Daniel Garber talks with director Patrick Reed about his new documentary Guantanamo’s Child: Omar Khadr

Posted in Afghanistan, Canada, Cultural Mining, documentary, Movies, Prison, Suspicion, Taliban, Terrorism, Torture, US, War by CulturalMining.com on January 9, 2016


Patrick Reed, Guantanamo's Child: Omar KhadrHi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Omar Khadr was a Canadian kid born in Toronto into a controversial family. He was captured in a firefight in Afghanistan at a militant camp. A US soldier was killed and Omar, as the sole survivor, was blamed for his Patrick Reed, Guantanamo's Child: Omar Khadrdeath. Labelled a terrorist, he was sent to a prison in Cuba at the American military base known as Guantanamo. He was the youngest inmate there and reached maturity as Guantanamo’s Child.

Guantanamo’s Child is also the name of a new KO79nx_GUANTANAMOSCHILD_01_o3_8887721_1449615152documentary about Omar Khadr’s stay in that notorious prison. Partly based on Michelle Shephard’s book, the film chronicles his and his family’s lives from his early years in Toronto, his stay in Pakistan and Afghanistan, the decade spent in Guantanamo, and his status today back in Canada. The film premiered at TIFF15 and is now playing in Toronto as part of the Canada Top Ten Film Festival.

I spoke with the film’s award-winning co-director, Patrick Reed, in studio.

War and Filmic Vocabulary. Movies Reviewed: The Christening, Essential Killing. PLUS Cold Fish, Images Festival

It’s funny how current events can change our whole filmic vocabulary, adding new concepts and words to make images that would have made no sense a decade ago instantly recognizable on today’s movie screens.

Most people immediately think of technology — ipods, digital pics, texting, on-line dates — as the biggest recognizable changes. But,  unfortunately, some of the biggest stretches of our visual vocabulary is in images of war, violence and death.

During one of the darkest periods in American history, that started less than a decade ago following 9/11 (and doesn’t seem to have finished), the Bush/Cheney administration started a “war on terror”. Countries were invaded, bombs dropped, and a huge number of suspects were arrested, jailed, tortured or killed. In general, these horrific events were kept away from American soil, but done by Americans under direct orders from the government. They also introduced new words and concepts into our vocabulary, that previously might only have been used in horror novels.

Clandestine prison camps, known as “Black Sites”, were set up across Europe and the Middle East. Undocumented suspects, who were sent there to be tortured or interrogated, were called “Ghost Detainees”. One of the torture techniques, in which detainees were made to repeatedly suffer the sensation of death by drowning, is now widely known as “Water Boarding”. And the black hoods put over prisoners (used in Abu Ghraib) are also instantly recognizable.

Canada has also morphed into a nation at war, without consciously deciding to make the change from peacekeeper to bomber. We’re fighting on two fronts now. So today I’m looking at some new movies from Poland (a country that has certainly seen more than its fair share of wars) that examine how war and violence has infiltrated daily lives.

The Christening
Dir: Marcin Wrona

The movie opens with a soldier, face covered, being chased down by cops who beat him up, and arrest him for unknown reasons. Then flash forward – Janek (Tomasz Schuchardt) is visiting his army buddy and best fishing friend, Michal (Wojciech Zielinski). They’re together again to guzzle vodka and do Maori war chants. When they go fishing, they use their old military experience – throwing grenades into a lake — to blow up as many fish as they can. Nice guys!

Everything seems great for Michal: he has a good job, a beautiful wife, Magda (Natalia Rybicka) – he says they met in a hospital when she stitched up a cut on his brow — and a little baby. He’s gone straight: he even offers to help his friend out. But Janek, he’s happy just getting drunk, carousing with his buddies. He doesn’t want an office job – he makes good cash stealing cars and stripping them down for parts.

But there’s a problem — Michal seems to be hiding something. Someone’s putting pressure on him, and he’s showing up with a black eye, or beaten-up body. Janek doesn’t understand what’s happening — if there’s a problem he should tell him – he’ll just beat the guy up. Janek still likes a good brawl. Meanwhile, Magda is sure everything is Janek’s fault. He’s dragging her husband into the gutter. Maybe Michal owed something to his army buddies, but she doesn’t owe Janek anything. But her husband’s dark secret – one of betrayal and duplicity – makes Michal feel both guilty and trapped.

So he sets up a scheme to exit from his problems after the baby’s christening. He thinks he’s doomed there, but maybe his best friend can replace him in his home.

Will Janek stick by him? Who’s the criminal here? The cops or the thugs? Where does a person’s loyalty really lie? And how far will you let it go?

The Christening is an extremely – I’d say excessively — violent movie. I get the feeling the director was influenced by directors like Quentin Tarantino, but in all the wrong ways. Characters, like the gangsters’ boss, Fatman, who behaves like a sadistic killer, seem to be there just for titillation. So lots of horrible, gory, senseless, over-the-top fighting, but almost no humour (only melodrama) to lighten the mood.

