Daniel Garber talks with Rama Rau and Laura Hokstad about Coven at #HotDocs23
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Do witches have green skin, pointy hats and eat babies? Or were they outspoken innocent women burned at the stake for their beliefs? Do they only exist in fairy tales and history books? Well, according to a new film, witches are alive and well and living in Toronto.
Coven is a fascinating and eye-opening documentary that follows the everyday lives of three creative witches — a singer-songwriter, a multi-disciplinary artist, and an art director — both in Toronto and as they 
explore their spiritual roots in Scotland, Romania, the US and the Caribbean, both now and deep in history. It’s written and directed by the noted documentarian Rama Rau, famous for her work both on TV and on the big screen. I last spoke to her on this show in 2015 about The League of Exotique Dancers. Coven’s subjects include Laura Hokstad a queer, Toronto-based Art Director and Tarot Card Reader, who is also the host of the YouTube series on Rue Morgue TV called Terror Tarot.
I spoke with Rama Rau and Laura Hokstad in Toronto via Zoom.
Coven is having its world premiere at the Hot Docs 30th Anniversary Documentary Film Festival on Friday, April 28 at the TIFF Bell Lightbox.
S Movies. Films reviewed: Soft, Simulant, The Super Mario Bros Movie
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week, I’m looking at three new movies: one realistic, one sci fi and one fantasy. We’ve got three kids exploring Toronto’s underworld; a futuristic world where androids compete with humans for dominance; and a cartoon universe where plumbers on mushrooms battle fire-breathing turtles.
Soft
Wri/Dir: Joseph Amenta
It’s summertime in Toronto and three kids are making the most of their time away from Junior High. Julian (Matteus Lunot) has pink hair and likes brightly coloured clothes. He lives with Dawn (Miyoko Anderson), a sex worker. She helps him dye his hair to match hers, and gives him clothing and makeup tips, acting as a surrogate mother ever since his mom kicked him out for being gay. Otis (Harlow Joy) has to sneak away to have fun — he plays it straight when he’s with his bible-thumping dad. Tony (Zion Matheson) has a loving mom who accepts the three kids’ shifting genders and sexualities. The three of them splash around public swimming pools and explore the Scarborough Bluffs.
Their big goal? To sneak into a gay dance club to listen to the music, explore the lights and shadows, and maybe make friends. Of the three, Julian is the most street-smart. Closed windows and high walls are no barrier to getting where he wants to go, and his nimble fingers help him “find” wallets and credit cards — his only source of income. But after a 
night on the town, they discover Dawn went out the night before and never came home. Is she in trouble? Or in danger? So they set out to find her or what happened to her. But as things get more serious, cracks start to appear in their friendship. What happened to Dawn? Where will Julian go without her? And can the three friends stay friends?
Soft is a free-form look at three kids feeling their way through a judgemental (and sometimes dangerous) city as they navigate their own identities, sexualities and genders. Soft is tender and exuberant. It shows a realistic Toronto — a mix of races, classes and languages — while exposing the soft underbelly of its counterculture. Though a coming-of-age story, it’s not about intimate sexual experiences, it’s about self identity and friendship.
Soft is both rough and sweet.
Simulant
Dir: April Mullen (Badsville)
It’s the near future in an industrialized city, and robots and androids are everywhere. A young couple, Evan (Robbie Amell: Resident Evil, Code 8) and Faye (Jordana Brewster: Random Acts of Violence) have slept in separate bedrooms since recovering from a terrible car accident. Evan often wakes up to nightmares about the crash, but his memories are still foggy. Faye is depressed and keeps him at arms distance. Luckily, they still have a plastic robot who cooks them perfect pancakes each morning. But Faye thinks there’s a problem with the android, so she calls an expert AI programmer named Casey (Simu Liu) for help. But there’s nothing wrong with their pancakes. It’s Evan 
with the problem: he’s actually a 7th generation humanoid, (known as a Simulant) who looks, talks and acts exactly like her husband who died in the car crash!
His brain contains all of his memories and thought patterns; more like a clone than a robot. And he had no idea till now that he’s not the real Evan. So Casey volunteers to take care of him at his apartment building, while Faye adjusts to the concept.
Evan is agreeable to the fact, as he wants to win back Faye’s affections. Even though he knows he’s an android now, he still feels like he’s the real thing — that he possesses Evan’s soul — and still loves Faye. Simulants have thoughts and feelings identical to humans, yet they are bought and sold like slaves, and their masters can shut them down whenever they please, just by saying “shut down”… is that fair? Casey thinks it’s not; it’s his goal to secretly reprogram people with seventh 
generation artificial intelligence to set them free. But Kessler (Sam Worthington: Kidnapping Mr Heineken, Clash of Titans) a Blade-Runner-like enforcement officer, is out there trying to stop any simulant gone rogue. Which side will win? And what will happen to Evan and Faye’s relationship if he gains free will?
