Controversial European Directors. Films reviewed: The Favourite, The House that Jack Built

Posted in 1700s, 1980s, 1990s, Art, Horror, Lesbian, Movies, Psychopaths, Royalty, Satire, Thriller, UK, violence, Women by CulturalMining.com on December 7, 2018

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

This week I’m looking at two movies in English by controversial European directors from Denmark and Greece. There’s a satirical horror movie about a Jack in his house; and a historical dramedy about a Queen in her palace.

The Favourite

Dir: Yorgos Lanthimos

It’s England in the early 1700s, a time of heavy makeup, high heels and elaborate wigs. (I’m talking about the men here). Women, on the other hand, rule the country. At the top of the heap is Queen Anne (Olivia Coleman) a long-suffering widow. And always by her side is her childhood friend Sarah Churchill, the Duchess of Malborough (Rachel Weisz). Her husband is leading a battle in France, leaving Sarah free to her own devices. She advises the Queen about when to go to war and whose taxes should pay for it. Together, they – not the male politicians – decide where the country should head.

Until one day, when a new woman appears on the scene, upsetting the delicate balance. Abigail (Emma Stone), Sarah’s naïve cousin, shows up at the palace gates asking for a job. She is pretty and speaks with an upper class accent but she hasn’t been rich since her father, a compulsive gambler, lost her in a card game when she was still a teen. Now she’s single again and penniless. They put her to work as a scullery maid where the other servants treat her cruely. But gradually Abigail learns how to play the game.

She seduces a young aristocrat she meets in the woods with the aim of marrying up. And she manoeuvres her status in the palace by “accidentally” running into the Queen as often as she can. She expresses sympathy for the sad Queen and the rabbits she keeps as pets to replace all her lost children. While Sarah can be cruel and domineering – she dresses in dominant, tight black bodices, and sends withering looks at Anne when she gets too sentimental – Abigail presents herself as a dainty ingénue, devoted to the Queen’s happiness.

Is it all just an act? And can she replace Sarah as the Queen’s favourite?

The Favourite is a brilliant comedy – based on historical facts – about two women fighting for the Queen’s favour. It’s also a love triangle, about what happens in the royal bedchambers behind closed doors. It’s by Greek director Yorgos Lanthimos, whose unique style I’ve loved since his first film Dogtooth almost a decade ago. All his movies (Alps, The LobsterThe Killing of a Sacred Deer) have a strange stilted, faux-naïve style to them that puts some people off. His characters always seem slightly out of place in their suburban homes. But by setting it in an 18th century royal palace, suddenly the dialogue (Deborah Davis, Tony McNamara) seems witty, not stilted, and everything makes perfect sense.

With its exquisite costumes, beautiful musical score and great acting, especially Coleman and Weisz, this is a great movie.

The House that Jack Built

Wri/Dir: Lars von Trier

Jack (Matt Dillon, in a despicably good performance) is an independently wealthy engineer who would rather be an architect. He is building himself a house. But he is also a perfectionist with OCD (obsessive-compulsive disorder) which makes him a captive of his own fear of failure. Each version he tries to complete ends in frustration. So he turns to other ways to express himself artistically.

But he’s also a psychopath with no moral sense so first he has to teach himself to fake normal emotions so people will trust him. He uses these new skills to meet women, often at random, and murders them. He takes the bodies to a huge walk-in freezer, poses them, and then send his photographs to the tabloids as Mister Sophistication. These are his “works of art”.

And despite how obvious and blatant his killings are – he even brags to the police that he’s a serial killer – nobody ever tries to stop him.

The film is narrated by Jack’s voice, off camera, confessing all to a man named Virgil (Bruno Ganz) in a reference to Dante’s Inferno. Jack tells Verge about a few of his more than 60 murders, which are shown in explicit detail on the screen. The unnamed victims – strange characters all – are played by Uma Thurman, Siobhan Fallon Hogan, Sophie Gråbøl, and Riley Keough (Elvis’s granddaughter).

Is Jack the epitome of evil? Or just an amoral idiot? And will he ever be punished for what he did?

The House that Jack Built is Lars von Trier’s latest work, and like many before – Antichrist, MelancholiaNymphomaniac – it’s a tough movie to watch. Excruciating, actually, because you know there’s going to be more horrible violence coming up. I was in a constant state of cringe through most of the movie.

But in retrospective it seems very elegant and funny, a self-referential exercise in comedy/ horror/satire. Like most of von Trier’s movies, it’s told in chapters and sub-chapters, bookended by Jack and Virgil’s conversation. It’s also filled with repeated cultural references, visual and audio, including Glenn Gould Plays Bach, Bob Dylan’s Subterranean Homesick Blues video, David Bowie’s Fame, William Blake’s drawings and Delacroix’ The Barque of Dante… even clips from von Trier’s own movies.  Jack compares his “art” — the murders themselves and the arranged bodies — to the works of these great artists.

