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

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

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

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

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

Venus

Dir: Eisha Marjara

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

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

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

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

RBG

Dir: Julie Cohen, Betsy West

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

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

She teaches them what’s what.

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

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

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

Dir: Sara Driver

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

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

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

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

Beautiful movie.

Venus, RBG, and Boom for Real all open today in Toronto; check your local listings.

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

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

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

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

Photos by Jeff Harris.

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

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

I spoke with Adam in studio at CIUT. 

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

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

Three Historical Dramas. Films reviewed: Budapest Noir, An Act of Defiance, Bye Bye Germany

Posted in 1930s, 1940s, 1960s, Apartheid, Drama, Germany, Hungary, Movies, Nazi, South Africa by CulturalMining.com on May 3, 2018

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

Spring Film Festival Season continues in Toronto, with Hotdocs rounding up its fnal weekend. Remember, daytime tickets to these amazing documentaries are free for all students and seniors.

And starting up now is Toronto’s Jewish Film Festival, featuring comedies, dramas, TV and documentaries from around the world. This week I’m looking at three historical dramas now playing at TJFF. There’s a mystery/thriller set in Budapest in the 30s, a comedy/drama in Frankfurt in the 40s, and a courtroom drama in Pretoria in the 60s.

Budapest Noir

Dir: Éva Gárdos

It’s 1936, and everyone in Budapest is preparing for the state funeral of Prime Minister Gyula Gömbös. Everyone but cynical reporter Szigmond Gordon (Krisztián Kolovratnik). Crime’s his beat, not politics and cigarettes and bourbon are his life’s blood. And his only distraction is a beautiful woman. So he’s pleasantly surprised when he meets a mysterious woman in a downtown cafe. But today’s potential love interest is tomorrow’s news story when he finds her body in a pool of blood.

He calls on his ex-girlfriend Kristina, a photographer (Réka Tenki) to take pics of the crimes scene. (She’s back in Budapest after smuggling shocking photos out of Germany.) But when he tries to investigate the murder, he faces roadblocks at every turn, with no one but Kristina to help him. The chief of police, the politicians, and even members of the underworld seem to be blocking him from finding the truth. And for some reason her body has disappeared from the morgue.

His search leads him to pornographers, fascist gangs, a coffee importer, a secret communist meeting, a madame at a brothel, and a punch-drunk boxer, all in an attempt to solve the mystery. Will he find what he seeks? Or is he digging too deep, uncovering things journalists aren’t supposed to see?

Budapest Noir is a look at the underbelly of a huge city in turmoil in turbulent times. It’s presented in a film noir style, narrated by a Bogart-type character complete with trenchcoat and hat, and borrows images from dozens of famous movies. Occasionally it veers from pastiche into parody with all its hollywood memes, but generally it’s a solid and well-acted homage, full of surprises.

An Act of Defiance

Dir: Jean Van De Velde

It’s 1963 in South Africa. The police raid a secret meeting in a farm house in Rivonia, arresting everyone there. The meeting was by the heads of umKhonto we Sizwe, the paramilitary wing of the African National Congress. Charged with sabotage, the accused face death by hanging, and it looks like they’re heading that way. Until a respected white Afrikaner lawyer, Bram Fischer (Peter Paul Muller), agrees to head the defence team. The defendants include Walter Sisulu, Harold Wolpe and none other than Nelson Mandela himself.

But the prosecutors are working hand-in-hand with the police, the government and the secret service. They tap phones, record private lawyer-client conversations, and send spies out at night to take pictures through windows. Turns out Fischer is not just a random defence lawyer helping out; he has deep ties to the anti-apartheid movement. As the trial progresses, he and his family become the targets of underhanded campaigns. Can he convince a conservative judge to save the defendents’ lives? Or will they, and he, end up in the gallows?

This is a fascinating and intense courtroom drama, about a period of South African history largely unknown outside of that country. It includes Mandela’s famous “I’m prepared to die” speech given during the trial, but he and the other defendents are minor characters. It’s mainly about Fischer and his family, including his wife Mollie (beautifully played by Antoinette Louw) and the fight against apartheid. It also includes some thrilling moments about the family avoiding an evil police force.