Simulant is a Canadian science fiction movie that plays with an interesting topic, especially now, with AI at the front of everyone’s mind. It’s the latest in a slew of films about almost-human humanoids — I’m Your Man, After Yang, Ex Machina, to name just a few — and I gobble this stuff up. So I like the concept. The problem with Simulant is it feels disjointed, and, for a thriller, it tends to drag. The aerial drone shots of industrial Hamilton are cool, and I like the rich art direction, but as a whole it doesn’t quite work. Like many science fiction movies, it’s hard to connect with the characters; we can watch them but don’t feel a part of them. Simulant isn’t bad, but, aside from a couple of genuine surprises, it just didn’t grab me.
The Super Mario Bros Movie
Dir: Aaron Horvath, Michael Jelenic
It’s 1985 in Brooklyn, New York.
Mario and Luigi are plumbers and business partners. They just opened their new company called Super Mario Bros, and they say they can fix any leaky pipe, anywhere. But business is bad. So to show their mettle they decide to tackle a huge explosion beneath the street that no one can fix. But deep in the sewer they both get sucked down a pipe, separated and ejected into two separate worlds. Luigi is locked up in a bird cage suspended over molten lava with only a nihilistic blue star to keep him company. They’re captive of cruel king Bowser, a giant, dragon-like monster in the land of turtles. Mario ends up in a much nice place filled with talking mushrooms. It’s ruled by Princess Peach, a human, just like Mario and 
Luigi. She decides to work with Mario and Donkey Kong (a gorilla in a nearby kingdom) to rescue Luigi and fight off Bowser’s invading army. But can anyone beat that scary turtle? And will Mario or Luigi ever make it back to Brooklyn?
Super Mario Bros: The Movie is exactly what the title promises: an animated reenactment of various classic Nintendo games, held together by a threadbare plot, wicked graphics and frequent jokes. I really love psychedelic images in this movie and its fidelity to the original games, both for its nostalgia value and its all-around coolness. I’m less crazy about the fact that much of the movie feels like a well-
produced infomercial, plugging an assortment of Nintendo products, from the original to Mario Kart. A significant portion of screen time is devoted to these characters actually playing their games! Is that why we go to movies now — to watch characters play video games? Don’t get me wrong, the images, music, sound effects and jokes were enough to keep me interested and happy; there’s just not much there, there.
Soft, Super Mario Bros, and Simulant all 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.
Current cinema. Films reviewed: Babysitter, A Thousand and One, Dungeons & Dragons: Honor Among Thieves
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week, I’m looking at three new movies, a drama, an adventure-comedy and a sex-comedy. There’s a gang of thieves in the Middle Ages, a middle-aged couple in Québec with a seductive nanny, and a mom in Harlem with an undocumented son.
Babysitter
Wri/Dir: Monia Chokri
Cédric (Patrick Hivon) is a middle-class guy in a Montreal suburb, with an obsession with women’s breasts. He’s happily married with a newborn daughter but his sex life has completely dried up. Maybe that’s why, in a drunken stupor at a UFC fight, he throws himself at a sportscaster on live TV and kisses her. His immortal words Je t’aime Chantal! went viral, and made Cédric famous, but not in a good way. Now he’s on extended leave as the company investigates his sexual harassment. But with a colicky baby, neither he nor his wife on maternity leave Nadine (Monia Chokri) are getting any sleep: the baby never stops crying. So they hire a nanny named Amy (Nadia Tereszkiewicz) to take over some of the pressures of parenthood. And she has a magic touch with the baby, calming her down in an instant.
Amy is 22 years old with beautiful blonde hair and scarlet lips. She is 
both innocent and seductive. And soon enough she has Nadine and Cédric under her thumb, with Jean-Michel, Cedric’s brother (Steve Laplante) close behind. But when she shows up the next day in a semi-pornographic “French maid” costume — compete with short skirt, white stockings and high heels — the three of them don’t whether to faint or explode. Will Amy save their marriage by releasing tension, or has she gone too far? Will Cédric ever learn from his misogynistic behaviour? Will Jean-Michel ever get a hold of himself? And why does Amy act like she does?
Babysitter is a funny and campy Québecois sex comedy. It’s done in the classic manner of French and Italian movies from the 60s where the arrival of an unexpected visitor disrupts a whole family, but updated for the “#MeToo” generation. It’s highly stylized done in a retro manner, 
with bright red colours popping up in every frame, from lipstick to poppies in the garden. And the main characters’ sexual fantasies are played out in soft focus in their heads, like David Hamilton’s softcore porn of the 1970s. There’s even a gratuitous scene with a group of teenaged girls in hot pants and roller skates gliding down a suburban street, a new generation thumbing its collective nose at uptight middle age. And while the movie seems to be shown through the male gaze, filmmaker Monia Chokri adds a satirical feminist subtext, keeping it entirely tongue in cheek.
A Thousand and One
Wri/Dir: A.V. Rockwell
It’s New York City in the early 1990s. Inez (Teyana Taylor) is a young hairdresser, just released from Riker’s. But when she goes back to her old neighbourhood, no one wants to talk to her and she can’t get her old job back. Worst of all, she is heartbroken to see her six-year-old son Terry maltreated by his foster parents. So one day she simply takes him away with her. And after a few weeks of couch surfing, they find a home in an old Harlem tenement, apartment number 1001. To keep them both safe from the law, she gets Terry a new social security number and a new name. He’s shy and rarely speaks but proves to be an excellent student, so much so his teacher helps him transfer to a highly competitive tech school for bright kids. Inez, meanwhile, gets back together with her boyfriend Lucky (William Catlett). Though he makes it clear he is not Terry’s father, eventually they marry and form a loving family. But life is not easy. They have to deal with an unscrupulous landlord, suspicious teachers and 
aggressive cops. And always hanging over their heads is the fact they’re living under fake names and could be caught at any minute.
