Teens. Films reviewed: Bernadette, Minding the Gap, Carmen & Lola

Posted in 1990s, Coming of Age, documentary, Drama, LGBT, Roma, Romantic Comedy, Skateboards, Slackers, Spain, Women by CulturalMining.com on February 15, 2019

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

In your teenaged years, as you span the time between child and adulthood, it’s hard to separate true love from first crush. This week I’m looking at three such comic of age stories. There’s a 15 year old boy with a crush on a French woman; three skateboarders trapped in a rust belt town, and two young women in Spain touched by chance.

Bernadette

Wri/Dir: John Psathis

It’s the summer of 1994 in Forest Lake, a suburb near Chicago. Archie (Sam Straley) is a 15 year old freshman who lives with his single mom (Sarah Shirkey). He plays in a garage band with two other nerds, his best friends Ken and Martin (Johnnie Lim, James Guytin) .  Archie has just one goal: to meet a beautiful, but unapproachable exchange student named Bernadette before she moves back to France in the Fall. Problem is she’s a senior, a lifeguard at the local pool, and is beautiful beyond belief. She also has an older boyfriend, a French prof at the local community college. And she’s surrounded by a gang of bullies, led by by the cruel and vindictive Richtor (Tommy Philbin).

Luckily he gets a job at the park where Bernadette (Marilyn Bass) works. And his boss, Dixon (James Psathis) shows him the ropes. Dixon is a legend at his school — tall, charismatic and known for his sexual prowess. He keeps polaroids of all the women he’s slept with on the wall of the tool shed he’s living in. Anyone else would kill for such a mentor. But not Archie. He can’t stand Dixon, because of his latest conquest. No, it’s not Bernadette he’s sleeping with, it’s Archie’s 33-year-old mom! Will Archie come to terms with Dixon, overcome the bully Richtor, and convince Bernadette that he’s her one true love?

Bernadette is a typical boy-meets-girl coming of age story, but, despite the title is barely about Bernadette at all. It’s about a fatal summer in the life of the hero. This is a cute, indie movie, with a fun cast and an enjoyable story. The plot is not especially original – you can predict most of the plot turns a mile away – but it is nicely done and neatly constructed. And does every new film need to be super-special?

An enjoyable teenage romcom is good enough for me.

Minding the Gap

Dir: Bing Liu

Rockford is a small city in Northern Illinois. It’s filled with vacant warehouses and empty factories, cracking sidewalks and vacant lots. All the empty space makes it a paradise for skateboards and the guys who skate them. This documentary follows the lives of three of them, Kiere, Zack and Bing. Aside from their love of skating, they also share dark pasts. All three of them endured violence and abuse at the hands of their parents. Kiere’s dad beat him as corproaral punishment to discipline him when he did something wrong. He resented it at the time, but now desperately misses his father who died when he was teen. Zack also comes from a family with a history of violence and alcoholism… which he seems to be carrying forward in his own relationship with his girlfriend. A relationship mainly based on their baby boy, not any love they once had for each other. Bing’s story is the most hidden of the three. He coaxes it out of his mother who admits her second husband, Bing’s stepdad, abused both of them…though the nature of his abuse remains unclear.

Minding the Gap follows the three boys as they grow into men in their 20s, all captured by Bing’s video camera. It starts as just shots of the three of them gliding down the streets, but gradually reveals, in a series of interviews, traumatic moments in their lives. And life in a rust belt town, gradually being emptied of its people. I liked this doc, though confessional, reality-show-type docs aren’t my favourite format. It’s a first film, but surprisingly has already been nominated as Best Feature Documentary in this year’s Oscars.

Check it out.

Carmen & Lola

Wri/Dir: Arantxa Echevarría

It’s a housing project outside present day Madrid. Lola (Zaira Romero) is a prickly 16 year old graffiti artist who wants to get out of this place. Her illiterate parents, Paco and Flor, and her little brother Miguel are happy with their life here. They run a stall at an outdoor market, attend an evangelical church and celebrate birthdays and weddings in the traditional Roma style. Lots of singing and dancing with their friends relatives. But Lola wants more. With the help of Paqui (Carolina Yuste) who works at the local community centre she’s trying to pull herself out of traditional roles. At the market she meets the beautiful and glamorous Carmen (Rosy Rodríguez) who also works there. She’s engaged to Lola’s first cousin, and dreams of becoming a hairdresser, one of the few professions open to Roma women.

For Lola, it’s love at first site. She’s enchanted by everything about Carmen, from her little bird-shaped earings to her lithe body and beautiful face. Carmen is everything she desires and she paints grafitti art tributes her on local walls. She teaches her how to swim, so someday they might go to the beach in Malaga together. But Carmen is shocked when Lola expresses her love to her. I’m normal, Lola, not disgusting like you, she says. Kiss a boy, and you’ll see what you’re missing. Lola counters, kiss me, or you’ll never know for sure. Will Carmen and Lola become lovers? Or will her strong community ties make that impossible?

Carmen & Lola is a wonderful romantic drama about an unlikely couple. It’s shot in a realistic style, celebrating Roma culture in Spain, the church services, the music and traditional costumes. She uses non-actors for many of the roles, and never shies away from the racism and poverty they face on a daily basis.

This is a very good love story.

Carmen & Lola and Minding the Gap are both playing at the TIFF Next Wave festival. All tickets are free if you’re 25 or under. Go to tiff.net for details. And Bernadette is premiering at Vancouver’s Just for Laughs and will open later this year.

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

Gone fishing. Films reviewed: Serenity, Wonders of the Sea PLUS Cold War

Posted in 1950s, Animals, Cold War, Communism, Conservation, Crime, documentary, Drama, Film Noir, France, Music, Mystery, Poland, Romance, Suspense by CulturalMining.com on January 25, 2019

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

Fishing for something different to watch? This week I’m looking at two movies about fish and one about love. There’s a doc beneath the waves, a suspense drama aboard a fishing boat, and a bittersweet romance behind the Iron Curtain.

