Young Lovers. Films reviewed: Angelfish, Man Proposes, God Disposes, And Then We Danced

Posted in 1990s, Brazil, Clash of Cultures, Dance, Georgia, LGBT, New York City, Poland, Romance by CulturalMining.com on January 24, 2020

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

How is cinema faring at the start of this new decade? In Toronto, at least, it looks a bit grim. Our biggest film festival has laid off much of their staff, our largest theatre chain is about to be devoured by a British conglomerate, and one of the biggest downtown movie theatre is slated for demolition. But have no fear, the movies are still here. You can see super-8 movies over the weekend at the Polish Combatants’ Hall (SPK) on Beverley St; The magnificently refurbished Paradise Theatre is showing first-run art house films in a splendid setting. And TIFF’s Next Wave festival is offering free screenings of young directors for free if your under 25.

So this week I’m looking at three new movies about young love. There’s a Polish criminal pursuing a woman he doesn’t love, a Georgian dancer dealing with forbidden love, and a young couple in the Bronx trying to see if love can work.

Angelfish

Dir: Peter Lee

It’s the early 1990s in the Bronx. Brandon (Jimi Stanton) lives with his little brother Conner and alcoholic mom (Erin Davie) in Kingsbridge, a working-class white neighbourhood. He works behind the deli counter at the local grocery store to help pay rent. Eva (Princess Nokia) lives in nearby Marble Hill a Puerto Rican enclave in the north tip of Harlem. Her mother moved there to make a better life for Eva and her severely handicapped brother Julio. She’s planning on studying accounting at College to please her mom, but yearns to be an actress. The two meet by chance in the grocery store when Brandon stops a guy aggressively hitting on her.

They meet again at the local movie theatre, and when they spend a day together by the waterfront sparks fly. Is it love? But family duties intrude on their budding relationship: Julio needs constant care from Eva.  And Brandon should be paying more attention to the sketchy guys Conner is hanging with. Is their love destined to fail? Or can they overcome all the roadblocks between them?

Angelfish is a touching, low-budget and low-key look at ordinary people balancing love with responsibilities. Despite the Tony-and-Maria dynamics and the dark-alley locations, this is no West Side Story redux. The two are less of a Romeo and Juliet separated by race, than a young couple living up to expectations and dealing with grinding poverty.

Man Proposes, God Disposes

Dir: Daniel Leo

It’s a few years back in Gdansk, Poland. Karol (Mateusz Nedza) is a wiry guy in his twenties who lives with his mom and little sister. He sports a shaved head, a pencil moustache and a black watch cap. He makes his living through burglary and petty crime and spends his illicit earnings at nightclubs, picking up women. Bruna (Bruna Massarelli) is a middle-class university student in São Paolo with burgundy hair,  freckled cheeks and sensual lips. Their paths crossed in Europe in a soon forgotten one-night stand. But an unexpected phone call brings them together again. She’s pregnant with his child. Karol makes his way to Brazil and shows up – unannounced and uninvited- at her apartment door. Things are prickly between them, and he acts arrogant.

His only friend is Cici (Erick Mozer) a water deliverer boy he meets on the street. He takes over his job, unheard of for a European in São Paolo. Mateusz is uneducated and penniless, looked down on by Bruna’s university friends. Still, they gradually get to know each other  better and start to get along… Can an unborn foetus hold a couple together? And can such an unlikely pair find happiness and love together?

Man Proposes, God Disposes is a lovely, stylized look at an odd relationship plagued by a clash of cultures. They are forced to communicate in English as neither speaks the others language. First-time director Leo is a skilled cinematographer, and he pays as much attention to the look and sound as he does to acting. Each scene is arranged in vibrant primaty colours, with white walls and sharp contrasts, almost like a graphic novel.

Massarelli and Nedza make for a charming pair, and while the story is simplistic, it’s a pleasure to watch.

And Then We Danced

Wri/Dir: Levan Akin

It’s present day Tbilisi Georgia. Merab (Levan Gelbakhiani) is a ginger haired young man who lives in a cramped apartment with his brother David, his mom and his grandmother. Their family have been dancers for generations, and Since age 10, he’s been partnered with Mary (Ana Javakishvili), a middle-class girl with black hair and striking features. Together they train at the academy, with the goal of eventually joining the prestigious professional troop. He’s a great dancer but  Aleko, the director, criticizes him for being too expressive, not stiff or rigid enough to capture the heart of Georgian dancing.