A Thousand and One is a powerful, realistic and moving drama about the life of a family in Harlem in the 1990s and early 2000s. It’s both heartbreaking and inspiring. It traces their lives through changes of government, from Giuliani’s “Broken Windows” policy through Bloomberg’s “Stop and Frisk”, and how it affects Terry as a young Black man. It’s also a coming of age story, with three actors playing Terry at 6, 13 and 17 — Aaron Kingsley Adetola, Aven Courtney, and Josiah Cross — as he struggles through his best friend, his first crush, and his fractious relationship with his mother as they face the world. I love the period costumes, hair, locations and music. And Teyana Taylor is just amazing as Inez.
A Thousand and One is not a light movie, but it’s a good one.
Dungeons & Dragons: Honor Among Thieves
Co-Wri/Dir: John Francis Daley, Jonathan Goldstein
It’s sometime, somewhere far away in a mythical, mystical, medieval kingdom. Edgin and Holga (Chris Pine, Michelle Rodriguez) are former thieves locked up in a remote panopticon prison. They were caught trying to steal a magic totem but were double crossed by one of their gang. But they manage to escape. Now they want to form a new gang to pull off the ultimate heist: a charm that can bring Edgin’s wife back to life and restore his family including his daughter, Kira. Edgin is the brains, while Holga is the brawn, but they need more. They enlist Simon (Justice Smith) an insecure sorcerer with questionable powers (he earns his living picking pockets at a carnival side show.) Doric (Sophia Lilis) is a ginger-haired druid who can change, in a flash, into any animal she wants, from tiny worm to giant monster. And Xenk 
(played by Bridgerton heartthrob Regé-Jean Page) — an honest and noble member of an evil clan — agrees to join the heist but only if its for good reasons, not for profit.
But they must face their former ally Forge a con man (Hugh Grant). Up to now, he has taken care of Edgin’s little girl, but has since crowned himself King in alliance with a nefarious, all-powerful sorceress. To find his daughter, liberate the riches, and defeat the sorceress, the gang must first accomplish a series of nearly-impossible tasks, worthy of Theseus. Can this ragtag gang of miscreants pull it together? Or are they all headed back to prison?
Dungeons and Dragons: Honor among Thieves is a surprisingly entertaining adventure/comedy, based on the role-play board game of the same name. Players will delight in the more obscure references — from Gelatinous Cubes to Owlbears — but ordinary audiences can fully enjoy it without any background. It also incorporates the story-telling 
aspects of the game, giving the whole film a rich, mythical feel. I went into this movie expecting nothing — previous Dungeons & Dragons incarnations have been dreadful. I shouldn’t have worried about this nerd paradise, seeing its co-written and directed by none other than John Francis Daley, from the TV cult classic Freaks and Geeks (he was a geek, of course). If you like Game of Thrones or Lord of the Rings, but with more laughs and less excessive gore and ponderous speeches, then you’ll love this one.
Dungeons & Dragons: Honour among Thieves and A Thousand and One both open this weekend; check your local listings. Babysitter is playing at the Canadian Film Fest, on now.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Daniel Garber talks with Jason Logan and Brian D Johnson about The Colour of Ink
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
What do cephalopods, cavemen, and ancient Egyptians have in common? They all used ink, that amazing substance that predates both the written word and humans themselves. But what is it and where does it come from? A stunningly beautiful documentary called The Colour of Ink delves deeply into its history and usage, and explores it as an artistic medium in contemporary times. It follows artist, designer and 
illustrator Jason Logan, a Toronto-based ink maker, who concocts new colours from an astonishing variety of materials, many of which he forages in nature and creates in his home. The film traces those bottles of ink as they travel around the world — from Brooklyn to Tokyo to Mexico — as other artists incorporate them in their work.
The Colour of Ink is written and directed by renowned Toronto movie critic, writer and filmmaker Brian D Johnson. I last spoke with him at this station in 2015 about his previous documentary Al Purdy was Here.
I spoke with Jason Logan and Brian D Johnson in Toronto via Zoom.
The Colour of Ink opens across Canada this weekend, and Jason Logan is running a free, live, foraged ink event on March 25th, 2023 at the Centre for Social Innovation in Toronto.
Exposing secrets. Films reviewed: John Wick: Chapter 4, The Five Devils, Ithaka
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
This week, I’m looking at three new movies — an action film, a mysterious drama, and a documentary— from the US, France and Australia. There’s an assassin battling a secret organization, a little girl sticking her nose into hidden places, and a journalist jailed for bringing secret war crimes into the light.