Serenity

Wri/Dir: Steve Knight

Baker Dill (Matthew McConaughey) is a fisherman off Plymouth Island, a tropical vacation spot in the middle of nowhere. Along with his first mate Duke (Djimon Hounsou) he takes rich tourists out on his boat to catch some sharks. But Dill’s real love, his passion, is for tuna. One particular bluefin he calls Justice, that always gets away. It’s his great white whale, his Moby Dick . He spends his free time drinking dark rum at the local bar or sleeping with Constance (Diane Lane) an attractive older woman with a black cat, who helps him out financially after a night of passion.

Life never changes… until one day a mysterious femme fatale, named Karen (Anne Hathaway) appears on his boat. If you drown my rich abusive husband, she says, I’ll give you 10 million bucks. Cash. Will Dill stick with his tuna obsession or will he kill a stranger?

But wait, that’s not all. Turns out he had a thing with Karen before serving in Iraq… she dumped him to marry the rich guy. And her teenaged boy Patrick, a computer geek, could be his biological son. (Though they’ve never met Dill feels he has a psychic bond with the boy). And a strange man with a briefcase following Dill has some crucial information.

If my description sounds like a clichéed film noir knock-off, that’s because that’s what it is. The actors play their characters – an obsessed fisherman, a villainous drunk, an abused but devious woman – in over-the-top performances, vamping for the camera. Why the boilerplate plots? Why the tired dialogue? Apparently, it’s all intentional, but to tell you why would ruin the WTF plot twist. I started to figure it out about two-thirds-of-the-way through, and it kept me interested (though not really satisfied). If you like watching famous actors acting in an imperfect script, this is for you.

Wonders of the Sea

Dir: Jean-Michel Cousteau, Jean-Jacques Montello

Jacques Cousteau was the French deep-sea diver, conservationist and underwater filmmaker whose TV shows fascinated me as a child. He sailed away on a ship called Calypso with flippers on his feet and aqualungs on his back. He died in 1997 but his son Jean-Michel and grandkids Fabien and Celine are still diving. This latest documentary in 3D looks at undiscovered parts of the ocean floor and the tiny creatures that live there. They lead us through a massive squid orgy: a mating ritual near California where they all have sex with each other. They also visit a hammerhead shark migration near the Bahamas, and the wondrous coral reefs off Fiji, which form a crucial part of the world’s oceans’ ecosystem. The doc focusses on the tiny, the cute, the weird and the grotesque. And they throw in informative facts and stats about pollution and overfishing.

My biggest problem with this movie is the insufferably corny and dated voiceovers by Arnold Schwartzeneggar and the Cousteaus. It seems aimed at three-year-olds. Who knows, maybe the narration was this bad when I was three but I just didn’t notice. Whatever. If you can somehow switch off the dialogue and just take in the intense, weird-and-wonderful, 3-D coloured images you’ll enjoy this movie.

Cold War

Wri/ Dir Pawel Pawlikowski

It’s post-WWII Poland, and a team of musicologists is heading to the mountains with a reel-to-reel tape recorder. Irena (Agata Kulesza) is a serious academic looking to preserve authentic folk culture. Wiktor (Tomasz Kot) a handsome conductor, wants to put together a musical group. Their boss is Kazsmarek (Borys Szyc), an apparatchik – he wants a show big enough to impress his party bosses. The auditions begin, with milk maids and farm hands singing the innocently salacious songs of their childhood. Authenticity rules. Still, one pretty young woman, with blonde braids and a strong voice manages to slip through the cracks. Zula (Joanna Kulig) isn’t really a local peasant, but after living through WWII, taking on new identities is a piece of cake. And Wiktor is attracted to her. The Mazurek Choir is born, and it’s a big hit. And Wiktor and Zula start a secret relationship.

The Party weeds out anyone not “Polish-looking” enough: hair too dark, nose too big? Back to the farm. When they are forced to include Stalinist paeans to collective farming, Wiktor shrugs his shoulders but Irena quits in disgust. But their new status pushes the choir to star status in the Eastern Bloc. Wiktor and Zula fall in love and hatch a plan to defect to the west. Wiktor makes it across the border, but Zula stays behind. Now thelovers are separated by the impenetrable Iron Curtain. Will they ever see each other again? If so, on which side? And can their love –  and their music – survive a long separation?

Cold War is a wonderful, bittersweet romantic drama, set in 1950s Europe. It paints the Cold War era with all its faults and how it affects the people caught in it. Like Pawlikowski’s Ida, it’s just 90 minutes long and shot in glorious black and white on a square screen. Filled with haunting music and images, the film showcases the amazing Kulig and Kot in their flawless performances as separated lovers. (Kulig sings, too!) It’s nominated for a Foreign Language Feature Oscar and is also on my list of best movies of the year.

This is a great movie, don’t miss it.

Wonders of the Sea in 3D starts next week, Serenity and Cold War both 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.

Need help. Films reviewed: Capernaum, The Upside

Posted in Clash of Cultures, comedy, Coming of Age, Disabilities, Drama, Kids, Lebanon, Migrants, Movies, Poverty by CulturalMining.com on January 11, 2019

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

If January has left you broke or in debt, but you still want to see some movies, there are free alternatives out there. Kanopy – free for anyone with a Toronto library card, is an online streaming service with a huge selection of incredible movies and documentaries you can sign out digitally for free. Workman Arts and Rendezvous with Madness is showing a selection of cool movies about mental illness, for free later this month — reserve tickets online. And the Japanese Consulate in Toronto and the Japan Foundation are sponsoring three Japanese movies, first come, first serve. Both of these series are playing at the Hot Docs cinema in January.

This week I’m looking at two movies about people who need help. There’s a homeless kid in Beirut trying to help a motherless toddler, and a homeless ex-con in New York trying to help an extremely rich man who is paraplegic.

Capernaum

Wri/Dir: Nadine Labaki

Beirut, right now.

