War and Filmic Vocabulary. Movies Reviewed: The Christening, Essential Killing. PLUS Cold Fish, Images Festival

It’s funny how current events can change our whole filmic vocabulary, adding new concepts and words to make images that would have made no sense a decade ago instantly recognizable on today’s movie screens.

Most people immediately think of technology — ipods, digital pics, texting, on-line dates — as the biggest recognizable changes. But,  unfortunately, some of the biggest stretches of our visual vocabulary is in images of war, violence and death.

During one of the darkest periods in American history, that started less than a decade ago following 9/11 (and doesn’t seem to have finished), the Bush/Cheney administration started a “war on terror”. Countries were invaded, bombs dropped, and a huge number of suspects were arrested, jailed, tortured or killed. In general, these horrific events were kept away from American soil, but done by Americans under direct orders from the government. They also introduced new words and concepts into our vocabulary, that previously might only have been used in horror novels.

Clandestine prison camps, known as “Black Sites”, were set up across Europe and the Middle East. Undocumented suspects, who were sent there to be tortured or interrogated, were called “Ghost Detainees”. One of the torture techniques, in which detainees were made to repeatedly suffer the sensation of death by drowning, is now widely known as “Water Boarding”. And the black hoods put over prisoners (used in Abu Ghraib) are also instantly recognizable.

Canada has also morphed into a nation at war, without consciously deciding to make the change from peacekeeper to bomber. We’re fighting on two fronts now. So today I’m looking at some new movies from Poland (a country that has certainly seen more than its fair share of wars) that examine how war and violence has infiltrated daily lives.

The Christening
Dir: Marcin Wrona

The movie opens with a soldier, face covered, being chased down by cops who beat him up, and arrest him for unknown reasons. Then flash forward – Janek (Tomasz Schuchardt) is visiting his army buddy and best fishing friend, Michal (Wojciech Zielinski). They’re together again to guzzle vodka and do Maori war chants. When they go fishing, they use their old military experience – throwing grenades into a lake — to blow up as many fish as they can. Nice guys!

Everything seems great for Michal: he has a good job, a beautiful wife, Magda (Natalia Rybicka) – he says they met in a hospital when she stitched up a cut on his brow — and a little baby. He’s gone straight: he even offers to help his friend out. But Janek, he’s happy just getting drunk, carousing with his buddies. He doesn’t want an office job – he makes good cash stealing cars and stripping them down for parts.

But there’s a problem — Michal seems to be hiding something. Someone’s putting pressure on him, and he’s showing up with a black eye, or beaten-up body. Janek doesn’t understand what’s happening — if there’s a problem he should tell him – he’ll just beat the guy up. Janek still likes a good brawl. Meanwhile, Magda is sure everything is Janek’s fault. He’s dragging her husband into the gutter. Maybe Michal owed something to his army buddies, but she doesn’t owe Janek anything. But her husband’s dark secret – one of betrayal and duplicity – makes Michal feel both guilty and trapped.

So he sets up a scheme to exit from his problems after the baby’s christening. He thinks he’s doomed there, but maybe his best friend can replace him in his home.

Will Janek stick by him? Who’s the criminal here? The cops or the thugs? Where does a person’s loyalty really lie? And how far will you let it go?

The Christening is an extremely – I’d say excessively — violent movie. I get the feeling the director was influenced by directors like Quentin Tarantino, but in all the wrong ways. Characters, like the gangsters’ boss, Fatman, who behaves like a sadistic killer, seem to be there just for titillation. So lots of horrible, gory, senseless, over-the-top fighting, but almost no humour (only melodrama) to lighten the mood.

Essential Killing
Dir: Jerzy Skolimowski

Mohamed (Vincent Gallo), a militant hiding out in the smooth caves of a lunar landscape (Afghanistan?), is startled to hear two American marines approaching in desert storm camouflage and beige burnooses. He pulls out his weapon and Boom! Ratatatatat! He ambushes the soldiers. Mohamed runs out into the sun to escape, but is taken down by helicopters and more special ops soldiers.