Essential Killing
Dir: Jerzy Skolimowski

Mohamed (Vincent Gallo), a militant hiding out in the smooth caves of a lunar landscape (Afghanistan?), is startled to hear two American marines approaching in desert storm camouflage and beige burnooses. He pulls out his weapon and Boom! Ratatatatat! He ambushes the soldiers. Mohamed runs out into the sun to escape, but is taken down by helicopters and more special ops soldiers.

So now he’s taken away to some unidentified place (a black site) where he’s placed on his back, screamed at in English (he can’t hear after the explosions) and then waterboarded. Next, he’s off with other prisoners on some snowy forest road – looks like Canada – and there’s an accident. He gets out of the truck, grabs a gun and starts a long, painful, and violent trek trough the woods of rural Poland, pursued by US Special Ops and helicopters.

It becomes almost like a fairy tale or a picaresque novel, but with a violent streak running through it. He encounters a stream of characters — like a huge-breasted woman on a bike with a baby, a friendly black and white dog, some drunken wood cutters,  a deaf-mute woman who lives in a cottage in the forest who tends to his wounds, and a pale white, broken horse — as he tries to escape, survive, and get away. He climbs snow covered banks, slides off cliffs into rivers, hallucinates after eating poison berries, and conceals himself using the changing costumes he finds or steals on his journey.

Essential Killing was directed by Skolimowski, who was one of the dialogue writers on Polanski’s Knife in the Water, but this movie has almost lines at all. It’s not silent, but with both Mohammed and the US soldiers far from their own homes, they can’t understand each other. The locals around the Dark Site talk a bit but about nothing in particular. This is an aesthetically beautiful, though bloody, art movie – one of very few “action/art” films. I’m not a big fan of Vincent Gallo, but he is fantastic in this as a silent pilgrim, alternately Christ-like and psychotic.

This is an unexpectedly amazing movie — just be aware it’s not a conventional, Hollywood-style film.

And, just in case this isn’t enough violence for one weekend, the Japanese horror film Cold Fish also opens today. You can read my whole review but just let me say, it is the most hellaciously bloody, gory, horrifyingly abusrdist exploitation movie I’ve ever seen. And it left me physically shaking by the time I walked out of the theatre, after its orgyistic tsunami of sex, blood, serial killing and cannibalistic outrages that In a few days transform the life of a mild-mannered tropical fish salesman, to a victim and potential participant in this ultimate sex blood flic.

The Christening played last year’s TIFF, Essential Killing and Cold Fish are opening today, April 1, 2011 in Toronto. Check your local listings. And keep your eyes open for Toronto’s Images Festival, which is on right now. Toronto’s Images Festival — an exhibition of film and art, experimental and independent — is the largest one in North America to feature moving images and media art both on the big screen and in gallery installations.

This is Daniel Garber at the Movies for CIUT 89.5 FM and CulturalMining.com.

Lives of Girls and Women. Movies reviewed: Acts of Dishonour, The Kids are Alright, Hey Hey it’s Esther Blueburger

This week I’m talking about the lives of girls and women.

I’ve said it before and I’ll say it again – there are way too many movies that use female characters only as walk-ons, tokens, eye candy, the straight man for joke scenes. This isn’t an isolated phenomenon, there really has been a slide from when movies had male and female characters, to now, where there are male characters and their female appendages.

There’s a fun technique some people use now, to decide whether or not a movie can be said to be a movie with women in it. It’s called the Bechdel Rule, named after the cartoonist and graphic novelist Allison Bechdel. And the rule is: does the movie have two female characters? Do they ever talk to each other? And when they talk, is it about something besides a man? It’s surprising how uncommon movies passing these three rules are. So let’s look at some that definitely pass this test.

“Hey Hey it’s Esther Blueburger”

Dir / Wri: Cathy Randall.

12 year old Esther (Danielle Catanzariti) lives in Adelaide, Australia, with her eccentric, computer geek twin brother and her nice, middle-class, but detached, parents. She goes to a private girls school in pigtails, a plaid skirt, shirt and tie, and an old fashioned straw hat. She looks like a Jewish Anne of Green Gables, but with black hair, not red. She’s a bit of an outcast in this hierarchical, conformist, school of rules, bullies and guards, and she has no friends, except her brother and a little duck she adopts.

She sits in a toilet stall and asks, Are you there God? It’s Me Margaret… I mean Esther. So she hangs out near a public high school built on the grounds of an old zoo, looking in at the kids who get to do dancing and karate and drumming instead of singing in a choir.