This film is Lars von Trier’s reply to past accusations of being a nazi, a misogynist, a bigot and a narcissist. Here he invents a character that combines the worst elements of all of these, and spews it back at the viewers in triumphant, hideous glory.

One thing: the screening I went to was a total sausage fest. The audience was maybe 99% male — rockers, hipsters, film geeks, von Trier fans and Incels — so when parts of the audience burst into laughter and applause when Jack violently attacks and mutilates yet another nameless female victim, it just added to the general creepiness of the experience.

The Favourite opens today in Toronto; check your local listings; and The House that Jack Built opens next Friday in theatres and on VOD.

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

Women, famous and infamous. Films reviewed: Lizzie, Anthropocene, Colette

Posted in 1800s, Biopic, Crime, documentary, Elephants, Environmentalism, Feminism, France, Lesbian, LGBT, melodrama, Poverty, Psychological Thriller, Women by CulturalMining.com on September 28, 2018

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

This week I’m looking at three movies about famous — and infamous — women. There’s a psychological thriller about an axe murderer; a biopic about a French novelist, and a documentary… about Mother Earth.

Lizzie

Dir: Craig William Macneill

It’s 1892 in Fall River, Massachusetts. Lizzie Borden (Chloë Sevigny) lives with her sister Emma, her stepmother Abby, and her rich and successful father (Jamey Sheridan). He’s a successful financier resented by the neighbouring farmers. Lizzie is a pale woman with curly red hair and an uptight manner. She whiles away her hours reading poetry and cooing with the pigeons she keeps in a wooden dovecote.

But trouble is brewing in this family. Father is outwardly kind but with evil intent. Cryptic notes show up at their home, promising blood and damnation. And then Lizzie has a tonic-clonic seizure at the opera house. Her father calls epilepsy “showing off”, but agrees to hire Bridget (Kristen Stewart) an irish maid as her caregiver. Meanwhile, feeling left out in a house of four women, he invites his brother John to stay with them. John is untrustworthy and might be embezzling money. And as the relationship between Lizzie and Bridget turns sexual, they try to rebuff the aggressive creepiness from the men inthe house. What will happen to this disfunctional family?

Well, it’s not a spoiler that the parents are going to die, as anyone who has heard of Lizzie Borden knows that her mother and father were brutally murdered. This is also made clear in the first scene of the film. But you don’t know who actually did it till a shocking scene near the end. Lizzie is a slow moving, slow-build psychological drama. Chloe Sevigny and Kristen Stewart are both good in their roles, but a thriller it’s not. It’s just too slow.

Anthropocene: The Human Epoch

Dir: Jennifer Baichwal, Nicholas de Pencier, and Edward Burtynsky

Picture a mountain of garbage in Kenya as far as the eye can see. A marble quarry in Italy, carved out of a shear cliff. An open pit mine in Germany. A heavily polluted city in Siberia. Or the rising water gradually flooding the streets and piazzas of Venice. These are not what you normally think of as natural phenomena. Rather they’re part of a new phenomenon, a period some geologists are calling the Anthropocene Epoch, when nature is shaped by humans.

Anthropocene throws a lot of new terms at you, words like anthroturbation – the scarring of the earth’s surface—and concepts like the stages of extinction, as more and more animals exist only in captivity. Visually it’s a treat, but there are so many scientific concepts bombarding the viewer that the message sometimes gets buried in the content. And some of the visual metaphors are too obscure to understand. Why is a bonfire first portrayed as a scary inferno (suggesting forest fires caused by climate change), when it’s later revealed to be a “good thing” — saving elephants by burning their tusks? And what do a million churchgoers in Nigeria have to do with climate change or pit mining?

Still, this stunning documentary combines the photography of Burtynsky – known for his vast and brutal industrial landscapes — with the filmmaking of de Pencier and Baichwall. It’s like the worlds biggest coffeee table book projected onto a big screen. It’s gorgeous.

Anthropocene is definitely worth seeing, perhaps more as a work of art than as a documentary.

Colette

Dir: Wash Westmoreland

It’s the 1890s in Bordeaux, France. Gabrielle Colette (Keira Knightly) is a headstrong young woman with long black braids who lives with her parents in a country home. She’s smart, pretty and creative. She’s also a country girl without a dowry. Enter Willy (Dominic West) a much older Parisian man, visiting her parents. Sparks fly, and soon they rendezvous in the barn for a roll in the hay. Literally. Willy sweeps her off her feet and presents his new wife to the consignienti of Paris; they are unimpressed. He’s a celebrity there, known as much for his flamboyant persona as for his writing (He’s actually a talentless hack who employs a stable of ghost writers.) He encourages her to write too, and then publishes her semi-autobiographical stories about “Claudine” a country school girl.

