Daniel Garber talks with filmmaker Samuel Kiehoon Lee about Gyopo

Posted in Canada, Clash of Cultures, Drama, drugs, Eating, Ensemble Cast, Korea, Secrets, Sex, Sex Trade by CulturalMining.com on November 1, 2019

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

It’s a typical day in Seoul, Korea. Young people lift weights, have a picnic in the park, go to work, move out of their apartment, sing karaoke, go drinking, have sex. They meet, interact, and drift apart. The interesting thing is none of these people are actually Korean. They may look Korean, they may speak Korean, they may have Korean names, but they’re not Korean Koreans. They’re Gyopo.

Gyopo is also the name of a new feature film that chronicles the ups and downs of gyopo millennials over the course of one day in Seoul. It’s fresh, filthy and fun. The film was directed by award-winning Toronto-based filmmaker Samuel Kiehoon Lee. Samuel is a grad of CFC Director’s Lab and is currently doing his MFA at York University.

I spoke with Samuel Gyopo Lee in studio at CIUT 89.5 FM.

Gyopo is having its world premier at Toronto’s ReelAsian Film Festival on Saturday, November 9th at the TIFF Bell Lightbox.

Daniel Garber talks with filmmaker Robert Eggers about The Lighthouse

Posted in 1800s, Art, Drama, Dreams, Fantasy, Horror, Mystery, Nova Scotia, Sex by CulturalMining.com on October 17, 2019

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

Photo of Robert Eggers by Jeff Harris

It’s the 19th century on a rocky Atlantic island. An old salt and a young jack tar share threadbare lodgings. Their job? Keep a lighthouse burning to warn all passing boats of potential danger. The old man is there for the long haul, while the younger one seems to be a temporary replacement. But as the isolation grows they become increasingly unhinged as they try to keep their senses… in the lighthouse.

The Lighthouse is a new film about life in a lighthouse as seen through the fantastical minds of the two men living there. It’s written and directed by Robert Eggers, his second feature after The VVitch.

This interview was recorded onsite during TIFF 19.

The Lighthouse opens next Friday (Oct 25, 2019) in Toronto.

Does isolation mean alienation? Films reviewed: Une Colonie, The Grizzlies, High Life

Posted in Coming of Age, High School, Indigenous, Inuit, Nunavut, Quebec, Science Fiction, Sex, Sports, Witches, Women by CulturalMining.com on April 19, 2019

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

Does isolation mean alienation? Or can it be its cure? This week I’m looking at three movies about people who choose to live their lives in isolated areas. There’s an astronaut with a baby in outerspace, a girl in a village in rural Québec, and a lacrosse team in a remote town in Nunavut.

Une Colonie (A Colony)

Dir: Geneviève Dulude-De Celles

It’s the first day of high school and Mylia (Emilie Bierre) is overwhelmed. She’s a 14-year-old girl from rural Quebec. She’s used to seeing her mom and dad, her four-year-old sister Camille (Irlande Côté) and some chickens and cows. When she wants to get away she hides in secret shelters she builds in the woods. But she doesn’t know how to handle the noise and stress of her new school and the hundreds of people there. And she doesn’t quite understand her new classes in history and citizenship. What does that mean, anyway?

Luckily she makes two friends with different paths to choose from. Jacinthe (Cassandra Gosselin-Pelletier) is sophisticated, sexually active and popular. She offers the pretty but naïve Mylia an exciting life full of “lipstick parties”, online challenges and social networking. She sets her up on alcohol-infused dates with strange boys she has nothing in common with. But she also whispers behind her back, spreading rumours that her mother is a stripper.

The second path is offered by Jimmy (Jacob Whiteduck-Lavoie) a neighbour from the Ibanaki Nation. He has strange powers – like taming wild animals – as well as a trampoline he lets Camille bounce on. But he is forced to sit through a history class that describe his people as “simple savages” engaged in depraved orgies. He is bullied for not speaking “proper” Québec French. And he hates seeing Mylia act like the rest of them, people who always colour within the lines. Can Mylia hold onto her idyllic, rural life even as she learns to conform and mature?