Enter Irakli (Bachi Valishvili) newly arrived from Batumi. He’s a natural, and Merab sees him as a rival for the upcoming audition. And he’s friendly with Merab’s loutish brother David (a dancer as well) the two of the often arriving in their shared bedroom late at night, drunk and wasted.

But when a bit of rough and tumble behind a boulder in the woods turns into something more sexual, things become more complicated between Merab and Irakli. Forthe first time in his life, Merab is lovestruck, emanating good feelings. But they have to be cautious. One dancer in their troop was nearly beaten to death when he was found sleeping with an Armenian. But when Irakli disappears, Merab is at wits end. Are they lovers? Or just friends?  Who will win the audition? And with his new-found sexuality, can he find happiness – and safety – in still-conservative Georgia?

And Then We Danced is a beautiful romance set against the world of traditional Georgian dance. Levan Gelbakhiani looks like a young Baryshnikov, but his dance techniques combine traditional steps with hints of contemporary dance.

Great movie.

Man Supposes, God Disposes opens Wednesday at the Paradise cinema. Angelfish and And Then We Danced are two of many films playing at the NEXT WAVE film festival at TIFF in February.

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

Good dramas. 1917, Uncut Gems, The Invisible Life of Eurídice Gusmão

Posted in 1910s, 1950s, Brazil, comedy, Drama, Gambling, Judaism, melodrama, New York City, Sex, Sports, UK, War, Women, WWI by CulturalMining.com on December 25, 2019

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

A good drama is hard to find, and this week I’ve got three of them. There’s an action drama set in Europe in WWI, a melodrama set in Rio in the 1950s, and a dark comedy set in present-day Manhattan.

1917

Dir: Sam Mendes

It’s April, 1917 in the trenches. Two soldiers, Lance Corporal Blake (Dean Charles Chapman) and Lance Corporal Schofield (George Mackay) are summoned by an officer with an important mission. The Germans seem to be retreating and frontline soldiers are preparing to cross over no man’s land. But it’s a ruse. If the troops try to cross the fields they’ll be gunned down like lambs to the slaughter. And the telegraph lines are down. It’s up to Blake and Schofield to take a crucial letter to the isolated troops before they’re all wiped out. And to get there, they have to pass through enemy territory, inside German trenches, and across enemy lines. Why are two ordinary soldiers chosen for this impossible task? Blake has a brother in the squadron they’re warning. And Schofield? He happens to be nearby when Blake is summoned. Can the two men young men make it there in time? Or are they just another couple of casualties in this War to End All Wars?

1917 is a thrilling action movie set during WWI. It’s full of narrow escapes, shootouts, explosions and hand-to-hand combat, with our heroes riding, running, flying and swimming, all to get to their goal. It uses lots of tricks you’d expect to see in horror movies: from sudden encounters with piles of rotting corpses, to shocking encounters with rats. It’s also a “War is Hell” movie but it’s a bit foggy on the Us and Them narrative of a war from a hundred years ago. Should WWI German soldiers still be portrayed as evil, drunken cowards while British soldiers are brave, kindly, steadfast and resolute? Still, you do find yourself rooting for the heroes hoping beyond hope that they’ll survive.The acting, especially MacKay, is fantastic and it’s fun to spot all the famous actors with bit parts as military brass include Benedict Cumberbatch, Mark Strong and Colin Firth. But the best part of this movie is in an unexpected area. Roger Deakins camerawork is incredible, with shadow and searchlight, glowing candles and burning flames throwing chiarascuro images across the screen. It’s stunning to watch.

Uncut Gems

Dir: Josh and Benny Safdie

It’s the diamond district in present-day Manhattan. Howard Ratner (Adam Sandler) is a successful Bling jeweller peddling pricy kitsch to therich and famous in a small boutique encased in bullet-proof glass. He supports an unhappy suburban Jewish family, also setting aside money for his own peccadilloes: a mistress in a midtown apartment and tickets to NBA games. But he’s also a compulsive gambler throwing money at bookies. He’s in debt up to his neck, and the gangsters are circling. Two thugs in particular. Loan sharks, pawn shops, bookies, and legit business associates are all asking for their cut. But when Howard lands a lump of Ethiopian opals – the “uncut gems” of the title – he thinks all his problems are solved. By gazing into the glowing, coloured rocks he loses himself in a fantastical universe. He embarks on a complex plan: sell the gem to a superstitious star basketball player, pawn the priceless gaudy ring the player leaves as a deposit, and bet it all on a mammoth Las Vegas sports gamble. Will his plan pan out? Or will it all come a-tumbling down?