Zain (Zain Al Rafeea) is a foul-mouthed, poor kid who doesn’t go to school – his parents never registered him when he was born. He shares a bed with his three sisters, including Sahar (Haita ‘Cedra’ Izzam) the oldest. When she has her first period, Zain senses danger. He’s afraid their parents will marry very young Sahar to their predatory middle aged landlord Assaad. His fears turn out to be true, and she’s carried out of their home kicking and screaming. Zain has had enough… so he runs away. On a bus he meets an elderly man in a knockoff superhero costume – I’m cockroach man – and follows him to a rundown carnival. There he meets Tigest (Yordanos Shiferaw), an Ethiopian woman fluent in Arabic with a baby named Yonas (Boluwatife Treasure Bankole). She uses a fake ID – she draws a beauty spot on her face each morning, but without she could be deported. She’s poor too, but takes Zain under her wing; he takes care of the baby while she’s at work. Everything’s going fine until… She doesn’t come home one day. What happened to her? Now 12 year old Zain has to serve as 1-year-old Yonas’s dad, searching the streets for milk and diapers for the baby, food and water. Zain is forced to pose as a Syrian refugee to get any help. But how long can a homeless child – taking care of a baby – last in a big cruel city?

Capernaum (the Lebanese word for chaos) is a funny, delightful and fascinating drama that’s also brimming with pathos. It’s a genuine tearjerker, I cried at least three times – couldn’t help it – but despite the tears, surprisingly this is not a depressng movie. It’s told in a series of flashbacks based on testimony in a courtroom. Zain is there suing his own parents for giving birth to him. The trial serves as the backdrop, but it’s mainly about Zain’s journey as an undocumented kid. Most of the characters are played by non-actors, but all of them, especially Zain al Rafeea are superb and real-seeming. It deals with very heavy topics – including human trafficking, refugees, poverty, child neglect and abuse – but this film manages to handle it with just the right degree of sadness, punctuated with enough humour to stop it from sliding into misery

This is only the second film I”ve seen by Nadine Labaki. I still remember Where do We Go Now (2011) a simple story about the women in a village trying to stop the conflict between Christians and Muslims. That was a cute movie, but this one is 100 times more clever, sophisticated, and skillfull.

I liked this film a lot.

The Upside

Dir: Neil Burger

Phillip (Bryan Cranston) is a billionaire widower who lives in a penthouse suite in New York City, He hasn’t large live in staff, including Yvonne (Nicole Kidman), his kind but prudish financial manager. He loves opera, poetry, fine art…, and paragliding. Or at least he did until a terrible accident left him paralyzed except for his neck and head. Now he’s despondent and ready to die. But Yvonne insists on hiring a new caregiver.

Dell (Kevin Hart) is a deadbeat dad with a teenaged son and an ex wife he can’t support. He’s a ne’erdowell on parole with a long prison record, and if he can’t prove he’s looking for work he’ll be back behind bars. Somehow he ends up in Phillip’s penthouse just when they’re hiring. To everyone’s surprise Phillip hires the extremely rude and unqualified Dell, mainly because he wants to die, the sooner the better. Dell is just as shocked to get the job, especially when he sees the first paycheque. But somehow the two hit it off, and little by little, Phillip crawls out of his shell and learns to live again. But how long can it last? Will Dell’s prison record come back to haunt him? And can Phillip ever recover from the loss of his one true love?

The Upside is a Hollywood remake of Intouchables, the French comedy that was a box office smash. I’ve never seen the original – apparently based on a true story – but I doubt this one will be a big hit. It’s very predictable, with some godawful jokes. Faking a tonic-clonic seizure to avoid a speeding ticket? (Please don’t.) Uneducated Dell mispronouncing famous names and three sylable words? Of course he panics at the idea of touching another man’s penis, even inserting a catheter. (Really?) Dell’s black, you see, but don’t worry white people, he likes Aretha Franklin not that newfangled hip hop stuff. (Sigh).

That said, there are some funny scenes; Hart and Cranston are likeable in their roles and together make a good buddy movie, and Nicole Kidman is unusually understated.

Is The Upside a great movie? No, but I enjoyed it anyway.

Capernaum and The Upside both open today in Toronto; check your local listings.

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

Daniel Garber talks with Justin McConnell and Jack Foley about Lifechanger

Posted in Canada, Crime, Death, Drama, Fantasy, Horror, Thriller by CulturalMining.com on December 28, 2018

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

It’s Christmastime at a bar in Toronto.

Julia is a young woman sitting in her usual spot, trying to forget her own tragic history. She chats with the usual suspects – strange men trying to hit on her, and women looking for a shoulder to cry on. But what she doesn’t realize is that most of the strangers she talks to each night… are all the same person.

Then there’s Drew. He suffers from a bizarre illness. The only way he can survive is to refresh his body by inhabiting a new one… until the body is worn out and he moves on to the next. Can Drew tell Julia the truth and convince her to accept his unusual lifestyle?

Or is that just too big a life change for either of them to accept?

Lifechanger is a new fantasy/horror movie that will keep you guessing till the end.

It’s written and directed by Justin McConnell (who I interviewed 5 years ago about his documentary Skull World.) Lifechanger has won multiple awards at international film festivals across North America and around the world. It co-stars Jack Foley as the romantic lead… who is also a man with a secret.

The film opens today in Toronto, Calgary and Ottawa.

I spoke with actor Jack Foley and writer/director Justin McConnell in studio at CIUT 89.5 FM.

Kinship. Films reviewed: Vox Lux, Shoplifters

Posted in Coming of Age, Crime, Drama, drugs, Family, Japan, Movies, Music, Terrorism, Women by CulturalMining.com on December 21, 2018

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

The holiday season is a time when families get back together, for good or for ill. So this week I’m looking at two movies about family and kinship. There’s a pair of sisters turned pop musicians, where one holds the scars of a terrible incident; and a makeshift family that rescues a small girl with scars.