Une Colonie is a wonderfully thoughtful coming-of-age story seen through the eyes of a young woman. It deals with Québec both as colony and colonizer and the blurred lines separating the two. It doesn’t fully explain everything you see — it lets you make sense of it as the story is revealed. Une Colonie won best picture and Emilie Bierre best actress at the Canadian Screen Awards, and rightly so. This is a terrific movie, espcially for a first film.

The Grizzlies

Dir: Miranda de Pencier

It’s 2004 in Kugluktuk, a small village in Nunuavut. Russ (Ben Schnetzer) is an idealistic but inexperienced high school teacher newly arrived from the south. He starts by meeting his students. There’s Kyle (Booboo Stewart) who runs away from home each night. Zach (Paul Nutarariaq) punches him in the face when he tells him to speak English. Spring (Anna Lambe) is deeply in love with her boyfriend. Miranda (Emerald MacDonald) is silent but observes everything.

Russ may speak no Inuktitut but he can still see a problem… an epidemic of death by suicide. He decides to do something about it: start a lacrosse team! He manages to pull a team together, and even gets them a place on the national championships in Toronto. But can the Grizzlies raise the money, convince the local council to support them, and overcome the many social problems they face? Or is Russ just another fly-by-night white saviour from the south, quick to make promises he can’t keep?

The Grizzlies, based on a true story, is a typical sports movie, about an unlikely team that tries to overcome its obvious obstacles using heart, grit and comradery. What’s different is it’s shot in Nunavut, in English and Inuktitut, with a mainly Inuit and indigenous cast. And it interweaves realistic scenes of actual culture — you get to see people sharing and eating raw seal meat — with the dark side of history, including issues like the residential schools. It’s not earth-shattering, but The Grizzlies works as a meaningful movie that’s also fun to watch.

High Life

Wri/Dir: Claire Denis

It’s the future.

Monte (Robert Pattinson) is a single dad raising an infant girl at work and at home. They live on a space ship hurtling towards a distant blackhole. How did they get there and where did the baby come from? Through a series of flashbacks we see what life was like back on earth and later on board the spacecraft. It used to be peopled by healthy young astronauts working together both as scientists and as scientific subjects, experimenting and being experimented on.

The ship has everything they need: regular video reports sent from earth, a garden growing succulent fruit and vegetables in a misty arboretum; areas for exercise; and spacesuits for outdoor repairs. There’s also an orgasmic chamber that spins, throbs and penetrates anyone needing sexual release.

They are ruled by a doctor in a white lab coat (Juliette Binoche). She dispenses pills in exchange for sperm samples from the men, and use of the women’s wombs. She calls herself a shaman who wants to create life in outer space. Only Monte, nicknamed the Monk, refuses to participate. But far from placid and cooperative, an atmosphere of violence and sexuality hangs heavily over the voyage. It turns out these astronauts were chosen for their good genes inside prisons back on Earth, where they were serving life sentences for violent crimes. What will happen to them?

High Life is an unusual and fascinating space fantasy like few movies you’ve ever seen. Instead of flashing lights, laser beams or robotic mechanicals, this movie stresses bodily fluids – with semen, breast milk, drool, and unexplained pools of milky white discharge spilling onto the metal floors. It shifts from sex and violence to warm scenes of family bonding. The cast is uniformly amazing from the stoic Pattinson to the witchlike Binoche.

I’ve seen High Life twice now, and I liked it even more the second time. Claire Denis is a genius.

The Grizzlies and High Life both open today in Toronto; check your local listings. Une Colonie is showing as part of Cinefranco’s Tournée du Quebec.

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

NAFTA movies? Films reviewed: Giant Little Ones, Sólo con Tu Pareja PLUS Sui Generis: An Alternative History of Mexican Cinema

Posted in 1990s, Bullying, Canada, comedy, Coming of Age, Cultural Mining, Depression, LGBT, Mexico, Movies, Sex by CulturalMining.com on March 29, 2019

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

If you’ve been watching movies over the past few years, you may have noticed a big change. Some of the biggest Oscars are going to directors like Guillermo Del Toro, Alfonso Cuaron and Alejandro Gonzales Iñaritu.

