Some gems at #TIFF23. Films reviewed: The Movie Teller, Do Not Expect Too Much From the End of the World, The Promised Land
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
TIFF is coming to an end this weekend, but plenty of movies still playing, with free screenings of Peoples Choice winners, including the Midnight Madness and Platform series. But this week I’m talking about three gems that played the festival, from Chile, Romania and Denmark. There’s a performer in the Pampas, a driver in Romania and a would-be farmer in Jutland.
The Movie Teller
Dir: Lone Scherfig (An Education, The Riot Club, One Day, The Kindness of Strangers)
Based on the Chilean novel by Hernán Rivera Letelier
Maria Margarita and her three brothers Minto, Mauricio and Marcelino, live in a remote company- town in the Pampas where they mine saltpeter. Her mother is a beauty, obsessed with radio soap operas, her father a gruff man with a big moustache. Their biggest source of pleasure is their weekly trip to the local cinema. But when their dad is badly injured — but not killed — in a work accident, they are suddenly without income. And their father, now in a wheelchair, can’t go to the movies anymore.
So the four kids decide to take the movies to him, by describing what they saw. The three brothers were not very interesting but Maria Margarita blew them all the way with her renditions — the love scenes, the fights, the commentaries all perfectly reproduced. Soon word spreads and everyone in town wants to watch her perform. But will it solve their deeper problems? And can it bring their mother home again (she abandoned her family once her husband was injured)?
The Movie Teller is a magnificent, romantic coming-of-age story (each of the four kids are played by three different actors as they grow up). The main events of their lives — like Maria Margarita’s fight with with a dust devil, or her first date with the son of the union organizer — are played out against historical events in Chile, culminating in the US-backed coup that killed Allende and brought dictator Pinochet to power. (You can guess what year it is by the movies they’re seeing). Though a bittersweet story, it feels like a classic drama. Despite the fact they’re in the middle of a desert the film is rich, lush and colourful. And it’s filled with quirky, endearing — or hateable — characters. Danish director Lone Scherfig makes a movie about movies in a cinematic style.
Wonderful.
Do Not Expect Too Much From the End of the World
Dir: Radu Jude (Bad Luck Banging or Loony Porn)
Angela (Ilinca Manolache) is an overworked PA working for a low-rent film studio in Bucharest. She has bleached-blonde hair and wears a dress covered in metallic sequins. She spends long hours driving across the city on minor assignments. Her latest? To interview people who were badly injured while working at a foreign-owned furniture factor. She sees people missing fingers, paralyzed, or in wheelchairs. But this is not an expose; the company wants this for a promotional campaign telling people to wear their helmets… though most of them weren’t injured on their heads.
Everywhere she goes, she pulls out her smart phone and records a short video she posts on Instagram or TikTok swapping her face with a cartoonish version of Andrew Tate’s. She calls her persona Bobito, who spouts a series of bawdy, obscene, misogynistic, and reactionary punchlines, told in the most offensive way possible. Later she picks up marketing exec Doris Goethe (Nina Hoss) from the Austrian furniture company they’re making the film for. Will Angela survive another gruelling day? Or will tiredness turn to a fatal traffic accident?
Do Not Expect Too Much From the End of the World is a 
biting satirical film about contemporary Romania. It mocks pop culture, government censorship, corporate greed, in a way sure to offend almost everybody. Thereme, Deloitte, KFC, Ukraine, Orban, Putin, Germans, American gun culture, nothing is off limits. This is an avant-garde film, not a conventional one, with very long takes — as long as half an hour — with no cuts. The scenes in her car are grainy black and white, while other scenes are brightly coloured. There are also clips from a 1981 Romanian movie about a female cab driver in Bucharest and the macho Transylvanian man she meets (the same actors appear in this film 40 years later.) And what Radu Jude film would be complete without a a seemingly endless montage of photos, almost like a slide show?
I think this film is brilliant, just like his previous one, but much easier on the eyes. If you’re OK with political satire and unconventional cinema, you should check this one out.
The Promised Land (Bastarden)
Co-Wri/Dir: Nikolaj Arcel
It’s Jutland in Denmark in the 18th century. Captain Ludvig Kahlen (Mads Mikkelsen) is trying to start a farm in an expanse of inhospitable heath land. He wants to make his fortune, live in a mansion, and be knighted by the king. He’s the illegitimate son of a nobleman and his maid, who served 25 years in the German army, but left with only a meagre pension. He has Royal permission to start a farm there — many have tried, none have succeeded — but faces unexpected obstacles. First, there are few people who want to work there. He ends up hiring a husband and his wife, Ann Barbara (Amanda Collin), fleeing servitude in a manor house at the hands of a noble. He was cruelly tortured, she was sexually assaulted.