This is another good film to catch.

Bye Bye Germany (Es war einmal in Deutschland)

Dir: Sam Garbarski (Based on the novels of Michel Bergmann)

It’s occupied Frankfurt just after WWII. A quarter of a million holocaust survivors are living in DP (displaced persons) camps in central Europe, run by allied forces. They’re waiting to emigrate to America or Palestine. But in the meantime they have to support themselves. Enter David Bermann (Moritz Bleibtreu) a sweet-talking teller of tales with a pencil thin mustache and a mysterious past. He says his family has been in dry goods for generations. So he recruits a ragtag bunch of salesmen to help peddle his linens. But they wonder why he keeps disappearing for hours at a time. Where does he go?

He’s being interrogated by the stern but beautiful Special Agent Sara Simon (Antje Traue) a German-speaking G.I. assigned to weed out war criminals and collaborators from among the refugees. Why was Bermann given special treatment by the SS? His answer? He told funny jokes. Will Sara believe his outlandish stories? Will his business venture pan out? And will he and his friends make enough money to say Auf Wiedersehen to Deutschland?

Bye Bye Germany is a very entertaining, but bittersweet, memoir of life as a jew in postwar Frankfurt. Antje Traue is the perfect foil for Bleibtreu’s charming but sketchy Bermann. I liked this movie.

You can catch Bye Bye Germany, An Act of Defiance and Budapest Noir at TJFF over the next two weeks. Go to TJFF.com 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 Carlyle Jansen, founder of Toronto International Porn Festival

Posted in Breasts, Feminism, Movies, Porn, Sex, Sex Trade by CulturalMining.com on April 20, 2018

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

In Toronto the Good, sex was a dirty word and pornography a crime until just a few decades ago. Now, though, here and around the world, porn is an enormous — and quite legal — industry worth an estimated $60 billion dollars. That means they make a lot of movies. Toronto is a city of movie lovers with over 100 film festivals. So how come there’s no film festival devoted to porn? The answer is: there is!

It’s called the Toronto International Porn Festival and it’s on now until Sunday. The festival includes including screenings, workshops and panel discussions dealing with a panoply of sexualities and gendres and ideologies. It was founded by noted sex education expert Carlyle Jansen, who trains sex therapists on topics ranging from sexual pleasure to sexual challenges. You may have seen her Ted Talk or read her two books: Anal Sex Basics and Sex Yourself: The Woman’s Guide to Mastering Masturbation and Achieving powerful Orgasms.

I spoke with Carlyle Jansen in studio at CIUT 89.5 FM. She talked about Porn Fest, diversity in porn, exploitation, reversing genders, body types, sex work, science fiction, Erika Lust, Bruce LaBruce, breastfeeding… and more!

Toronto International Porn Festival is running from now through Sunday, April 22, 2018 at The Royal Cinema and Super Wonder.

Art and Sport. Films Reviewed: The Miracle Season, Final Portrait, PLUS Steve Reinke’s films at Images

Posted in Art, Canada, Death, France, Movies, Queer, Rural, Sex, Sports, Switzerland, Women by CulturalMining.com on April 6, 2018

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

Toronto’s Images, the International Festival of Moving Image Culture, opens next Thursday with Canadian and international video artists and filmmakers… featuring the work of Steve Reinke. This week, I’m going to talk about films by artists, and films about artists, with some sports thrown in, too. There’s an American volleyball team, a Swiss sculptor, and a Canadian video artist.

The Miracle Season

Dir: Sean McNamara

Caroline and Kelly have been best friends since childhood. “Line” (Danika Yarosh) is the always chirpy optimist who Kelly (Erin Moriarty) looks up to. Growing up in rural Iowa, they share their secrets amidst big barns and cornfields. In high school they play volleybal together. With Line as team manager and setter they win the State Championships. Of course the other team members, andtheir hard boiled coach (Helen Hunt) are important, but it’s really Line who leads the team to victory.