Vox Lux

Wri/Dir: Brady Corbet

Celeste (Raffey Cassidy) is a god-fearing high school student in Staten Island, New York. She likes music, church and her big sister Eleanor (Stacey Martin) who always looks out for her. But her world turns upside down when a non-conformist kid pulls out a gun in music class, and starts shooting people down. Celeste tries to reason with him; she ends up wounded but not dead. She recovers with a scar on her neck. At the memorial for the mass shooting she performs a song which soon goes viral.

She and her sister are quickly signed to a major label by their manager (Jude Law) and whisked off to Sweden. There they experience the heady brew of extreme wealth, celebrity and number-one hits. But it also exposes them to the cruel scrutiny of tabloids and paparazzi that accompany celebrity.

Still a teenager, she loses her virginity to another musician, tries drugs and alcohol for the first time, and begins a gradual downward spiral toward addiction and paranoia. But she also establishes herself as an international icon, with her sparkling makeup, severe haircuts, and sequined outfits mimicked by devoted fans. She always wears a band around her neck both to hide and commemorate the scars of the shooting.

Years later Celeste (now played by Natalie Portman) plans for a comeback, culminating in a stadium concert back in the hometown she left after the shooting. Now she’s brittle and bitter, addicted to drugs, and full of anger and pain. And she has a daughter (played by Cassidy, the young Celeste) brought up by the more responsible sister Eleanor. As she works toward the ultimate concert, a disturbing incident hits the headlines. Halfway around the world, fans wearing her distinctive makeup and clothing commit a random act of terrorism. Is she to blame? Will her career crash and burn? And if she performs her stadium show in her home town, will this lead to yet another massacre?

My brief description of the film suggests a music biopic crossed with an action movie. It’s neither. It’s actually a visual and audio collage of the impressions of a teenaged girl in the high pressure world of pop music, and the adult who emerges from it. Vox Lux is a short film, and at least a third of it is taken up by music performed on a stage before an actual audience. The music is by SIA and actually sung by Natalie Portman. The plot is mainly a background for the director’s experiments with sound and image filtered through the cruel world of social networks. Recurring shots of endless tunnels and aerial views of cities give it a hypnotic effect, and the music gives it a haunting feel. Though the movie feels incomplete, I liked the look and sound of it.

Shoplifters (Manbiki Kazoku)

Wri/Dir: Kore-eda Hirokazu

It’s present day Tokyo. Shota (Jyo Kairi) is a young boy living in an urban paradise. He’s smart, resourceful and brave. He studies at home – where he learns not just reading and writing, but also essential survival skills and the ways of the world. He lives with his grandma, his mom and dad and his big sister Aki, a family brimming with love. They are always there to rescue him from trouble and help him through bad times. They share responsibilities and eat dinner together. No one tells Shota to clean his room or wash the dishes. This is a life rich in traditions, superstitions, and family lore. And there’s lots of time to tell stories, go to the beach, or go fishing.

Or

Shota lives in a filthy, ramshackle house, a Dickensian den of petty criminals, thieves and con artists. This so-called family of vaguely-related misfits shoplifts their dinners and daily needs to stay alive. Dad (Lily Franky) works as a casual labourer, Grandma (Kiki Kirin) receives payments from an unknown source, teenaged Aki (Matsuoka Mayu) performs behind glass at a peepshow arcade, and mom, sometimes called auntie or Nobuyo (Sakura Ando) makes do with a parttime job pressing garments in a small factory. Even young Shota helps them all by pocketing food and shampoo while dad distracts the clerks.

But homelife takes a subtle shift with the newest family member.

Yuri (Miyu Sasaki) is a little waif, horribly abused and neglected by her young parents… they always see her staring whistfully through her balcony bars, like a prisoner hoping to be rescued. They adopt her into their family, after discovering scars and burn marks all over her arms.

She immediately adapts to her new life, especially the love, attention and lack of fear she never experiences at home. They ask her if she wants to go home, but she adamently refuses… she likes it better here. But when her case becomes known as a kidnapping, it spells trouble. Can the family survive this a brush with authority? Or will it all come tumbling down? And would government intervention make their lives better or worse?

Perhaps I’m biased: I’ve interviewed Kore-eda four times, more than any other director, because I love all his films. But in my opinion Shoplifters is a fantastic movie, definitely one of the year’s best. It deals with poverty, nonconformity and precarious lives coexisting within one of the richest cities in the world. It explores what a family really is: is it something designated by law, or could it be a family by choice, where the members designate their own names and roles.

Hirokazu Kore-eda, TIFF17, photo by Jeff Harris

It stars many of his past actors – Lili Franky, and the late Kiki Kirin – and replays some themes from his early films. Our Little Sister was about whether a half-sister can be accepted into a complete family. Like Father, Like Son, where a family discovers their son was switched at birth, explores whether it’s nature or nurture that makes kinship real (Lili Franky plays the “bad dad” in that film.) After the Storm is about a delinquent dad trying to rebuild his family (also co-starring Lili Franky and Kiki Kirin). The Third Murder, a courtroom drama, deals with an accused murderer and his role as a surrogate parent to a high school girl. And in Nobody Knows, there’s a family made up of abandoned kids living in a highrise in central Tokyo.

Shoplifters (or Shoplifter Family, the more accurate Japanese title) is a culmination of all these films, a distillation of all their best elements.

It’s also exquisitely laden with relics of an older Japan – filled with glass bottles, printed cotton, paper calenders, snow men and fishing trips – that impart a soft, glowing light to all the scenes.

Detailed and nuanced, I strongly recommend Shoplifters to all.

Vox Lux and Shoplifters both 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.

Post-Halloween movies. Films reviewed: Suspiria, Boy Erased, Burning

Posted in 1970s, Berlin, Christianity, Dance, Death, Drama, Horror, Italy, Korea, LGBT, Mysticism, Psychological Thriller, Religion, Suspicion, Witches, Women by CulturalMining.com on November 2, 2018

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

Yeah, I know Hallowe’en was two days ago, but there’s still lots to be scared about. (Don’t you watch the news?) So this week I’m looking at three new movies that involve horror, thrills or just bad things happening to good people. There’s a dance troup in Berlin that reeks of brimstone, a gay conversion clinic in Arkansas that exudes homophobia, and a young writer in Korea who thinks he smells death.