John Wick: Chapter 4
Dir: Chad Stahelski
John Wick (Keanu Reeves) is a Belorussian assassin, under the control of a powerful, international cabal known as The High Table. He’s infamous for his relentless killing skills; he can wipe out an entire squadron with a just a pair of nunchucks. Wick wants out, but to do that he needs to be free. So he embarks on a complex series of tasks to complete before the Table frees him. In the meantime, The Marquis (Bill Skarsgård), the head honcho, wants him dead… so he gets Wick’s former best friend and partner to kill him.
Caine (Donnie Yen) is an expert martial arts fighter and shooter who happens to be blind. So Wick turns to another old friend, Shimazu 
(Sanada Hiroyuki) a hotelier in Osaka. Even though he could lose everything, he still agrees to hide Wick from the Marquis’ agents. Meanwhile, the marquis has put a multimillion dollar mark on Wick’s head, a reward that its steadily rising, letting loose an army of killers out for a quick buck, including a man with a dog known as the tracker 
(Shamier Anderson). Can Wick survive this army of killers? Or will this be his final showdown?
John Wick: Chapter 4 is nearly three hours of non-stop violence. The characters and storyline is strictly cookie-cutter, but the settings — in New York, Osaka, Paris, Berlin and Jordan — is vast and opulent. Every chamber has cathedral ceilings and gaudy rococo elegance. And the fight choreography is spectacularly orchestrated. The cast — including Laurence Fishburne, Ian McShane and the late Lance Reddick — are fun to watch. No one will call this a great movie, but if you enjoy endless fight scenes with hundreds of extras whether among the writhing bodies of a Berlin nightclub or in a traffic jam around the Arc de Triomphe, John Wick 4 will satisfy.
The Five Devils (Les cinq diables)
Co-Wri/Dir: Léa Mysius
Vicki (Sally Dramé) is a bright young girl who lives in a small village in the French alps. Joanne, her mom (Adèle Exarchopoulos) teaches aqua fitness, while Jimmy, her dad (Moustapha Mbengue) is a fireman. But Vicki has no friends, and is constantly bullied at school, perhaps because she’s mixed-race in a mainly white town (her mom is white, her dad’s from Senegal.) Vicki has a unique skill no one else knows about: she can identify anything or anyone purely by its scent. If she picks up a leaf she instantly knows what kind of animal bit it, and its size, age, even its feelings. And she can recognize people at twenty paces, blindfolded, just by their smell. Vicki starts finding things, and like an alchemist, puts them into jars, carefully labelling each one.
But when a surprise visit by her aunt Julia, her father’s sister (Swala
Emati), things start to change. There’s something in Julia’s past that has turned the whole village against her. When Vicki discovers how to harness her power of smell to travel, temporarily, back in time, she finds that she may have played a role in Julia’s younger life. But can she influence what already happened?
The Five Devils is a very cool French mystery/drama with a hint of the supernatural and a sapphic twist. The alps may be majestic but they hide a sinister past, and a stultifyingly provincial and xenophobic culture. This is conveyed in the large, tacky murals and oddly dated architecture that pops up everywhere. The three female leads Exarchopoulos, Dramé and Emati are amazing (with full points on the Bechdel test). Mysius is an accomplished 
scriptwriter who has worked with such luminaries as Claire Denis and Jacques Audiard. You can tell. And an unexpected twist at the very end will have you leaving the theatre with an extra jolt.
I like this movie.
Ithaka
Wri/Dir: Ben Lawrence
Twenty years ago this month, US- and British-led forces invades Iraq under the pretence of finding Weapons of Mass Destruction supposedly threatening the west. Nothing is ever found and over 200,000 civilians are killed, 4 million displaced, and the entire middle east thrown into disarray, leading to the rise of fundamentalists like ISIS, unrest and civil war from which, 20 years later, it has yet to recover. In 2010, army specialistChelsea Manning anonymously releases a huge trove of secret military files to Wikileaks, a website founded specifically to expose things like war crimes and corruption, without endangering news sources and reporters who cover them.
It’s founded by Australian journalist and hactivist Julian Assange. That’s when Wikileaks catches the world’s attention by exposing, 
on video, the US military gunning down innocent civilians in Iraq in cold blood, including Reuters journalists. None of the perpetrators of these — and countless other war crimes — ever served time, but Manning is arrested and jailed, while Assange is forced to seek refuge in the Ecuador Embassy in London. He is afraid that travelling to Sweden for questioning will lead to him being extradited to the US. His fears are correct, and he is later jailed in Belmarsh, a maximum security prison in London, awaiting deportation to the US on charges of espionage. He remains there today.
Ithaka is a personal and intimate documentary about Assange in jail in London during the trial, and the events that led up to it. Using original interviews and contemporary news reports, it fills in the blanks you may have missed. It also reveals the CIA’s involvement, including plots to murder him. The doc follows two people: John Shipton, Assange’s dad, and Stella Moris, his wife and the mother of their two sons. Shipton is an Australian house builder and peace activist. Moris is the Johannesburg-born daughter of Swedish and 
Spanish parents who were active in the anti-Apartheid movement. She also serves as his lawyer. Assange is off camera, but his cel phone voice is often present.
For a man like Assange, who has done more to expose government and corporate corruption than almost any other journalist today, to be charged with espionage and threatened with life in prison is a travesty of justice. His suffering and deterioration in solitary confinement is cruel and unusual punishment. If you want to learn more about him, or to show your support, Ithaka is a good place to start.