So now he’s taken away to some unidentified place (a black site) where he’s placed on his back, screamed at in English (he can’t hear after the explosions) and then waterboarded. Next, he’s off with other prisoners on some snowy forest road – looks like Canada – and there’s an accident. He gets out of the truck, grabs a gun and starts a long, painful, and violent trek trough the woods of rural Poland, pursued by US Special Ops and helicopters.

It becomes almost like a fairy tale or a picaresque novel, but with a violent streak running through it. He encounters a stream of characters — like a huge-breasted woman on a bike with a baby, a friendly black and white dog, some drunken wood cutters,  a deaf-mute woman who lives in a cottage in the forest who tends to his wounds, and a pale white, broken horse — as he tries to escape, survive, and get away. He climbs snow covered banks, slides off cliffs into rivers, hallucinates after eating poison berries, and conceals himself using the changing costumes he finds or steals on his journey.

Essential Killing was directed by Skolimowski, who was one of the dialogue writers on Polanski’s Knife in the Water, but this movie has almost lines at all. It’s not silent, but with both Mohammed and the US soldiers far from their own homes, they can’t understand each other. The locals around the Dark Site talk a bit but about nothing in particular. This is an aesthetically beautiful, though bloody, art movie – one of very few “action/art” films. I’m not a big fan of Vincent Gallo, but he is fantastic in this as a silent pilgrim, alternately Christ-like and psychotic.

This is an unexpectedly amazing movie — just be aware it’s not a conventional, Hollywood-style film.

And, just in case this isn’t enough violence for one weekend, the Japanese horror film Cold Fish also opens today. You can read my whole review but just let me say, it is the most hellaciously bloody, gory, horrifyingly abusrdist exploitation movie I’ve ever seen. And it left me physically shaking by the time I walked out of the theatre, after its orgyistic tsunami of sex, blood, serial killing and cannibalistic outrages that In a few days transform the life of a mild-mannered tropical fish salesman, to a victim and potential participant in this ultimate sex blood flic.

The Christening played last year’s TIFF, Essential Killing and Cold Fish are opening today, April 1, 2011 in Toronto. Check your local listings. And keep your eyes open for Toronto’s Images Festival, which is on right now. Toronto’s Images Festival — an exhibition of film and art, experimental and independent — is the largest one in North America to feature moving images and media art both on the big screen and in gallery installations.

This is Daniel Garber at the Movies for CIUT 89.5 FM and CulturalMining.com.

Christmas and New Year’s Movies. Films Reviewed: Enter the Void, True Grit, Somewhere

Just because it’s the holiday season and there are tons of supremely awful movies being inflicted on the lowest common denominator – and their parents – (And what’s this stupid movie, Boo-boo? I don’t know Yogi…looks really bad! Then why do we have to watch it? It’s lamer than the av-er-age cartoon) it doesn’t mean there aren’t some fine things out there. So this week I’ll tell you about some of the good, end-of-the-year pictures you might want to see.

First, the new Coen Brothers’ movie, a laconic remake of the old John Wayne western True Grit.

True Grit
Dir: Ethan and Joel Coen

Mattie Ross (Haillie Steinfeld) is a14- year-old girl with black pigtails. She’s in the frontier town because her dad was robbed and shot dead by an outlaw named – get this – Chaney! (Nope, not that Cheney. This one has better aim.) She may be young, but she’s a tough cookie. She’s there to hire a Marshall, the meanest one she can find, to catch up to Chaney and the Pepper gang, and hang him. She also wants to get back the gold coins and the horses he stole. So she finds the one-eyed straight-shooter, the grizzled alcoholic Rooster Cogburn (played by Jeff Bridges.) But he’s also being sought by a Dudley Do-right style Texas Ranger, (Matt Damon) who wants to take him back to Texas so he can get the reward and the glory. And neither of them want a girl riding her pony, Little Blackie, with them in Indian Country.