But the next year things take a turn for the worse. The team is dispirited and Line’s Mom has cancer. Then the unthinkable happens; Line dies in a crash. Kelly feels guilty, and so does Line’s dad Ernie (William Hurt) who used to throw team parties and boost the players. With no Line around to pull people out of their misery, the team slides to last place. They don’t even want to be happy – it’s disrespectful. It falls to Kelly to turn the team around. Can she do it, and will the team ever win again?

The Miracle Season is a nice movie about teamwork and overcoming loss. It has good acting and a conventionally inspiring story. “Nice” is the key word here. Based on a true story, it was made by permission of the charity founded by the Line’s father. So as you can expect, anything not super “nice” has been scrubbed from the plot. No sex, no violence here. They could show this movie at Bible Camp without raising an eyebrow. Which makes it a nice memorial for teammates and family members, but for the rest of us, it’s just a dull and predictable movie. But, like I said, it’s still nice.

Final Portrait

Dir: Stanley Tucci

It’s early 1960s. James Lord (Armie Hammer) is a young American living in Paris who writes biographies of well known artists. He’s friends with both Picasso and the Swiss-Italian sculptor Alberto Giacometti (Geoffrey Rush). Giacometti is famous for his sculptures of people with crusty and extremely elongated arms and legs. But he also paints. And one day he asks James to pose for him for a few hours. He sits down in Alberto’s studio dressed in khakis, navy blue sports jacket and shirt and tie. But the one-day painting turns into a project lasting days and then weeks, until no one knew if it would ever end. Each time he paints his face, Alberto rubs it all out and starts again. Meanwhile, various people in his life walk in and out adding colour to the story. His brother Diego (Tony Shalhoub) has seen it all before. His neglected wife Annette (Sylvie Testud) refuses to pose for him anymore. And his mistress Caroline (played by the delightfully-named Clémence Poésy) would rather go for a jaunt in their sportscar than just hang at the studio. Final Portrait has some fun parts, but basically this movie is 90 minutes of watching paint dry.

Steve Reinke

Steve Reinke is a queer Canadian artist and filmmaker, originally from the Ottawa valley but now based in Chicago. I’ve seen a lot of his films in the past 20 years, but for the first time I spent last night binge-watching them all together (which is quite an experience).  If you’ve never seen Reinke’s stuff before, you should.

He’s been shooting films and videos that chronical his life, his thoughts, aesthetics, and interests — both intellectual and sexual – beginning in the late 1970s and continuing till now. And unlike a lot of gallery video artists, his films are never boring. (This is important.) Like porn, a Reinke film is hard to define, but you know it when you see it. (But that doesn’t mean you’ll understand it.)

Taken at face value, his collection is an ongoing, partly-fictional memoir told through video art (predating blogs and youtube by decades). His images are partly found footage/partly original, narrated both by voice and by titles. Take What Weakens the Flesh is the Flesh Itself, a recent film he made with James Richards. The film alternates grotesquerie with erotica and mundaneness, with the edges sometimes blurring among the three. Grotesque as in a dead piglet; mundane, like a naked man eating grapes or an ice fishing hut shot with a distorted, fisheye lens; erotic like a poisonous snake having its venom extracted in a laboratory. The film begins with photos by the late German photographer Albrecht Becker. He was imprisoned in Nazi Germany for his sexuality. His work consists of photos of himself reduplicated with an imaginary “twin”. Over time, as his photos become more stylized and experimental so does his body, which gradually transmogrifies — before still cameras — into a work of art using tattoos, body modification, and a whopping-big metal thing hanging from his scrotum. (Ouch!)

Reinke’s flms are transgressive and a total mindfuck. Like he’ll show you an alien monster with pointy ears making out with a faceless, sexless human, encased in a skintight black PVC outfit. And then later he’ll show an unborn dead calf being pulled from a cow’s belly with the same black shininess.