John Wick Chapter 4 and The Five Devils open in Toronto this weekend; check you local listings. Ithaka is now playing at the Hot Docs cinema.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Canadians coming of age. Films reviewed: Riceboy Sleeps, Golden Delicious, Brother
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Spring Film Festival season is revving up in Toronto, with Cinefranco, Human Rights Watch, The Canadian Film Fest and Tiff’s Next Wave rounding out March into April.
This week, I’m looking at three new Canadian coming-of-age dramas about sons or grandsons of immigrants. There’s a young man in Scarborough who worships his big brother, one in Vancouver who only has eyes for his new neighbour, and another kid in Vancouver who wonders why he doesn’t have a father.
Rice Boy Sleeps
Wri/Dir: Anthony Shim
It’s the early 1990s in British Columbia. So-young (Choi Seung-yoon) is a recent immigrant from Korea who packs and seals cardboard boxes in a factory. Her son, Dong-hyun (Dohyun Noel Hwang) is shy, nervous and wears thick glasses. She taught him to read and write Korean but he’s starting public school for the first time. The other kids — all white — are merciless, say his kimbap smells like farts, and mock everything from his face to his name. His teacher calls her in to change her boy’s name to something more “Canadian” — she gives her a list of approved choices. He asks his mother, why don’t I have a father? Ask me later, she says. But the next time anyone bullies you, say you know taekwando and punch them, hard. He follows her directions and gets suspended for violence.
10 years later, he’s a teenager (Ethan Hwang) who wears contact lenses and dyes his hair blond. His teacher tells all the kids to draw a family tree, but Dong-hyun has no one to include but his mother… and she was an orphan. Again, he asks his mom who 
his father was. She brushes his question off. While his mother is at work, he tries soft drugs alcohol and porn with a friend (Hunter Dillon — who also plays a best friend in Golden Delicious). But he still feels listless and unmoored. Meanwhile So-young has met a boyfriend (played by the director) and is considering marriage, until some shocking news makes her rethink her entire life… and Dong-hyun’s, too
Riceboy Sleeps is a lovely and poetic tale of a boy and his mother trying to fit in, while grasping at whatever’s left of their history. It’s a story of immigrants living in a blatantly racist society but one that also looks at the patriarchal cruelty of the place they came from. It’s minimalist and concise, showing only what is absolutely necessary for maximal emotional impact. That — with good acting, beautiful cinematography, and scenic opening and closing shots — makes Riceboy Sleeps seem almost like a work of art.
Winner of the TIFF 2022 Platform Prize.
Golden Delicious
Dir: Jason Karman
It’s present-day Vancouver. Jake — nicknamed J-Pop (Cardi Wong) is starting his last year of high school. He likes taking photographs and watching basketball. His sister Janet (Claudia Kai) is going to culinary school, while his Mom and Dad (Leeah Wong, Ryan Mah) work 12-hour-days at their upscale Chinese restaurant, passed down from the grandparents.
Jake’s looking forward to spending time with his best buds Sam and Gary, and his childhood sweetheart Vee (Parmiss Sehat). She wants sex and lots of it, while Jake thinks they should wait till marriage before doing the big one. And he’s under lots of pressure to make the basketball team. I was MVP when I was in high school, and I’d be a pro if it weren’t for my knee injury, says dad. But everything changes when a new neighbour Aleks (Chris Carson) appears on the scene. He’s a terrific player and is outspokenly gay. He’s a ringer who moved to the school from 
down east specifically to play on this team. And Jake can’t stop staring at him and snapping pics through his bedroom window. Once they meet, Aleks is willing to help improve Jake’s skills… both on and off the court. Jake is torn between family pressure and personal identity, long-term love vs short term lust. Will Jake make the team? Will Aleks make Jake? And what will his girlfriend, family, and friends do if they ever find out?
Golden Delicious is a coming-of-age and coming-out drama set within a Chinese-Canadian Vancouver family. It deals with current issues like bullying, the lack of privacy (due to social networks), and how parental expectations interfere with their kids’ own wants and needs. I found the high school rom-com aspects cliched, everything from two people bumping into each other and dropping their books in their first meetings, to confrontations in the locker room, to who will ask whom to the 
prom. Much more interesting are the family plot turns, from Janet reverse engineering her grandmother’s recipes, to Jake’s own subtle subterfuge to get out of playing basketball, as well as the very real grinding pressures of running a restaurant (the restaurant is called Golden Delicious). That’s what makes this film worth watching.
Brother
Wri/Dir: Clement Virgo
It’s the 1990s in a working class neighbourhood in Scarborough (Toronto). Michael (Lamar Johnson) is a high school student who lives in an apartment tower with his hard-working mother (Marsha Stephanie Blake). He idolizes his big-brother Frances (Aaron Pierre) who serves as a father figure in his life. Frances is bigger, tougher and better connected than Michael. The gangs know enough to stay away from him, and not to harass Michael, either. Michael hopes he can tap some of Frances’s aura to meet a girl who he really likes. Aisha (Kiana Madeira) is the smartest girl in school and he wants to really meet her. Michael and his friends hope to take hiphop to a new level. There’s a place to hang, a barber shop, where DJs — like Frances’ best bud — spins tracks after closing. But their big break, an audition with high-profile record producers 
downtown, doesn’t pan out. And tensions rise when the twin forces of gangsters on one side and the police force on the other are encroaching on their safe space and tearing their lives apart. Can the sons of Jamaican immigrants survive in the mean streets of Scarborough?