But, like I said, she’s tough, and no one can intimidate her when shes on a mission. Will they catch him? Or will they catch her? And will the drunken Rooster Cogburn or LaBoeuf with all his alterior motives prove trustworthy, full of determination, responsibility and “true grit”?

This is a great picture to watch and enjoy. I’ve been telling friends to go to this one, and a lot of them are saying, naaah, I don’t like westerns. But forget about genre labels – go see it – it’s good! I should say, it’s violent, like most Coen brothers movies, and it seems to me to be a lot like the old True Grit, in tone and story – but I saw that one ages ago. It does have the tongue in cheek absurdity and humour of a Coen bros movie too, and this tine, as Steven Spielberg was one of the producers, there are all these Indiana ones-type situations, with people hanging on ropes, chased by snakes, old-school stuff like that. I gotta say, I lapped it up, even the corny parts, and wanted more. It’s not cutesy, it’s not dull, it’s a great brand-new classic movie.

Enter the Void
Dir: Gaspar No»

Psychonauts — DMT aficionados — say that one puff of that extreme, psychedelic drug is so powerful it can make you collapse before putting down the pipe. The reaction lasts just a few minutes but might seem like hours, or even days. They say the brain’s pineal gland excretes a large dose of dimethyltryptamine (DMT) right before you die. It makes your whole life pass before your eyes, just before you expire. That’s what they say.

Gaspar Noe’s new, spectacularly, overwhelmingly trippy movie Enter the Void, is a 2 1/2 hour hallucinogenic experience, seen directly through the eyes of a Canadian druggie living in Tokyo. He rarely appears (except when looking in a mirror) but you see everything he thinks, remembers, sees, or imagines, as repeated loops of his life and death are projected on the screen.

So two Canadians are living in Tokyo: Oscar (Nathaniel Brown), is a low-level drug dealer, and his sister Linda (Paz de la Huerta), is a stripper, and they are in a Tokyo entertainment district that looks like Dogenzaka. They have been close since a childhood blood-oath, but are separated when a failed drug deal at a bar, called The Void, tears Oscar free from his body. He’s dead, or almost dead.

Like in the book The Tibetan Book of the Dead that he was reading just before he leaves his apartment, Oscar is in limbo. His soul or his essence is now forced to perpetually view strobing neon, sordid sex, drugs and violence as he floats through solid walls and bends time and space. Everythings spinning around and around: gas stove burners morph into drains and psychedelic star bursts; aerial cityscapes turn seamlessly into handmade, day-glo models of Tokyo buildings and back again.

Enter the Void is like nothing I’ve ever seen. It is an extremely absorbing and mind-blowing — but looooong — work of art. Even the opening credits are more fantastic than most movies. Each time you prepare for the dream’s inevitable ending, it introduces a new tableau. French enfant terrible Gaspar Noe has surpassed his earlier, drastic films by moving beyond the simple, horrific violence and shocking scenes and flashbacks that fueled Seul contre tous (1998) and Irreversible (2002). Enter the Void is his best and most ambitious film to date.

I saw this in 2009 at the Toronto Film festival but it’s still very strong in my brain – I think it cost me a few thousand frazzled synapses, but the memory’s still there. A lot of people walked out when I saw it, so its definitely not for everyone, but I thought it was a movie like no other.

Finally, there’s a new movie by Sofia Coppola coming out soon called Somewhere.

Johnny Marco is a successful Hollywood actor living in an LA hotel. He’s basically a meat puppet who gets wheeled out and told what to do, then driven back home again for his next appearance. He just nods, does his poses, smiles for the camera, and does whatever he’s told to do: his personal assistant, his agent, his publicist, his ex-wife, whoever, traveling from metaphoric fishbowl to metaphoric fishbowl.

His free time is his own which he spends meeting the various huge-breasted starlets who seem to lurk behind every doorway, ready to through their nude bodies at this celebrity. And he’s not complaining. Or else he lays down, catatonic, fully dressed, watching his leggy blonde identical-twin personal strippers in miniskirts who spin, around and around and around, in endless synchronized rotations on their portable stripper poles. Does he like his life? Not really. He tends to just fall asleep.