It’s a smash hit, with Claudine lookalikes popping up all across Paris. And Gabrielle is famous now too… but for her looks, not her writing, since it was published under Willy’s name.

And they are still plagued with financial troubles. Where is all the money going? Mainly to pay for Willy’s mistresses, Willy’s prostitutes, Willy’s gambling debts. Willy can’t keep his willy out of trouble. But my dear, he tells Gabrielle, it’s just what men do.

Gabrielle is pissed that he’s wasting her money and playing with her emotions. So she embarks on her own adventures, a series of affairs: a sex triangle involving a rich woman from Louisiana, known for her auburn hair and come-hither glances. Later she falls for Missy (Denise Gough) an aristocrat who dresses only in men’s clothing and military garb. Is this true love? And will she ever find fame for her writing?

Colette is a fun, historical biopic about the writer who became known as Colette. It’s filled with campy scenes of fin-de-siècle Paris – from shirtless men carrying women on a palanquin, to secret lovers hiding behind velvet curtains. This film is more of a romp than a serious take. But it’s enjoyable nonetheless. And director Westmoreland takes pains to include queer politics in his look at early lesbian feminism, providing a multiracial cast and a proto-trans character (in the current, 21st century sense).

Lizzie, Anthropocene and Collette all open today in Toronto; check your local listings. And opening Thursday is Bad Banks — a gripping German TV drama about high finance in Frankfurt — showing on the big screen at the TIFF Bell Light Box. Don’t miss it!

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

Meandering Movies. Films reviewed: A Date for Mad Mary, Nostalgia, Goethe Films: Ulrike Ottinger in Asia, PLUS Oscar Predictions!

Posted in Coming of Age, Death, Drama, Experimental Film, Feminism, Germany, Ireland, Japan, Lesbian, LGBT by CulturalMining.com on March 2, 2018

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

Some movies have linear narratives – stories that move in a straight line from start to finish — but occasionally you can find movies that take a more circuitous route. This week I’m looking at some meandering movies. There’s a path to a wedding in Ireland, a journey to Asia from Germany, and a search for keepsakes in America.

But first…

Oscar Predictions, 2018

Here’s a list of who I think should win, and who I think will win.

A few caveats: I’m usually wrong, though this year my choices of the best movies of 2017 (published in December) is very close to the Oscar nominations (including Get Out, Call Me By Your Name, Three Billiards Outside Ebbing Missouri, and The Shape of Water — all nominated for Best Picture; plus Loveless and A Fantastic Woman, both nominated for Best Foreign Language Film.) Does this mean I’ve been a movie critic for too long and my taste is getting worse? Or that the Academy’s choices are getting better?

I haven’t seen three of the nominated movies, so for these I can only go by what I’ve been told:

Darkest Hour – I couldn’t bring myself to watch this; I’m all Churchilled out. No more Churchill, please.

Phantom Thread is probably great but you have to be in the mood to watch a Paul Thomas Anderson movie. And I haven’t been in that mood yet.

And I Tonya – I just haven’t seen it yet, but plan to soon.

Adapted screenplay

James Ivory (Call Me By Your Name). Should win and will win.

Original screenplay

Should win: That’s a real toughie, I have no idea which should win; there are too many good ones to choose just one.

Will win: I’m guessing Greta Gerwig (Ladybird). ✘ (Jordan Peele won for Get Out)

Best foreign film:

I loved Loveless, but I think A Fantastic Woman should win and will win.

Best Actor

Should win: Timothée Chalamet (Call Me By Your Name)

Will win: Gary Oldman (Darkest Hour)

Best Actress

Should win and will win

Frances McDormand (Three Billboards Outside Ebbing, Missouri)

Best Supporting Actor

Should win: Sam Rockwell (Three Billboards Outside Ebbing, Missouri)

Will win: Willem Dafoe (Florida Project) ✘ (Sam Rockwell won.)

Best Supporting Actress

Should win: Laura Metcalfe (Ladybird)

…but everyone tells me Allison Janney will win for I, Tonya

Best Director

I think Guillermo del Toro (The Shape of Water) should win and will win.

Best Film

Again, I think The Shape of Water should win and will win.

 

A Date for Mad Mary

Dir: Darren Thornton

Mary (Seána Kerslake) is a pretty young woman who lives at home with her mom and grandmother. She likes Tank Girl, Hello Kitty and her best mate Charlene (Charleigh Bailey) They used to be inseparable but things have changed. Charlene’s getting married, and Mary is the maid of honour but she can’t find anyone to be her date to the wedding. She enlists a Polish matchmaker to set her up with a series of men. Problem is she’s a foul-mouthed heavy drinker who is quick to anger. Her last brawl led to six months in the clink. And now she’s finding it hard to find a guy she likes who also likes her. As her grandma said, even a sniper wouldn’t take her out.