Then there’s the noble, Frederik de Schinkel (Simon Bennebjerg) a snotty young man, who craves absolute power over all of Jutland. Just by existing on the land, Kahlen challenges his authority, and de Schinkel goes out of his way to stop him. It also doesn’t help that his beautiful cousin Edel doesn’t want to marry him — she only has eyes for Kahlen. Then there are the vagabonds who live in the woods attacking any passing visitors. That’s where he meets a foul-mouthed little girl named Anmai Mus (Hagberg Melina), who the thieves use as a lure. After much squabbling, and dramatic happenings, he, Ann Barbara and Anmai Mus form a 
makeshift family to face the elements as they attempt to produce the first crop ever grown on that land. Will he succeed or fail?
The Promised Land is an epic and novelistic historical drama, about a stubborn and driven man looking to fulfill his big dreams. It’s full of sneak attacks, and revenge plots. Mads Mikkelsen is marvellous as Kahlen, a man who risks his life for the sake of a title or rank, at the expense of the people he really cares about. The large cast is terrific (I mentioned only a few of the Dickensian characters) and the cinematography is panoramic.
This is a fantastic movie.
The Movie Teller, Do Not Expect Too Much From the End of the World, and The Promised Land all played at #TIFF23, which runs through tomorrow. Go to tiff.net for details.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Female saviours. Films reviewed: The 355, The King’s Daughter, Bad Luck Banging or Loony Porn
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Movie theatres are re-opening on Monday, at 50% capacity. That means the movies they’ve been banking are all coming out in the next little while — brace yourselves. So this week, I’m looking at three new movies about women: an action-thriller, a historical romance, and a social satire. There’s a teacher who wants to save her job, a princess who wants to save a mermaid, and a group of spies who want to save the planet.
The 355
Co-Wri/Dir: Simon Kinberg
In a Colombian jungle a drug lord is handing off a major sale to an international criminals, when something goes wrong. In the scuffle a computer drive disappears. It’s the hard drive, not the drugs that’s so valuable. It holds the ultimate hack: a device that can penetrate and control any computer or system in the world. So Mace (Jessica Chastain) a CIA agent flies to Paris with. Her partner, in and out of bed, to purchase the program. She enlists a former colleague named Khadija (Lupita Nyong’o), a British Mi6 agent to help her out. Khadija doesn’t want to spy anymore. She’s an academic now, with a lover. But she grudgingly agrees. Meanwhile a Colombian desk agent named Graciela (Penelope Cruz) with no fieldwork experience, is flown in to make sure the hand-off goes as planned. But it doesn’t, partly because of a clash with an unknown woman, named Marie (Diane Kruger). Turns out she’s not a criminal, she an allied spy who works for the German government. And Mace’s erstwhile lover – and partner – is killed.
So now we have four agents, none of whom trust one another, but are forced to work together when they are all declared rogue by their respective agencies. Meanwhile, jet planes are crashing, systems are imploding — just a taste of what the master criminals can do with this hard drive. It’s cyber warfare and the bad guys hold all the cards. So it’s up to them to find the device, save the world, restore their tarnished reputations and be taken off the most wanted list.
The 355 is a typical, run-of-the-mill action movie. Lots of fights, chases, narrow escapes and shootouts, against exotic locations in Europe, Morocco and Shanghai. I was worried at first that Jessica Chastain would pull another disgusting Zero Dark Thirty glorifying CIA torture in the so-called War on Terror. But that’s not what this movie is about at all. It’s a classic James Bond-style movie, but with four agents not one. What’s good about it is the incredible cast — these aren’t female Sylvester Stallone or Vin Diesels. They’re top tier actors — Lupita Nyong’o in 12 Years a Slave, Us, and Queen of Katwe; Diane Kruger is a major European actor (In the Fade, The Host, Unknown) best known in North America for Inglourious Basterds, Oscar-winner Penelope Cruz (Pain and Glory, Zoolander 2, To Rome with Love) and everyone knows Jessica Chastain (The Eyes of Tammy Fae, The Zookeeper’s Wife, Crimson Peak, The Martian, Mama, Lawless, Take Shelter,, etc). Plus top Chinese star Fan Bingbing (Buddha Mountain, Wheat,) appears in the movie, too (no spoilers). Take it for what it is, great female actors playing kick-ass roles in an enjoyable (through totally forgettable) action flick.