Suspiria

Dir: Luca Guadagnino

It’s 1977 in Berlin with the Cold War raging, the wall dividing the city in two, and RAF bombs exploding in Kreuzburg. Into this world walks Susie (Dakota Johnson) a naïve Mennonite girl from Ohio, with pale skin and a long red braid. She’s there to dance, if a prestigious, all-women’s dance school will have her.

Have her they will.

So she moves into their huge headquarters the next day. It’s a grand old building, right beside the Berlin Wall, with mirrored rooms, a dormitory and a theatre. It’s owned and run by a group of older women, headed by their choreographer and former prima donna Madame Blanc (Tilda Swinton), known for her long black hair and floor-length dresses. They are preparing for a relaunch of their masterwork, a primitivist, flamenco-style piece called Volk. And since their lead dancer, Patricia (Chloe Grace Moretz), has mysterously disappeared, Susie is ready to take her place.

But behind the scenes, something wicked this way comes. Susie keeps having terrifying dreams. There’s a power struggle between Madame Blanc and “Mother Markus” — the school’s founder. And strangest of all, the house itself – with its secret passageways and intricate pentagrams etched into the floor – seems to transform the dancers’ violent moves into lethal weapons… with terrifying results. And Doktor Klemperer, an enigmatic psychiatrist with a secret past, is attempting to bring police – men! – into this inner sanctum of womanhood. Is this dance troupe actually a coven of witches? And will Susie be their next victim

Suspiria (based on Dario Argento’s classic horror pic) is a visually stunning film, an unusual combination of modern dance and the occult. There are so many scenes in this two-and-a-half hour movie of dance rehearsals — including an amazing performance near the end — that you almost forget it’s a horror movie. But the twisted limbs, breaking bones and endless flow of blood, blood, blood, brings you back. Luca Guadagnino (he directed Call me by your Name, A Bigger Splash, and I Am Love) is back with another aesthetically overwhelming film, recreating 1970s Berlin, and starring, once again, the fantastic Tilda Swinton in many, hidden roles. Though not that scary, this arthouse horror is always fascinating.

Boy Erased

Dir: Joel Edgerton

Jared (Lucas Hedges) is a 19 year old in Arkansas. He’s on the basketball team, has a steady girlfriend and works parttime in his dad (Russell Crowe)’s car dealership. He also goes to church: his dad’s a Baptist minister and his mom (Nicole Kidman) an active member. Everything’s hunky dory… until he gets outed as gay by an anonymous caller. Word spreads, church elders come knocking at the door, and Jared is sent off for a heavy dose of brainwashing.

Love In Action is a “gay conversion therapy” centre, with very little love. It’s headed by Victor (Joel Edgerton) a self-taught therapist full of vapid platitudes and pseudo-freudian pop psychology. He’s backed up by a violent ex-con (Flea) who hurls abuse at the patients in an attempt to scare them straight. The other patients/prisoners include the military-like Jon (Xavier Dolan, playing against type), the bullied Cameron (Britton Sear), and others who tell him to “fake it” – just repeat what they tell you until you’re out of there. But if he does, will they erase his very being? And can Jared ever get out of this godforsaken place?

Based on a true story, Boy Erased is a realistic look at one young man’s experiences in a gay conversion clinic. It’s well-acted and I found it moving (though predictable) in parts. But it’s also an incredibly uptight, desiccated, visually-starved, anti-sex movie that seems made for Sunday school church groups. No nudity — everyone’s buttoned to the top. In this movie, any “sex” is relegated to a rape scene. It’s one thing to have uptight characters, but does the film itself have to be so repressed?

This may be an important topic, but it’s a dreadful movie.

Burning

Dir: Lee Chang-dong

Present-day Korea. Jong-su (Yoo Ah-in) is an aspiring writer in his twenties who lives on his dad’s dairy farm near the Demilitarized Zone. On a trip to Seoul he runs into a woman he barely recognizes. Hae-mi (Jeon Jong-Seo) is a former highschool classmate who – post plastic surgery – works as a glamour girl spinning the prize wheel at a department store. And Haemi likes Jong-su. She lives in a small apartment that only gets sunlight for a few mites each day. Haemi is an flakey extrovert into mime. Jongsu is reserved, quiet and introspective. Soon enough, they’re lovers, but then Haemi says she’s going on a trip to the Kalahari desert to experience “The Great Hunger”.

And she comes back wth a new friend, named Ben (Steven Yeun) she met at the airport flying home. Ben is Korean, but rich, privileged and vaguely foreign. He’s one of those Gangnam-style guys, with a fancy apartment and a pricey car. He’s smooth, slick and ultra-blase – like Andy Warhol — but in a weirdly creepy way. And now he’s dating Haemi. They visit Jongsu at his farm, get drunk and smoke some pot. And Ben confesses his secret – he gets off on burning down greenhouses. And never gets caught. And soon after, Haemi disappears without a trace. Ben acts as if nothing is wrong but Jongsu is not so sure.. Is Ben a psychopath? Or is Jongsu losing touch with reality? And what about Haemi?

Burning, based on a story by Murakami Haruki, is a tense, creepy psychological thriller. The three main actors are all great in their roles: Steve Yeun — that nice guy in The Walking Dead — is perfect as the possible serial killer, and Yoo Ah-in is amazing as the shy boy seething wth inner tension.

Fantastic.

Suspiria, Boy Erased, and Burning 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.

Young and Old, New and Old. Films reviewed: mid90s, What They Had, Summer with Monika

Posted in 1950s, 1990s, Chicago, Coming of Age, Death, Drama, Family, L.A., Romance, Skateboards, Sweden by CulturalMining.com on October 26, 2018

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

Mark your calendars folks, as Toronto’s Fall Film Festival season continues in November. ReelAsian has great anime, dramas, docs and comedies from South, East, and Southeast Asia. Ekran Polish film festival opens with Pawel Pawlikowski’s fantastic Cold War — about two lovers seperated by the Iron Curtain — and Toronto’s own 22 Chaser. And the EU film festival has one film from each country in the European Union, with some real treasures waiting to be discovered… and all screenings are free!

