Acting white. Films reviewed: Whitney, Sorry to Bother You, Mary Shelley

Posted in 1800s, African-Americans, documentary, Feminism, Movies, Music, Poetry, Politics, Romance, Women by CulturalMining.com on July 13, 2018

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

The scorching heat shows no sign of letting up, but you can always wait till dark and watch free screenings in Toronto parks. There are screenings at Yonge/Dundas Square each Tuesday, in Corktown each Thursday, and a special TPFF screening at Christie Pits in August.

But this week I’m looking at three new movies playing only in air-conditioned theatres. There’s a man in Oakland told to talk white, a musician from Newark made to sing white, and a woman in 19th century England… who just wants to write.

Whitney (a documentary)

Dir: Kevin McDonald

Whitney Houston is a middleclass churchgoing girl born into a musical family in Newark, New Jersey. Her mom Cissie Houston sings backup for Aretha Franklin and her cousin is Dionne Warwick. She has many supportive aunts and brothers – including an NBA player – and her stepdad is a municipal bureaucrat. They put her into a private Catholic school to avoid urban strife and riots. She’s pretty and talented and professionally trained. By age 18 she is accompanying her mom at a Manhattan nightclub, until the night she takes the stage on her own. Her beautiful voice blows the audience away, soon record execs are banging at her door, and she never looks back. She moves in with her best friend, Robyn Crawford, in a committed relationship.

Soon she’s chalking up consecutive number one hits, eventually breaking records for a female vocalist. And she puts her entire extended family on the payroll. Despite her intimate relationship with Robyn – a woman — she meets and marries popstar

Bobby Brown and does her best to please him – and their cute little daughter. But all is not well.

Even as her fame grows, some fans object to the homogenized, MOR tunes provided by a studio that wants her to sing “white”. Whitney becomes a real superstar when the movie The Bodyguard – and its theme song – attract worldwide attention. But she’s too big to survive. She start on a downward spiral of drug addiction, depression and isolation. She’s exploited, abused and her career collapses, as do her vocal chords and her family life.

Whitney is a new documentary that, through interviews with her family members and work mates – virtually everyone in her life (except Robyn) — unveils her hidden history: her drug use, her fluid sexuality and even, possibly, sexual abuse as a young girl (no spoilers here). Personally, I was never a fan of Whitney’s bland musical style, but I found this documentary totally engrossing (and sickening). Along with all the interviews, it has amazing montages that combine 80s music videos, TV commercials and violent news footage –  it’s worth watching just for that. Whitney is a celebration of crash-and-burn celebrityhood that you don’t want to watch, but can’t take your eyes off of.

Sorry to Bother You

Wri/Dir: Boots Riley

Cassius Green (Lakeith Stanfield) is a young, everyman in Oakland in a bad situation. He’s jobless, penniless, and nearly homeless: he lives in his uncle’s garage and drives a rust bucket. His girlfriend Detroit (Tessa Thompson) is a political performance artist who is also perpetually broke.

So he jumps at the chance to work for a telemarketing company and gradually learns the ropes. It’s stressful and depressing with a high turnover rate. Worse than that, salary is commission-based, meaning if you don’t close a deal, you don’t get paid. And he can’t get anyone to buy from him until an old timer (Danny Glover) tells him the secret: talk white. It’s not just an accent, it’s the whole lifestyle, talking like you don’t have a worry in the world. Sure enough, he begins to earn some cash. At the same time a union rep named Squeeze (Steven Yeun) is organizing a wildcat strike. And behind the scenes, bay area zillionaire Steve Lift (Armie Hammer) is urging labour sign up as indentured servants — Virtual slavery in other words. He owns the company. Which direction will Cassius go… join the strike or cross the picket line?

Sorry to Bother You is a brilliant political satire that combines science fiction, black american culture, experimental movie making and delightful comedy. filmmaker Boots Riley reinvents movies in unexpected ways: like tearing down the fourth wall in one scene – literally! He portrays gangsta rap as modern day minstrelsie while keeping political issues – like homelessness, precarious employment – at the forefront. This is an excellent indie movie.

Mary Shelley

Dir: Haifaa Al-Mansour

Mary Wollstonecraft Godwin (Elle Fanning: Ginger and Rosa, Neon Demon, 20th Century Women, The Beguiled) is a teenaged girl in 19th century London. She wears her blond hair braided and her dresses loose. She can be found curled up against a gravestone reading a book. She’s the daughter of feminist Mary Wollstonecroft (who died when she was an infant), and political philosopher Charles Godwin, so she’s always open to new ideas, both scientific and literary.

Her dark-haired, half-sister Claire (Bel Powley: Diary of Teenege Girl, ) is her constant companion, until she meets a poet at a reading. Handsome, young Percy Bysshe Shelley (Douglas Booth: The Riot Club) sweeps her off her feet with his amorous verse. Is it love? Mary thinks so… until she meets his estranged wife and child. (Turns out Shelley is a bit of a player.) But she agrees to run off with him, accompanied by the faithful Claire. And when deby collectors chase them out of their Bloomsbury flat, they flee to the continent, where sex-addicted poet Lord Byron lives in a grand mansion.

To while away the rainy days Byron proposes the four of them – Mary, Shelley, himself and a young doctor, but not Claire – to write some scary stories. That’s where Mary pens the classic Frankenstein. Can a woman get her work published in 19th century England? And is “free love” just an excuse men use to exploit gullible women?

I enjoyed Mary Shelley but didn’t love it. It can’t seem to decide where it’s going: is it a gothic, Brontë romance? An intellectual feminist historical biopic? Or a witty, Jane Austen drama? You can’t be all three.

As for Frankenstein, the only monsters here are the loathesome poets Mary Shelley has to deal with.

Whitney, Sorry to Bother You and Mary Shelley 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.

Working class heroes. Films reviewed: 22 Chaser, Boundaries, Leave No Trace

Posted in Canada, Cars, Coming of Age, Family, Feminism, Road Movie, Toronto, Women by CulturalMining.com on July 6, 2018

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

Movies aren’t only about escapism, superheroes and spaceships. Some equally entertaining movies shed light on real people and their concerns – like escaping poverty, finding a home, or keeping their kids in school.

This week I’m looking at three new movies about working-class families. There’s a father and daughter in Portland who live in the wild, a west coast mom and her son forced to deal with a wiley grandpa, and a tow truck driver negotiating the wilds of downtown Toronto.

22 Chaser

Dir: Rafal Sokolowski

Ben and Avery (Brian J Smith: Sense8; and Tiio Horn: Ghost BFF) are an ambitious young couple from a small town with a scrappy son named Zach. Ben drives a truck for Jackrabbit Towing but hopes to open his own garage some day; while Avery plans to parlay her skills as diner waitress into restaurant owner. But despite their big ideas they’re barely surviving, with Avery forced to visit the local foodbank.

Ben is an ethical guy who helps the victims he sees at accidents; he’s no ambulance chaser like his rival towtruck drivers Elvis (Shaun Benson) and Wayne (Raoul Trujillo). One day at work he gets some good news and bad news. The good news is his company is about to land a big police contract – this guarantees lots of future income. The bad news is the drivers have to pay a big deposit to keep their tow trucks – money he just doesn’t have.

So he enters a deal with a crooked cop named Ray (Aiden Devine) who doubles as a predatory loan shark. The meeting is arranged by his best friend Sean (Aaron Ashmore), another chaser. But the income he expects doesn’t come in. The loanshark demands a payment in 24 hours — or else — but he doesn’t even have enough to buy his kid a birthday present. Jackrabbit Ben is forced to turn chaser, at least for one night. Can he survive the bloodthirsty world of competitive tow truck driving?

22 Chaser is equal parts family drama and action movie with enough violence and street racing to keep it moving. The story’s a bit old fashioned… or classic, depending on how you view it. (It feels like the movie Nightcrawler, but with a tow-truck driver instead of a news photgrapher.) Smith and Horn are appealing as the troubled married couple, and the night time street views of downtown Toronto are a pleasure to watch.

Boundaries

Wri/Dir: Shana Feste

Laura (Vera Farmiga) is an eccentric single mom who lives with her son and a whole lot of dogs – she adopts any abandoned dog she sees on the street. She’s the pied piper of mange. She works for her rich best friend as a party planner, but she’s struggling to get by. Her son Henry (Lewis MacDougall) is an artist and a bit of an oddball too. He draws what he feels. His latest hobby is to draw naked pictures of adults he knows – including his mom’s boyfriends. But when he draws his school principal naked, he gets expelled. This means mom has to find a private school that takes non-conformist kids. And she has to pay for it. Which forces her to contact her estranged father Jack (Christopher

Plummer) who was just kicked out of a seniors home.

Laura blames him for her troubled childhood – he was never around when she was growing up. And though he’s in his eighties she still doesn’t trust him. But she really needs the money. So she agrees to go on a roadtrip down the west coast, from Seattle to LA, with her son and her dad in exchange for the money to pay for Henry’s school. And maybe Henry can finally bond with his grandpa. But what she doesn’t know is Jack is using the trip for nefarious reasons. Can the the three learn to get along? And will the trip solve their problems? Or lead to a terrible end?

Boundaries is a very cute move about family ties. It pulls a lot of the old hollywood road movie tricks – I mean who doesn’t like beautiful scenery, an oddball kid, wacky grandpa, neurotic mom, and lots and lots of adorable dogs? – but I enjoyed it.

Leave No Trace

Wri/Dir: Debra Granik

Tom (Thomasin McKenzie) is a teenaged girl who lives with her dad Will (Ben Foster) in a forest near Portland, Oregon. He’s a war vet and she’s his only child. They live a sustainable, natural life, moving every few days, being sure to leave no trace – for both ecological and security reasons. Will suffers from severe PTSD – he’s kept awake by the sound of helicopters in his head – and is extremely antisocial. He doesn’t like being around other people, except Tom of course.

They start campfires with flint and steel, pick wild mushrooms, and drink rainwater captured in plastic tarps. He teaches her survival tactics and how to hide from the enemy, but also book learning. Thom likes her life — it’s the only life she’s ever known. But when their lives are disrupted – they’re arrested by the police and Tom is handed over to social services – they’re forced to rethink their entire way of life. Tom discovers she likes being around other people, while will can’t stand it. What will happen to their father daughter relationship?

Leave No Trace sounds like a simple family movie, but it’s so much more. It follows a script with actors but feels almost like a documentary at times. It follows Will and Tom on a picaresque journey through the Pacific north west, through forests, along highways, and with the people they meet on the way. Gorgeous scenery, fantastic acting, and a beautiful subtle story. It’s directed by Debra Granik who did the fantastic Winter’s Bone – (another great movie, and was Jennifer Lawrence’s first important film, and look at her now!) That’s why I made sure to catch this one. And though it’s not a thriller like Winter’s Bone, it’s just as good.

I recommend this movie.

22 Chaser, Boundaries and Leave No Trace 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.

Disruptions. Films reviewed: Marlina the Murderer, Darken, North Mountain

Posted in Canada, Darkness, Feminism, Indigenous, Indonesia, LGBT, Nova Scotia, violence, Western, Women by CulturalMining.com on June 29, 2018

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

It’s Canada Day weekend – a good time for fireworks, beer, and maybe a movie. So I’ve been looking around for films not from south of the border — and three unusual ones caught my eye. Two are from Canada — and one from Indonesia — and two of the three are directed by and feature women.

This week I’m looking at three movies about people whose lives are disrupted by unexpected visitors. There’s a Mi’kmaq trapper fighting off thieves in eastern Canada, a widow fighting off rapists in eastern Indonesia, and a Toronto nurse fighting medieval soldiers… in a parallel universe.

Marlina the Murderer in Four Acts

Dir: Mouly Surya

It’s present day Sumba, an island in Eastern Indonesia near Flores and Timor Leste. Marlina (Marsha Timothy) is a sad and lonely widow. Her only child died years ago, and her husband’s body sits beside her in her home, wrapped in traditional cloth, awaiting his funeral. All she has left are her cattle, chickens and pigs. But her sad relections are interrupted one day by a visitor on a motorbike. It’s Marcus (Egy Fedly) an evil, long-haired outlaw from a nearby town. He heard she’s alone and comes there to take advantage. I have a gang of six more men on their way, he says. You’re a woman all alone, so we own you now. You’re going to cook us a meal. We will steal your cattle and anything else you own. And — if you’re lucky — we’ll rape you, but not kill you. And there’s nothing you can do about it.

Marlina is sickened and terrified… but not helpless. She poisons four of the men with her chicken soup, and when Marcus sexually assaults her, Marlina, in a moment of desperation, grabs a machete and chops off his head! Not knowing what else to do, she decides to turn herself in to the local police.

At the truck-taxi stop she meets a neighbour named Novi (Dea Panendra) who reacts rather mildly to the dead man’s head she’s carrying.  Novi is more concerned with her own problems. She’s ten months pregnant but the baby just won’t come out! So they set off down the long and twisting road to the nearest town.

But two of the killers are still after her. Will Novi ever give birth? Should Marlina turn herself in? And what will she do with Marcus’s head?

Marlina the Murderer is a genre-busting drama, part revenge pic, part feminist western, part art house dark comedy. It has an amazingly calm tone in the midst of horrible crime. There are horses, and posses, and road trips and fights. I haven’t seen many Indonesian movies, so I’m far from an expert, but the two stars were both in great action movies I actually have seen: Headshot and The Raid 2 – which is a good sign. And it introduces the music, customs and amazing scenery and people of Sumba, a place I had never heard of before this film, but now at least have experienced a taste of it.

Marlina the Murderer is a brilliant, rich and baffling movie.

Darken

Dir: Audrey Cummings

Eve (Bea Santos) is a Toronto nurse who’s feeling down. She’s depressed and her life has lost its point. Until one day she runs into a woman on a sidewalk calling for help. The woman is dressed in a strange medieval leather outfit and is bleeding from a knife wound. She asks Eve to rescue her friends. But when Eve opens a door to a nearby building, she finds herself, like Alice in Wonderland, in a whole other world.

It’s a land called Darken, composed of a series of linked rooms and hallways, It’s always indoors in Darken and always nighttime. It’s governed by a goddess who provides life through her blood and is ruled by an autocratic priestess named Clarity (Christine Horne). It serves as a refuge for outcasts from different eras, all of whom live peacefully together. That is, until now.

The Mother Goddess is out of the picture, and Clarity has declared war on all dissidents. Her spear-wielding guards – all decked out in Game of Thrones gear – provide her the muscle; and a lackey (Ari Millen) — who reminds me of the young Penguin on Gotham — defends her legal rulings.

But Eve falls in with the rebels, including the fierce Kali (Olunike Adeliyi) and the kindly Mercy (Zöe Belkin) who communicates using sign language. Which side will win? And can Eve ever get back to her normal world?

Darken is a science fiction/fantasy set in a parallel universe. It ranges from unexpected plot twists to absolute cheese. Above all, this feature shouts TV, from the set design, to the lighting, to the acting and the script. There are even scenes that fade to black as if they’re saying: Insert Ad Here. And I find shows shot entirely on dark blue sets claustrophobic. But that’s just me.

On the other hand, women-centred science fiction or fantasy movies are rarer than an affordable apartment in Toronto. And this one has a a goddess, an evil priestess, a heroine, and noble fighters — all played by women. The men are there as peripheral characters or arm candy.

And for that reason alone it might be worth seeing.

North Mountain

Dir: Bretten Hannam

Wolf (Justin Rain) is a young hunter/trapper in a Nova Scotia forest. He knows every rock and tree on North Mountain: where to set the snares, where to hunt the deer. He lives a traditional Mi’kmaq life in his Grandmother’s wooden cabin, a life still lit by candlelight. He uses a bow and arrow to kill the animals he eats, and honours and respects each life he sacrifices. It’s a simple, quiet existence, punctuated by monthly visits to the town store where he catches up with Mona (Meredith MacNeil), a long time friend.

Nothing changes except the seasons, until… he finds an older man’s body leaning against a tree. He’s bleeding, barely alive, and is holding a leather satchel filled with cold, hard American cash. Wolf tends to his wounds until Crane (Glenn Gould) comes back to life. Turns out he’s from this place and speaks the same language.

Their first conversations are fraught with violence and fistfights and filled with suspicion. But at some point their initial violent antipathy shifts to something very different: they become lovers! And just as they’re making sense of it, a group of strangers comes to the mountain. A posse of crooked cops and organized criminals. They want the cash and don’t care who they kill to get it. Can a pair of indigenous lovers wielding bow, arrow and tomahawk overcome a heavily-armed contingent?

North Mountain is half violent thriller, half passionate, aboriginal gay love story. Rain and Gould (of Plains Cree and Mi’kmaq heritage, respectively) are excellent as the two lovers, and the action – including references to Peckinpaw’s ultra-violent Straw Dogs – is as heart-pounding as any good thriller.

North Mountain, Darken and Marlina the Murderer 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.

Big plans. Films reviewed: Octavio is Dead, American Animals, Hearts Beat Loud

Posted in Brooklyn, Canada, College, Coming of Age, Crime, Cultural Mining, Dreams, Ghosts, LGBT, Music, Romance by CulturalMining.com on June 22, 2018

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.

Good genres. Films reviewed: Ishtar, Tokyo Vampire Hotel, Hereditary

Posted in 1980s, Clash of Cultures, comedy, Family, Horror, Japan, Movies, Supernatural, Vampires by CulturalMining.com on June 9, 2018

Hi, this is Daniel Garber at the Movies for culturalmining.com.

As I frequently say, don’t confuse highbrow cinema with good movies, and genre films with bad movies. Good and bad exist in both worlds. This week I’m looking at three entertaining, genre movies: a comedy thriller, a horror movie and a horror/comedy. We’ve got lounge singers in a hotel in war-torn North Africa, a singles retreat in a hotel run by vampires, and a family living in a dollhouse-like home… that might be haunted.

Ishtar (1987)

Wri/Dir: Elaine May

Lyle Rogers (Warren Beatty) is a gullible rube from the sticks; while Chuck Clarke (Dustin Hoffman) is a fast-talking pickup artist from Queens. Together they’re Rogers and Clarke a musical duo of singer-songwriters in New York. They think they’re going to be the next Lennon and McCartney or Simon and Garfunkel, but they are missing one key element: talent! Needless to say, they’re going nowhere fast. Their savings are gone, and their girlfriends have left them, and their agent is far from helpful. But he does have a gig for them at a hotel in Morocco. Sounds good! So they fly, off via the remote (fictional) kingdom of Ishtar.

But Ishtar is on the brink of revolution. And an ancient map that a local archaeologists has just found is the only spark needed to light that fire. Lyle and Chuck are clueless, of course, and just want to perform their act. But the hapless Americans are quickly drawn into this intrigue.

There’s a shifty American CIA agent (Charles Grodin) who convinces Chuck he can help their career; and a fiery revolutionary named Shirra (Isabelle Adjani) disguised as a young man who seduces Lyle to get him to help her cause. Will Rogers and Clarke split up? As fate would have it they end up in a camel caravan in the Sahara desert, pursued by militants, mercenaries, gun runners, nomads and US bombers, all convinced they have that crucial map.

When Ishtar came out in 1987 it was a collasal flop with many critics calling it the worst movie ever made. I disagree. I finally watched it and I think it’s a hoot. It’s funny and politically astute; when was the last mainstream comedy you saw with the CIA and US military as the bad guys? OK, its cultural impressions are rather obtuse, but it’s making fun of the American characters’ disguises not the locals. And it takes place before the “regime change” wars yet to come.

More than that, here are Warren Beatty and Dustin Hoffman — former icons — making fun of the whole generation of baby boomers, saying how did they all end up so uncool? Even their improvisational songs are bad-funny. If you’re yearning to see a forgotten piece of 80s culture, check out Ishtar.

Tokyo Vampire Hotel

Wri/Dir: Sion Sono

It’s 2022 in Tokyo, Japan, and something big is about to happen. Manami (Tomite Ami) can feel it. She’s about to turn 22 and is having strange thoughts. Like buzzing away at her hair until she looks like Eleven on Stranger Things. But when she witnesses a mass shooting inside a restaurant that kills everyone but her she really freaks. She barely escapes and owes her life to a mysterious woman named K (Kaho). That’s when Manami discovers the killings were committed by rival gangs searching for her. She is crucial to their plans, but she doesn’t know why.

Meanwhile, a major Tokyo hotel has invited singles to a special event – a dating weekend for coupling up. What the guests don’t know is the hotel is run by vampires. And they’re the main course. Add a rivalry between two vampire lineages, the Draculs and the Corvins, fighting for power; a Transylvania/Japan connection, and a Prime Minister who might destroy the world, and there you have it: a bloody, non-stop battle royale fought by rival vampires and hotel guests in a Tokyo hotel.

If you think that’s a lot of plot for one movie, you’re right. It’s actually a condensed version of a TV series, edited to fit into a single film. There are love affairs, Romanian castles, hidden rivers, a female killer dressed in pink, and sinister royal matriarchs, one of whom runs a secret world of blood orgies involving thousands of slaves… hidden inside her vagina! Tokyo Vampire Hotel isn’t for everyone, but I found it shocking, disgusting, sexy and hilarious.

Director Sion Sono is one of my favourite Japanese directors, a master schlockmeister unmatched when it comes to rivers of blood. Every frame uses saturated colours, and lightning-fast editing.

He treats blood as an art form, spilling it everywhere in a grotesquely beautiful way.

Heriditary

Wri/Dir: Ari Aster

Annie and Steve (Toni Collette and Gabriel Byrne) are a happy middle aged couple with two kids. Peter (Alex Wolff) is a pothead in high school crushing on a girl from class. Charlie (MIllly Shapiro) is younger and a bit tetched in the head. She draws strange pictures and puts scraps of wood and metal together to make little dolls. She must have got that from her mom, an artist, who builds intricate doll houses that recreate important aspects of her own family’s lives. They live in a beautiful if isolated wooden home filled with her doll houses.

But ever since Annie’s own mother died, strange things keep happening in her house. Things like doors opening by themselves, and nonsense words found scrawled on walls. Charlie wanders off when she should be at home, Peter awakens from hideous nightmares, and mom finds herself sleepwalking holding a knife in a fugue state. What can it all mean? But when decapitated birds lead to human deaths, Annie feels she has to stop this. But what is she fighting aganst? And is she too late?

Hereditary is a chilling thriller/horror, beautifully made. You’re never quite sure if your watching Peter’s pot-fueled nightmares, Annie’s sleepwalking visions, life inside her intricate dollhouse dioramas, or real life. And by “real life” I mean supernatural goings on.

Scene changes are so skillfully done, it shifts seamlessly through these conflicting realities. This is director Ari Aster’s first feature but the acting, art direction and camera work turns a conventional story into a remarkable film.

Great movie.

Hereditary opens today in Toronto; Ishtar is at TIFF Cinematheque as part of Funny Girl: The Films of Elaine May; and Tokyo Vampire Club is playing at Toronto’s Japanese Film Festival.

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

Quests. Films reviewed: Grace Jones: Bloodlight and Bami, Let the Sunshine In, First Reform

Posted in Christianity, Death, Drama, France, Jamaica, Movies, Music, Reggae, Religion, Sex by CulturalMining.com on June 1, 2018

Hi, this is Daniel Garber at the Movies for culturalmining.com.

Toronto’s spring festival season continues. Inside Out finishes this weekend, and look out for the Japanese Film Fest and True Crime Film Festival both opening next weekend.

But this week I’m looking at three new movies by three great directors about people on quests. There’s a musician driven by fame, a woman searching for love, and a clergyman holding on to his immortal soul.

Grace Jones: Bloodlight and Bami

Dir: Sophie Fiennes

Grace Jones is a multi-talented artist and performer. Known for her distinctive voice, looks and style, she has left a mark on everything from fashion to pop music. Originally from Spanish Town in Jamaica, she made it big as a model in France, capturing the fashion world with her androgynous body and striking features. Later she shifted to music, recording first dance hits like La Vie en Rose, followed by the punk sounds of Warm Leatherette, and pop songs with a drum-and-bass reggae theme provided by Sly and Robbie. And as an actress she perfected the look of a crazed, cold villain in movies like James Bond’s View to a Kill.

This movie strips her bare physically and emotionally as she returns to Jamaica to visit her family and record a new album. The camera follows her as she digs up her family’s past, tries to record songs, and goes on a concert tour. It also includes a stopover in Paris to record a TV music video; and her performances on stage. This is an intimate portrayal of the underground superstar – who turned 70 this year, still dancing, changing clothes, arguing on the phone, and putting on the elaborate headddresses and costumes she’s known for. It also makes her seem a bit crazy – her accent shifts from Jamaican to American to british depending on whom she’s talking to, even shifting to a sort of french when she’s in Paris.

This no-holds-barred portrait is not always pretty but always fascinating.

First Reformed

Wri/Dir: Paul Schrader

Toller (Ethan Hawke) is a lonely reverend at an old church with a long history. He carries heavy baggage of his own: a dead son and memories of war. The church itself – First Reformed – has been there for centuries and is approaching its historical anniversary. For the Church administrators this is a PR goldmine and chance for big corporate donations. But Toller is an old-school preacher with traditional ideas. He feels like he’s losing his calling, and isn’t comfortable playing a pretend minister for tourists at a historical site. Luckily, there is a parishioner with real problems who needs his help.

Mary (Amanda Seyfried) is going through a crisis with her husband Michael, an environmental activist. She’s worried about him losing it. And the environmentalists are diametrically opposed to the very corporate donors that are keeping the church on its feet. As Toller gets involved in their lives, he re finds his calling. But things take a shocking turn with one unexpected death and the possibility of more. What path will Toller take, what is the church’s future, and what will become of Mary?

I’m not saying anything more about the plot, but let me just say that what starts as a simple and almost boring story slowly builds to an intense and shocking finish. Paul Schrader is a great director — he did Cat People, American Gigolo and Mishima — and an even better scriptwriter: Taxi Driver and Raging Bull.

I don’t always like Ethan Hawke’s acting, but I do here – this might be his best performance ever.

Let The Sunshine In (Un beau soleil intérieur)

Dir: Claire Denis

Isabelle (Juliette Binoche) is a middle aged artist at the peak of her career. She expresses her art using big brushes on huge canvases nailed to her studio floor. She’s signing with a new art dealer, and is financially secure, a great house, and her ex husband is taking care of their daughter. She is beautiful with a sparkling personality. The world is her oyster… so why is she having so much trouble finding a pearl? The problem is it takes two to tango and the men she meets aren’t playing their parts correctly.

She has carried on multiple relationships since her divorce. There’s a married banker who thinks she’s loves him, when it’s actually her repulsion toward him that turns her on. A handsome and famous but vapid actor thinks he’s great with the women, but despite the great sex, he does courtship all wrong. She wants the seduction, the passion and the ongoing interplay a relationship needs. He just wants a director to give him his lines.

Then there’s a mysterious and passionate man she meets while dancing, but who doesn’t fit in with her friends. Even her ex-husband sometimes spends the night when he’s in Paris.

Can she find her life partner, the best man out there? Or will she settle?

Ignore the pedestrian title, Let the Sunshine In is sophisticated and subtle movie. Juliette Binoche shines in every scene, she funny, clever and quirky. Claire Denis is one of best directors in France who is vastly underrated. This story is told purely from the female gaze – that of Isabelle.

It pokes fun at men – and at the women who fall for their tricks.

Grace Jones, Let the Sunshine In and First Reformed 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.

Unrequited Lust. Films reviewed: On Chesil Beach, Hurley, M/M

Posted in 1960s, 1970s, Berlin, Cars, documentary, Drama, Dreams, LGBT, melodrama, Sex, UK by CulturalMining.com on May 25, 2018

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.

Changes. Films reviewed: Venus, RBG, Boom for Real

Posted in 1970s, Art, Canada, documentary, Hiphop, LGBT, Montreal, Movies, Punk, Trans, Women by CulturalMining.com on May 18, 2018

Hi, this is Daniel Garber at the Movies for culturalmining.com.

Spring Film Festival Season is going strong in Toronto with world premiers, features and short films to reflect every taste. Inside Out is one of the world’s largest LGBT film festivals; ICFF, the Italian Contemporary film festival, has parallel screenings in eight cities across Canada; and Toronto’s Japanese Film Festival features great movies and a special appearance by Nobel Peace Prize co-recipient Setsuko Thurlow. And brand new this year is Toronto’s True Crime Film Festival – the title says it all. They’re all coming soon.

This week I’m looking at three new movies – a dramedy ad two documentaries – opening today, which (coincidentally) are all directed by women. There’s a teenaged boy who changes New York’s art scene, a diminutive judge who changes US laws, and a woman in her thirties who just wants to change herself.

Venus

Dir: Eisha Marjara

Sid (DeBargo Sanyal) is a Montrealer in her thirties going through some major changes. Her longtime boyfriend Daniel (Pierre-Yves Cardinal: Tom at the Farm) dumped her, and a strange, 14-year-old kid has been following her around. But the biggest change of all is her gender – she’s transitioning from male to female, and is about to appear as a woman, in public, for the very first time. That’s when Ralph (Jamie Mayers) the 14 year old skate kid who’s been following her around finally tells her why: Sid, he says, you’re my dad!

What?! First of all, she says, I only have sex with men, second of all I’m brown – Sid is of a Punjabi ancestry – and you’re white. But doesn’t she remember Kristin from high school? (Kristin is Ralph’s mom and Ralph read in her diary that she had a fling with Sid as a teenager).

When she gets over the shock Sid takes a crash course in Parenting for Dummies, and starts to bond with Ralph. Her ex-partner Daniel reappears in her life, and accepts her change of gender. And her estranged parents, her transphobic Mamaji (Zena Darawalla) and  laid-back Papaji (Gordon Warnecke: My Beautiful Launderette), welcome her back with open arms when they discover they’re grandparents. But trouble lurks. Will Daniel come out publicly as her partner? Will Ralph tell his Mom he found his birth parent? And will Sid survive the stress of transition?

Venus is a very cute dramedy, one that shows pathos without too much treacle, and keeps you interested. And the cast is uniformly believable and endearing, especially the principals: Sanyal, Mayers and Cardinal.

RBG

Dir: Julie Cohen, Betsy West

In 1970s America it was not illegal to refuse women bank loans without a man’s signature, to fire them for being pregnant, to pay them less than men, to bar them from public schools, private clubs and other institutions… even for husbands to rape their own wives.

Enter noted lawyer Ruth Bader Ginsburg. Born in Brooklyn, she is one of few female students at Harvard Law in the 1950s which helps shape her legal outlook. She observes the oppression and panic of the Red Scare. She also experiences discrimination first hand, as she and other women are ignored by professors and barred from accessing archives. Later, she works for the ACLU (American Civil Liberties Union)  and begins to challenge laws that discriminate against women, one at a time, through lawsuits. Many of her cases make it to the all-male Supreme Court, whose members understand civil rights on the basis of race, but can’t yet conceive of it on the basis of sex.

She teaches them what’s what.

Later this diminutive, shy woman becomes a law professor, a circuit judge in the Washington, D.C. Appeals Court and eventually a Supreme Court justice herself, often leading dissenting positions on the increasingly conservative court. More recently, in her eighties, she has been adopted by young feminist activists as a “rock star” or celebrity of sorts; an unusual role model for a youth-obsessed culture.

RBG is an interesting and informative – if conventional – look at her policies, her home life, her late husband, and her love of opera.

Boom For Real: The Late Teenage Years of Jean-Michel Basquiat

Dir: Sara Driver

It’s 1978 and New York is a bombed out city. Crime rates are soaring, the government is bankrupt, and poor neighbourhoods like the Lower East side are abandoned and crumbling. With hard times come big changes. Both Punk rock and hip hop culture are developing side by side, and into this incubator steps a 16 year old boy named Jean-Michel Basquiat.

Born in Brooklyn, the son of a Haitian Dad and a Puerto Rican mom, Jean Michel is homeless, kicked out for dropping out of high school. Now he’s couch-surfing in the lower east side, and becoming an artist. He expresses himself as SAMO, a graffiti artist. But instead of the bold, chunky murals and tags that cover the subways Jean-Michel scrawls pensive poetry and enigmatic thoughts using plain – though distinctive — letters. He later develops his images – childlike hearts, crosses, three pointed crowns, Batman and science books – and applies them to diverse media: everything from walls, to clothing, to refrigerator doors. He targets walls near Soho, so galleries will notice. He already thinks of himself as a superstar, just one who is not famous yet.

But Soho galleries don’t care much about youth, punk, hip hop or black culture in general. So the artists create their own spaces in a DIY mode. Still a teenager he attends seminal art happenings and events around the city, whether or not he is actually invited, spontaneously adding his art directly to gallery walls And he refines his distinctive look, with short dreads and a partly shaved skull.

Boom for Real is a brilliant documentary about an artist life before his incredible fame in the art boom of the 1980s and his untimely death. It situates him within an era: of Fab 5 Freddy and Planet Rock; Club 57 and the Mudd Club; Grafitti art, Jim Jarmusch, club kids and Quaaludes, fashion, music, rap and art. It’s the best sort of documentary, one that functions as a constantly-flowing oral history told by the people who were there. It shows a fantastic array of period photos, videos and images documenting Basquiat’s teenaged years. Even the closing credits are thoughtfully laid out.

Beautiful movie.

Venus, RBG, and Boom for Real 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.

Christoph Schlingensief: Approach those you fear. Films discussed: The German Chainsaw Massacre, The 120 Days of Bottrop, Foreigners Out! Schliegensief’s Container

Posted in Art, Austria, Berlin, Experimental Film, Germany, Horror, Nazi, Theatre by CulturalMining.com on May 11, 2018

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

Christoph Schlingensief was a performance artist, TV producer and filmmaker known for his pranks. A Till Eulenspiegel for the new millenium. He was born in 1960 in Oberhausen, Germany and made his first film while still a kid. He became a devotee of avant garde film, music videos, mainstream Hollywood, and the New German Cinema.

His work incorporates Brechtian theatre techniques and its exaggerated, in-your-face style. In any given film you can find contemporary art, TV clips, historical footage, and even samples of his own past work, edited into the project. He became widely known in German-speaking Europe — though not outside it — for his TV shows, especially an impromptu talk show shot on Berlin’s U-Bahn. Sadly, he died of cancer in 2010 at the age of 49.

You’ve probably never seen his work, so this week, I’m going to talk about a special series of three movies now playing in Toronto, sponsored by the Goethe Institut (and co-presented by the Laser Blast Film Society and KinoVortex). There’s a look at German unification using cannibal serial killers, an epitaph to New German Cinema in the form of naked people running rampant, and a take on rightwing politcs and xenophobia using a mock reality show… that “deports” undocumented immigrants! 

The German Chainsaw Massacre (1990) (Das deutsche Kettensägen Massaker a.k.a. Blackest Heart)

It’s Germany just after the reunification of East and West. Almost everyone has moved westward, but a tiny few remain in the East. This includes the beautiful but downtrodden Clara (Karina Fallenstein) who is repeatedly abused by her drunk husband. She fights him off with a kitchen knife, jumps into her Trabant and heads for greener pastures. But little does she know, she’s going from bad… to wurst.

She meets up with her boyfriend Artur only to see a stranger slash up poor Artur’s body. And when she seeks help at roadside inn, she’s accosted by a sex-craazed lesbian dressed in black (Sussanne Bredehöft, who also plays Clara’s husband), and her equally weird colleagues. Behind closed doors they put rubber masks on anyone who stays there and brutally chops them up before grinding them into sausage. Can Clara defeat these evil cannibals? Or will she end up on someone’s BBQ?

The German Chainsaw Massacre is the second chapter of Schlingensief’s German Trilogy. It’s a genuine horror movie, but so over-the-top that you can’t take it seriously. Its actually very funny, in a disgusting sort of way, mimicking American slasher movies while also satirizing German fears of reunification. (I think it’s also a comment on how ordinary people in the East were treated like pack animals — or sausages! — to feed the hungry West German labour market.)

The 120 Days of Bottrop (1997)

Whatever happened to German Cinema? Schlingensief wants to know. Where are the great directors like Fassbinder, the stars like the beautiful Romy Schneider and 70s heartthrob Helmut Berger? So he decides to get Fassbinder’s stars back together again to film a remake of Pasolini’s most controversial movie: Salo or 120 days of Sodom.

The original film was about Nazi occupied northern Italy, where they conducted horrific S&M orgies using people as sex slaves for their entertainment. This new version, though, is a low budget German art film, and the actors only agree to come out of retirement for the chance of working with Helmut Berger (or maybe sex with the nude models.)

But professional jealousy and rivalry soon takes over, and everything falls apart. The “director” is a mock-Fassbinder complete with fake moustache, while the cast is composed of leches and divas who are going crazy, entering dementia or attempting suicide.

Can this film ever be made? And will Helmut ever show up?

This film is a panoply of meta-references to other movies. Schlingensief is there as Jesus on the cross (who a Klansman tries to set on fire) alongside medieval nuns (Pasolini-style), New York pop-art fashion (Warhol-style), with cameo performances ranging from the omnipresent Udo Kier, to Roland Emerich, Germany’s big-budget schlockmeister. Bottrop is a funny (if ridiculous) satirical look at the last gasp of New German Cinema.

Foreigners Out! Schliegensief’s Container (2002)

Dir: Paul Poet

It’s June 2000 in peaceful, culture-loving Vienna, when something unheard of happens. The conservative party forms a coalition with the ÖVP, Austria’s extreme rightwing Freedom party, headed by Nazi apologist Jörg Haider. The ÖVP is populist and xenophobic, portraying asylum seekers as drug dealers and killers (sound familiar?). That’s when Christoph Schlingensief set up a display – inside a shipping container – right beside Vienna’s Opera house, called Please Love Austria, to commemorate this coalition.

He brought in a dozen people of varied ethnicities, dressed them in fright wigs and let them live there for a week on display, in person and online, 24/7. And like the reality show Big Brother, viewers are asked to vote to evict two contestants each day. The catch is, these evicted contestants, whom he says are illegal immigrants, are led off by security guards and (supposedly) deported! And just in case you didn’t get the message, a huge white banner on the container’s roof says: Ausländer Raus! (Foreigners Out!) And Schlingensief gleefully announces the colour of the people Austrians vote to deport – dark skin first, light skin later.

Naturally, this art installation triggers extreme reactions. On the far right, people began to shout and demonstrate to deport all foreigners. Some leftists take it at face value, and attempt to storm the container to “rescue” the so-called foreigners and tear down the sign. And many in the middle hate the negative attention it brought to Austria… though it’s Austria that voted Haider in.

This documentary covers the art installation and the public reaction to it over its week-long run. And punctuated it with the media coverage it received, notably from the Krone group of wildly popular tabloids, who many blame for Haider’s election.

The show never overtly takes the standpoint of the immigrants. They’re just props in his sideshow. Rather it exposes society’s creepiest undercurrents that are usually kept hidden. And it illustrates Schlingensief’s theory that the best way to expose the worst beliefs is to repeat them out loud where everyone can hear them. The louder the better.

It’s only through exaggeration that we can show reality. This exhibit ran almost twenty years ago, but I think anyone can see that it’s more relevant now than ever.

The German Chainsaw Massacre, 120 Days of Bottrop, and Foreigners Out! Schliegensief’s Container are playing on May 10th, 15th and 17th at the Tiff Bell Lightbox as part of Goethe Institiute’s three-part tribute to avant garde filmmaker Christoph Schlingensief.

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

Source: Christof Schlingensief: art without borders, (c) 2010, Tara Forrest and Anna Teresa Scheer, editors, with a foreward by Alexander Kluge.

Daniel Garber talks with director Adam Bhala Lough about Alt Right: Age of Rage at #Hotdocs

Posted in documentary, Movies, Nazi, Politics, Protest, Racism, US, violence by CulturalMining.com on May 4, 2018

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

Photos by Jeff Harris.

In post-WWII America, the extreme right operated undercover. Klansmen wore hoods and Nazis were reviled in the mainstream. But recently — especially since the election of Donald Trump — the ultra-right has re-emerged as a significant, recognizable group. And under self-proclaimed leaders like Richard Spencer, they have redubbed themselves the “alt right”. But what is the alt right, who are its members and what do they want?

Alt Right, Age of Rage is a new documentary that looks at this rise, which culminated in the notoriously violent, torchlit rally in Charlottesville, Virginia in 2017. The film follows neo-Nazis like Spencer and their encounters with anti-fascist protesters like Daryle Lamont Jenkins. The film was directed by Adam Bhala Lough, known for documenting fringe political groups, whether on the left, the right or neither. Alt Right: Age of Rage had its Canadian debut at Hotdocs Toronto’s International Documentary Film Festival.

I spoke with Adam in studio at CIUT. 

He talked about the “Alt Right”, Richard Spencer, Jared Taylor, white supremacy, platforming, Charlottesville, The Southern Poverty Law Centre, Daryle Lamont Jenkins, Antifa… and more!

Alt Right: Age of Rage premiered at Toronto’s Hot Docs International Documentary Film Festival.

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