When something terrible happens at her school, Esther rebels. She’s befriended by Sunni (Keisha Castle-Hughes), an older tough girl from the public school who lends her a spare uniform. Esther becomes a stealth student at another school. She tries new things, pierces an ear, starts to wear makeup, express herself, creates a brand new personality. But at the expense of her truer, better self?

“Hey, Hey It’s Esther Blueburger”, is a nice, cute, coming of age story, a sort of an Aussie Holden Caulfield about a young girl finding herself, and learning about the world. The movie doesn’t always work – it’s formulaic, and wavers from after school special, to light comedy, to fantasy, to more serious drama – but I enjoyed it. It’s also really well made – what’s with these Australian movies? One made in North America would just churn out something like this as a cheap knock-off; but the Australians put so much work into the look of this movie, with stylized, almost choreographed scenes, repeating colour images, running visual themes… the art direction is noticeably superior, and the editing, direction, everything, are all really good. And Catanzaritti is terrific (if sometimes too terrific) as a young girl growing up.

“The Kids are All Right”

Dir: Lisa Cholodenko

…is a real honey of a movie. It’s about a nice Southern California family, with two kids, Joni and Laser, and two mommies, Nic a doctor, and Jules, a housewife. Both kids have the same anonymous donor as their biological father, with each mother giving birth. So… as part of their agreement, the sperm bank keeps a record of the donor, and when Joni turns 18, she decides to initiate contact, mainly because 15-year-old Laser wants a chance to meet his dad. That’s where the plot thickens. All of their lives are suddenly disrupted with the introduction of Paul. Let me say who’s playing whom, so you can get an idea of this movie: Nic and Jules is Annette Bening as the uptight doctor, in maybe her best role ever; Julianne Moore, going against type, as an insecure, bumbling, apologetic mum; and Mia Wasikowska (who was Alice in Wonderland) as the gentle Joni. The third wheel dad/sperm donor is Mark Ruffallo, a motorcycle riding, college drop out, organic farmer restauranteur, who hits on every pretty woman he sees – quite successfully, it seems. He’s a do-er. He’s still the 19 year old sperm donor, but in his 40’s now, and suddenly wants to settle down and fly right… sort of.

Normally I’m not a big fan of light family dramas, but this movie has such good acting, is so funny, is such a good story – I really liked it. And it wasn’t actors playing roles, Nic and Jules really are this middle class married lesbian couple, with all their quirks and foibles and embarrassing squirmy personality traits — like they get off watching gay male porn! — that transcend the usual stereotypes, but let a few choice ones in, too. Great movie!

Act of Dishonour

Dir: Nelofer Pazira

A much graver story, Act of Dishonour is a Canadian movie that takes place in a polyglot and diverse Afghan village, a village at peace. Mejgan, played by Nelofer Pazira who also wrote and directed, is a woman returning to Afghanistan to find out about her past, and also to work on a Canadian movie being shot there. The Hazera are returning to the village as well, as are people who had fled to the west, to Kabul or to Iran, or are returning from a Taliban prison. And members of the Taliban still live there too. Kids are being educated again, allowed to watch animated movies at school, buut women are still kept sequestered away.

Meanwhile, a pretty, 15 year old girl who dresses in red and weaves and dyes cloth behind the clay walls of her home, is hoping to get married soon, and she sometimes sees a boy her age who she would like to marry, but needs a burqa to wear to her wedding. So Mejgan makes a deal – she’ll give her a bright purple burqa if the girl agrees to appear in a movie scene.

Here’s where the subtle irony comes in: A decade ago, Pazira starred in a great movie about the oppression of women in Afghanistan, called “Kandahar”. In that movie the burqa was a symbol of oppressed women and their lack of freedom. But in this village it’s a symbol of honour, tradition and beauty.

The smug director, though, is set in his ways – there’s no way he’s going to play a part in this subjugation of woman – he will not give a woman a burqa! A day or two later the Canadians will be moving on to Kabul, but what are the consequences of what they’ve done?

Acts of Dishonour deals with the stubbornness of earnest Canadian visitors, the violence of the fundamentalists, the ethnic unrest, and the concept of foreigners versus locals, (which doesn’t necessarily mean westerners) and how even the appearance of sin or dishonour to a family’s name can lead to revenge, death, or even the threat of honour killing.

I’ve only seen two movies about contemporary Afghanistan – both involving Pazira – and together they give a good before and after view of the Afghan war, (not to say that it’s over now) bookends of a decade of conflict. It’s not a gripping thriller, or a melodrama; it’s a subtle film, nicely shot — stark cold, plain, realistic — that gives a glimpse into the lives of the people there and some of the intractable conflicts and violence they face. It makes a nice metaphor about Canadians’ generous, earnest intentions for Afghanistan… and how divorced from reality they sometimes end up being.

So there you are, three interesting movies — Canadian, Australian, and American — all with at least two female characters, who talk to each other, and not just about a man. That’s a solid “three” on the Bechdel scale.

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