When did Mexico start making movies? The answer is: Mexico has been making great movies for a very long time… we just never knew about it. But there is one way to fill in that gap in our collective memories.

Sui Generis refers to unique species or bodies of work. Sui Generis: An Alternative History of Mexican Cinema is a suprising series of films at TIFF Cinematheque. It’s programmed by Diana Sanchez and Guillermo del Toro and includes some really famous movies – like Buñuel’s Avenging Angel – and an equal number I’ve never heard of. Surprises include anti-church satires, political protests, bizarre fantasies and fantastical films that transcend the genres we know. There’s also a sexual frankness largely missing in Hollywood movies under the Hays Code (1930-1968), but legal in Mexico.

Aside from Buñuel’s films and a few others, I had never heard of most of these movies, but Mexican cinephiles weep over the importance and uniqueness of these selections; a staple on late-night Mexican TV  but rarely seen on the big screen. This series features directors like Ripstein, Buñuel, Cuaron, del Toro and many others, from the 1930s up to recent times.

It’s quirky, eclectic and grand. I recommend this series.

This week I’m looking at movies from Canada and Mexico. There’s a Mexican sex farce about a man who bites off more than he can chew; and a Canadian coming-of-age drama about a boy forced to choke back his tears.

Giant Little Ones

Wri/Dir: Keith Behrman

It’s a middle class suburb somewhere in North America Franky (Josh Wiggins) is about to turn 17 at a big party. All his teammates from the swim team will be there, his divorced mom (Maria Bello) will be away that night, lots of alcohol and music, and his beautiful but vapid girlfriend says she’s ready to spend the night with him. And his best friend Ballas (Darren Mann) will be there to cheer him on. They’ve been inseparable since childhood and the two are popular and respected at school. This will be a life changing night for Franky… but not in the way he expects it.

The party ends early when his mom comes home, and his girlfriend decides not to stay. So the two drunk best friends end up crashing in Franky’s bed, and something happens in the dark. Ballis rushes home, and the next day everything’s different. Rumours about Franky start spreading, he’s blanked in the hallways and ghosted on instagram. People say he’s gay and did something to Ballas, who does nothing to defend his former best friend.

Only a few people stick by him. Mouse (Niamh Wilson) his out lesbian lab partner who packs a fake appendage in her jeans teaches him how to live with bullying (but I’m not gay! says Franky. Doesn’t matter says Mouse); and Natasha, Ballas’s sister (Taylor Hickson). She was once popular too, until she was “slut shamed” after something terrible happened to her. They turn to each other, first as pariahs and friends, but it gradually turns into something more.

Adding to the complications is Franky’s divorced gay Dad (Kyle MacLachlan). Franky hasn’t spoken to him since he moved away to live with his lover. He’s ready to offer advice but first Franky has to conquer his own homophobia. What really happened that night with Ballas? Will they ever be friends again? Is he in love with Natasha, or is it something else? And will things ever get better at school?

Giant Little Ones is an excellent coming-of-age drama, well acted, and based on an elegantly symmetrical script. It’s tender, funny and surprising, without leaving you depressed. I’ve seen this Canadian movie twice now, and it was just as moving the second time through.

Sólo con tu pareja (1991) (a.k.a. Love in the Time of Hysteria)

Wri/Dir: Alfonso Cuarón

Tomás Tomás (Daniel Giménez Cacho) is known for his sexual prowess and enormous ego. He sleeps with a different beautiful woman every night. He’s also fond of challenges and pranks like running naked down the stairwell to the lobby each morning to pick up the morning paper before anyone sees him. He’s handsome and fit, with a successful career as an advertising creative and lives in a swank apartment building in a good Mexico city neighbourhood. He lives two doors away from Dr Mateo Mateos (Luis de Icaza) and his wife, both good friends, who give him the keys to their apartment while they are away for the weekend.

