It’s the middle of winter, and all the highbrow pics have been released. So this week I’m looking at regular, popcorn movies – a comedy, a revenge thriller and a horror movie. There’s a psychic sports agent looking to land a killer client, a man out to find his son’s killers… and a young couple worried their 8-year-old son might be a killer himself.

Cold Pursuit

Dir: Hans Petter Moland

It’s winter at a ski resort in Colorado. Nels Coxman (Liam Neeson) is the town snowplow driver, clearing the roads for drivers from nearby Denver. He lives a respectable unremarkable life with his wife Grace (Laura Dern) and his snowplows. But his life turns sideways when their only son turns up dead from a drug overdose. At least that’s what the police detective (Emily Rossum) says. But his son doesn’t do drugs. Turns out he accidentally disrupted a drug deal involving lots of cocaine.

Nels decides to take the law into his own hands, work his way up the chain of command and get revenge on the criminal ultimately responsible for his son’s death. On the way Nels kills and disposes of each man he meets. The head gangster is Viking (Tom Bateman) a detestable, effete millionaire whose lackies all look like models in fine suits. His territory is split with an aboriginal Chief named White Bull (Tom Jackson) of the Ute Nation. But when dead bodies show up, Viking thinks his indigenous rivals, starting a major drug war. With a kidnapped boy, the local police, the Feds, and Nels himself all converging on a single spot, who will survive the ultimate showdown?

Cold Pursuit is an exact, scene-by-scene remake of the 2016 Norwegian film In Order of Disappearance. Same director, same stunning snow scenes, but this time shot in Canada, not Norway, and the script is in English. I’m not a big fan of Liam Neesen action movies, but he plays this part perfectly: the single-minded revenge killer out for blood. It’s bloody, it’s violent and while somewhat comic, it seems to be missing the sardonic, Norwegian irony of the original.

But I still liked it.

What Men Want

Dir: Adam Shankman

It’s present day Atlanta.

Ali Davis (Taraji P. Henson) is a manager at Summit Worldwide a highly competitive pro-sports management agency. She’s an alpha dog in an all-male office. Her dad (Richard Roundtree), a former boxer, raised her to be a winner in both her work and her private life. When she takes men home for the night she’s always on top. She’s ambitious and self-centred. And with her gay personal assistant Brandon’s help (Josh Brenner) she’s close to landing a huge client – Jamal a star college basketball player. But she still can’t break through the glass ceiling and make full partner.

Until… her life changes after a party with her closest girlfriends when a psychic gives her a secret potion, and later that night she gets bonked on the head by a huge inflatable penis. When she comes to, she realizes she has a new secret power: she can read men’s minds. Suddenly a whole world is open to her, with all its potential benefits. Like finding out if a guy she’s crushing on has a thing for her. Or what men say to each other when women aren’t around. And where those men-only poker games are taking place. Is this new power the key to her success? Can she penetrate the locker-room bro culture that is holding her back? Can she turn a one night stand with single-dad bartender Will (Aldis Hodge) into a real relationship? Or is all this ESP stuff less of a blessing than a curse?

What Men Want is a remake of Mel Gibson’s comedy from 20 years ago, but with a role reversal. If you’re into pro sports and TV comedies there are tons of celebrity cameos to keep you happy, from Shaquille O’Neal, Jason Jones, Tracy Morgan, Pete Davidson, Mark Cuban, and many, many others. Eryka Badu is great as the psychic, and Taraji P. Henson – who starred in Hidden Figures – carries the show as Ali. But is it funny?

It’s OK, but not that funny. It’s disturbingly full of product placements in almost every scene. They could have done so much more, but in this movie a black woman who reads minds finds out white men may be sex obsessed, devious, condescending and insecure, but none of them are actually racist. (“Yay! — no one’s racist!“) It does talk about the problems inherent in pro sports, but steers away from bigger issues just begging to be addressed. This movie may be facile, safe and predictable, but I enjoyed it anyway.

The Prodigy

Dir: Nicolas McCarthy

Sarah and John (Taylor Schilling, Peter Mooney) are a young married couple in suburban Pennsylvania with a gifted son. Miles (Jackson Robert Scott) seems older than his years. He spoke his first words after just a few months, and at age eight is excelling at a school for exceptional students. And he has an angelic smile he shows his mom and dad. But there’s something not quite right about him. He seems to speak an exotic language in his sleep. And people nearby keep having strange accidents, which Miles claims he knows nothing about.