This is weird stuff, alternating between jarring pictures of sex and death overlayed with anodyne intellectual musings. Who else would compare Casper the Friendly Ghost to Wittgenstein? What other filmmaker offers a film called Anal Masturbation and Object Loss that’s actually just Steve Reinke pasting the pages of an academic psychiatric textbook together? Or show thousands of unidentified military photos before telling you this: [SPOILER ALERT] these are pics of all the American military casualties of the Second Gulf War arranged in order of attractiveness. Shocking stuff.

It all feels like you just watched a story, but one arranged with enough sudden changes and musical distortion that you’re not seduced into it. Steven Reinke’s films leave you disturbed and unsatisfied but you don’t quite know why.

Films viewed:

What Weakens The Flesh Is The Flesh Itself (2017)

Atheists Need Theology, Too (2016)

Joke (Version One) (1991)

*Watermelon Box (1990)

*Michael and Lacan (1991)

*Room (1991)

*Barely Human (1992)

Anal Masturbation and Object Loss (2002)

Squeezing Sorrow From an Ashtray (1992)

Hobbit Love is the Greatest Love (2007)

A Boy Needs a Friend (2015)

*not included in Images series

The Miracle Season and Final Portrait both open today in Toronto; check your local listings. And Steve Reinke’s films are showing at Toronto’s Images Festival — featured in its Canadian Artist Spotlight series — beginning next Thursday. This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Shells. Films reviewed: Journey’s End, Ready Player One, The China Hustle

Posted in 1910s, China, Class, Corruption, Darkness, documentary, Drama, Games, Movies, Poverty, Science Fiction, Wall Street, War, WWI by CulturalMining.com on March 30, 2018

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

It’s a holiday weekend filled with eggs, whether hard boiled or made of chocolate with a prize inside. So this week I’m looking at three new movies about… shells. There are VR gamers looking for a hidden easter egg, Wall Streeters investing in shell corporations, and WWI soldiers dodging mortar shells.

Journey’s End

Dir: Saul Dibb

It’s March, 1918, in the WWI trenches of northern France. Underground, where the officers stay, it’s dark, dank and smelly. Up on the surface its deadly dangerous, with snipers aiming at your head. Four British divisions rotate their stays at the front at one week per month. It’s like a lottery – with a one in four chance of dying. And the soldiers in Company C are just trying to stay sane and alive. There’s the fatherly Osborne (Paul Bettany) who everyone calls “Uncle”, the indefatigable cook Mason (Toby Jones), and the shell-shocked Hibbert.

So no one can understand why the green, idealistic Lt Raleigh (Asa Butterfield) pulls strings to join this benighted group. Why? His upper classman Captain Stanhope (Sam Claflin) is stationed there and he wants to see him again. But he doesn’t realize the level of death and despair that has taken hold there. And that his hero, Stanhope,

is now a mean and bitter alcoholic. The soldiers there are forced to make pointless raids in daylight so as not to interrupt the dinner schedule of far-off Generals. And things reach a boiling point when word gets out the Germans are about to attack on Thursday, right there. They’re essentially sentenced to die at the front. How do they all handle this?

Journey’s End – based on the classic play – is a tense retelling of an old war story, exactly 100 years later. It deals with the futility of war, the rigid British class system, and the male comeradery of life in the trenches. The acting is very good, and the camera wonderfully captures a world lit only by flickering lanterns. Even so, it was hard to sympathize with the stuff-upper-lip, tally-ho language of the script. The long theatrical conversations might might work on stage but not on the screen. The main emotions I got from this movie were depression, disgust claustrophobia and fatalism. It all felt too long, too slow, and too distant, especially once you know their fate… Just die already!