But things get better when she meets Jess (Tara Lee), the videographer for Charlene’s wedding. Jess is a singer in a band and Mary likes her style. And she’s a good influence too: Mary feels comfortable around Jess and maybe… there’s something deeper.

I really enjoyed A Date for Mad Mary, a coming-of-age drama about a misfit who is trying to fit in. Very well-acted, especially Seána Kerslake as Mary. It’s a touching drama loaded with salty oneliners.

Nostalgia

Wri/Dir: Mark Pellington

Daniel (John Ortiz) is a reserved, middle aged man who works for an insurance firm. He helps asses the monetary value of possessions, so clients can decide what’s valuable to them. This can range from a lifetime of accumulated detritus, to a single possession. Helen (Ellen Burstyn) for example only has a few pieces of jewelry and an autographed baseball she grabbed as her entire house burnt to the ground. Brother-and-sister Donna and Will (Catherine Keener and Jon Hamm) are forced to look through endless boxes in their late parents’ attic to decide what to keep and what to give away. These are just a few of the stories in a loosely-linked chain of vignettes about possessions and keepsakes.

Nostalgia is a nicely-photographed film with a stellar cast whose characters segue from scene to unrelated scene. The problem is the movie has no plot, the stories don’t follow any particular order, and the only thing that connects them all is the theme. Worse than that, a third of the movie is taken up by characters weeping, a third with them bitterly sniping at one other, and a third pondering the meaning of life in painfully drawn-out voiceovers.

This is like a Hallmark movie if they only printed the kind of cards you give to people at funerals.

Ugh. Avoid this movie at all costs.

Goethe Films: Ulrike Ottinger in Asia

Ulrike Ottinger is a lesser-known German filmmaker who emerged in the 1970s alongside Von Trotta, Herzog and Fassbinder. Born by the Alpen city of Lake Constance, she studied art in Paris around the time of the riots of 1968. She ran a bar in her home town, a welcome place for men with long hair and women who smoke cigars. She started as a visual artist before deciding on film as her ideal medium.

By the early 1970s she moved to Berlin, establishing herself as a lesbian feminist director, pioneering avante-garde film. Her work was highly stylized, combining over-the-top expressionistic acting with a pop-art aesthetic. Full of bright blues and reds, Ottinger incorporated medieval motifs, bare-breasted Wagnerian women, leaping pigs and crashing waves. Her interests range from food preparation to textiles, her characters from luxurious femininity to militant and radical feminists. And keeping true to her avant garde roots, she eschews strictly linear narratives, choosing instead the more realistic “meandering” style.

One running theme is her reverent and deferential view of the foreign, especially of East Asia. These films in particular — plus a biographical documentary about her life’s work, called Nomad from the Lake (directed by Brigitte Kramer) — are being shown as a mini-retrospective by Toronto Goethe Institute. This includes Under Snow, a combination kabuki-style drama and documentary. It shows life in Japan’s snow country around New Year’s day at a hot spring onsen. From there it takes viewers to Sado island, a land of exile, seemingly populated by clockwork automatons working in the gold mines. In Exile Shanghai she looks at Jewish refugees who fled Nazi Germany to that Chinese city in the 1930s and 40s. And Johanna D’Arc of Mongolia about European women encountering that country.

Ottinger’s unique and often-imitated style of filmmaking gives viewers an aesthetically pleasing look at the odd, freakish and mysterious.

Nostalgia opens today in Toronto; check your local listings. A Date for Mad Mary is tonight’s opening film at TIRFF, the Toronto Irish Film Festival; and the mini-retrospective Goethe Films: Ulrike Ottinger in Asia is also playing now. Both festivals are screening at the TIFF Bell Lightbox.

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 writer/directors Christina Zeidler and John Mitchell about Portrait of a Serial Monogamist

Posted in Art, comedy, Cultural Mining, Interview, Lesbian, LGBT, Movies, Romance, Toronto by CulturalMining.com on February 5, 2016

Christina ZeidlinToronto is a city of small towns within small towns. Elsie lives in a tight-knit arts community in Toronto’s west end. She has good job at a TV station and a loving relationship with Robyn, an artist. But big changes are coming. Her show faces a corporate takeover, Robyn John Mitchellfaces her first gallery show, and Elsie decides on a change of her own: she’s dumping Robyn — nicely of course! — and repeating her pattern of being a “serial monogamist”.

Portrait of a Serial Monogamist is the name of a new feature film that looks at the lives of women in the close-knit LGBT arts community of Parkdale. It was written and directed by Christina Zeidler and John Mitchell and opens in Toronto next Friday (Feb 12, 2016).