Brother is a fully-imagined, coming-of-age story by two brothers in the 90s. It deals with masculinity, violence sexuality, and black identity. It deftly contrasts between the claustrophobic highrise housing where they live and the nearby idyllic Rouge 
River where they seek refuge. Based on the book by Toronto writer David Chariandy, Brother has a novelistic feel to it, and its use of widescreen cinematic scenes, as in a showdown in the courtyard outside their apartment, gives it an epic sweep. Brother is a powerful and moving drama.
Nominated for 12 Canadian Screen Awards, including Best Picture.
Brother and Riceboy Sleeps open in Toronto this weekend, and at the TIFF Bell Lightbox this and next week; check you local listings. Golden Delicious is premiering at the Canadian Film Festival, which runs from March 28th through April 1. Go to canfilmfest.ca for details.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Daniel Garber talks with Jeff Harris about #Oscars 2023!
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s post-pandemic Oscar time, when they roll out the red carpets for the stars, choose some issue to temporarily weep about, and pay homage to some of the best, (and not-so-best) movies from the past year. And always a surprise. Will this year be a punch or a slap? A photobomb? Or maybe a misread best picture award? Stay tuned tomorrow to find out.
And to help us understand the movies in competition at this 
year’s academy awards — what to see, what to avoid, what’s great, what’s terrible, who should win, and who we think will win — I’m going to speak with cinephile Jeff Harris. Jeff is a Toronto-based photographer, former photo editor at Maclean’s, and who is continuing a twenty five year art project of self-portraits taken each day. You may recognize his he takes the pics that go with my interviews each year at Hot Docs and TIFF (which he has been covering since 2002). And now he’s the one producing my segments on this show.
I spoke with Jeff Harris in person, in Toronto.
The Academy Awards will be televised on Sunday, March 12th.
Earnest movies. Films reviewed: Champions, Blueback, Nico
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Some movies are just for entertainment, while others have a message. This week, I’m looking at three new movies with an earnest theme, from the US, Australia and Germany. There’s a marine biologist who wants to save a coral reef, a basketball coach who wants to bring a team of disabled people to the championships, and a geriatric nurse who wants to learn how to defend herself… after a racist attack.
Champions
Wri/Dir: Bobby Farelly
Marcus (Woody Harrelson) is a professional basketball coach who has fallen on hard times. Now he’s an assistant coach for a third tier team in Iowa. He’s an arrogant know-it-all who doesn’t know when to shut up. He hooks up with women he meets online but they rarely stay the night. Things go from bad to worse when he’s fired from his team for losing his temper during a game. And then he gets in a car accident for driving while intoxicated.
But the judge shows some sympathy, and sentences him to community service… as a basketball coach. What’s the catch? Everyone on the team has a developmental or intellectual handicap. And they’re hoping to make it to Winnipeg for the regional championships. Problem is, they have no coach and team spirit is near zero. Marcus is equally clueless as to how to coach disabled people.
But gradually they start to get better, and bring back some of their star players. And when they need a bus to take the to away games, a 
woman named Alex (Kaitlin Olson), a Shakespearean actor, volunteers to take them in her costume van. The problem is she’s also one of Marcus’s past one night stands (the danger of living in a small city). They make up and start to get along, even as the team pulls together. But can they make it to Winnipeg? Will Marcus return to his selfish ways or is he a keeper? Is Alex ready to commit? And what are his plans once his three month sentence is up?
Champions is a heartfelt comedy about a down-and-out coach trying to accomplish the impossible. On the downside, it has a fairly predictable plot and Woody Harrelson and Kaitlin Olson are likeable, but seem to coast through their roles. What’s great about this movie is the rest of the cast. The actors playing them have real-life disabilities (they were mainly cast in Winnipeg) including one player who has won a medal at the Special Olympics. They are also funny, wacky and good at what they do. And the characters they play have personalities, sex lives, jobs and families, which you rarely see in films. They’re not there as figures of fun; they’re sympathetic characters who happen to be funny. Thank God the days of Forrest Gump, Gilbert Grape, Nell, and Sling Blade are long gone. Keep in mind, the director previously brought us such gems as Dumb and Dumber and Shallow Hal. So maybe Champions is Bobby Farrelly’s apology?
Blueback
Wri/Dir: Robert Connolly
A small fishing village in Western Asutralia. Abby (Mia Wasikowska) is a marine biologist, who spends much of her time studying samples aboard her boat. Raised by a pearl diver and an activist, Abby grew up as a part of the sea. She has felt at home underwater ever since her mother Dora (Radha Mitchell) taught her how to hold her breath and swim down to the ocean floor. (Her father drowned when she was still little.) On one of these underwater journeys, she encounters an enormous blue fish, bigger than she is. Initially frightened, she soon realizes he’s gentle and intelligent, and will eat from her hand. A western grouper (or groper as they say in Australia), can live for 70 years and rarely strays from its home. Soon they become fast friends — she spends time alone with him, just the two of them, in his hidden alcove within the coral reefs. She also begins to record what she sees, painting watercolours of the fish she encounters. And she names her special friend Blueback.
But all is not well. A rich developer is trying to buy up the land and tear down all the beachfront houses, including Abby and Dora’s. He’s also behind the dredging of the ocean floor, and allowing industrial fisheries and voracious spear hunters to kill endangered species. Is 
Blueback’s life at risk? Will their idyllic home soon be razed? And what will the future hold for Dora and for Abby?
Blueback is a gentle, slow-paced drama about a mother and daughter living in harmony within an aquatic ecosystem. The story is told through a series of flashbacks of Abby as a child and as a teen, living with her single mom. (Her memories come flooding back when she returns home after her elderly mother has a stroke). Dora leads many of the protests and demos in the village, chaining herself to tractors and petitioning the government save their bay. So there are two or three actors playing Dora, Abby as well as her best friend Briggs (Pedrea Jackson, Clarence Ryan). I approached this film with trepidation — oh god, do we really need another talking fish? Luckily, the fish here don’t talk, they just swim around looking pretty (or bulbous with beady eyes in the case of Blueback.) I wasn’t deeply moved by this film, but I liked Doras political protests. And the scenery — both underwater and on land — is gorgeous.
Nico
Co-Wri/Dir: Eline Gehring
Nico (Sara Fazilat) is a Berliner who works as a home-visit nurse for the elderly. She is zaftig, with curly hair and a warm smile. She enjoys going to parties and hanging out with her best friend Rosa (Javeh Asefdjah). She laughs a lot, but don’t get on her bad side — Nico will stand up to anyone who gets in her way. Until one day she is attacked by a group of people in an underpass. They pull her hair, punch her, kick her and hurl racist taunts. She wakes up in hospital in horrible pain with a black eye and bruises and bandages all over her face and body.
Worse than that, she is scared and withdrawn, suffering from PTSD flashbacks to her trauma. To try to win back some of her confidence, Nico signs up for lessons at a karate dojo whose sensei is a former champion. Maybe learning to block a violent stranger will equip her to face any future attack. But so far she is drained of all energy. In the hope of cheering her up, Rosa takes her to the Fun Fair in the park. There they meet a carnie named Ronny (Sara Klimoska). She’s an undocumented young woman from Macedonian who speaks no German, so they use English instead. Ronnie takes them to rides and bumper cars. Nico feels a bit better, but things are still not back to 
normal. Will she ever feel good again? Is Karate the answer? And why is Ronnie being so friendly to her?
Nico is about a woman who loses her identity and self image when attacked by a racist gang, and her attempt to win it back again. She is an assimilated German Berliner, who in just a moment has her entire essence stripped away because of her looks. Nico and Rosa are both of Iranian background but to her attackers she is just another Muslim foreigner. Her feminism, her beliefs, her droll sense of humour, her opposition to wearing a hijab — none of that matters to the people who attack her. The film delves deep into her emotions, both internal and external, as she struggles to recover. Sara Fazilat is excellent as Niko as are the raw-but-real characters surrounding her.
Nico is a realistic film with lots of emotional oomph.
I like this one.
Champions and Blueback open this weekend in Toronto; check your local listings. Nico has its Canadian premier on March 14th, 6:30pm, at the TIFF Bell Lightbox as part of Goethe Films: I Have A Crush On You series.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Girls Adopted. Films reviewed: Queens of the Qing Dynasty, The Quiet Girl, Return to Seoul
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Who are your “real” parents: the ones who raise you, or the ones who gave birth to you? This week, I’m looking at three new dramas from France, Ireland and Canada, about daughters who are either adopted or have foster parents. There’s a French woman in Korea looking for her birth parents, a young woman in Nova Scotia leaving the foster parents system, and a little Irish girl sent to live with relatives.
Queens of the Qing Dynasty
Wri/Dir: Ashley McKenzie
Star (Sarah Walker) is a moon-faced 18-year-old in hospital in Nova Scotia. She feels comfortable there having spent most of her young life in and out of institutions. She’s there because she drank poison — they’re pumping her stomach. She’s over- medicated in a nearly catatonic state. And most alarming, she’s about to turn 19, meaning she’s aging out of the foster child system, and will have to take care of herself, if capable, for the first time. She’s diagnosed as bipolar with ADHD, and is prone to addiction, but her real problems lie much deeper.
An (Zheng Ziyin) a student from Shanghai, volunteering at the hospital, is assigned to keep Star company. He’s artistic, effeminate and flamboyant. He likes traditional Chinese songs (he sings in falsetto), and is obsessed with his fingernails. He imagines himself as a Manchu concubine plotting politics within the Forbidden City. But these two very different people find 
comfort from each other, confessing their secrets and sending texts late at night when they’re apart. And form an unusual friendship.
Queens of the Qing Dynasty is a realistic look at two marginalized, oddball characters finding their place within a bigger, constrictive society. It’s shot in brutally drab locations, like snowbound motels, strip mall mani-pedis, hospitals and group homes, using mainly first-time actors. And despite the depressing or even tragic lives of the characters, it somehow remains light, whimsical and endearing.
This movie is both weird and appealing.
The Quiet Girl
Co-Wri/Dir: Colm Bairéad
Rural Ireland in 1981. Cáit (Catherine Clinch) is a little girl from a big, poor family of farmers. Her Dad is away all day, drinking, gambling and philandering, instead of cutting the hay. Her Mom is pregnant while taking care of a toddler and three or four others. With no one taking care of her, Cait falls through the cracks. She has dirty cheeks and mousy brown hair, is painfully shy and wets her bed. At school, she is bullied and laughed at and labeled an idiot. So her Mom asks her cousin if she could take care of Cáit for the summer while her mom’s preparing to give birth. So her father drives her out to Waterford, but forgets to unpack her suitcase before he leaves.
The Cinnsealachs (Carrie Crowley, Andrew Bennett) are a childless, older couple, middle-class dairy farmers who live in a spotlessly clean house. Cait is terrified to live around strangers, but gradually adjusts. They tell her to be honest here — there are no secrets in this house. They give her boys’ clothes to wear around the farm, and pretty dresses from in town. Soon they’re teaching her how to chop onions, fetch water from the well, or how to milk the cows. She brushes Cait’s hair a hundred times and helps her with her reading. He encourages her to run and exercise. Over the course of the summer, Cait gradually emerges as a bright 
and pretty girl. But locals are gossiping about her — why is she living there? What do they want from her? Does she know their secret? And what will happen once she’s home again?
The Quiet Girl is a deeply touching story of one summer in a neglected girl’s life, amid a caring couple recovering from a loss of their own. The acting is very good, especially Clinch as the quiet girl. The story is both simple and subtle, and sure to move you to tears. Most of the characters speak Irish (with subtitles) throughout the movie, to various degrees of success. (I’ve been mispronouncing Cáit as “Kate” using an Anglicized version of her name.)
I like this movie — and it was nominated for an Oscar for Best International Film.
Return to Seoul
Wri/Dir: Davy Chou
Freddie (Park Ji-min) is a 25 year old French woman at a guest house in Seoul. She’s supposed to be in Tokyo, but ended up here when all flights to Japan were cancelled due to a typhoon. She instantly bonds with Tena (Guka Han) at the front desk, who can speak French. That evening, Tena and other new friends tell Frankie she has classic Korean features, and doesn’t seem French at all. She decides to prove her Frenchness by being provocative, spontaneous and wilfully rude. When she admits she was born in Korea but adopted as an infant in France, they wonder why she hasn’t been to “Hammond” an adoption agency which holds all relevant data.
Frankie is uninterested — she’s here as a tourist — but does carry a snapshot in her wallet of a woman holding her as a newborn babe. She ends up requesting meetings with both of her birth parents. Her birth father (Oh Kwang-rok) is a former fisherman. He takes her home, feeds her, where he and his family prostrate themselves before her asking her forgiveness. She rudely rejects them, and refuses to answer his drunken teary texts sent to her each night. But her mother remains a mystery. Will Frankie ever he meet her birth mother? Does she have any connection to this strange country? Ad what will her future bring?
Return to Seoul is a dark drama of a western woman discovering
her roots. The film is fictional but based on the French director’s own experience in returning to his ancestral home in Cambodia.
Frankie’s story is told in episodes over the course of a decade, in France and in Korea, always on her birthday. Frankie is an enigmatic character, smart and sexy, but also socially obtuse, selfish and occasionally outright monstrous. At times she seems like a female Wolf of Wall Street. She treats the men she meets, both hookups and partners, like a piece of Kleenex to be discarded after use. Most of her past is only hinted at: Was she once a concert pianist? What was her relationship with her French family? But eventually she lets her real feelings show through, if only for a moment.
Return to Seoul is a troubling, alienating and emotionally powerful film.
Queens of the Qing Dynasty, The Quiet Girl, and Return to Seoul all open this weekend at the TIFF Bell Lightbox; 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.
Daniel Garber talks with Chandler Levack about I Like Movies
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s 2002 in Burlington Ontario, a suburb of Hamilton.
Lawrence is an eccentric, self-centred 16-year-old boy who lives in a small bungalow with his widowed mom. He spends most of his time with his best friend Matt, the two of them watching SNL at weekend sleepovers. They’re making an end-of-the-year film together at school. Lawrence lives and breathes movies, consuming stacks from his local video store. His long-term ambition? To become an auteur. But first he’ll have to study cinema at NYU (“Canadian universities are too… Canadian”).
To pay for it, he needs big bucks. But when he gets a job at a video chain store, everything changes. He hits it off with the store manager, the older woman who hired him. But no more 
time for sleepovers, or making his film. His relationship with his doting mom is in a shambles, and he begins to doubt he’ll get into any University. Is just liking movies… enough?
I Like Movies is a coming-of-age comedy that premiered at TIFF. It explores the life of an aspiring filmmaker in a lifeless Canadian suburb. It’s written and directed by prize-wining filmmaker, writer and movie critic Chandler Levack.
I spoke with Chandler in Toronto via ZOOM.
I Like Movies opens on March 10, 2023.
culturalmining.com 
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