Uncut Gems is the latest Safdie Brother’s look at sympathetic, small-time losers and petty criminals, and the destruction they leave in their path. There’s a bit of excitement, but it’s more like a dark, absurdist comedy than anything else. They say Adam Sandler makes one credible acting movie for every ten horrible comedies. He proves his bona fides in this one, hands down. He’s great as the irrepressible and irritating Howard Ratner, complete with fake crooked and gummy teeth. But he’s a hard character to like…his problems are all of his own making, and his adulation for celebrity, sportsteams, cars and The Big Win is unattractive. I kinda sympathize with Howard but not really; I saw this four months ago at TIFF and remember feeling bothered and a bit angry by the end. But the humour, great acting, music, images, and elegant plot – from start to finish – helps redeem the unfomfortable feeling it leaves you with.

The Invisible Life of Eurídice Gusmão

Dir: Karim Aïnouz

It’s 1950 in a middle class family in Rio de Jeneiro. Guida and Euridice are inseparable sisters who do almost everything together. Guida (Julia Stockler) is 20 years old, small, buxom, adventurous and mature. She’s looking for love in all the wrong places, where she meets Iorgos, a handsome sailor from Greece. She leaves a note with her sister that she’s off on a ship to Europe to marry her love and will be back in Brazil soon. Euridice (Carol Duarte) is 18, the good daughter, tall with long, curly hair. She devotes all her energy to practicing the piano, with the hope that someday soon she’ll be accepted into the conservatory in Vienna.

But both of their plans are stymied by unwanted pregnancies. Guida comes home, pregnant and alone. Iorgos is a rat, with a wife and kids in Greece and a girl in every port. But when she walks through her door, her father throws her out, saying, “you’re dead to me, I never want to see you again”. She’s forced to move to a working class neighbourhood, get a job (she works as a welder at the docks) and raise her son.

Meanwhile, Euridice gets married to Antenor (Gregório Duvivier) the son of a business partner of her dad who owns a bakery. He’s a boor and an inconsiderate lover. She’s preparing for her Vienna audition in a few months but despite her church-sanctioned birth control methods, she ends up pregnant too, scotching any plans to study in Vienna. Guida assumes her sister is in Europe, and Euridice thinks Guida has disappeared without a trace (their parents block any communication with Guida, and both sisters have no idea the other is living in Rio.) Will the sisters ever see each other again? And will their ambitions be realized?

The Invisibie Life of Euridice Gusmao is subtitled, “a tropical melodrama” and that’s what it is: a passionate, lush story about the lives of two strong-willed women, torn apart against their will. Guida forging a new life as a single, working class mom, as Euridice navigates Brazil’s repressive middle class life in the ’50s. I loved this movie.

The Invisible Life of Euridice Gusmao is now playing in Toronto, and Uncut Gems and 1917 both opened on Christmas Day; 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.

TIFF18! Films reviewed: Consequences, Woman at War, Tito and the Birds

Posted in Animation, Brazil, Environmentalism, Iceland, Kids, LGBT, Politics, Prison, Skinhead, Slovenia, Women by CulturalMining.com on September 11, 2018

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

Tiff is here, now.

It began last night, and is filled with big-budget, glitzy premiers and movie stars  from all over the world. You can go down to King st — between Spadina and University — starting today, to take it all in. And even if you don’t have tickets, with more than two hundred movies opening there, I promise, you can still get in.

But the Hollywood stuff is getting way too much coverage, so this week I’m talking about three, lesser-known movies playing at TIFF that I really like. There’s an eco-activist in Iceland, a bird talker in Brazil and a Slovenian in the slammer.

Consequences

Wri/Dir Darko Stante

Andrej (Mate Zemlijk) is a teenager who has it made. He lives with his parents in a nice suburban home. He’s handsome, fit, with a beautiful girlfriend and a pet rat named FIFA. Fortified with bourbon he can pick up any girl in the room. But the sex he has is bad, his life is empty, and he takes out his frustrations on everyone around him.