Then one day his ex-wife says he has to take care of their 14-tear-old daughter Cleo in the weeks before her summer camp. And when he goes to see her figure skating, he suddeny realizes eeeuw, she’s dressed just like the synchronized personal strippers, as he watches her skate around, and around around the ice rink. He takes her on a work trip to Italy where she watches him on an inane TV award show host and the breasty starlets dance around and around and around a tiny gaudy stage, with him in the middle.

Everything in this movie is about small, repetitive spaces (roads, swimming pools, parties) where poor Johnny Marco is trapped in his ethereal, superficial existence, with only his daughter — whom he barely knows – there to pull him back to reality.

This movie is essentially a reworking of Lost in Translation, with untranslated scenes in “crazy Italy” replacing the ones in “whacky Japan”, and the older man / younger girl theme with an actual father daughter rather than the surrogate daddy/girl in her earlier movie. (Sofia Copolla is the daughter of Frances Ford Copolla. so this is her telling her life story again.) I hated Lost in Translation, but I kinda like this one. Steven Dorff is more sympathetic, and so is Elle Fanning as the daughter. The whole movie is more subtle, less crass.

It’s hard to feel sorry for rich, famous and privileged Johnny Marco, but you can at least identify with his troubled and shallow, ethereal existence.

“Somewhere” is not bad at all.

Movies that make you go Hmmm… Fair Game, Client 9: the Rise and Fall of Elliot Spitzer, Inside Job, My Suicide, Golden Slumber, 127 Hours PLUS Film Festivals: Rendezvous with Madness, ReelAsian, Waterloo Animation

Movies that make you go hmmm…

If you look back at the past decade and wonder what the hell was that all about? there are three good movies that provide some explanations.

Fair Game
Dir: Doug Liman

Valerie Plame is a tough cookie. She works under deep cover for the CIA, recruiting local snitches around the world to gather intelligence on those inscrutable terrorists. She’s part of the group looking into the threat of a nuclear weapons in Iraq. She’s known as the agent who can’t be broken, even by torture. She’s married to a hothead, former diplomat, Wilson, a West Africa expert, who the CIA enlists to investigate rumours about yellowcake uranium coming out of Niger.

But their conclusions (they all hate Saddam Hussein too, but there are no weapons of mass destruction) do not sit well with the conspirers Cheney, Karl Rove, and their attack dog Scooter Libby. The movie traces what happens to Valerie and her family (and the drama sticks pretty close to the true story) when they expose her cover, and start to assassinate her husband’s character.

This movie’s a good historical take on the US government’s WMD scam (which led to the invasion of Iraq, more than a hundred thousand civilians dead and 4 million refugees). It tells a story where even the CIA comes across as one of the good guys. And Naomi Watts and Sean Penn are fun to watch, and the thriller aspect – of a spy escaping her foes – is not bad either.

So… a couple years after all this happened, things were brewing in New York City, on Wall Street, to be exact. The next movie, a documentary:

Client 9: the Rise and Fall of Elliot Spitzer
Dir: Alex Gibney

… looks at the case of the former Attorney General, and later Governor of New York, who was brought down in an embarrassing scandal involving a prostitute he slept with.

So what actually happened there?
Spitzer was, with great media and popular success – attacking the crooked dealers in the financial industry. He started low, but gradually worked his way into the belly of the beast. But, of course, he was getting on the nerves of some of the bigshots of Wall Street:
Crooked stock analysts at Merril Lynch; insider traders; NY Stock Exchange director Kenneth Langone; and the head of AIG, Hank Greenberg. (This documentary gets to interview everyone!)

As state governor, he added to his list of enemies – he sought out the fights and confrontations. But, of course, the bad guys fought back and cooked up an elaborate scheme using the sleazy, but fascinating, dirty trickster Roger Stone, to bring him down. Compiling published newspaper and magazine articles, interviews with the players, including the prostitutes and politicians involved, this compelling example of real investigative journalism traces the elaborate set-up to bring down the enemy of Wall Street, Albany, and Washington.