I spoke to Christina (by phone from LAX) and to John in studio at CIUT 89.5 FM.

 

 

LGBT Movies. Films Reviewed: Grandma, The New Girlfriend, Saint Laurent PLUS Inside-Out

Posted in comedy, Cross-dressing, Cultural Mining, Drama, Fashion, France, Gay, Lesbian, LGBT, Romantic Comedy, Trans by CulturalMining.com on May 22, 2015

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

inside out lgbtff 25 logoInside Out is Toronto’s LGBT international film festival, and it’s on now, for the next ten days, with comedies, dramas, experimental films and documentaries. Major stars and directors will be appearing at their films and there are even free screenings. This week I’m looking at LGBT dramas from the US and France. There’s a biopic about a man who draws dresses, a comedy about a man who is drawn to dresses, and a grandmother who fought hard for the right to wear pants.

10350354_816276301776400_9136838441934971649_nGrandma
Wri/Dir: Paul Weitz

Elle (Lily Tomlin) is a radical lesbian feminist poet in California. She’s retired from her position as writer-in-residence at a UC campus, and hasn’t written a word since Vi, her partner of 36 years, died. Once a celebrated activist and public intellectual, another Adrienne Rich, now she’s just a bitter old cuss. But just as she is unceremoniously giving her current lover the boot, there’s a knock on the door. It’s her granddaughter asking for help. Sage (Julia Garner) is a pretty, young high school student with a problem: an unwanted pregnancy. She needs 600 bucks for an abortion. But that’s easier said than done. Grandma’s broke! So the two of them climb into her ancient jalopy and drive off to find the cash.

They are generations apart:

Grandma: Oh for the days of Betty Friedan and The Feminine Mystique.
Granddaughter: Mystique? Like, the blue-skinned villain in X-Men?

Can they ever see eye to eye? Can Sage get her abortion? And will Elle come to terms with the ghosts from her past? Grandma is a delightful, road-trip comedy. It has a great script, cute story with a social conscience, and the acting is good all around. A lot of fun.

unenouvelleamie_aff_allThe New Girlfriend (Une Nouvelle Amie)
Dir: François Ozon (based on the novel by the late Ruth Rendell)

Rich Laura and middle-class Claire take a blood oath when they’re just girls: they swear to be fast friends forever. Young and beautiful, they stay close. Claire Claire (Anaïs Demoustier) marries clean-cut Gilles (Raphaël Personnaz: Quai d’Orsay), while Laura chooses the more sensitive David (Romain Duris). But after the birth of her first child, Laura breaks the pact… by dying! Claire is crushed. How can she live without her best friend? She begins to see her everywhere; across the street, just around a corner. David meanwhile has fallen into a deep funk. She goes unenouvelleamie05to visit him, but is shocked when she sees a woman at his home taking care of the baby. Is it Laura? No… It’s David, in a dress. I miss Claire, he explains, and it helps comfort the baby. Just don’t tell anyone, especially not his mother-in-law.

unenouvelleamie09Initially shocked, Claire gradually adjusts to David’s cross-dressing. But to allay potential suspicions, she tells her husband she has found a new girlfriend – “Virginia”. Their bonds begin to grow… as do the suspicions of her husband and his mother in law. But are they ready to meet Virginia?

This is an always-surprising social comedy about changes in identity, friendship and family, sexuality and gender.

6c9eb5e0-7200-4390-a3f3-9dc6cddbbc5cSaint Laurent
Dir: Bertrand Bonello

Yves St Laurent (Gaspard Ulliel) is a successful fashion designer in Paris. He’s slim and impeccably dressed known for his trademark black-framed glasses. He launched the celebrated Mondrian dress in 1965, and turns out new haut couture collections twice a year. The operation is divided into three parts. He’s the creative side. He personally draws every garment design by hand. Behind the scenes, a dedicated army in white lab coats rush to cut the cloth, drape it, stitch it, and get it onto the backs of runway models’ in time. And in the 375ebac0-ff59-46de-9473-f3adf19f86f8boardroom, his lover Pierre Bergé (Jérémie Renier) handles all the business deals. YSL, the fashion house, is a profitable, well-oiled machine.

While the streets of Paris are seething with revolution, Yves is ensconced, oblivious, in his presentation rooms, dressing privileged women. 8f3454f8-da44-40ee-ab78-627d2dc05286Then there’s his personal life. He and Pierre collect priceless tchotchkes from around the world to display in their home. Yves also collects people; he has an entourage of models, and muses like Loulou de la Falaise (Léa Seydoux). He spends his time at Parisian discotheques, or at his retreat in Marrakesh.