But Tomas’s limits are challenged one night when he is faced with more than even he can handle. Mateo’s statuesque nurse Sylvia (Dobrina Cristeva) is arriving for a date, while his boss Gloria is also dropping by

LOVE IN THE TIME OF HYSTERIA, (aka SOLO CON TU PAREJA), Daniel Gimenez Cacho, 1991. ©IFC Films

to hear his advertising pitch for a brand of canned Jalapeños (and maybe a bit of spicy fun). Soon enough he’s bedding his boss in Mateo’s flat, Sylvia in his own, and is forced to inch his way naked back and forth between the bedroom windows and satisfy both women without letting either one know about the other. To make matters worse, he finds himself infatuated by a new tenant in the flat between

the two rooms. Clarisa is a flight attendant (Claudia Ramírez) and when he sees her robotic miming of seat belts and oxygen masks he sees through her window heid smitten. But can one man keep three women satisfied at one time? Alas, no.

He is fired from his job, and the vengeful nurse falsifies his medical tests telling him he is HIV positive, plunging him into a deep depression. Will Tomas discover the truth and change his ways? Or will he succumb to despair and throw himself off the tallest tower in Mexico City?

Sólo con Tu Pareja is a seldom seen, silly screwball comedy from the early 90s. It’s also Cuaron’s first feature film, long before his big hits like Gravity, Roma and Y Tu Mama Tambien. This is no masterpiece, but it is a fun and interesting look at a totally different era. It reminds me of the 1960s comedy Boeing, Boeing, starring Jerry Lewis and Tony Curtis, also about a promiscuous man who juggles three flight attendant gilfriends in one Paris apartment. This one is also dated, but better than Boeing Boeing — the women in this movie have personalities, and Daniel Giménez Cacho is on fire as Tomas. And it adds a pair of Japanese businessmen, some mariachi musicians and a Montezuma lookalike to give it a more Mexican feel.

Giant Little Ones opens today in Toronto; check your local listings; and you can see Sólo con Tu Pareja just tonight at the Tiff Bell Lightbox as part of the fantastic TIFF Cinematheque Mexican film series called Sui Generis: An Alternative History of Mexican Cinema, on now.

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

Popcorn Movies. Films reviewed: Cold Pursuit, What Men Want, The Prodigy

Posted in comedy, Crime, drugs, Horror, Psychology, Sex, Snow, Sports, Thriller by CulturalMining.com on February 8, 2019

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

It’s the middle of winter, and all the highbrow pics have been released. So this week I’m looking at regular, popcorn movies – a comedy, a revenge thriller and a horror movie. There’s a psychic sports agent looking to land a killer client, a man out to find his son’s killers… and a young couple worried their 8-year-old son might be a killer himself.

Cold Pursuit

Dir: Hans Petter Moland

It’s winter at a ski resort in Colorado. Nels Coxman (Liam Neeson) is the town snowplow driver, clearing the roads for drivers from nearby Denver. He lives a respectable unremarkable life with his wife Grace (Laura Dern) and his snowplows. But his life turns sideways when their only son turns up dead from a drug overdose. At least that’s what the police detective (Emily Rossum) says. But his son doesn’t do drugs. Turns out he accidentally disrupted a drug deal involving lots of cocaine.

Nels decides to take the law into his own hands, work his way up the chain of command and get revenge on the criminal ultimately responsible for his son’s death. On the way Nels kills and disposes of each man he meets. The head gangster is Viking (Tom Bateman) a detestable, effete millionaire whose lackies all look like models in fine suits. His territory is split with an aboriginal Chief named White Bull (Tom Jackson) of the Ute Nation. But when dead bodies show up, Viking thinks his indigenous rivals, starting a major drug war. With a kidnapped boy, the local police, the Feds, and Nels himself all converging on a single spot, who will survive the ultimate showdown?

Cold Pursuit is an exact, scene-by-scene remake of the 2016 Norwegian film In Order of Disappearance. Same director, same stunning snow scenes, but this time shot in Canada, not Norway, and the script is in English. I’m not a big fan of Liam Neesen action movies, but he plays this part perfectly: the single-minded revenge killer out for blood. It’s bloody, it’s violent and while somewhat comic, it seems to be missing the sardonic, Norwegian irony of the original.