Ready Player One

Dir: Steven Spielberg

It’s 2045 in Columbus, Ohio and the world is a mess. People live marginal existences in ramshackle towers beside huge corporations. Wade (Tye Sheridan) is an 18-year-old orphan who spends most of his time online in a wildly- popular VR fantasy world called Oasis. Its creator left a trillion-dollar prize to whoever can solve the puzzles hidden within this digital world. First they must complete three levels of games and collect three keys  and claim the hidden easter egg. Wade he surprises the world by appearing on the boards as Player One, the top ranked player in the world. But he’s not the only gunter (egg hunter) trying to win. His closest virtual rivals are Art3mis (Olivia Cooke) a fiery red-head, Aech, a muscular giant and genius mechanic; plus Daito and Sho whose avatars look like a samurai and a ninja, respectively. Wade calls himself Parzival. Like the Wagner opera character, he’s searching for a holy grail. And he’s in love with the lovely Artemis. But as best-bud Aech keeps telling him: you only know her avatar – that’s not what she’s like in real life. And lurking in the shadows is the rich and evil Sorrento, (Ben Mendelssohn) the head of IOI, the corporate rival to Oasis’s company. He pretends to be a champion gamer, but he’s actually a fake who hires employees to play for him. But he’s out to win — and take over the world — at any cost. Which of the hunters will figure out the puzzle and find the easter egg? And can they defeat the villainous Sorrento?

Ready Player One is an incredibly fast-moving sci-if action movie. Oasis’s inventor, whose puzzles they’re all trying to solve, was obsessed with the 80s, so the movie feeds you a random hodgepodge of Back to the Future and Iron Giant, Gandam and Street Fighter, New Order and Van Halen, a non-stop shower of pop culture, to the point where you can’t tell self-referential jokes from cheap product placement. (Maybe they’re both?) But why would kids in the 2040s care about the 1980s? I can’t call this a good movie; it’s incredibly commercial, felt more like a theme park ride than a film, and parts were like watching a video game with someone else holding the controls. But you know what? I still enjoyed it. And it does have that classic Spielbergian look and sound.

China Hustle

Wri/Dir: Jed Rothstein

After the Subprime Mortgage crisis, American investors, pension funds, and ordinary moms and pops were looking to make some money. But where? Chinese people were making millions investing in their red-hot companies, but those stocks weren’t traded on Wall Street. Until, suddenly, they were. Hundreds of Chinese startups were being bought and sold and making big bucks. And companies like Roth Capital were holding lavish parties known as “investment conferences” to reel in buyers. They were backed by reputable auditors like Deloitte. It’s a win-win proposition – everyone makes money. Until, that is, some suspicious investors fly to Shanghai and looked around.

Turns out, many of these companies operate as “Reverse Mergers”. Existing Chinese corporations buy shell companies already registered in the US, take them over, change their name, and they’re open to make money.

But their books here don’t look like their books there. Idle factories in China are said to be making ten times what they’re actually earning. And no one’s checking up on them.

So a few maverick investors decide to short sell their stock (like in that movie The Big Short) counting on its value crashing soon. And they speed this along by publicising the corruption and questionable accounting of the parent companies back in China. The result, riches for a few, terrible losses for many.

The China Hustle is a fascinating documentary looking at the shady practices behind deregulation, auditing and investments, as told by three American short-sellers. I thought its view of China as a monolithic villain was superficial and rather one-sided; for example, it shows how these fraudulent investments affect ordinary Americans’ lives, but not how they affect ordinary Chinese.

But it does expose in detail a huge scandal I knew nothing about.

Ready Player One opens today in Toronto; check your local listings. Journey’s End and The China Hustle are in theatres and Video On Demand. 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 Nicole Maroon and Vladimir Jon Cubrt about their new film Luba

Posted in Addiction, Canada, drugs, Family, Hockey, Movies, Poverty, Toronto by CulturalMining.com on March 23, 2018

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

Luba and Donnie are a married couple with a young son, Matty. Their marriage faltered when Donnie’s drug use got out of hand, but since rehab things are looking up. Little Matty commutes between Lou’s flat and his grandma’s home where Donnie is living. They’re barely staying afloat with precarious jobs — he’s in construction while she’s serving jell-o shots for tips. Will poverty, depression and crack grind them into the dirt? Or can a family be saved by the hope and determination of a strong young woman named Luba?

Luba is also the name of a heartfelt family drama that looks at life in Toronto through the eyes of a family left behind. It stars Nicole Maroon as Luba and Vladimir Jon Cubrt as Donnie. Nicole is a master of Fine Arts whose range includes everything from Shakespeare to City TVs Meet the Family; while Vlad is celebrated on stage, screen and on TV’s Hannibal. The two co-produced Luba and Vlad wrote the script.