But when he violently attacks another boy in science class, his parents are disturbed. A specialist named Arthur (Colm Feore) says there might be someone else controlling Miles from somewhere deep inside him. Is he possessed by Satan? Does he have a split personality? Or is it something else? And what is little Miles’s connection to a notorious serial killer with a fetish for cutting of women’s hands? Sarah doesn’t know exactly what’s behind Miles strange behaviour but decides it’s time to act… before it’s too late!

If you like extremely scary horror movies, this is one to see. A disturbing Bad Seed-style story of a parent’s worst nightmare: that their nice kid might actually be evil. Taylor Schilling (Orange is the New Black) is totally believeable as the mother, and young Jackson Robert Scott is extremely creepy as Miles – watch out for him. I still have shivers in my gut.

The Prodigy is classic horror.

Prodigy, Cold Pursuit and What Men Want 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.

Daniel Garber talks with Michael Del Monte and Janae Marie Kroczaleski about Transformer

Posted in Bodybuilders, Canada, documentary, Family, LGBT, Sports, Trans, Women by CulturalMining.com on October 19, 2018

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

Photos by Jeff Harris.

Janae Marie is a Michigan pharmacist, originally from Ypsilanti, divorced with three sons.

Matt was a high school football player, a former marine who rose to fame as a competitive bodybuilder and power lifter. What brings the two together?

Jenae used to be Matt.

She’s a transwoman facing the unusually difficult transition from titanic 250 pound man into her current status. This transformation is documented in a new feature film called Transformer.

The documentary is directed by Toronto native, award-winning filmmaker Michael Del Monte.

It follows Janae both at home with family and friends, and inside the hypermasculine world of competitive weightlifting. It shows her life both as Matt and as Janae while she makes the difficult decisions and myriad changes faced by all trans people, as well as those unique to her world. Transformer is an eye-opening, surprising, touching and always respectful movie.

I spoke to Janae Marie Kroczaleski and Michael Del Monte on location during Hot Docs.

Del Monte’s Transformer won the won Hot Docs Emerging Canadian Filmmaker Award and the Rogers Audience Choice Award for Best Canadian Doc. It starts its theatrical run today.

Bro Movies. Films reviewed: Bigger, First Man, Free Solo

Posted in 1930s, 1960s, Biopic, Bodybuilders, documentary, Montreal, Movies, Space, Sports by CulturalMining.com on October 12, 2018

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

It’s Fall Film Festival season in Toronto now, meaning more movies than you can shake a stick at. Toronto After Dark will thrill and chill you with horror, cult and fantasy pics. Cinefranco brings brand new French language comedies, dramas and policiers from Quebec and Europe. And Rendezvous with Madness plays fascinating films accompanied by panel discussions on addiction and mental health.

But this week I’m talking about bro films, two biopics and a doc about men with lofty goals. One wants to climb a sheer cliff, another wants to build the perfect body, and a third one who just wants to fly to the moon.

Bigger

Dir: George Gallo

Joe Weider (Tyler Hoechlin) is a poor jewish kid in depression-era Montreal. On the streets tough kids beat him up and steal his paper route money, and at home his cruel mom beats him for not keeping clean. At least his little brother Ben (Aneurin Barnard) looks up to him. Joe finds inspiration in unusual places: a strongman at the circus and photos of weight lifters he see at newsstands. He begins to obsessively draw pictures of perfect male bodies, copying from textbooks at the McGill library. He wants to promote beautiful physiques, bodies that are muscular, symmetrical and healthy. But fitness for health and looks is still a new concept. In those days people guzzled booze, smoked like chimneys, and thought exercise was a dangerous thing best left to olympic athletes.

Weider challenges all that with self-published magazines, promoting new exercises, diets and weight training, illustrated with glamour shots of barely-dressed muscle men. It’s a smash hit, he gets a US contract and Joe and Ben’s empire expands to bodybuilder contests, weights, and a wide range of magazines. And when business takes him to Hollywood, he spots a bleached blonde pin up model working out at Jack LaLanne’s gym.  Betty (Julianne Hough) is everything he desires: beautiful, fit and smart (he is separated from his first wife). Is this true love? Later he discovers Austrian bodybuilder Arnold Schwarzenegger – the personification of his childhood drawings – and brings him to America.

Bigger is a fun, if idealized, look at the life and career of Canadian fitness mogul Joe Weider. It’s a bit corny, with Montreal-born Joe talking in an unplaceable, choppy accent. And it steers clear of his lawsuits and scandals. But Hoechlin and Hough are enjoyable as Joe and Betty, and there’s even a super villain, a racist, anti-semitic homophobe named Hauk (wonderfully played by Kevin Durand) who is his business rival and real-life enemy. Not a great movie, but an enjoyable one.