But in the early ‘seventies, things start to collapse. He falls under the sway of an aristocratic socialite. Jacques (Louis Garrel) is handsome, rich and decadent, and never seems to work. His days are spent posing on modern furniture. His nights are filled with acid trips and gin-soaked gay orgies. Yves88520acb-a05b-4ff2-897b-4fdd82e388f1 is infatuated with him, but the constant pill-popping is dragging him down. Can Pierre rescue Yves and turn him back into a profitable name? Or will he succumb to Jacques’ lotus-eating lifestyle? And will Yves’s audacious new collection be the talk of Paris or booed off the stage?

Saint Laurent is a captivating, challenging, movie. It’s way too long – 2 ½ hours long! – and, at first glance, seems superficial and pointless. But it’s not. 4f8e78ec-73a0-46f1-ad8d-eea8ad0fc9a6It’s visually stunning. Every scene is perfectly composed like turning a page of Vogue magazine. The director tries some surprising techniques, some of which work, some don’t. A long business meeting is conducted in French and English with simultaneous interpreting. Is that necessary? But a Mondrian-like split screen with 9 separate panels, and an amazing sequence with a dozen miniature black-and-white dogs scampering down the hallway for a pet audition, more than make up for the jarring parts. And the acting — especially Ulliel as the fragile, opaque and zen-like Yves Saint Laurent — is fantastically perverse.

Grandma and The New Girlfriend are both playing at Inside Out LGBT film11259478_674551145983743_4305327555853919907_n fest this week: go to insideout.ca for details. And Saint Laurent opens commercially today in Toronto; check your local listings. I liked all three of these movies. But if violent, post-apocalyptic road movies are more to your taste, I strongly recommend Mad Max: Fury Road., now playing. Don’t miss it!

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 writer/director Jeremy Lalonde about his new comedy Sex After Kids

Posted in Canada, comedy, Cultural Mining, Kids, Lesbian, Movies, Toronto, Uncategorized by CulturalMining.com on February 8, 2014

sex after kids - a new comedyHi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

What do these people have in common? A lesbian couple, a single british woman, a newly married couple with a baby, an agent married to an ex-model, and a pair of grandparents? They all have kids and they all wonder what happened to their sex lives.

A funny new comedy, shot in Toronto and opening today, asks the age-old question: What happens to Sex after Kids? Writer/ director Jeremy Lalonde tells us all about it.

Sex After Kids Writer Director Jeremy Lalonde Photo © 2014 Daniel Garber

Sexy Strong Seniors! Movies Reviewed: Cloudburst, Still Mine

Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.

An ever increasing proportion of our population is made up of seniors, so it makes sense that more movies are made about them. They share certain themes: wisdom, loss, history and memory, dissatisfaction with change, along with infirmity, dementia or death. But, so far, not many are about old men and women as fully sexual, dynamic and heroic figures (exceptions include Haneke’s Amour and Sarah Polley’s Away from Her). So this week I’m looking at two new movies that do just that. They’re both told from the point of view of older couples fighting the system. As an added bonus, they both are set in scenic Atlantic Canada. One has a pair of older women escaping to Canada so they can get married; the other has a farmer and his wife fighting the system to build a house on their own land.

cloudburst dukakis frickerCloudburst

Dir: Thom Fitzgerald

Stella and Dottie (Olympia Dukakis and Brenda Fricker) are lovers. They’ve been together for decades, in small-town Maine. They know each other inside and out and like playing things like “hide the vibrator’ in bed. Stella has a foul mouth, a mannish haircut and a cowboy hat. Dottie is blind, plump, ailing, and motherly, with billowy dresses and curly white hair. Life’s a peach.

But when Stella isn’t looking, Dottie’s uptight granddaughter gets her to sign away her power of attorney. Then, with the help of her husband, the town policeman, she trucks her grandma away to an old-age home and takes possession of her house. Naturally, when Stella find’s out she’s furious. But there’s nothing she can do, since she’s not Dollie’s blood relative, just her lover. What to do? Stella has a plan…

She reconnoiters the old-age home, loads Dottie into her car, and heads off north to the Canadiancloudburst ryan doucette border. If they can get up there they can get married and everything will be OK again. On the way, they see a hitchhiker, a young, modern dancer named Prentice (Ryan Doucette) showing some skin by the side of the road. Stella invites him on board but sets him straight “Pull up your pants kid — you’re humping the wrong fire hydrant!” He’s their third wheel, but adds a new flavour to the mix, as he tells them about his own home troubles. He also lets them have some private time when they’re caught in a cloudburst. Will they make it to Canada? Are they fugitives from the law? And can they pull off the wedding in time?

This is light, comical road movie, full of jokes and radio music. All three of the leads are fun to watch as they play out their characters. It takes place in an Atlantic Canada that’s an idyllic, rustic place, full of tolerant, friendly folks. It’s not meant to be a serious story, more of a light comic fantasy. Funny and tender in some parts, sad in others, but never too deep. I think it’s director’s Thom Fitzgerald’s try at a mainstream crowd-pleaser– as opposed to his earlier, more experimental films, like Hanging Garden —  and it works.