I spoke with Nicole and Vlad in studio at CIUT 89.5 FM. They talk about Acting, Luba, Hockey, Ukrainian-Canadians, Jack Nicholson, Toronto, the film’s genesis, why Nicole was cast in the title role… and more!

Luba had its Canadian premier on Saturday, March 24th at 5:30 PM at Toronto’s Scotiabank Theatre as part of the Canadian Film Fest.

At CFF Luba won both the Audience Choice Award for Best Picture and the Reel Canada Indie Award.

Death Be Not Proud. Films reviewed: The Death of Stalin, Foxtrot

Posted in Army, comedy, Corruption, Death, Drama, Israel, Movies, UK, USSR by CulturalMining.com on March 16, 2018

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 differenc

Which is worse — dying? Or knowing someone’s dying but not knowing when?  This week I’m looking at two great dark comedies that find humour in terrible situations about death. There’s the imminent death of eminent dictator, and the questionable death of an questioning soldier.

The Death of Stalin

Dir: Armando Iannucci

It’s 1953 in the Soviet Union. Joseph Stalin rules the country with an iron fist, and everyone trembles in his presence. So when he orders a recorded copy of a just-completed live musical performance – that wasn’t actually recorded – of course everyone starts to panic. Everyone, it seems, except the musician who played it. She dares to drop a note for him into the re-recorded record envelope. If he reads it, surely her death will follow – and everyone around her. But as fate wll have it, when Stalin reads the message, he falls to the floor with a heart attack.

And with Stalin on his deathbed all his closest political allies come running to see what will happen next, and what their own status will be after he’s gone. There’s Malenkov ((Jeffrey Tambor) Stalin’s right-hand man for 30 years – a bit of a chowderhead but he’s also the one who purges anyone who challenges him. His rival Zhukov (Jason Isaacs) is the proud military leader who beat Hitler in WWII. Molotov (Michael Palin) is the foreign minister (don’t share a cocktail with this guy!) There’s the wily Nikita Krushchev (Steve Buscemi) and the dreaded Beria (Simon Russell Beale), head of the Secret Police (NKVD). And Stalin’s two adult children, his clever daughter Svetlana and his idiot son Vasily, who acts like he’s an aristocrat in a Chekov play. Picture all these historical figures running around all at once, panicking, conspiring, and thinking up ways to best their rivals.

While The Death of Stalin may sound like a dry historical drama, it is anything but. It’s fast-moving, shocking, and hilarious. The director — Armando Iannucci — has made another one of his twisted, foul-mouthed political comedies. This one isn’t in Westminster or The White House, it’s set in the Kremlin instead. The actors are either British – like Michael Palin — or American – like Steve Buscemi – but he lets them keep their real voices, no fake heavy Russian accents here (except from the Russian actors).

The Death of Stalin is a great political comedy.

Foxtrot

Dir: Samuel Maoz

Michael and Daphna (Lior Ashkenazi and Sarah Adler) are a successful Israeli couple Progressive, atheist and sexually open. He’s an architect so their Tel Aviv flat is beautifully designed and tastefully appointed. There lives are nearly perfect… until the day a knock on their door reveals two army officers in uniform. Their son Jonathan, a corporal at a remote posting, has died in the line of duty. Michael is stunned and Daphna collapses to the floor. She is put on meds while Michael stumbles in a daze to talk with his mom in a nursing home.

The army steps in to arrange the funeral, provide the coffin, direct the speech, call their relatives. Don’t worry, they say, we’ll take care of everything. But something is wrong… they can’t provide answers to the most basic questions. Where was he posted? How did he die? And where’s the body? Six hours later they return to say there’s been a terrible mistake. You’re son is still alive.