First Man

Dir: Damien Chazelle

It’s the 1960s in America, the space race is on, and the Soviets are winning. Neil Armstrong (Ryan Gosling) is a test pilot exploring the skies. He can land any plane, even one about to explode. He’s married to Janet (Claire Foy), a pixie-ish woman with a fierce temper. They have a young daughter they both love. But when the girl dies of an incurable illness, and Neil loses his job despite his skills they know things have to change. So Neil makes a big decision: NASA needs astronauts, and he’s going to be one. They move down to Houston and settle in to suburban life.

First Man follows the career and home life of the renowned astronaut, from Gemini missions, to Apollo’s first landing. Armstrong is portrayed as a strong silent type, a no-nonsense guy who drives off alone to handle anger and depression. It also deals with astronauts and their uncertain lives (lots of them died). And director Chazelle makes you feel like you’re there with them in the planes and rockets. He even inserts showtunes into his astronaut movie. (Wait — showtunes?)  So why didn’t I Iike it? First Man is too heavy, too long, too ponderous. It’s one of those overly stern and patriotic American movies about national heroes. And where’s the suspense? We already know he was the first man on the moon. What’s the point? Ok, there are a few powerful scenes, but First Man consists mainly of rattling cockpits, brooding astronauts and suburban housewives yelling about their husbands.

Ryan Gosling is wasted in this boring example of Oscar Bait.

Free Solo

Dir: Elizabeth Chai Vasarhelyi and Jimmy Chin

It’s 2016 and Alex Honnold has one obsession: to scale a sheer cliff in Yosemite. Mountain climbers have done it before in teams rapelling with ropes, pitons and caribiners. But Alex wants to do it “free solo”, that is, by himself and without safety ropes. One slip, one miscalculated reach, will send him plunging to his death. But he really wants to climb El Cap, and if it’s not free solo, what’s the point?

Alex is a boyish, wiry vegetarian who cares little for material things. He’s a loner who lives out of a trailer. He’s also in perfect shape, lithe, bendy and incredibly strong. He has to be to hold onto a crack in a rock with just a few fingers while stretching his body sideways to the next outcropping. He intensely studies the cliff, practicing each stage in separate small climbs using ropes. And he is accompanied by the filmmakers, who are accomplished climbers themselves. Alex proves to be a bit camera shy, hesitant to “let go” before the cameras. Is it performance anxiety? And will Alex make it to the top of El Capitan… or plunge to his death?

Free Solo is an amazing and spectacular look at one climber attempting the nearly impossible. I have no deep-seated passion for rock climbing – I even have a fear of falling – but this movie kept me riveted the whole time. Scenes that show Alex’s quirky nature and the people around him —  including other climbers, his family and his girlfriend – help give him a more rounded portrayal. But it’s the climb itself, and the truly amazing photography, that really keeps your attention.

Bigger, First Man, and Free Solo and 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.

Art and Sport. Films Reviewed: The Miracle Season, Final Portrait, PLUS Steve Reinke’s films at Images

Posted in Art, Canada, Death, France, Movies, Queer, Rural, Sex, Sports, Switzerland, Women by CulturalMining.com on April 6, 2018

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

Toronto’s Images, the International Festival of Moving Image Culture, opens next Thursday with Canadian and international video artists and filmmakers… featuring the work of Steve Reinke. This week, I’m going to talk about films by artists, and films about artists, with some sports thrown in, too. There’s an American volleyball team, a Swiss sculptor, and a Canadian video artist.

The Miracle Season

Dir: Sean McNamara

Caroline and Kelly have been best friends since childhood. “Line” (Danika Yarosh) is the always chirpy optimist who Kelly (Erin Moriarty) looks up to. Growing up in rural Iowa, they share their secrets amidst big barns and cornfields. In high school they play volleybal together. With Line as team manager and setter they win the State Championships. Of course the other team members, andtheir hard boiled coach (Helen Hunt) are important, but it’s really Line who leads the team to victory.

But the next year things take a turn for the worse. The team is dispirited and Line’s Mom has cancer. Then the unthinkable happens; Line dies in a crash. Kelly feels guilty, and so does Line’s dad Ernie (William Hurt) who used to throw team parties and boost the players. With no Line around to pull people out of their misery, the team slides to last place. They don’t even want to be happy – it’s disrespectful. It falls to Kelly to turn the team around. Can she do it, and will the team ever win again?