This week I’m looking at movies new and old, about people young and old. There’s a love story about young adults in Stockholm made in the 1950s, a coming-of-age story about a young LA teenager set in the 1990s, and a family drama about an elderly Chicago couple set in the right now.

mid90s

Wri/Dir: Jonah Hill

It’s LA in the mid 1990s. 13-year-old Stevie (Sunny Suljic) lives with his single mom and frustrated big brother Ian (Lucas Hedges). Ian uses him as his personal punching bag so Stevie stays away from him. Out in the city he discovers a skate shop and cautiously approaches the older kids who hang there. There’s Ruben (Gio Galicia) is a brooding kid, a bit older than Stevie, who tells him what’s what. Ray (Na-Kell Smith) is the group’s rudder who tries to keep them out of trouble. Fourth Grade (Ryder McLaughlin), is a skinny nerd who records everything with his video camera. And then there’s the daring and reckless one with blonde dreads (Olan Prenatt) whose name is made up of two words I can’t say on radio (but rhyme with Truck Spit).

At first, they think of Charlie as just a kid, but he proves his mettle by doing the most dangerous rides and jumps… and ends up in hospital for it! Soon he’s a real member of their nameless club. Together they own the streets with their boards. But can a 13-year-old have a good time without ending on drugs, in jail, or dead?

Mid90s is a fun and light coming-of-age story, seen through the eyes of a kid with much older friends. He encounters sex, drugs, and Jackass-style extreme exploits, for the first time, all projected against a non-stop blanket of 90s music.  I’m always dubious whenever a Hollywood moviestar decides to make a film, but Jonah Hill does a great job on this one. It’s low budget, an enjoyable story, simple but effective. It’s moving, funny and believable. without trying too hard or trying change the world. Sunny Suljic is great as Stevie, as are the rest of the gang, mainly played by non-actors who skate.

I like this one.

What They Had

Wri/Dir: Elizabeth Chomko

It’s a snowy Christmastime in Chicago. and Bridget (Hillary Swank), is flying there from sunny California to spend the holiday with her family. She’s travelling with her daughter Emma on college vacation, and is met at the airport by her grumpy brother Nick (Michael Shannon). He owns a bar and lives in the back room with his on-again off-again girlfriend. But they’re mainly there to see their parents, a retired couple in their 70s. They’re devout catholics. Burt (Robert Forster) reads the obits each day yo make sure he’s not in them, while Ruth (Blythe Danner) has simpler pursuits. They’re a happily married couple, in sickness and in health, till death do they part.

And that’s why the family is really there.

Ruth is prone to wandering, walking off aimlessly into the snow, and showing up in a hospital or at the railway tracks. And she mistakes a stapler for the telephone. She has Alzheimer’s and Nick wants to ship her off for “memory care” and Burt to assisted living, alone somewhere. Burt says no way. Life’s not bells and whistles, it’s hard work and we’re still very much in love. But Bridget has her Mom’s power of attorney. Whose side will she take — her father’s or her brother’s? And will the secrets uncovered by this family reunion lead to a permanent rupture in all of their lives?

What They Had is a low-key family drama with a powerhouse cast. Any movie

Away From Her

with Michael Shannon, Hilary Swank, Blythe Danner and Robert Forster in it is worth seeing just for that. But I can’t help comparing Blythe Danner to Julie Christie in Sarah Polley’s Away From Her, that great drama, also about Alzheimer’s. (They even look the same!)

This one is much easier to watch, though, trading heavy drama for family nostalgia.

Summer with Monika (1953)

Dir: Ingmar Bergman

It’s the 1950s in working class Stockholm. Harry (Lars Ekborg) is a 19 year old at his first job, delivering boxes of glass by bicycle cart. (He looks like Tintin.) Harry lives with his ailing dad in the family home. At work, he is constantly yelled at for being late or filling in the wrong forms. Not fun. Monika (Harriet Andersson) is even younger, and from a poor part of town. At home she’s bugged by her drunken dad, or teased by the little brats. And her workplace could be used as a textbook for sexual harassment laws 50 years later. She’s assaulted, groped and insulted all day long.

So when Monika sees Harry, a total stranger, in a bar, she takes the plunge. I hate this job, I hate this city, and I hate my life, let’s just get the hell out of here! Harry, though shocked by her forwardness, realizes he doesn’t like his life much, either. And he does like Monika. So soon, they’re off in a motorboat to a distant place. They set up camp on a rocky shore, and spend their time picking wild mushrooms and frolicking naked on the rocks. Is this love? But reality rears its ugly head. Lelle (John Harryson), Monika’s ex-boyfriend, is stalking them. There’s no clean clothes and their food is running out. And Monika discovers she’s pregnant.

Summer with Monika is 65 years old, but Ingmar Bergman’s timeless love story still feels fresh and vibrant. It’s shot in beautiful black and white in a realistic style. There are a few seconds of discreet nudity but apparently was very shocking when it was released in the US. (Didn’t help that the distributor marketed it as “The story of a bad girl” who was “Naughty and 19“!) But in Europe it proved highly influential for generation of filmmakers. Try to catch this movie while it’s still playing.

What They Had and mid90s both open today in Toronto; check your local listings. Summer with Monika is now playing as part of the TIFF Cinematheque retrospective Bergman 100, showing virtually all of his movies, in a beautifully programmed series.

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

Still more TIFF. Films Reviewed: Fahrenheit 11/9, The Wife, The Man Who Feels No Pain

Posted in Action, documentary, Drama, Family, Found Footage, India, Movies, Politics, Protest, Sweden, Women by CulturalMining.com on September 21, 2018

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

TIFF is over now, but you’ll have lots of chances to catch up on films you missed as they release them over the next few months… or years. This week I’m looking at three movies that played at TIFF. They look at secrets in Stockholm, mayhem in Mumbai, and what went wrong in Washington DC.