The King’s Daughter
Dir: Sean McNamara
It’s the 17th century in Versailles. Louis XIV, the Sun King (Pierce Brosnan) lives a life of luxury confessing his excesses to priest and confident Père Lachaise (William Hurt). But he realizes his mortality when he is wounded by a bullet. And France itself is deeply in debt following a long expensive war. So on the advice of an evil doctor (Pablo Schreiber), he orders the dashing Captain Yves (Benjamin Walker) to search for the lost continent of Atlantis and to capture a mermaid there. If he kills the mermaid during a total eclipse he will become the king of France forever — immortal. Meanwhile, Marie Josephe (Kaya Scodelario) has lived since birth in a remote convent, cloistered by nuns. She still manages to learn music, sneaking outside to hone her horseriding and ocean swimming skills. She is suddenly called back to Versailles. Why? Of course, she is the King’s daughter, but only the king knows this. She soon makes friends with the mermaid (Fan Bingbing), communicating telepathically and using music to bring them together. She also falls for to the handsome sailor Yves. But 
the king has other ideas — to marry her off to a rich duke. Can Marie Josephe marry the man she loves? Will the King ever listen to his daughter? And will he kill the innocent mermaid for his own glory?
The King’s Daughter is a second-rate Disney- princess-type movie, set in a gilded royal palace. It borrows liberally from Guillermo del Toro’s The Shape of Water and virtually any of princess-centric fairytales (its narrated by Julie Andrews.) Lots of CGI — generally mediocre, though I like the underwater scenes — and way too much gilded ornate settings. This is Louis Quatorze, but you wouldn’t know it from the sets. The makeup and costumes don’t even attempt to look like Versailles. We’re talking the era of the Three Musketeers but you wouldn’t know it; it’s so sterilized and dumbed down that it ends up as a gold-leaf bowl of pablum. Which isn’t surprising from a director of such masterpieces as 3 Ninjas: High Noon at Mega Mountain and Cats & Dogs 3: Paws Unite. I liked Kaya Scodelario she’s very good, but the script and direction are uninspired. If you are a little girl or boy into supernatural princess romances, you just might love this movie, otherwise, for the rest of you, the movie’s not terrible, it’s bearable, it’s just not very good.
Bad Luck Banging or Loony Porn
Dir: Radu Jude
Emi (Katia Pascariu) is a teacher at a prestigious school in Bucharest, Romania. She’s well respected in her profession, and dresses in a conservative grey skirt and jacket. But when her husband takes their laptop into the shop for repairs, some of their private footage is leaked online. And that’s when everything falls apart. They made a sex video for private viewing only, but now it’s everywhere, on tabloid news sites, Facebook and her students’ smartphones. Even after it’s been taken down by Pornhub, copies still circulate. And the parents are angry. She asks the schoolmistress (Claudia Ieremia) to take her side but to no avail. She’s forced to attend a humiliating parent/teacher meeting, held out of doors, to defend her reputation, and explain that a sex tape made by consenting adults in the privacy of their own home is not a crime. But the mob at the meeting disagrees. They insist on showing the tape again right in front of her at the meeting, complete with lewd 
commentary from some, and pillorying by the rest. Will she lose her job, or can she emerge from this ordeal unscathed?
Bad Luck Banging or Loony Porn is a scathing indictment of contemporary Romania, in the form of an absurdist comical farce. The movie is divided into three sections. The first part follows Emi on a walk around Bucharest , as she tries to fathom what happened. On the sway she observes random street conversations ranging from obscene to mundane. The camera lingers on signs, billboards and shopwindow, emphasizing the omnipresence of sex there. The second part is a long montage of a series of images — ranging from century old porn, to wartime photos, fascist memorabilia, Patriotic songs, kitschy poetry, nationalistic quotes, Holocaust denial, the persecution of the Roma, and much more. Each image is accompanied by 
unspoken comments in the form of subtitles. The third part is the outdoor tribunal as Emi is put on the stand before angry parents who want her fired.
The whole film is set within the current pandemic, with everyone in masks for the entire film, whether indoors or out. (This includes the absolutely explicit sex tape, where Emi’s face is sometimes covered but never her or her husband’s rampant genitalia. If you are bothered by explicit sex, do not watch this movie.) That said, it’s hard to watch a movie where people’s faces are covered. That’s a drawback, no matter how you look at it. On the other hand its funny, shocking and eye-opening. And it’s presented as a darkly satirical comedy. I would have liked to have seen more faces; I expect to see lips move when I watch a movie. But at least the middle montage section helps break up the Covid protocols into more digestible parts.
The 355 and the King’s Daughter open in theatres in Toronto on Monday; check your local listings. Bad Luck Banging or Loony Porn is now playing at the Digital Bell Lightbox.
This is Daniel Garber at the Movies, each Saturday morning, on CIUT 89.5 FM and on my website, culturalmining.com
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