But I still liked it.

What Men Want

Dir: Adam Shankman

It’s present day Atlanta.

Ali Davis (Taraji P. Henson) is a manager at Summit Worldwide a highly competitive pro-sports management agency. She’s an alpha dog in an all-male office. Her dad (Richard Roundtree), a former boxer, raised her to be a winner in both her work and her private life. When she takes men home for the night she’s always on top. She’s ambitious and self-centred. And with her gay personal assistant Brandon’s help (Josh Brenner) she’s close to landing a huge client – Jamal a star college basketball player. But she still can’t break through the glass ceiling and make full partner.

Until… her life changes after a party with her closest girlfriends when a psychic gives her a secret potion, and later that night she gets bonked on the head by a huge inflatable penis. When she comes to, she realizes she has a new secret power: she can read men’s minds. Suddenly a whole world is open to her, with all its potential benefits. Like finding out if a guy she’s crushing on has a thing for her. Or what men say to each other when women aren’t around. And where those men-only poker games are taking place. Is this new power the key to her success? Can she penetrate the locker-room bro culture that is holding her back? Can she turn a one night stand with single-dad bartender Will (Aldis Hodge) into a real relationship? Or is all this ESP stuff less of a blessing than a curse?

What Men Want is a remake of Mel Gibson’s comedy from 20 years ago, but with a role reversal. If you’re into pro sports and TV comedies there are tons of celebrity cameos to keep you happy, from Shaquille O’Neal, Jason Jones, Tracy Morgan, Pete Davidson, Mark Cuban, and many, many others. Eryka Badu is great as the psychic, and Taraji P. Henson – who starred in Hidden Figures – carries the show as Ali. But is it funny?

It’s OK, but not that funny. It’s disturbingly full of product placements in almost every scene. They could have done so much more, but in this movie a black woman who reads minds finds out white men may be sex obsessed, devious, condescending and insecure, but none of them are actually racist. (“Yay! — no one’s racist!“) It does talk about the problems inherent in pro sports, but steers away from bigger issues just begging to be addressed. This movie may be facile, safe and predictable, but I enjoyed it anyway.

The Prodigy

Dir: Nicolas McCarthy

Sarah and John (Taylor Schilling, Peter Mooney) are a young married couple in suburban Pennsylvania with a gifted son. Miles (Jackson Robert Scott) seems older than his years. He spoke his first words after just a few months, and at age eight is excelling at a school for exceptional students. And he has an angelic smile he shows his mom and dad. But there’s something not quite right about him. He seems to speak an exotic language in his sleep. And people nearby keep having strange accidents, which Miles claims he knows nothing about.

But when he violently attacks another boy in science class, his parents are disturbed. A specialist named Arthur (Colm Feore) says there might be someone else controlling Miles from somewhere deep inside him. Is he possessed by Satan? Does he have a split personality? Or is it something else? And what is little Miles’s connection to a notorious serial killer with a fetish for cutting of women’s hands? Sarah doesn’t know exactly what’s behind Miles strange behaviour but decides it’s time to act… before it’s too late!

If you like extremely scary horror movies, this is one to see. A disturbing Bad Seed-style story of a parent’s worst nightmare: that their nice kid might actually be evil. Taylor Schilling (Orange is the New Black) is totally believeable as the mother, and young Jackson Robert Scott is extremely creepy as Miles – watch out for him. I still have shivers in my gut.

The Prodigy is classic horror.

Prodigy, Cold Pursuit and What Men Want 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.

Women, Desire. Films Reviewed: The Misandrists, The Feelings are Facts: the Films of Nazlı Dinçel

Posted in 1990s, Berlin, Feminism, Germany, Lesbian, LGBT, Satire, Sex, Sex Trade, Terrorism, Turkey, Women by CulturalMining.com on February 1, 2019

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

This week I’m looking at avant-garde, sexual films. There are lesbian terrorists in Germany disrupting the patriarchy, and a filmmaker in Wisconsin disrupting the traditional documentary.