Fahrenheit 11/9

Dir: Michael Moore

Torch-bearing Nazis, tax cuts for the richest Americans, and a president who brags about assaulting women, who makes friends with dictators and throws the country’s allies under the bus. How did this happen? Michael Moore is back again, attempting to explain what brought a celebrity-obsessed, egotistical racist to the White House. He talks to a few experts and travels to places like West Virginia, but most of the film is devoted to news clips, recordings and and photos. He tells the story as a series of concentric circles: the country, the state of Michigan, the city of Flint and Michael Moore himself.

He doesn’t spare anyone from criticism. That means Hillary Clinton, Bill Clinton, and even Barak Obama all get a drubbing. News media – and not just Fox news — are rightly blamed for the endless free publicity they gave Trump. And it was Moore who predicted Trump’s victory… and is praised for it by the likes of Steve Bannon, Fox News, Jared Kushner and Trump himself.

The juiciest clips are about the president, including some that make your skin crawl. Like the lewd sexual comments he makes about his own daughter Ivanka, starting when she was just a little girl.

He also deals with the #MeToo movement, Black Lives Matter, the Flint water scandal, the Stoneman Douglas protesters, and a whole lot more. Fahrenheit 9/11 is a funny, entertaining and fast-moving doc that keeps you glued to the screen for over two hours. It’s not perfect – it seems to “end” a couple times before its actually over; and he should retire his trademark schtick of the little guy Michael Moore confronting famous people at their homes (especially when he’s more famous than they are).

But as a whole, if you want a smart, sharp and funny take on American politics, this is the movie to watch.

The Man Who Feels No Pain

Dir: Vasan Bala

Surya (Abhimanyu Dassani) is a brave little boy in Bombay. Raised by his father and grandpa (his mother was killed by a chain snatcher the day he was born) he fears nothing. Along with his best friend, a girl named Supri (Radhika Madan) they stand up to bullies, and stage impossible escapes, jumping off rooves when there’s no other way out. Surya thinks they’re heroes with superpowers. In fact, his only superpower is a dangerous medical conditional known as CIP (Congenital Insensitivity to Pain). Surya risks illness or death from not noticing the bruises, burns, broken bones and internal injuries that make most kids cry out in pain. And when their adventures lead to the near-death of Supri’s abusive father, Surya is rushed away to avoid jail time.

Over the next 12 years his worrisome dad and hippie grandpa keep him safe indoors, checking his body daily for injuries, and always keeping him hydrated (he wears a water sac on his back with a plastic tube he can drink from). His only pastime is watching old VHS tapes of Bruce Lee and action movies. He teaches himself martial arts by imitating what he sees on the screen. His goals? To find his childhood friend Surya, to catch the chain snatchers, and to meet his VHS hero, a one-legged, Indian master known as Karate Manni who once fought and beat a 100 men! He thinks two of his goals have been reached when he spots a grown-up Surya putting up Karate Man posters. But first he must win back Surya’s heart, gain Karate Man’s trust and defeat a Scarface-like super villain. Will his self-taught fighting moves – and imperviousness to pain – save him against an army of enemies?

The Man Who Feels No Pain is a delightful new mash-up, a novel combination of comedy, Hong Kong Shaolin, Bollywood musicals, and found-footage videotapes. Dasani and Madan make a wonderful pair of fighters – and love interests? – and the fast-moving plot, saturated with pop culture movie references, is fun to watch.

This movie won the TIFF 18 Grolsch Midnight Madness People’s Choice Award.

The Wife

Dir: Björn Runge

It’s 1992, somewhere over the Atlantic. Joe and Joan Castleman (Glenn Close, Jonathon Pryce) a happily married retired couple, are flying to Stockholm, first class. Joe is preparing his acceptance speech for the Nobel prize for literature. And Joan? Well, she’s his wife, his plus one. Also on the plane is their adult son David (Max Irons) an aspiring writer. Joan told him she liked the story but he needs his father’s approval. But their conversation is interrupted by Nathanial Bone (Christian Slater) an aggressively obsequious journalist who wants to pen Joe’s biography… and who is looking for some inside dirt.

Part of their story becomes clear in flashbacks to the 1950s where they met. At the time, Joe is still a young, married English prof at Smith, where Joan is a student. He woos her with a walnut. True love? He divorces his wife and marries Joan. She wants to be a writer, but her plans are quashed by a bitter, female novelist who says women like them will never succeed in a man’s world. So she devotes herself to her husband’s career instead, and overlooks his frequent peccadilloes. And now he’s in Sweden, about to win the Nobel Prize. So why is Joan so resentful? Is it Joe’s infidelity? Or is there a deeper secret? And what is the scandal the biographer threatens to reveal?

The Wife is a good, small drama about marriage, women and the secrets that they keep. It’s also about writers. And it’s full of royal references: the writer is named Castleman, Joan dubs herself a “king-maker” and the screen is filled with the regal opulance, music and grandeur surrounding the Nobel prize. I liked this movie.

Fahrenheit 11/9 and The Wife open today in Toronto; check your local listings. The Man Who Feels No Pain played at TIFF’s Midnight Madness and is coming soon. And don’t forget about the Toronto Palestine Film Festival which is on now through the weekend. Go to TPFF.ca for details.

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

Daniel Garber talks with filmmakers Çagla Zencirci and Guillaume Giovanetti about Sibel at #TIFF18

Posted in Coming of Age, Cultural Mining, Disabilities, Drama, Folktale, France, Movies, Mystery, Turkey, Women by CulturalMining.com on September 14, 2018

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

Photos by Jeff Harris

It’s present-day Turkey. Sibel is a fiercely independent young woman who lives in an isolated mountain village near the Black Sea. Having lost her voice after a fever at age five, she communicates with her father using a traditional whistling code, still known to older villagers. She’s a keen hunter and trapper who seeks a lone wolf said to be lurking in the woods. But in her search she traps a different sort of wolf — a crazed and bearded man, on the run from the army. She nurses him back to health in her cabin in the woods. Can she maintain a secret life with her newfound prisoner/friend? Or will word reach the disapproving villagers below?