The Miracle Season is a nice movie about teamwork and overcoming loss. It has good acting and a conventionally inspiring story. “Nice” is the key word here. Based on a true story, it was made by permission of the charity founded by the Line’s father. So as you can expect, anything not super “nice” has been scrubbed from the plot. No sex, no violence here. They could show this movie at Bible Camp without raising an eyebrow. Which makes it a nice memorial for teammates and family members, but for the rest of us, it’s just a dull and predictable movie. But, like I said, it’s still nice.

Final Portrait

Dir: Stanley Tucci

It’s early 1960s. James Lord (Armie Hammer) is a young American living in Paris who writes biographies of well known artists. He’s friends with both Picasso and the Swiss-Italian sculptor Alberto Giacometti (Geoffrey Rush). Giacometti is famous for his sculptures of people with crusty and extremely elongated arms and legs. But he also paints. And one day he asks James to pose for him for a few hours. He sits down in Alberto’s studio dressed in khakis, navy blue sports jacket and shirt and tie. But the one-day painting turns into a project lasting days and then weeks, until no one knew if it would ever end. Each time he paints his face, Alberto rubs it all out and starts again. Meanwhile, various people in his life walk in and out adding colour to the story. His brother Diego (Tony Shalhoub) has seen it all before. His neglected wife Annette (Sylvie Testud) refuses to pose for him anymore. And his mistress Caroline (played by the delightfully-named Clémence Poésy) would rather go for a jaunt in their sportscar than just hang at the studio. Final Portrait has some fun parts, but basically this movie is 90 minutes of watching paint dry.

Steve Reinke

Steve Reinke is a queer Canadian artist and filmmaker, originally from the Ottawa valley but now based in Chicago. I’ve seen a lot of his films in the past 20 years, but for the first time I spent last night binge-watching them all together (which is quite an experience).  If you’ve never seen Reinke’s stuff before, you should.

He’s been shooting films and videos that chronical his life, his thoughts, aesthetics, and interests — both intellectual and sexual – beginning in the late 1970s and continuing till now. And unlike a lot of gallery video artists, his films are never boring. (This is important.) Like porn, a Reinke film is hard to define, but you know it when you see it. (But that doesn’t mean you’ll understand it.)

Taken at face value, his collection is an ongoing, partly-fictional memoir told through video art (predating blogs and youtube by decades). His images are partly found footage/partly original, narrated both by voice and by titles. Take What Weakens the Flesh is the Flesh Itself, a recent film he made with James Richards. The film alternates grotesquerie with erotica and mundaneness, with the edges sometimes blurring among the three. Grotesque as in a dead piglet; mundane, like a naked man eating grapes or an ice fishing hut shot with a distorted, fisheye lens; erotic like a poisonous snake having its venom extracted in a laboratory. The film begins with photos by the late German photographer Albrecht Becker. He was imprisoned in Nazi Germany for his sexuality. His work consists of photos of himself reduplicated with an imaginary “twin”. Over time, as his photos become more stylized and experimental so does his body, which gradually transmogrifies — before still cameras — into a work of art using tattoos, body modification, and a whopping-big metal thing hanging from his scrotum. (Ouch!)

Reinke’s flms are transgressive and a total mindfuck. Like he’ll show you an alien monster with pointy ears making out with a faceless, sexless human, encased in a skintight black PVC outfit. And then later he’ll show an unborn dead calf being pulled from a cow’s belly with the same black shininess.

This is weird stuff, alternating between jarring pictures of sex and death overlayed with anodyne intellectual musings. Who else would compare Casper the Friendly Ghost to Wittgenstein? What other filmmaker offers a film called Anal Masturbation and Object Loss that’s actually just Steve Reinke pasting the pages of an academic psychiatric textbook together? Or show thousands of unidentified military photos before telling you this: [SPOILER ALERT] these are pics of all the American military casualties of the Second Gulf War arranged in order of attractiveness. Shocking stuff.

It all feels like you just watched a story, but one arranged with enough sudden changes and musical distortion that you’re not seduced into it. Steven Reinke’s films leave you disturbed and unsatisfied but you don’t quite know why.

Films viewed:

What Weakens The Flesh Is The Flesh Itself (2017)

Atheists Need Theology, Too (2016)

Joke (Version One) (1991)

*Watermelon Box (1990)

*Michael and Lacan (1991)

*Room (1991)

*Barely Human (1992)

Anal Masturbation and Object Loss (2002)

Squeezing Sorrow From an Ashtray (1992)

Hobbit Love is the Greatest Love (2007)

A Boy Needs a Friend (2015)

*not included in Images series

The Miracle Season and Final Portrait both open today in Toronto; check your local listings. And Steve Reinke’s films are showing at Toronto’s Images Festival — featured in its Canadian Artist Spotlight series — beginning next Thursday. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

%d bloggers like this: