Potatoes, Radios and Poppies. Films reviewed: Potato Dreams of America, How to Fix Radios, Poppy Field #InsideOut!
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Inside Out, Toronto’s LGBT film festival, kicked off last night, and is open for digital viewing across Ontario. It has movies, docs and shorts from around the world, many showing here for the first time.
This week I’m looking at three of these new movies two of which are directors’ first features. There’s a “little potato” in Russia, a broken radio in Canada, and a field of poppies in Romania.
Potato Dreams of America
Wri/Dir: Wes Hurley
Little Potato (Hersh Powers) is a school kid in 1980s Vladivostok, in the USSR a land of Perestroila and Glasnost. But he can’t stand communism, he puts all his faith in Jesus and wants to go to America, where it’s just like the movies and everyone has coloured TV. So he is overjoyed when his devoted and progressive mom, a prison doctor becomes a mail-order bride and takes him with her to Seattle. He likes his new school and stepdad, and is thrilled to see the relative openness toward gay people. But the teenaged potato (Tyler Bocock) wants to 
assimilate and doesn’t American attitudes. And when his step father’s Christianity turns out to be steeped in homophobia he’s afraid they’ll both be on the next plane back to Russia. Will Potato’s dreams be ruined?
Potato Dreams of America is a highly stylized, theatrical and campy version of the real memoirs of Russian American director Wes Hurley. And it’s full of surprises. I’m only allowed a capsule review here, but let me just say, if you like to watch a view of gay life in Russia and America, with lots of homoerotic details, occasional two-dimensional sets, and characters who burst into song, you’ll love this one.
How to Fix Radios
Dir: Casper Leonard, Emily Russell
It’s summer in a rural town town in Ontario. Evan (James Rudden) has found a summer job — cleaning up the land around a ramshackle hut before acomes in and clears it all away. He’s a quiet loner, a high school student who lives with his dad in an isolated home ad dresses in basic clothes: Shorts, T-shirt and ball cap. So he’s taken aback when he meets his supervisor. Ross (Dimitri Watson) is his opposite: a combative angry attitude, dressed in overalls, with bright pink hair, black fingernail polish and a pierced septum. He’s here, he’s queer and he doesn’t care who knows it. Evan has never seen anyone like him, but they gradually become friends. They meet up with Ross’s sister to go on picnics, and retreats to an abandoned house by a lake that everyone uses. And there they share intimate secrets by the campfire.
But things are complicated.
Small towns have gay people but they also have bullies. Ross is 
constantly tormented by a thug named Jake who rides around on his three wheeled RV, smoking pot and drinking beer with his chowderhead friends. Problem is, he’s also the son of their employer who owns the land they’re cleaning up and pays their salaries. Why don’t you move to the city, Evan wonders. Because, Ross says, he likes the quiet and trees there, and the nature all around him. And he doesn’t want a moron like Jake determining what he does with his life. But how much longer can Ross endure the punches and taunts from Jake?
How to Fix Radios (the title refers to one of Evan’s skills) is a warm look at friendship and the life of a queer kid in small-town Ontario. It’s an ultra-low-budget, indie film shot last summer during COVID, with all the spacing and location rules that entailed, which may explain why the sound quality is dodgy (some lines are lost or else overpowered by background noise.) But the great music, beautiful images and engaging characters make it a treat to watch.
Poppy Field
Dir: Eugen Jebeleanu
It’s present-day Romania. Cristi (Conrad Mericoffer) is a member of the Gendarmerie, an elite national police force run military style, using tightly-knit squads. They’re called in to handle dangerous riots and criminal acts. But tonight they’re at a movie theatre. How come? A lesbian drama, sponsored by an LGBT group, is scheduled to play that night. But the theatre has been occupied by a group of right-wing Christian activists. Draped in Romanian flags and carrying icons of the Virgin Mary, they say they’re trying to stop the pornographic “Homosexual Mafia”. The people in the audience say they just want to watch a movie. The tension is rising, but for some reason, Christi, unlike the other gendarmes, is standing far back, doing nothing. What is bothering him? But when he is confronted by a gay man, he loses it and beats the man up. This outs his whole squad in potential trouble. Why did he do it? Christi is gay too, but doesn’t want the other cops to know. He even has a Parisian lover waiting to meet him tonight in his apartment. Has Christi’s secret been revealed? Will he lose his job? And can he face his inner demons?
Poppy Field (and I have to admit, I have no idea what the title 
means) is a realistic and tense drama about a gay Romanian cop being pushed to the brink by his two separate lives: a passionate personal life and a rigid and violent workplace. The film is divided in the same way: part one is a night with him and his lover Hadi, and part two is a day at work. This is an excellent movie — a first feature but done in the style of current Romanian cinema: hyper realistic, done in real time, dealing with social issues. If you’ve ever seen contemporary Romanian movies like Police: Adjective, you’ll immediately recognize the style. Director Jebeleanu uses the fantastic veteran cinematographer Marius Panduru gives it his distinctive, minimalist look. Mericoffer, as Christi, rarely speaks, but you can see the angst brewing beneath his stone-cold features.
Short, sharp and fast-moving, Poppy Field is a great art house pic.
Potato Dreams of America, How to Fix Radios, and Poppy Field are all playing now at Inside Out, Toronto’s LGBT Film Festival.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Life changes. Films reviewed: Dating Amber, No Hard Feelings, Keyboard Fantasies: the Beverly Glenn-Copeland Story at #InsideOut30
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Fall festival season continues with Toronto’s Inside Out LGBT festival playing now both digitally and at drive-ins through the weekend. So this week I’m looking at three movies playing at Inside Out. There’s love amongst refugees in present-day Germany, an odd-ball relationship in Ireland in the 90s, and a Canadian musician whose fantasies finally come true in his seventies.
Keyboard Fantasies: The Beverly Glenn Copeland Story
Dir: Posey Dixon
Beverly is a musician who grows up in a comfortable middle class home in post-war Philadelphia. Her father is a classical pianist and her mother sings spirituals at church. They send her to McGill in the early 1960s, where she is one of the first black students in her discipline, and where she comes out as a lesbian, virtually unheard of at the time, when homosexuality was still illegal in Canada. Later, she moves to Toronto where the Yorkville scene is nurturing folk musicians like Joni Mitchell. She cuts an eponymous record album with famous players on backup, in a unique style, combining jazz with blues and classical music. Unfortunately it disappears without a trace. She finds work as a musician and on TV – she is a regular on Mr 
Dressup! – but eventually moves into an isolated house in Muskoka with her lover.
In the 1980s she discovers computer-generated electronic music and self-produces a cassette of beautiful passionate songs. It sells maybe a few dozen copies. But in the 2000s, two big things happen: First Beverly realizes he’s trans, and begins transitioning female-to-male; and in the 2010s his album Keyboard Fantasies from the mid-80s is rediscovered in a tiny record shop in Japan. The owner requests more copies – all of which sell out in a day or two. The record is remastered and re-released and goes viral, and Beverly in his mid-seventies, is sudden’y a star with a devoited following. He embarks on a European tour backed up by a band of millennial hipsters and adoring young fans.
Keyboard Fantasies is a fascinating documentary about Beverley Glenn Copeland’s life, music and career. It’s filled with unusual psychedelic imagery, and upside-down and negative-coloured camera work reflecting the sudden reversals of Beverly’s own gender and career. His music is captivating, his voice sublime, and his life story like none other. This tale of rebirth in old age is a beautiful history not to be missed.
No Hard Feelings (Futur Drei)
Dir: Faraz Shariat
Parvis (Benny Radjaipour) is a young, gay German with dyed blond hair who lives in his family home in Hannover. He’s into sex, dancing and Sailor Moon. His Iranian parents sought asylum there 40 years earlier, to give their kids a better life, but he feels unmotivated, cut-off and trapped in limbo between two worlds. Raised within German pop-culture he knows nothing about Iranian dance or music. At home he speaks Farsi with a German accent, but the men he meets in gay bars constantly ask “where are you from?” (He’s from there!) But his life changes when, after being caught shoplifting, he is sentenced to community 
service as a translator at a refugee centre.
There he meets an adult sister and brother, a pair that seem almost joined at the hip, who eventually become his friends. They live together almost like lovers. Banafshe (Banafshe Hourmazdi) is outgoing and savvy, fluent in German, but facing deportation back to Iran. Her brother Amon (Eidin Jalali) is a nice guy but a bit stand-offish. He tells the flamboyant Parvis not to be seen with him at the refugee centre; his friends told him gayness is contagious. But the situation changes when the brother and sister spend the night at Parvis’s home. Parvis and Amon become lovers but are forced to keep it on the down low, constantly searching for secret places they 
can meet undetected. Will their love last? Can Amon and Bana gain refugee status in Germany or will she be deported? And can Parvis find his identity both within his family and in the larger German gay community?
No Hard Feelings is a touching and realistic drama about cultural and sexual alienation set within the vast and lethargic bureaucracy of the country’s immigration machine. It’s a distinctly German story, but one told mainly in Farsi and from that point of view. Good acting with some beautiful cinematography as well as occasional experimental, stylized footage. This is a great story about a subculture rarely represented on film. And it won the Inside Out prize for Best First Feature.
Dating Amber
Wri/Dir: David Freyne
It’s Ireland in 1995. Homosexuality was decriminalized just two years earlier, divorce is still against the law, and sex education is taught by nuns. Eddie (Fionn O’Shea: Handsome Devil) is a student at a rural high school outside of Dublin near an army base. He’s wants to become a cadet to please his dad but he’s not the right type; he’s frail, naïve and skittish. And he has a crush on his (male) math teacher. Amber (Lola Petticrew) is a plain-talking girl with blue streaks in her hair, who walks like she’s wearing army boots. She lives in a trailer with her mom since her father died. She’s saving up enough money to move to London after graduation to open an anarchist bookstore. She likes punk rock, but hates penises – they make her “vom” she says. Like Eddie, she’s bullied on a daily basis. Why? Because they’re both gay (though 
Eddie won’t admit it). So Amber comes up with a plan. Let’s pretend to be a couple until we graduate, so they’ll leave us alone. Will it work? Will it last? And what will it lead to?
Dating Amber is a terrific coming-of-age comedy about an unusual relationship in rural Ireland. It draws on a wry nostalgia for the 90s – fashion, hairstyles, pop music and attitudes — to construct some very real, funny characters. It’s romantic, hilarious, and deeply touching. This is a great movie.
Dating Amber, No Hard Feelings, and Keyboard Fantasies: the Beverly Glenn-Copeland Story are all playing at the Inside Out Festival which continues through the weekend. Go to insideout.ca for details.
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 filmmaker Emma Seligman about Shiva Baby
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Danielle is a woman living the high life in New York City. She’s young, pretty and smart, finishing her BA and looking for work. In the meantime she’s shacking up in a Soho flat with a very generous, older boyfriend named Max in a pecuniary relationship. He thinks he’s paying her way through law school. But her delicate web of lies and deceptions threatens to unravel when she finds herself at a party she doesn’t want to attend. Well, not exactly a party, it’s a shiva, a Jewish, post-funeral get-together with family and friends of the deceased. And who shows up? Maya, her former best friend from high school with whom she once had a relationship; and Max, the guy she’s sleeping with now. Add an intrusive mother, an oblivious father, some nosy relatives telling cringe-worthy stories, some awful coincidences, and a few key embarrassing accidents, and there you have it: 
Danielle’s shiva from hell.
Shiva Baby is a dark comedy that adds a new twist to the classic screwball genre. It deals with family, sex work, secrets and lies, romance, eating disorders, hidden pasts and uncomfortable presents, It’s written and directed by Toronto-born, NY-based filmmaker Emma Seligman. Shiva Baby is her first feature.
I spoke with Emma in Toronto from my home via ZOOM.
Shiva Baby screened at TIFF20, SXSW and is currently playing at Toronto’s LGBT Inside Out Film Festival.
Light on their feet. Dykes in the Street, We are the Radical Monarchs, Gordon Lightfoot: If You Could Read My Mind, Diamantino
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.
Big plans. Films reviewed: Octavio is Dead, American Animals, Hearts Beat Loud
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
It’s Pride weekend in Toronto, so this week I’m looking at three indie movies, two of which fall somewhere with in the LGBTQ2 spectrum – can you guess which two? I’ve got four Kentucky fratboys with a secret plan; a Brooklyn daughter and dad forming a band; and a young woman in Hamilton… dressed like a man!
Octavio is Dead
Wri/Dir: Sook-yin Lee
Tyler (Sarah Gadon: Indignation) is a young woman who lives with her shrewish single mom (Rosanna Arquette) in suburban Toronto. But a knock on their door changes everything. It seems her father Octavio, a latino poet and teacher she never met has died. And he left her his condo and all his possessions. So she heads out to Hamilton to try to find out he was, exactly.
What she finds there is surprising. His flat is an Old Curiosity Shop, filled with persian rugs, oil paintings, tapestries and floor-to-ceiling shelves full of books. (She loves books.) There’s a sunroom with withering plants and eccentric neighbours all around. And strangest of all, Octavio himself, or at least his ghost, appears every so often to proffer advice. Later, she sees a young man in a hoodie who has some connection to her dad. She follows him to a burlesque club but is barred from entering: Men Only!
So she cuts off her hair, puts on one of Octavio’s suits and tries again. This time she meets the young man and he opens up to her. Apostolis (Dimitris Kitsos), is a poet who learned about art and literature at Octavio’s knee. He also knew him… intimately. Apostolis likes posing in bathtubs dressed in a toga. He also seems to like Tyler – a lot – and she likes him, too. The problem is he desires her thinking she’s Octavio’s son, while she’s attracted to him as a woman to a man. What to do?
Octavio is Dead is a quirky, indie movie by Sook-yin Lee, best known for CBC’s DNTO, Definitely Not The Opera. This film is also not an opera, but it is full of classical themes projected against a grittty, downtown Hamilton. Cross-dressing Riley feels more Shakespearean than non-binary queer, but the performances — especially laid back Kitsos and intense Gadon — are pleasing to watch.
American Animals
Wri/Dir: Bart Layton
It’s Lexington, Kentucky in 2004. Spencer (Barry Keoghan) is at university studying art, when he notices something strange at Transylvania University. No, not vampires, this is a actual place. A library there holds priceless artworks – like Audubon’s famous bird paintings – in the form of rare books. And these volumes – worth over 10 million dollars – are watched over by a single librarian (Ann Down). He tells this to a friend Warren, (Evan Peters) and a scheme begins to hatch. Warren’s at school on a sports scholarship but is bored by college life. He wants to do 
something big, something exciting.
His plan is simple: We enter the library disguised as old men, disable the librarian, open the glass case, take out the books and walk straight out the basement door without anyone knowing what we did! The perfect heist.
But they also need a driver and a lookout. So they enlist two friends they can trust: Eric (Jared Abrahamson) a contrarian 
genius; and Chas (Blake Jenner) a jock / entrepreneur whose also a great driver. Together they just might pull it off.
American Animals is a story of simple plans gone astray and their potential moral consequences. It’s a true story, and the real people involved – the four guys plus the librarian – bring a real-life element as they narrate the story, documentary-style. This stylish true crime drama has some thrilling parts, but it’s mainly good for the characters and the
LA Times: American Animals actors and real counterparts
actors that portray them. Barry Keoghan (Dunkirk, Killing of a Sacred Deer) is great as a bored art student, and Canadian Jared Abrahamson (Hello Destroyer, Hollow in the Land, Sweet Virginia) who normally plays angry young men is unrecognizeable as the fuzzy-bearded smart kid. And at times the real people interviewed are even more fascinating than the actors who play them.
Hearts Beat Loud
Dir: Brett Haley
Frank (Nick Offerman) is a former musician who lives in Red Hook, a waterside Brooklyn neighbourhood, with his daughter Sam (Kiersey Clemons). Frank owns a record store, while Sam is preparing for college: she leaves for UCLA in the fall. For Sam, everything’s coming up roses. She’s going to be a doctor, and 
meets a pretty young artist Rose (Sasha Lane). Is it true love?
For Frank, on the other hand, times are tough. He’s a musician who has raised his biracial daughter alone since his wife 
(and former band mate) died in an accident. Now he’s closing his record store and his eccentric lounge singer mom (Blythe Danner) has been arrested for shoplifting. And he’s getting mixed signals from his landlady/prospective girlfriend Leslie (Toni Collette) Is she just a friend… or something more?
The one thing he still has is his jam sessions with Sam. And a particularly good one yields some potential hit singles. When he posts them online, they start picking up listeners. Will the record store be saved? Can Sam take a year off to 
record and tour with her two-member band? Or will she leave the band, her family and her girlfriend to go to UCLA?
Hearts Beat Loud – which is also the name of one of their songs – is a sweet and gentle story of family and first love. Offerman is believable as a midlife crisis dad trying to hold on to his authenticity, and Kiersey Clemons is wonderful as Sam. She performs her own music, and luckily, she’s really good at it… since about a third of the movie is about people making music.
This film leaves you with a warm feeling inside.
Octavio is Dead, American Animals, and Hearts Beat Loud 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 director Sarah Fodey about The Fruit Machine at Inside Out
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Canada finished WWII riding high as the fourth biggest military power in the world. Then came the Cold War and the red scare it inspired — a widespread panic about communist infiltration.
They look just like you and me, and might be hiding in plain sight... In the ensuing crackdown, another group was also labeled insidious, morally corrupt, and unpatriotic.
Who were these potential spies? And how could they be detected?
These “spies” were actually just ordinary lesbian, gay or bisexual Canadians, “detected” using a device the RCMP jokingly named the fruit machine. Suspects were locked in rooms, interrogated, forced to confess and expose friends and lovers. They were fired from their jobs, humiliated and ostracized.
A new documentary called The Fruit Machine looks at this terrible period and the effect it had on generations of Canadians. It tells about a dark side of history: over half a century of relentless persecution of gays and lesbians in the civil service and military.
The films was written, directed and produced by Sarah Fodey for TVO Docs. It has its world premier today at 4 pm at Toronto’s Inside Out LGBT film festival.
I spoke to Sarah about The Fruit Machine by telephone at CIUT 89.5 FM.
Unrequited Lust. Films reviewed: On Chesil Beach, Hurley, M/M
Hi, this is Daniel Garber at the Movies for culturalmining.com.
Inside out, Toronto’s LGBT film fest is on now, premiering movies from around the world, from Thailand to South Africa and showcasing innovative short films by new directors.
Unrequited love is a common theme, but what about unrequited lust? This week I’m looking at three movies — two dramas and a doc. There’s a honeymoon couple whose marital bliss isn’t; a racing car driver with a need for speed, and a guy in Berlin who lusts after a lookalike… in a coma.
On Chesil Beach
Dir: Dominic Cooke, based on Ian McEwan’s novel
It’s England in 1962. Florence (Saorise Ronan) is a confident musician who leads a string quintet in Oxford. She comes from an uptight, stuck up, and upper class Tory family. Edward (Billie Howle) is a country bumpkin from a rural home a bus ride away. He’s emotionally raw and quick to anger. He can’t tell a baguette from a croissant but can identify a bird just from its call.
He comes from an eccentric family, with pre-raphaelite twin sisters, a kindly father, and an artist mother suffering 
from a brain injury. She can’t remember new names and takes off her clothes in public. Florence and Edward meet at random at a nuclear disarmament meeting (CND) and it’s love at first sight. She loves his realness and disdain for money and social conventions. And he is stricken by her beauty, her musical skills, and most of all her kindness – she can even pull his mother out of her shell. They marry.
But the honeymoon at a second rate hotel on a pebble-strewn beach starts bad and gets worse. The closer they get to the marital bed, the farther they get from sex. And after a disastrous attempt, they flee the bedroom for the rocky beach. Can true love rescue an awful honeymoon? Or will this be the end?
On Chesil Beach is a moving look at relationships, and a bit of a tear jerker, too. Though the beach scenes are at its centre, the film flashes back in time to reveal crucial secrets — and into a possible future — as the two lovers have it out. While not a perfect movie, I’ve seen it twice now and I liked it better the second time… which is a good sign.
Hurley
Wri/Dir Derek Dodge
Daytona, Florida is the site of a renowned race car competition, where teams speed along a circuit keeping their cars running for 24 hours without stopping. The drivers too have to continue functioning at high speeds negotiating perilous turns while fighting 
exhaustion. Even a momentary break in concentration could lead to a crash.
Machismo rules, and winners flaunt their masculinity and sense of cool. It’s a world filled with photo-ops beside bikini-clad penthouse models, aboard expansive yachts. It’s also a big-money professional sport, whose champions land lucrative endorsements, prize money, sponsorships and cushy positions at car dealerships. Image is everything.
The kings of Daytona have long been the Brumos Porsche team, who drove to victory in the 1970s under Peter Gregg. He was arrogant and successful. He was later joined by Hurley Haywood, a shy but highly skilled racer. Together they were known as Batman and Robin. Eventually Haywood headed the team himself in Daytona and La Mans, chalking up countless wins. This new documentary chronicals Haywood’s career and his personal life.
So why is a movie about race cars playing at Inside Out?
SPOILER ALERT!
Because Hurley Haywood is the first race car champ to publicly come out as gay… which makes this film a historic record.
Hurley is a squeaky-clean documentary about the famous race car driver, and is mainly of interest to fans of that sport, whom, I am told, are legion. I’m not one of them, but could still appreciate the cool cars and vintage pics. I felt like I was playing with hot wheels again.
M/M
Wri/Dir: Drew Lint
Matthieu (Antoine Lahaie) is a Montrealer living in a small apartment in Berlin. During the day he works as a lifeguard at a local swimming pool (or does he?). At night he’s clubbing to flashing lights and dark shadows. And then 
there are his dreams – realistic visions of interactions with stone statues and human flesh. (He rarely meets living people.)
One day he encounter Matthias (Nicolas Maxim Endlicher) online and follows him into the swimming pool showers. Matthias has a thin moustache, a buzz cut and a perfectly 
symmetrical body and face. The words Sodom and Gomorrah are tattooed on his torso. He works as a fashion model and poses for a digital sculpture created using a 3-D printer. Matthieu is infatuated with Matthias, mimics his style, and stalks him to his apartment window. It’s a minimalist palace of white walls, blown-up black and white photos and a chin-up bar. Matthieu longs to meet him, but there’s no real connection. But when Matthias falls into a coma after a crash, Matthieu — like Patricia Highsmith’s Tom Ripley — moves into his home and takes over his life. Soon he has a parade of sex 
partners visiting him who thinks he’s the other guy. But what will happen to Matthew when Matthias comes home? And how far will one M go to duplicate, or replace, the other M?
M/M is a highly stylized, dreamlike and surreal look at superficial relationships and the dangers they pose. This Berlin is inhabited only by gay fashion plates in their twenties, posing against shiny white surfaces or pausing for sexual release in washrooms or saunas. Most dialogue is disjointed telephone conversations 
or short texts sent on gay dating sites; and the sex scenes fall somewhere between MMA and interpretive dance.
The story is intentionally ambiguous, so you never know if you’re seeing dreams, fantasies or actual events, nor even which M is dreaming what. Still, this dazzling art-house fest of image and music manages to hold together.
This is the best movie I’ve seen at Inside Out, but if you miss it there, it opens commercially on June 1.
On Chesil Beach opens today in Toronto; check your local listings. Hurley and M/M are both playing at the Inside Out Film Fest.
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 director Jac Gares about her new film Free CeCe! at Inside Out
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
In June, 2011 in St. Paul Minnesota, an African-American woman and her friends were taunted by a group of white supremacists they encountered on the street. A white woman assaulted her, cutting her face, followed by a violent attack by a white man. The situation escalated when the woman under attack pulled out a scissors to defend herself. The man ended up dead, the woman charged with murder. Her name is CeCe McDonald and she’s a 
transgendered black woman whose story has captured the interest of activists around the world.
Free CeCe! is a new documentary that tells her story. It’s about the violence, injustice and incarceration faced by transgender people of colour. It is directed by Jacqueline “Jac” Gares an award-winning TV director and filmmaker. Free CeCe! is her first documentary feature film, and it’s having its Canadian premier at Toronto’s Inside Out Film Festival on Sunday, May 28th.
I spoke with Jac in studio at CIUT 89.5 FM via telephone to New York City.
Lifestyles? Films reviewed: My Wonderful West Berlin, The Lavender Scare, Baywatch
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Inside Out is Toronto’s LGBT film festival showing dramas, comedies, documentaries and short films from around the world. There are events, free screenings and a chance to talk to the filmmakers and stars at most screenings.
This week I’m looking at two historical Inside Out documentaries about gay life and repression in two cities, Washington, D.C. and Berlin; and an action/comedy about straight life on a California beach.
My Wonderful West Berlin (Mein wunderbares West-Berlin)
Wri/Dir: Jochen Hick
After WWII, a defeated Germany was divided into East and West, its bombed-out former capital, Berlin, into Soviet and Western zones. But the pre-war laws still applied
. Paragraph 175 — an anti-gay section of the German criminal code passed by the Nazis in 1935 — made many homosexual acts illegal. But gays and lesbians flocked there – Berlin represented freedom, counterculture and revolution. And when the Berlin wall went 
up in the early 1960s Berlin served as a beacon located entirely within East Germany.
The districts of Shöneberg (and later Kreutzberg) became the centres of queer counterculture. The movie follows the changing city from the 1950s to the 1990s. There’s the well-known drag shows and sex clubs, but also a vibrant theatre scene, and a city filled with gay artists, writers, 
musicians and filmmakers (including Fassbinder and Rosa von Praunheim). There were gay squatters who set up home inside abandoned buildings. In the 1960s groups of men formed “Male Communes”, living spaces where pairing-off into heterosexual-style marriages was considered bourgeois. Cooking, cleaning and sex were all shared. But could Marxist thought coexist with gay sex?
The movie covers the subculture of the 1950s, the leftist counterculture of the 60s, through the punk movement, the AIDS crisis, and the end of the Cold War. Filmmakers played a crucial war in establishing gay culture. The Berlin Film Festival (where this film recently premiered) is the first major film festival to have a gay film prize, the Teddy Awards. My Wonderful West Berlin is a fantastic guide to Berlin’s history, illustrated with contemporary and historical interviews with the people who lived through it. It also includes eye-popping photos and footage of everything from safe-sex porn to Taxi Zum Klo. An excellent look at a complex city.
The Lavender Scare
Dir: Josh Howard
In the 1930s Washington, D.C. attracted educated people from across America to follow their ambitions and live openly gay or lesbian lives. WWII brought 
together men and women across the country with a new same-sex comradery. And the Kinsey Report (1948) estimated that close to a quarter of all men have had some same-sex experience. This all came to a sudden halt in the early 1950s. Politicians (like 
Senator Joe McCarthy) claimed communists were lurking in every dark alley. Party members, fellow travellers, socialists and liberals were purged en masse from government jobs and blacklisted for a decade. This Red Scares was followed by the lesser known “Lavender Scare”, an anti-gay purge that started in
the 1950s but that lasted for 40 years. Civil servants were spied on by police and J Edgar Hoover’s FBI. Anyone seen in “suspect” bars, observed as having habits different from the mainstream or even “gay” patterns of speech, was interrogated and forced to name names. Each person accused of being gay, lesbian or bi had to name five other suspects, who were also arrested. The excuse was that LGBT people were vulnerable to blackmail — since homosexual acts were illegal, and therefore prone to act as spies for the Soviet Union. But in fact, there 
was not a single proven incident of LGBT government employees blackmailed into becoming traitors. Instead, thousands of people lost their jobs, had passports revoked, with many driven to suicide.
This movie follows mainly white, middle-class, educated professionals in Washington — navy brass, diplomats, post office workers, both men and women — and how the Lavender Scare changed their lives. The film takes a mainstream, middle-of-the-road look at LGBT politics. It covers an early gay and lesbian advocacy group known as the Mattachine Society, and the founder of its DC branch Frank Kameny. At protests, he ordered men to wear suits and ties and women dresses, to demonstrate that they were just like “ordinary” people. (Trans not welcome here.) The Lavender Scare is a mainstream, suitable-for-television look at US government persecution of gays and lesbians and the effect it had on their lives. It’s lavishly illustrated with snapshots and period footage.
Baywatch
Dir: Seth Gordon
Mitch (played by wrestler-turned-actor Dwayne Johnson, aka The Rock) is a huge, egotistical lifeguard adored by everyone on the beach. Along with two women, CJ and Stephanie (Kelly Rohrbach, Ilfenesh Hadera), the Baywatch team save lives on a daily basis. They also function as an 
unofficial police force, patrolling the waves for drug pushers and petty thieves. Today’s the day they choose three new rookies out of the hundreds who apply. This year’s choice? Summer (Alexandra Daddario), an athletic young woman, Ronnie (Jon Bass), an 
out-of-shape computer geek, and Brody. Brody (Zac Efron) is a former olympic swimmer with pop-idol good looks, who rides a vintage motorcycle. He’s also impulsive, brash and selfish, and prone to excess drinking.
Brody and Mitch do not get along.
Then bad things start happening. Dead bodies wash up on shore along with packets of a designer drug. And there’s a new dog in town, Victoria, a rich and ruthless villain (Priyanka Chopra). Is she somehow connected to these crimes? Can the lifeguards stop corruption at City Hall? And can the Baywatch team just learn to get along?
Baywatch is an action/comedy based on the hit 90s TV show. 
There are a few inside references to the original version, along with chase scenes, rescues and shootouts. But let’s be real; this movie is really about boobs and dicks on the beach. Virtually every scene involves close ups of unzipped one-piece swim suits. And the penis jokes never end. I’m not exaggerating. There’s one scene involving Ronnie’s erection stuck in a wooden lounge chair that lasted for 5-10 minutes.
Is Baywatch funny? Not very. Is it exciting? Not really. Is it surprising. Not at all. Men get all the punchlines, while women provide the scenery. But did I hate it? No. How could I? It’s just like sitting on a beach, watching all the people walk past.
Baywatch opens today in Toronto; check your local listings. The Lavender Scare and My Wonderful West Berlin are playing at the Inside Out Film Festival. Go to insideout.ca for tickets and showtimes.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com
Daniel Garber speaks with Kristin Archibald about I Love You Both
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Krystal and Donny (Kristin and Doug Archibald) are twenty-something twins. They are closer than close: they live together, share secret codes, and text each other whenever they’re apart. Sometimes they even crawl into the other’s bedroom for comfort. And they need it — with their dead-end jobs and horrible relationships.
But at a mutual birthday party a new face enters the picture. Andy (Lucas Neff) is the 
nicest guy either of them have ever met. And both straight Krystal and gay Donny are head-over-heels in love. But who’s the third wheel here? And which one does he love? The answer may surprise you.
I Love You Both is the name of a new first film, having its international premier at Toronto’s Inside-Out Festival. The award-winning movie explores bisexuality, kinship and twinship. It was made by a real-life brother and sister: Kristin and Doug Archibald.
I spoke with Kristin at CIUT in Toronto.
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