Sibel is a new film, a Turkish/French co-production that explores the classic folklore and customs of the Black Sea region. It’s also a rich and fascinating look at an independent woman living within the restrictive rules of traditional village life.

Sibel had its North American premier at Toronto International Film Festival and is playing again this Saturday. It’s jointly directed by Guillaume Giovanetti and Çagla Zencirci, French/Turkish partners, who previously made Noor and Ningen together, both of which played at TIFF.

I spoke with Çagla and Guillaume in studio at CIUT 89.5 FM, during TIFF18.

Dancing. Films reviewed: Nang by Nang, Dancehall’s Asian Ambassadors, Saturday Church at #CaribbeanTales

Posted in African-Americans, Dance, documentary, Drama, Jamaica, Japan, LGBT, Music by CulturalMining.com on August 31, 2018

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

Toronto’s Fall Film Festival Season has begun, people, bringing you a first look at the best movies you’ll be watching over the next year. TIFF is the grandmother of all Toronto festivals – and you’ll be hearing a lot more about that one in weeks to come – but you shouldn’t miss the smaller festivals that come right before and after TIFF. September 20-23 is TPFF, Toronto Palestine Film Festival celebrates Arab cinema at the TIFF Bell Lightbox. And before TIFF is Caribbean Tales, showing films and docs from Trinidad to Jamaica to Barbados and Haiti, as well as the US, Canada and South Africa. Caribbean Tales starts Wednesday (running Sept 5 – 20) with a sneak preview of HERO, about the legendary Ulric Cross.

This week I’m talking about three movies at Caribbean Tales. There’s a one-time dancer in Trinidad, Japanese dancehall DJs in Jamaica, and a boy in New York who is yearning to dance.

Nang by Nang

Dir: Richard Fung

Nang is a 90 year old woman in Trinidad with a remarkable history. She was illegitmate – didn’t meet her father, a playboy, until she was in her 20s, but she knows her background well. Her ancestry reads like a Caribbean history lesson: she’s part Chinese, part Black, but also descended from Indian indentured servants and indigenous peoples as well. Her names range from Dorothy to Mavis to Russel to Anang, constantly changing and morphing throughout her life. . As a young woman she joined a dance troup headed by brothers Geoffrey and Bosco Holder. (Choreographer Geoffrey Holder is most famous in North America for The Wiz and his role in James Bond movies.) Though not a trained dancer they loved her beautiful face and natural skills and she embraced the behemian lifestyle.

In this documentary filmmaker Richard Fung meets his aunt for the first time and uncovers her story. They journey back to her former houses spread across the islands and all the way to New Mexico. She has married many times, and she shares stories and photos of men long dead. She has outlived everyone, from a loving husband, to a professional, to a playboy and to a scoundrel. Nang by Nang is a personal history that serves as a fascinating look at a women with in a multifaceted and polyglot culture.

Dancehall’s Asian Ambassadors

Dir: Kaneal Gayle

For such a small island, Jamaica has a huge influence on music around the world. Ska, rocksteady, reggae and dancehall are adored by listeners who have never been to the caribbean. But there’s one place you might not immediately associate with Jamaican music… and that’s Japan! But did you know they’ve had a huge underground reggae scene there since the 1970s? And now Dancehall has landed in Japan and is growing in popularity.

Dancehall’s Asian Ambasaadors follows four Japanese women who fell in love with genre and moved to Jamaica to be nearer to its pulse. With names like Rankin Pumpkin, and Kiss Kiss, they they are music organizers, DJs, dancers and singers, competing on TV and attracting international audiences on youtube. The English they speak is Jamaican, and they earn a living by driving cabs, exporting local music and parephernalia, and importing fans from back home who want to explore the scene.

As one woman says: life in Japan is easier, and more comfortable than Jamaica, but no vibes.

Saturday Church

Wri/Dir: Damon Cardasis

Ulysses (Luka Cain) is a high school kid in New York. He lives with his mom and little brother Abe. His soldier-dad recently died in action, so his mother has invited stern Aunt Rose (Regina Taylor) to help take care of the kids. Ulysses is an altar boy, a good kid with a face as angelic as the saints on the stained glass windows. But he has a forbidden secret: He likes his to try on his mom’s shoes and clothes.

No one at school has seen this, but the locker room jocks can sense something anyway, and constantly bully him. Homelife is equally perilous, with Abe threatening to tell mean Aunt Rose. Is there no escape? One weekend, he hops on the subway to Greenwich village to explore, and ends up on the Christopher Street Pier. There he meets some women like he’s never seen before. With exotic names like Dijon, Ebony and Heaven (Indya Moore, Mj Rodriguez, Alexia Garcia), they exude confidence and attitude. One of them, Amara (Margot Bingham) takes him under her wing and leads him to a sanctuary. Saturday Church offers him food shelter and a space to feel free.

It’s also where he is first exposed to vogueing, the life blood of the women he met. And a boy named Raymond (Marquis Rodriguez) – his first boyfriend? But when things explode at home between him and aunt Rose, he runs away. And he discovers his church sanctuary is only open on Saturdays. He’s left homeless, lost and vulnerable. Can he survive life on the streets?

Saturday Church sounds like another sensitive coming-out story about a black teen in New York. What’s remarkable, though, is that throughout the movie, the characters burst into intricately-choreographed dances and songs. From locker rooms to homeless shelters to locker rooms, characters suddenly switch to impromptu, modern-dance-inspired musical numbers and torch songs. Luka Cain is great as Ulysses, and Saturday Church is an inspiring and unusual musical.

Saturday Church, Nang by Nang and Dancehall’s Asian Ambassadors and many others are all playing at CaribbeanTales film festival, which opens next Wednesday with Hero.

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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