The story shifts to a remote checkpoint on a purgatorial desert road somewhere near Gehenna. Jonathan (Yonatan Shiray) is posted there with three other young guys. They live in a rusty, ramshackle shipping container made of corrugated steel. It’s slowly disappearing into a muck-filled sinkhole, a couple inches a day. Dinner consists of canned mystery meat cooked on a space heater. They while away their time fiddling with ancient radio receivers, drawing cartoons, telling stories or dancing with a rifle. It’s endless and pointless. Their sole capacity seems to be checking the IDs of passing Palestinians on their way to weddings, funerals or nightclub. The boys approach this job – and their only source of power — with a keen intensity, They shine floodlights at bewildered passersby, force middle aged women to stand in the pouring rain, pointing lethal weapons at their faces, … and worse. That worse incident , and its aermath, brings a new calamity to Jonathan’s family back home, bringing grief, decay and self-harm. Will the family ever recover?

Foxtrot – named after both the dance and the military code – is a dark, ironic and satiric look at the creeping militarization of people’s lives and it’s horrific results. This army is a portrayed as a new Catch-22, one filled with ridiculous errors, secrecy and coverups. The film itself adopts that unexplained mysterious tone – places are left unidentified, some characters not given names. Visions of censorship – symbolized by the black tape covering images of vintage softcore porn – carries over into everyday life and family folklore. The dystopia of the dirty and rusty army post is run by sympathetic characters but is rotten to the core. I called this a dark comedy, but it’s also a very moving drama, cushioned by the absurdist and surreal tone that overlays everything. This is a visually splendid film that relies more on images than dialogue. Foxtrot is a great, but scathingly critical, movie.

I recommend it.

Death of Stalin and Foxtrot 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 Andrey Zvyagintsev about Loveless

Posted in Cultural Mining, Drama, Family, Movies, Realism, Russia by CulturalMining.com on February 23, 2018

(Second track is an unedited version for Russian speakers)

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

Photos by Jeff Harris.

Boris and Zhenya — an attractive young couple in Moscow obsessed by sex, money and status — are getting a divorce. Zhenya wants to move in with her rich and powerful boyfriend. Boris’s girlfriend is pregnant with his child. That leaves only their loving son, Alyosha. But the boy reacts in horror when he overhears his parents saying neither of them want him.

And then he disappears. What more can you ask of a boy from a home that is loveless?

Loveless (Нелюбовь) is the name of a new film that premiered at the Toronto International Film Festival. Russian director Andrey Zvyagintsev – who was nominated for an Oscar for the great Leviathian — has made another powerful movie. This is no ordinary family drama; this is the kind of movie that reaches into your guts, pulls them out and spreads them on the table in front of you. It’s stunning and devestating, without resorting to explicit violence.

Loveless won the Jury Prize at the Cannes festival. I spoke with Andrey Zvyagintsev on location at TIFF17.

Loveless has been nominated for an Academy Award, Best Foreign Language Film.  It opens in theatres today.

Big Changes, Big Trouble. Films reviewed: Every Day, The Party, Annihilation

Posted in Army, comedy, Fantasy, High School, Horror, Movies, Politics, Romance, Science Fiction, UK, Y.A. by CulturalMining.com on February 23, 2018

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

Everybody knows change is good, but big changes can lead to big trouble. This week I’m looking at three good movies about women facing big changes. There’s a British politician with a once-in-a-lifetime career change; a biologist investigating changes that are scientifically impossible; and a high school student whose boyfriend changes bodies once a day.

Every Day

Dir: Michael Sucsy

Rhiannon (Angourie Rice) is a highschool student in Maryland. Her mom’s a careerist, while her dad, since his breakdown, stays at home painting pictures. Her boyfriend Justin (Justice Smith) is a popular athlete… and a bit of a jerk. So she is surprised when he agrees to play hooky and spend the day just with her. It’s the perfect date: They explore downtown Baltimore, he pays attention to her, stops smoking, they share intimate personal stories, find their special song, and for the first time, they actually have fun together. Is this true love? But the next day he’s acting like a douche again, with only vague memories of the day before. It’s like he’s a different person. What’s going on?