STILL MINE_cromwellStill Mine

Dir: Michael McGowan

Craig and Irene (James Cromwell and Genevieve Bujold) live on a sprawling, 2000 acre family farm near St Martins, N.B. They’ve been married 60 years and have seven kids, and raise chickens, cows and strawberries. And they still live at home. They are very much in love, and still sleep together. Craig is tall, stern and gaunt; Irene has flowing long white hair that she lets loose on her slim body. (The movie makes a point at showing them bioth partially naked)

Irene’s memory is going, and she’s increasingly hard to handle in their old home. But Craig’s a stubborn old cuss, and there’s no way he’s leaving that place, despite their childrens’ entreaties.

So he decides to build a new house. By himself. By hand. He’s been schooled in the art of building since he was a lad, and St Martins was an old ship-building port, so he’s inherited all the rules: cutting and aging wood, building joists, making it all just right. He’s building a perfect, one story home, as tight as a ship, overlooking the Bay of Fundy. One where Irene will STILL_MINE bujoldnever have to worry about climbing or falling down staircases again.

But things start to go wrong. He never bought a refrigerated truck to transport his strawberry harvest – a new rule. So he can’t sell them. His cattle have wandered away since he didn’t fix a hole in a fence. And worst of all, Mr Daigle, at the licensing desk, says he didn’t follow the proper rules in building the new house, and posts WORK STOP notices all over the skeleton of the house he’s building. If he disobeys the law he could go to jail. Will the house be torn to the ground? Or will Craig and Irene win and get to live in their lovely new house?

Based on a true story – stubborn NB. farmer fights the bureaucrats — this is a nice movie with excellent performances by Bujold and Cromwell (He just won the best actor prize in a Canadian film this past weekend.) Some of the scenes looked similar to ones in Away from Her, with pretty Irene wandering unchecked, in a daze, with her long white hair blowing in her face.It’s modeled on rural life, and they both seem like real farmers, but it also shares the very slow, largely uneventful feel (I’m guessing here) of rural life. So it’s a bit sloooow, not so exciting. But it is a nice, gentle satisfying film to watch.

Cloudburst starts today, check your local listings, and keep your eyes out for Still Home which opens a few months from now, in May.

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 Paul Emile d’Entremont about his new NFB documentary LAST CHANCE

Posted in Canada, Cultural Mining, documentary, Human Rights, Lesbian, LGBT, Queer, Refugees, Trans, Uncategorized, United Nations by CulturalMining.com on December 8, 2012

Hi Paul Emile d'Entremont Last ChanceThis is Daniel Garber at the Movies for CulturalMining.com and CIUT 89.5 FM.

Canada has long been known as a safe haven for refugees from around the world who come here to escape persecution or physical danger in their home countries. A new documentary from the National Film Board, LAST CHANCE, looks at five members of a “particular Trudi last chancesocial group” as covered in the 1952 UN Charter. These five people — from Jamaica, Egypt, Lebanon, Colombia and Nicaragua — are all LGBT (lesbian, gay, bisexual, or transgendered) refugees.

The film’s director, Paul Emile d’Entremont spent more than three years and travelled to five countries and across Canada to capture their stories. The film follows the subjects as they struggle to escape physical and Last Chance 2emotional persecution and achieve refugee status in their new country of safe haven.

Paul Emile, speaking by telephone from Halifax, Nova Scotia, explains the special obstacles they face, why one man had his sexuality questioned, what particular dangers refugees can encounter even in so-called “safe” nations, how a series of upcoming legal changes — based on Bill C-31 — could impact potential refugees, and more.

The film LAST CHANCE is available for free viewing this weekend (Dec 7-9, 2012) in honour of International Human Rights Day.

June 2, 2011. Inside-Out Festival: The “L” Word. Films Reviewed: Circumstance, The Evening Dress, PLUS L’Amour Fou

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

Toronto Inside-Out festival, which just finished last weekend, is one of the world’s biggest LGBT film festivals, that shows movies and documentaries from around the world by and about Lesbians Gays, Bisexuals, and Transsexuals. Like every year, it attracted large, enthusiastic crowds, but with the added glamour this year of the films being shown at the epicentre of Toronto film festivals, the Light Box on King St W. This week, I’m going to look at a couple great movies that touch upon the L-Word in LGBT; and a documentary about Yves St Laurent. Two of the movies are directed, written by, and about women. The third is about a man who made things for women.

Also on right now and through the weekend, is the CFC Short Film Festival which is showing a whopping 275 short films this week, at places like the National Film Board on Richmond Street, and at the CN Tower. – to find out more, go to worldwideshortfilmfest.com .