The Misandrists

Wri/Dir: Bruce LaBruce

It’s 1999 in a forest near Berlin.

In a stately manor, uniformed schoolgirls study biology, philosophy, and politics, taught by stern nuns with severe habits. The school’s symbol? A cross on an orb. The girls share their meals with the nuns at a candle-lit table. But this is no ordinary girls’ school. The students are all adults, former petty thieves, runaways and sex workers. Their teachers are radical feminist separatists. The habits they wear are just costumes they put on to fool outsiders. Their prayers celebrate the fact they were born as women not men, and they worship the vagina, ova, reproduction, and lesbian sex. (And the cross and the orb is actually an inverted women’s symbol!)

Big Mother (Susanne Sachsse) sleeps beneath giant mugshots of Emma Goldman. She tells the students to practice sex with each other – but avoid monogamy. Some of them watch explicit gay porn for helpful tips. Their ultimate goal is to destroy the patriarchy and create a world without men… by any means necessary. Their first terrorist action as the FLA (The Female Liberation Army) will be to force Berliners to watch the all-women porn film they plan to create. All the students are happily engaged in sex, except one: Isolde (Kita Updike). For some reason she feels excluded. But this isolated world is disrupted by an unexpected arrival: a wounded revolutionary named Volker (Til Schindler) fleeing the police. Isolde hides him in the basement. What will happen if the man is discovered? Will the FLA’s action be a success? And is there a traitor in their midsts?

The Misandrists is Toronto’s homocore punk pioneer Bruce LaBruce’s latest film And his first with a nearly all-female cast. (It’s a follow up to The Raspberry Reich, also about German radical activists, and is strongly influenced by The Beguiling.) It stays true to Blab’s earliest super8 films, combining satire, humour, queer topics with explicit sex, radical politics, and a distinctly non-Hollywood feel. The cinematography (James Carman), costumes and makeup go way beyond his early films, but the intentionally shocking and disruptive style is true to form.

Does it all make sense? Kind of. Does a slow-motion pillow fight with scantily-clad young women make fun of 1970s softcore porn… or is it just gratuitous titillation? I’m not sure why there are extended scenes of women necking with a hard boiled egg, and some of the extended political screeds recited in flat monotones test any viewer’s patience… but again deliberately, revisiting German expressionism.

Agitprop as lesbian porn.

But it really hits home with its sex-positive attitude combined with clever challenges to preconceptions about gender, sex and genitalia (ie “what makes a woman a woman?”).

It’s funny, surprising and ultimately satisfying. Just don’t expect a traditional, mainstream movie.

The Feelings are Facts: the Films of Nazlı Dinçel

Nazlı Dinçel is an American filmmaker in Wisconsin, who immigrated from Ankara, Turkey as a teenager. Her work documents her sex life on 16 mm film, in an often abstract and disjointed manner. Her embrace of the tactile nature of her topics translates into a handmade, hands-on style of filmmaking. A typical short film will alternate between over-exposed film stock or a black screen and explicit footage. A large part of her films is the text, recited dispasionately by the narrator and accompanied by the same words scratched or burned into the film stock itself… often one word (or part of a word) at a time.

Her images vary from disjointed body parts – vaginas, penises, buttocks, mouths – and the omnipresent hands and feet, painted with glittery nailpolish. Her forms include shots of nature and ancient ruins, as well as more intimate bedroom shots. Images are framed by lens irises, reflected in mirrors, bookended between black, silent screens. Sound consists of voices, pop music, and a constant ticking and scratching sound (is that the sound of the 16mm camera itself?)

Her stories come from her own sexual experiences, retold. Her early days of solitary experimentation as a teenager hidden in a washroom where she lost her virginity, she tells us, to a carrot. And her later relationships and sexual encounters. It also deals with her own cross-cultural alienation, with Turkish folklore and Islamic prayer clashing and combining with her changes in adolescence and as a woman.