Next…

Inside Job
Dir: Charles Ferguson
Narrator: Matt Damon

…takes up the story right where Client 9 ends. It traces the bigger picture of how the real estate and financial bubble led to the collapse of the world’s, and the later bailout and payoffs to the very men whose out-and-out conniving and fraud led to these problems. Politicos, Investment banks, and, interestingly, university professors are taken to task for their involvement. This is also a great documentary, but not as good as Client 9 in getting interviews with the players from both sides of the story.

Does all this stuff make you mad? Well, check out Rendezvous with Madness – a film festival that deals with addiction and mental health by showing some interesting movies, documentaries, and experimental films, combined with discussions right after the screenings.

One movie that caught my eye is called:

My Suicide
Dir: David Lee Miller

This is a fictional blog in movie form. A blog-movie. I’d call it a Bloovie.

Archie is pretty pissed off. He goes to high school, but doesn’t much like it. He has a crush on a beautiful girl named Sierra, and feels alienated from his parents. It’s a 90210-type high school, but he’s not one of the popular kids. So when his classmates are all told to make a movie (everyone in this film seems to have a video camera), he tells the class: He’s going to film his own suicide. He immediately gets driven away by a cop, and passed on to a parade of counselors, social workers and shrinks. But he also unwittingly becomes an underground antihero in the school, with lots of kids vowing to follow his example; and he finally meets up with seemingly perfect Sierra, the girl of his dreams.

This is a frenetic movie: It feels like an earnest episode of Degrassi, cranked up on a six pack of red bull. It’s also much dirtier, with sex, drugs, and some sad stuff too. It quotes TV news, commercials, educational films, and some excellent animated sequences – basically anything you can fit on a green screen behind the main character. A sad and shocking topic, but with an interesting and comic way of telling the story of teenage angst. It’s on tonight at 9; check out the details on http://www.rendezvouswithmadness.com

The Toronto ReelAsian International Film Festival  shows great films from east and southeast Asia, including Japan, China, Korea, HK, and Vietnam, as well as movies from around the world.

The festival opened with the enjoyable retro kung fu flic “Gallants”. One interesting movie (that screens tonight) is:

Golden Slumber
Dir: Yoshihiro Nakamura

Aoyagi (Masato Sakai) is a friendly, ordinary, mild-mannered deliveryman. He was in the Food Culture Research Youth Group (dedicated to “friendship through fast food”) at university, lives in Sendai, and once was famous for 15 minutes when he rescued a pop star by tripping her attacker. He is bamboozled into going on a fishing trip with an old classmate which soon turns into a massive JFK/ Lee Harvey Oswald assassination plot to kill the Japanese PM. And he discovers that he’s the Oswald, and a whole lot of shady characters driving black cars are after him, as well as the even more bloodthirsty and venal press corps.

A pint-sized, teenaged serial killer becomes one of Aoyagi’s many de facto rescuers as he tries to clear his name. “Trust”, Aoyagi believes, “is mankind’s greatest strength.’

This is a neat movie: 50% paranoid conspiracy drama, 50% quirky black comedy, that follows Aoyagi and his various former college friends as the story unfolds in an unusual way. I love this kind of movie.

Another story of a man stuck in a hard place is the very enjoyable

127 Hours
Dir: Danny Boyle

Danny Boyle, of course, is the guy who brought us Slumdog Millionaire and Trainspotting; all his movies are fun to watch, but totally different from the last one he directed.

This one is an hour and a half of an adventurous, solo mountain climber (James Franco) who’s arm is pinned in a fissure by a big hunk o’ rock… in the middle of nowhere.

And the only way out might be by cutting off his own arm. This is a true story, so if you’ve seen pictures of the guy (Aron Ralston) you’ll know what he did in the end. So how does he keep your attention? A guy stuck in a rock for an hour and a half? Well this is a great movie, that isn’t trapped in the tiny space. I don’t like overly claustrophobic, squashed-in movies. This one reaches out, it goes wherever Aron’s mind, dreams, fantasies, hallucinations, and memories take him. There is an extended episode of extreme grotesquerie, but other than that, it’s a greatly enjoyable movie about a man attempting to overcome nature using his will and logic, without resorting to prayer and salvation.