What’s going on is he was a different person that day, someone named “A”. “A” is a bodyless being who inhabits a different person each day and — like Cinderella — departs that body at exactly midnight. “A” has no choice of who they’ll wake up as, except that it will be someone their age who lives nearby. “A” could be a boy that day, or a girl, could be black, white or asian, could be straight, gay or trans. Could be ugly or attractive. Rhiannon and “A” have to find each other each day to carry on their relationship. Hint: “A” knowing Rhiannon’s phone number helps a lot. Can their love overcome “A”’s ever-shifting identity?

Every Day is a cool, young adult fantasy/romance that works. It’s set in Maryland, but was shot in Toronto, and it has a Degrassi feel to it, where the multiracial, multigender nature of the cast is omnipresent but not central to the plot. Instead it deals with questions of identity, look-ism, and mental illness.

I liked this movie.

The Party

Wri/Dir: Sally Potter

Janet (Kristin Scott Thomas) is a politician in the UK celebrating her promotion, the pinnacle of her career. Starting tomorrow, she’ll be the Shadow Minister of Health for the opposition Labour Party. So she’s throwing a party for her nearest and dearest. They arrive two- by two . There’s Martha (Cherry Jones) – a lesbian feminist university prof with her earnest partner Jinny.   Cynical April comes with her flaky boyfriend Gottfried (Patricia Clarkson and Bruno Ganz), a self-professed healer. And Tom — a nervous and brittle financier (Cillian Murphy) — comes without his wife Marianne, Janet’s closest friend and workmate. Janet’s husband the grey-bearded Bill (Timothy Spall) sits alone in the parlour spinning vinyl as she bakes her vol-au-vents, to show that a woman can feel at home both in Westminster and in her kitchen. Problem is, her hors d’oeuvres are burning even as her party is collapsing like a house of cards, as each guest reveals a big secret. There’s cocaine, champagne, a fire, broken glass, face slaps… even a handgun.

The Party is a drawing room comedy that pokes fun at the social conceits of a generation of middle-class, leftist baby boomers. It’s the work of Sally Potter, director of Orlando and Ginger and Rosa. Shot in black and white with a wicked musical soundtrack that shifts the mood from scene to scene, it clocks in at just over 70 minutes, as a short-but-sweet English comedy.

Annihilation

Dir: Alex Garland

Lena (Natalie Portman) is a biology prof at Johns Hopkins who specializes in mutating cancer cells. Her husband Kane (Oscar Isaac) – a soldier she met when she was in the army – is missing and presumed dead. But when he shows up at her bedroom door, seemingly with no memory of what happened and how he got there, she decides to investigate. She’s valuable to the military, a woman as comfortable with a petri dish as she is with a submachine gun. She joins a crack team of scientists, all women, headed by the laconic psychologist Dr Ventress (Jennifer Jason Leigh). Their goal is to explore unknown territory within a swampy National Park.

It’s encased in something called “the Shimmer”, a phenomenon eminating from a lighthouse on the coastline.  No one who goes into the Shimmer comes out alive (except for her husband Kane) and it’s getting bigger and bigger each day. From the outside it looks like a giant rainbow-coloured, plastic shower curtain that’s melting upwards. On the inside it’s even stranger, a world where distinctions like “animal/vegetable/mineral” cease to exist. It’s both beautiful and grotesque, filled with Chihuly crystals, human topiary and brightly-coloured tree fungi. Unrelated species are combining and mutating at a rapid rate, into a cancerous growth — just like the cells Lena studies, only prettier. And they’re affecting the five women too, both their minds and their bodies. Video messages they find (left by previous soldiers) only make things worse. Can Lena survive the hideous creatures and her deranged and suspicious teammates before she faces the scariest entity of all?

Annihilation is a terrifying exercise in horror sci-fi psychedelia. It references everything from Arrival, to The Wizard of Oz to Apocalypse Now, as the team paddles their way though a Heart of Darkness in their search for emerald city. Natalie Portman is great as the elegant soldier-scientist, and director Alex Garland brings us a different take on post-apocalyptic images. Annihilation is the kind of psychedelic fantasy that keeps you guessing.

This movie is scary-pretty… and pretty scary.

The Party comes to Toronto next week (check your local listings);  Every Day and Annihilation open today. 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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