In Her Silent Seaming (2014), she shares the bedside murmurs of some of the men she has slept with. As the narration progresses it gets more and more repetitious with the words scratched into film eventually reaching a disturbingly frantic peak. Images vary from blurred footage of sex organs to the artist herself in a Marilyn Monroe wig kissing a mirror with her lipsticked mouth.

Solitary Acts (4,5,6) (2015) consists of three films of thoughts and memories of sexual experimentation, culminiatng in explicit, extreme close up footage of a woman, presumably the filmmaker, pleasuring herself, andlater doing the same to an unidentified man.

Shape of a Surface (2017)

…takes us to ancient Roman ruins in Turkey, with a call to prayer in the background as she observes headless Roman statues, and later orally worships a living man.

Between Relating and Use (2018)

…is the most cerebral of all the films, a semiotic examination of fetishes, in both the anthropolical and sexual sense of the word. But of course it also includes her trademark sparkle-nailed foot paired with a man’s genitals.

Instructions on How to Make a Film (2018) introduces beginner filmmakers to the joys of film, a medium she admits is nearly obsolete.

These are beautiful, thoughtful, deliberately disjointed, and highly personal films. As they progress so do the images, with written words becoming less and less reliable, until in some of her later films they cease to match their meaning.

I have only seen a digital version of these films on my computer, but you can see the original short films in all their 16mm glory at the AGO Jackman Hall on February 12 as part of the monthly Vertical Documentary series.

Nazlı Dinçel will be present at the screening. And you can see The Misandrists at the TIFF Bell Lightbox tonight with Bruce LaBruce in person for the Q&A.

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

Far from the Madding Crowd. Films reviewed: Border, The Drawer Boy

Posted in 1970s, Acting, Canada, Crime, Fairytales, Farming, Folktale, Horror, Intersex, Sex, Supernatural, Suspicion, Sweden, Theatre, Toronto by CulturalMining.com on November 23, 2018

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

Fall festival season is coming to an end in Toronto but there’s still some left to see. This weekend, watch out for Blood in the Snow. Not literally. BITS is the all-Canadian film fest that shows horror, genre and underground films at the Royal Cinema. And at the ROM this weekend, presented by Ekran and The Polish Filmmakers Association, you can see films with historic themes celebrating 100 years of Poland’s Regained Independence, featuring Andrej Wajda, Roman Polanski and other great Polish directors.

This week, I’m looking at two movies set far from cities. There’s a Canadian actor who thinks a farmer’s stories don’t smell quite write; and a fairytale-like Swedish customs officer who can sniff out crime.

Border

Dir: Ali Abbasi

(Based on a short story by John Lindqvist, author of Let the Rght One In)

Tina (Eva Melander) is a customs officer at a remote ferry dock in rural Sweden. She lives in a cabin in the woods. She feels a kinship with the local foxes and reindeer, more so than with people. She shares her home with a redneck dog trainer named Roland, but rejects his

sexual advances. It just doesn’t feel right. She’s resigned to a life of celibacy, partly because of her very unusual appearance. She’s kind and friendly, but… pretty ugly. She looks almost neanderthal, with her heavy brow, scarred skin, scraggly hair, and a nose like a lion’s. And with that nose comes an amazing sense of smell. She can detect the hidden emotions – shame, cruelty, and evil intent – of smugglers and criminals passing through her customs line. When she sniffs out kiddy porn on a businessman’s cel phone, the local police begin to take notice. They ask her to help them uncover a kidnapping ring.

Meanwhile, one day at the customs house, she sniffs out a strange man. Vore (Finnish actor Eero Milanoff) looks like her and sniffs like she does. She’s suspicious at first but notices a definite attraction. When they finally get together, their sex is explosive! He urges her to run away with him and stop living “like the humans”. Wait… what?!

If they’re not human what are they, exactly? And what other secrets is Vore hiding?

Border is a fantastic Swedish movie, a combination horror and supernatural thriller that manages to be funny, repulsive, touching and shocking (not for the faint of heart). It also deals with a wide range of unexpected topics, from intersexuality and gender transformation, to ostracism, folklore, mental illness, and a whole lot more. The acting is fantastic, the look and feel of this movie is amazing.