And if you’re in the Kitchener/Waterloo area, be sure to check out the 10th annual Waterloo Festival for Animated Cinema – it’s filled with animated features from places like Eastern Europe and Japan, ranging from anime, to fairy tales to psychedelia – sounds pretty cool. Look for the details on wfac.ca

Jaw Droppers. Documentaries: Secrets of the Tribe, Gasland, 12th and Delaware

There’s a particular type of documentary I saw at this year’s Hotdocs (The Canadian International Documentary Festival), that I call a jaw-dropper.

Some movies, well most movies, including most documentaries, are entertaining but forgettable. But a few are really good — informative, telling about a new phenomenon or hot topic. Something you may have heard about, it’s knocking around somewhere in a corner of your brain, but you’ve actually never seen it on TV or in a movie – not with that degree of closeness. The kind of movie that takes a bite out of you, chews you up, and then spits you out again at the end. They leave you with your head shaking or your stomach churning or your brain exploding.

One really shocking movie — “Secrets of the Tribe” (directed by Jose Padilha) left a bitter taste in my mouth about an entire field: anthropology.

The Yanomami are a large group of indigenous people in the Amazon in the area between Brazil and Venezuela. Because they had been virtually without any contact with the outside world (ie European culture) until fairly recently, the anthropologists considered it an ideal case where they could study traditional practices, beliefs, sexuality, war, violence, language… the whole thing. And by getting there before they’ve been changed by so-called civilization, they can record and preserve a culture that might soon disappear. One of the leading anthropologists there, and one who made his reputation on it, is the controversial Napoleon Chagnon, the US-based French academic. Many other anthropologists in the 60’s and 70’s flooded into the region, to see this virgin, untouched civilization. The thing is, anthropologists are people too. And they touched the Yanomami.

This case, and all its ramifications, led to a real split within the anthropological establishment (which was exposed a while back, in an expose by Patrick Tierney). The movie brings the academic warfare to the screen, in all its disgustingness.

The accusations range from ideology, to crimes, to awful unethical practices, to eeeeeeeeeuuuggghh noooo!

Chagnon introduces weapons and technology that villages can use against each other, and gleefully records the casualties of this “warlike” people. It’s all about who kills the most, who gets the most wives, who has the most babies. He advances his theory that biology is what determines culture, a sort of a neo-darwinist take on civilization.

As if controversial theories weren’t enough, the movie turns into a combination documentary and late night episode of TMZ, with sordid talk of one anthropologists taking a teenaged Yanomami girl as a bride and another who slept with teenaged boys. Then it gets even more mind blowing.

It turns out Chagnon was paid by the US government Atomic Energy Commission to collect data on the Yanomami to be used as a control population. Through this data, the US government could compare mutation levels with the people affected by American bomb tests in the Marshall islands (in the South Pacific), or the population that survived the atomic bombs dropped on Hiroshima and Nagasaki.

And then… there were the measles epidemics spreading through the amazon killing people. In this case, they decide to do something that could save the Yanomami if they get them the vaccine before the infection reached there. But the guides they take with them may be from infected villages. In addition, they were taking secret blood samples from the Yanomami – for research purposes — that had nothing to do with the vaccinations.

Anyway, each scene is more horrific and sick-making than the one before, including the vicious academic infighting and backstabbing going on… yikes!

Secrets of the Tribe is a devastating expose of the entire profession.

Another revealing movie is “Gasland” (directed by Josh Fox). It’s a gut puncher. The idea that all of this environmental destruction is going on all around us… is unbelievable.