This lands him in a reform school with strict rules. It’s run by adult men, but is actually governed by a gang of bullies, headed by Žele (Timon Sturbej) and his sidekick Niko. Žele is a tough skinhead who extorts money from the other boys by claiming they owe him. Niko is a deranged practical joker who eggs Žele on while brandishing a blowtorch. Andrej initially stands up for his pothead roommate Luka, but soon he is invited into the gang and becomes their main enforcer. He accompanies them on their weekend outings in Ljubljana.  

And as he is pulled away from the rules of his home and the reform centre he feels increasingly isolated, spending the night in a kindergarten playhouse he remembers from his childhood. Meanwhile the crime level continues to rise, as Žele grooms Andrej for shakedowns, car theft, drug trade and smuggling. But Andrej’s not in it for the money. He likes the bully – likes, as in sexually – and thinks he sees a mutual attraction. Will Zele be his rival, his friend… or his lover?

Consequences is a dark, coming of age drama set in present-day Slovenia. It probes alienated youth, crime, drugs, sexual fluidity, and relationships. This film uses unknown actors to great effect  and the interplay between Zemlijk and Sturbej is compelling. Darko Stante’s Consequences is part of TIFF’s Discovery series and it’s having to world premier tonight. Catch it if you can.

Woman at War

Dir: Benedikt Erlingsson

Halla (Halldóra Geirharðsdóttir) is a single,  middle-aged Icelandic woman with a secret. It’s not that she’s a well-liked choir head. Or that she has an identical twin named Asa. Or even that she’s been approved to adopt a Ukrainian orphan girl. Her big secret is she’s the eco activist the government has been searching for. She’s the one who takes down hydro cables, shutting down the foreign-owned smelting plants endangering Iceland’s once pristine environment.

Using a simple bow and arrow, along with some metal wire, she manages to bring down a high tension wire. Her secret is known only to one person in the government – her friend and government mole Baldvin (Jörundur Ragnarsson) who is sickened by their environmental policies. The government repeatedly arrests a latino hiker in a Che Guevara T-shirt, while Halla escapes unknown.

Halla is one with nature. She knows every nook and cranny, every mound and cliff, and manages to avoid drones, helicopters and security experts. But when they close down all the roads just to catch her she seeks refuge with a sympathetic farmer, possibly a distant cousin. But with the government closing in, can she continue her one-woman fight for the environment? Or will it ruin her long awaited chance to adopt a child?

Woman at War is a brilliant satirical comedy drama about Iceland, its clans, government corruption, the environment, and its women. Geirharðsdóttir is marvellous as the twin sisters, totally believable as an underground superhero who can communicate with the environment by covering her face in lichen.

Another great movie at TIFF.

Tito and The Birds

Dir: Gabriel Bitar, André Catoto, Gustavo Steinberg

Tito is a schoolboy in a big Brazilian city like São Paulo. His dad is an inventor, specializing in steampunk contraptions filled with misshapen, pipes, dials and gewgaws sticking out at weird angles. He thinks his machine will let people talk with birds. But when it explodes, and Tito ends up in hospital, dad leaves his family for good. A few years later Tito takes up his dad’s role and enters his own invention into the school science fair. His main rival is a rich kid named Teo. But Tito’s machine,  like his dad’s, blows up, sending the audience running.

Meanwhile a strange disease has gone viral infecting more and more people in the city. It feeds on fear – fear of crime, fear of disease, fear of poor people – even though there is nothing to fear but fear itself. This fear is encouraged by a real estate developer, trying to move people out of the cities into gated communities under glass domes. Scary men in Hazmat suits have taken over spraying everyone with chemicals, but it doesn’t seem to work. So Tito and his best friends – the brave Sarah and the silent Buiu – join forces to defy fear and thus defeat this terrible disease. They are sure the city’s pigeons hold the secret. And they invite rich rival Teo – the son of the real estate mogul – to help them too. Can they save the city with birds and science? Or will fear overcome logic?

Tito and the Birds is an animated film from Brazil that looks at poverty and class difference as seen through the eyes of children. It’s a kids’ movie, for sure, but I loved it, especially the colours splashed across the big screen. Vibrant swathes of glowing green, hot pink, warm yellow, and black are everywhere, giving it an unforgettable look.

Consequences, Tito and the Birds, and Woman at War are all premiering at TIFF. Go to tiff.net for details.

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

Cities. Films reviewed: The Lost City of Z, Citizen Jane: Battle for the City, Colossal

Posted in Addiction, Adventure, Brazil, documentary, Drama, Manhattan, Protest, UK by CulturalMining.com on April 21, 2017

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

Cities. People around the globe are urbanizing at an alarming rate, with tens of millions leaving their farms, villages and small towns each year. So this week I’m looking at movies about cities. There’s a man who wants to find a city, a woman who wants to save a city, and another woman who is trying not to destroy a city.

The Lost City of Z

Dir: James Gray

It’s 1905. Percy Fawcett (Charlie Hunnam) is a major in His Majesty’s Army but an undecorated one – no medals, because he has never seen battle. He’s a modern thinker, not bogged down by religion and bigotry, and believes in equal rights for women, including for his wife Nina (Sienna Miller). His father — a drinker and gambler – had ruined the family name, so he jumps at the chance to restore it. The offer: to lead an expedition to “Amazonia” sponsored by the Royal Geographical Society. A skilled cartographer, Fawcett must map an uncharted river running between Bolivia and Brazil. He also wants to find a legendary, advanced civilization he calls the city of “Z”.

On the ship heading to South America he meets a dismissive man with a bushy beard, round glasses and a big hat. Turns out it’s his aide-de-camp, Henry Costin (Robert Pattinson). They make an odd couple, Costin kitted out for the jungle with Fawcett still in European mode. But soon they learn to get along. First they journey to a pop-up city in the jungle, complete with an opera house. It’s run by filthy- rich robber barons riding the Amazon rubber boom. Fawcett assembles a small team to travel down the river on a raft, further than any European has gone so far. A former slave serves as their guide. Along the way, they are attacked by locals with spears and arrows, encounter black jaguars and make it as far as a waterfall – the river’s source? There Fawcett finds artifacts he says are from the lost city he seeks. Back in London, he raises money for a second trip. His wife asks to go too, but he says it’s “no place for a woman”. Instead he takes a portly millionaire named Mr. Murray – an armchair explorer – as his sponsor. But this leads to more trouble. This time they encounter cannibals and travel even further than the first trip, but not as far as “Z”. Can Fawcett earn the respect of his family, the confidence of the Royal Geographers, and the backing of the press? Can he survive a third trip through the jungle? Or is his passion — finding the lost city of Z — just based on his own fantasies?

This is a fascinating adventure based on real historical figures. It’s also very similar to a fantastic black-and-white arthouse film from a few years back called Embrace of the Serpent, also about a European travelling down the Amazon during the rubber boom. This one is more traditional, told solely from a European point of view, with dashing explorers out to discover things lost to the locals. The indigenous people are “things” they encounter on their journey, and almost never speak. It’s a bit old-fashioned, but I enjoyed the movie anyway. Charlie Hunnam is great as Fawcett, and Robert Pattinson (the heartthrob vampire from the execrable Twilight series) is completely unrecognizable in this role. If you’re in the mood for an exciting colonial trek through the jungle, this long movie is made for you.

Citizen Jane: Battle for the City

Wri/Dir: Matt Tyrnauer

It’s postwar America, where the car is king and freshly-built houses in the suburbs the ideal home. Jane Jacobs is a young writer in Manhattan who publishes pieces on manhole covers and city streets for magazines like Vogue and Architectural Forum. Robert Moses is the immensely powerful, urban planning and highway czar, building enormous parkways through cities to let people commute to their far off homes. He subscribes to the visions of Swiss architect le Corbusier: Cities are best viewed from an airplane — clean, pristine and devoid of pesky things like small shops, loitering people and peculiar neighbourhoods. Cities are old and ugly cesspools filled with cancerous slums that can only be saved by wiping them out.

Robert Moses views cities from above looking down; Jane Jacobs (in her book The Life and Death of Great American Cities) looks at cities from ground level. She loves the confusion and excitement of neighbourhoods and the people who live there. Moses wants to extend Manhattan’s Fifth Avenue down through Washington Square park, and turn it into a highway, destroying Canal St, Soho, and Little Italy on the way. And no one ever defies his grand plans… until Jane Jacobs. She’s the one responsible for a new look at urban landscapes and city planning. She saved Greenwich village from destruction and changed people’s views about what a city should look like and feel like.

This is a superb documentary chronicling her battle with Moses. It also shows how people like Jacobs can challenge the orthodoxy of so-called urban renewal (what James Baldwin called “negro removal”) and its destruction of neighbourhoods.

This documentary doesn’t deal with Jane Jacobs before she moved to New York City or afterwards when she moved to Toronto (where she helped save the city from the Spadina Expressway). It’s specifically about Jacobs’ battle with Moses. And it does so in a very informative and absorbing way.

Colossal

Wri/Dir: Nacho Vigalondo

Gloria (Anne Hathaway) has it made: an English boyfriend with a beautiful apartment, and lots of cool hipster friends who show her the highlife. She’s loose with the bottle and free with the pills. But after an especially horrific incident he gives her the boot until she dries out. So she is forced to relocate to her childhood home in a small town. She is taken under the wing of Oscar (Jason Sudeikas) a local entrepreneur who offers her a job at his roadhouse bar. (Turns out he had a crush on her as a kid and wants to renew their friendship).

She takes the job but turns down his sexual advances. Though depressed and lonely, she gradually adjusts to the slow paced rhythm of life there: working late at the bar, sharing drinks with her new friends and waking up the next morning on a park bench feeling like hell warmed over. Meanwhile, on the other side of the world, a giant monster is trampling through Seoul Korea, toppling buildings and terrorizing the populous. And Gloria notices something very strange: the monster only appears in Seoul whenever she wakes up in the park, drunk to the gills. Stranger still, the colossal monster she sees on the news shares her nervous tics and habits. What is the connection?

Colossal is a unique film that doesn’t fall easily into any single genre. It starts out like a sophisticated chick flick or a recovery movie, but it’s also a disaster and monster movie, a comedy and a social drama. Hathaway is good as a young alcoholic forced to deal with her addiction, and Sudeikas is equally good as a conflicted (and sometimes vengeful) friend. The Korean aspect of the movie is superficial, with locals mainly there to get stepped on. Still, Colossal is weird and surprisingly entertaining — it’s different from any movie you’ve  seen before.

Citizen Jane: Battle for the City, The Lost City of Z and Colossal 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

New Places. Films reviewed: Sunset Song, Neon Bull, A Bigger Splash

Posted in 1910s, Animals, Brazil, Coming of Age, Cultural Mining, Italy, Music, Rural, Scotland, Sex by CulturalMining.com on May 13, 2016

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

Someone asked me recently what I like about movies. I gave the usual answers: story, emotions, acting, images, themes, novelty… but she said she likes the places movies can take you, countries you otherwise wouldn’t get to visit. So this week I’m looking at dramas that take you to new places. There are celebrities in the Mediterranean, cowboys in Brazil, and farmers in northeast Scotland a century ago.

j266j4_SUNSETSONG_01_o3_8717089_1438274186Sunset Song

Dir: Terence Davies (based on the novel by Lewis Grassic Gibbon)

It’s the early 20th century in rural northeastern Scotland. Chris (Agyness Deyn) is happy and bright, a schoolgirl who lives on her family farm. She’s one with the land, but holds future ambitions of a career, maybe a schoolteacher. But her family life is less than nice. Her mother is depressed, her father (Peter Mullan) is a brute. She’s closest to her 8qKKrW_SUNSETSONG_06_o3_8716985_1438274181brother, Will, who hates their dad for good reason. Their father is quick with the whip and will bloody Will’s back for the slightest infraction, even a play on words using the name Jehovah. It’s a rough life.

RgjjVY_SUNSETSONG_05_o3_8716928_1438274178And when Mum survives an incredibly painful childbirth – it’s twins — she loses it and the family falls apart. Will leaves for greener pastures, Mum’s out of the picture, Dad has a stroke. Chris has to run the farm basically by herself, plowing the fields and harvesting the grain. She marries for love to a kind and gentle man named Ewan (Kevin Guthrie). Their post-honeymoon life is idyllic until WWI. Then, suddenly, it’s loud sermons from the pulpit saying the Kaiser isQ1ggBM_SUNSETSONG_04_o3_8716871_1438274174 the antichrist and anyone who doesn’t join up to fight in the muddy trenches is both a coward and a traitor. He signs up. The next time she sees Ewan he’s been replaced by a horrible creature she doesn’t recognize.

Sunset Song is a coming-of-age novel about a strong and independent woman and the troubles she faces. But, being directed by the great Terence Davies makes it a different movie than you might expect. Time passes and scenes change like memories recalled much later. Chris is the narrator but she speaks in the third person. And as in most of his movies, characters are as likely to start singing songs  or reciting poetry or quoting biblical texts as they are to have “normal” dialogue. But it never feels odd or affected, it’s just how they talk. Sex and violence, fury and pain, anguish and celebration are all played out… by candlelight. Beautiful.

O76BgN_NEON_BULL_04_o3_8745169_1439475285Neon Bull

Wri/Dir: Gabriel Mascaro

Iremar (Juliano Cazarré) is a vaqueiro – literally a cowboy – in Brazil. He’s tough and swarthy with a black beard. He lives among the cows, feeding, washing and shoveling manure. His job is to tend the bulls used in a type of rodeo match called a vaquejada. Two men riding horses with a bull running between them have to take him down and cut off the end of his tail. Iremar is the one who powders the bull’s tail and pushes him into X6pO5k_NEON_BULL_05_o3_8745231_1439475286the ring. His work is rough, dirty and badly paid. But a more interesting life exists in the creative part of his mind. He sees images and fantasies which he brings to life, in the form of clothing and costumes.

He lives on the road as part of a travelling, impromptu family. There’s model-like Galega, his boss (Maeve Jinkings), her young daughter, the unfortunately-named Caca (Alyne Santana), and O76Byp_NEON_BULL_01_o3_8745069_1439475275others. In his free time he observes and collects: A mannequin he finds in a dump; surfing fonts he sees on a sign; the hair bobbed off the bulls tails at the rodeo… he keeps them all. And he sketches his designs over pictures of nude women in skin mags. He “dresses” them.

And he translates these into outfits for Galega to wear and perform in. But what outfits they are: a sexy mixture of horse and human.

And there lies the crux: they work with cows but dream about nZ64xl_NEON_BULL_02_o3_8745105_1439475276horses. Caca wants to own a horse, Galega dresses like one, and Iremar either wants to become one or have sex with one – it’s never completely clear. He certainly has erotic dreams involving horses, as well some real-life sexual interactions of a sort between man and beast. (I’ll say no more about that; you have to watch the movie yourself to understand what I’m saying.)

There’s not much of a story; see it for its images and ideas. It’s beautifully shot, alternating between explicit sex and amazing documentary-style animal scenes with the screen completely filled with white bulls. This is the kind of movie that gradually grows on you long after you’ve seen it.

A Bigger Splash PosterA Bigger Splash

Dir: Luca Guadagnino

Marrianne Lane (Tilda Swinton) lives in a secluded villa on a rocky Italian island in the Mediterranean. She’s a former rock star used to preforming in glam makeup and sequins before thousands of adoring fans. Until she lost her voice. Now she’s doted on by her much younger, faithful husband 1936314_1710870315814844_5082996276804202301_nPaul (Matthias Schoenaerts). They spend each day playing in bed or relaxing in their serene swimming pool.

Paul was introduced to Mariann by her first husband, Harry (Ralph Fiennes) who felt a change was needed. Harry is a larger-than-life celebrity in his own right, a rock producer, who loves recalling his adventures with Mick Jagger. So Paul is in 12696974_1708471786054697_5272925310477745538_oawe of both Marianne and Harry. Which is why he can’t really object when Harry arrives uninvited at their doorstep with a blasé young woman named Penelope (Dakota Johnson). She lives with her mom in Connecticut but recently discovered she has a dad – Harry, of course. And here they both are.

Harry loves it. He’s the kind of guy who always needs a dramatic 12440495_1695143877387488_2734753458583916585_oentrance. And once he’s on stage he walks around naked for most of the movie. Penelope is looking for sex, and has her eye on both her putative father (she wants to see a DNA test) and Paul. Marianne is less than pleased by the interlopers. It opens up old wounds and unfinished business. She also prefers centre stage, she doesn’t want 12314676_1684142561820953_5135058809161723940_oto be a side kick in her own home. And Paul is overwhelmed by the uncomfortable situation, but keeps it to himself. Until things explode.

This movie feels like a stage play with four characters played by four great actors. They’re all fascinating but in a grotesque, hateable sort of way. As celebrities they’re used to being watched but they also need privacy. We get to watch them how they really are, and it ain’t pretty.

Some of the camera work bothered me – too show-offy and distracting — but the scenic beauty of a Mediterranean isle that’s also a landing point for asylum-seekers more than makes up for it. Luca Guadagnino also directed I Am Love in 2010;  A Bigger Splash is less stylized, more mature.

Neon Bull, A Bigger Splash, and Sunset Song 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.

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