Circumstance

Dir: Maryam Keshavarz

Audience Award Winner, Sundance 2011

This is a movie about two best friends in Teheran, the beautiful Shireen (Sarah Kazemy), who lives with her traditional, conservative relatives after her parents were killed; and sophisticated Atafeh (Nikohl Boosheri), who comes from a very rich, western-style, permissive family. As expected, they fall in love, in and out of bed – they’re friends, adventurers in the big city, and lovers. Iran has an ultra- conservative, religious government that forbids certain types of music, flashy clothes, and western films.

So they meet behind closed doors to wear shiny sequined dresses, do classical dancing, or just to watch TV.

Their dream? To go on American Idol and sing Total Eclipse of the Heart. When things get bad, they fantasize about a lesbian paradise with bars where women can dance on tables wearing flashy clothes, or sit in a beach house and gaze in one anothers’ eyes. If things get bad, they say, they can always go to Dubai.

They spend their days at school, but nights in a vibrant, underground Iran, filled with secret discos, drug parties, and clandestine studios hidden behind innocuous barber shops.

But their way of life is threatened when Mehran (Reza Sixo Safai), Atafeh’s musician brother, returns from detox, and finds God. He gradually becomes a more and more devout Musilim, and falls in with the thuggish morality cops, who harass and arrest people, especially women, for crimes like playing loud music in their car, smoking, or not wearing hijab. Will the two young women find happiness together? Or will Mehran, and the conservativism he represents, ruin their lives and loves, and crush their creativity?

Circumstance is an excellent drama that gives a view of the parallel lives of contemporary Iran — sort of a live-action version of cartoonist Marjane Satrapi’s great animated film Persepolis (2007), only newer… and darker.

The Evening Dress (La Robe du Soir)

Dir: Myriam Aziza

Juliette, is a smart and confident tiny French 12 year old girl who lives with her mom. Her older brother picks on her, but she gets to wear his old clothes. She, like the rest of her class, idolize their very beautiful and free-thinking teacher Madame Solenska.

Madame Solenska (Lio) doesn’t shy away from adult words, and sends them right back to the bratty kids who are trying to shock her. She wears beautiful dresses and distinctive perfume. She plays special attention to kids in the class who need it, especially Juliette (Alba Gaïa Kraghede Bellugi) and

When the teacher gives her a paperback book to read that she says was very important to her, Juliette starts to think she has a special connection to the teacher. She saves a hair between to pages, and inhales the teachers scent. She decides to remake herself into something like her teacher – she starts to wear women’s hairstyles, clothes, makeup, and follows her around secretly at night. But she’s shocked to see that some of her teacher’s attention is being “stolen” by Antoine (Leo Legrand), a smart, but rebellious boy who is failing his courses. Is Juliette’s life over? Can she be loved by, or be, like her teacher?

The Evening Dress is more than just a coming-of-age story about a pre-pubsecent school girl – it’s a really moving adult drama about obsession, bullying, conformity, and ostracism. And the acting – especially by the little girl and the teacher – is fantastic.

L’Amour Fou

Dir: Pierre Thoroton

A documentary about an auction that’s selling off all the possessions — paintings, sculptures, and objects d’arts — of a designer after he dies? Isn’t that cruel and incredibly commercial amd superficial?

Oscar Wilde once said it’s only superficial people don’t judge by appearances. So to say that this is a movie about surfaces is not meant to be a negative review. Actually, it’s about both the outward appearances and some of the things that happened behind the scenes in the lives and careers of French Haut Couture fashion designer Yves St Laurent, and his lover and business partner Pierre Berge.

Yves St Laurent when still a very young man, was fired by Christian Dior partly because of a conservative journalist’s criticism of his sexuality. With the help of his new lover Berge, he established his own fashion house where he hand drew every one of the hundreds of the new designs, twice a year. His intense life — filled with drugs, alcohol, and debauchery — shares the screen with his contributions to mode, design and popular culture.

The movie uses photos, fashion show clips — including the wedding march which he used to end all his collections — and perfectly composed new looks at his homes and villas in Morocco and rural France. Every shot In this movie is planned, framed and mounted like a painting on the wall.  And all of the interviews and narration — by Berge, their entourage, and YSL himself — is unusually eloquent — no airheads here. This is not fashion TV chatter; it’s a testament to innovation and a life spent only on the here and now, removed from guilt and worries about the hereafter.

The eloquent documentary about Yves St Laurent, L’Amour Fou, is playing now: check your local listings. Circumstance and The Evening Gown are two great movies that also played at Inside Out — keep an eye out for these movies. To become a member of Inside Out contact here.

This is Daniel Garber at the Movies for CIUT 89.5 FM, and on my web site, CulturalMining.com.

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