I always thought natural gas was the clean one, the good energy. the one that won’t leave huge pits of tar sludge behind it, won’t lead to oil spills in the Gulf of Mexico creeping slowly toward the Louisiana coastline wiping out all those birds, all those shrimp. It won’t lead to collapses in the coal mines, it won’t kill everything in site, it’s clean, pure, ozone-friendly. C’mon its “natural gas”, it’s natural gas. It’s like… organic!

Um… it’s not.

Josh Fox lives in a beautiful home in rural Pennsylvania, the home he grew up in, with bubbling brooks and twirting birds, and lush green trees all around. Like most of his neighbours, he gets a letter from energy giant asking him to allow them to poke around for some natural gas below the surface of his land. And for that he’d get a nice juicy cheque! Sounds pretty sweet. But he notices something… unusual going all around his county.

The gas company is using a technique called hydraulic fracturing – also known as “fracking”. (What the frack is that?) It means they’re drilling down into the ground, then far below, they’re sending horizontal pipes to set off explosions using unknown chemicals, underground, to free the pools of gas.

This is going on all over the place, in maybe 31 states. The problem is that if you set off explosions all over the place, underground, it does release the gas, and that gas interferes with the water supply.

What does that mean in real terms? Josh gets in his car with a handheld camera and starts driving around the country talking to people with those cute little gas pods on their land or nearby. And he keeps finding noxious fumes, disgusting sewage, and a horrible mixing of the gas – and the chemicals used in the fracking — with their water supply. The gas companies say, no! no!, it’s fine, don’t worry, be happy, but the people all show Josh Fox what this means: they turn on their sink, and hold up a lighter to the water – their tap water… is on fire!

Turns out this is all Dick Cheney’s fault. No, seriously.

Anyway, this is a fun, well made, Michael Moore-style documentary about how the big energy companies are screwing the little guy, and how deregulation has eliminated the safeguards that ensure clean air and clean water.

I would have preferred they weren’t jiggling the camera quite so much – I got a bit carsick watching this movie – but, aside from that, this is a great documentary.

“12th and Delaware” is a unique movie about a topic that’s been talked to death. Abortion. The filmmakers, Heidi Ewing and Rachel Grady, (who directed the movie “Jesus Camp”), found an abortion clinic in Florida, that’s at one corner of a street, with an anti-abortion center, a Crisis Pregancy Clinic parked right across the street. The two sides are not friends, to say the least. You get your old ladies screaming at anyone going into the abortion clinic and waving little plastic babies at them. (They have pink ones and brown ones, depending on whom they’re showing them to). They go right up to the closed blind windows and taunt them through glass. The anti-abortion side leaves photos and signs on the grass in front of the abortion clinic to scare people away.

So… big deal, right? I’ve seen all this before. And, actually I didn’t want to see any more about it. But…

These filmmakers take it inside the clinics, both of them, at the same time. So the camera teams have been allowed free access to talk with the people inside the centres on both sides of the street, show them talking to the women, and talk frankly to the camera about what’s going on.

Basically, a lot of the people going into the right-to-life place called a pregnancy crisis clinic think they’re going into an abortion clinic. They’re both at the corner of 12th and Delaware. These pregnancy crisis centres are positioned all across the US, many of them placed in exactly the same way – right across the street from the abortion clinics. The woman in the white coat is not an abortion doctor, she’s an anti-abortion counselor. But she doesn’t tell them that. (A lot of them figure it out eventually.)

It’s almost like a race. There’s a priest – a Stephen Colbert doppelganger – who explains it’s a battle, a battle between darkness and light. Then there are the doctors on the other side of the street who are mainly just pissed off at the crazies: “Why don’t they just leave us alone – we don’t bother them…” They peek through their venetian blinds and look at the security cameras to see if the protesters are getting close enough to the clinic that they can call the cops on them. The doctors literally have to disguise themselves as they drive into the clinic. There’s even a really scary stalker dude following the doctors on the street to track down where they pick up patients.

Amazingly, they get all of this on camera, sharply shot. It’s a real eye-opener. And shot with both sides of the chasm allowed to openly express their views to the camera. Not a topic I’m fond of hearing about, but “12th and Delaware” shows it all in an entirel new way.

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