If you want to see something truly different, this is a film for you.

The Drawer Boy

Dir: Arturo Pérez Torres, Aviva Armour-Ostroff

Based on the play by Michael Healey

It’s the early 1970s in rural southern Ontario. Miles (Jakob Ehman) is an earnest young actor, part of a Toronto theatre collective that wants to create a play about farmers and farm life. He arrives with a bunch of other actor/hippies, each staying on different farms, who get together, every so often, to rehearse and compare notes. Miles’s new home is run by two men who have lived there since 1945 after serving together in the army.  Angus (Stuart Hughes) bakes bread in the kitchen and keeps the books. He seems a bit touched in the head. In fact he has no short term memory – there’s a metal plate in his brain from a wartime explosion. Morgan (Richard Clarkin) is more like the boss, handling the heavier farm work. Morgan lets Miles stay there as long as he adapts to farm life. That means 3:00 a.m. wake-ups, hard work, and “don’t ask too many questions”. Angus doesn’t like thinking about troubling memories… it gives a headache.

Morgan talks slow and low, like a farmer, but he’s smarter than he looks. He feeds gullible Miles lots of halftruths and impossibilities, which Miles dutifully scribbles down in his ever-present notebook. Things like “dairy cows eat pigs”, and are terrified of humans, knowing they could be slaughtered any day.

Morgan also tells a story to Angus each day, to restore his lost memories. It’s about a boy who draws, two tall sisters, and a house on the farm they were all supposed to share. But when the actors perform their workshop in a barn for all the local farmers, including Angus, something clicks. Seeing his own story performed on the stage, suddenly, like a knock on the head, unleashes a flood of memories. Memories that Morgan doesn’t want Angus to know…

The Drawer Boy is a film adaptation of the famous Canadian play from the 1990s, which itself was about the making of an earlier play in the 1970s. I’m always cautious about plays turned into movies – sometimes the media just don’t match. But don’t worry, this play makes a wonderful movie. It incorporates the drama of the original while adding special effects and scene changes hard to show on stage. The three actors are all excellent, and seeing it in a real barn with real cows, tractors and bales of hay just adds to the realism. The Drawer Boy is a great movie about storytelling, memory, loss, and relationships… a perfect dose of Canadiana on the big screen.

The Drawer Boy and Borders 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.

Golden. Films reviewed: The Old Man & the Gun, Let the Corpses Tan, The Sisters Brothers

Posted in 1800s, 1980s, Belgium, Canada, Crime, Cultural Mining, France, Horror, San Francisco, Sex, Texas, Western by CulturalMining.com on October 5, 2018

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

This week I’m looking at three genre movies -– a heist, a western and a retro horror/thriller — about the search for gold. There’s an old bank robber lookin’ for love while stealing krugerrands, two brothers in the old west working as hitmen while searching for gold nuggets, and criminals in Corsica killing for gold bars.

The Old Man & the Gun

Dir: David Lowery

It’s the 1980s in Texas. Forrest Tucker (Robert Redford) is the consummate gentleman, always kind and charming, especially with the ladies. He meets one such woman named Jewel (Cissie Spacek) by the side of the road where her car overheated. She’s a widow with a ranch but no family or friends nearby. He gives her a ride and they share lunch at a roadside diner. But when he jokingly tells her what he does for a living she doesn’t believe him. Who would think such a kindly old man is a bank robber?

But a bank robber he is, and a damned good one. Working with his partners Teddy and Waller (Danny Glover, Tom Waits) they pull off a stream of successful bank heists from Dallas to St Louis, without ever firing a shot or leaving a single fingerprint behind. That is until detective Hunt (a moustachioed Casey Affleck) connects the dots between these seemingly unrelated crimes. (This is long before google.) Can Tucker quit bankrobbing and settle down with Jewel before Hunt tracks him down?

The movie is based on a true story about a career criminal and escape artist but it’s so much more than that. It’s a tender love story (between Tucker and Jewel), and a buddy drama (between him and his respectful rival, the cop). It’s well-acted, wonderfully directed and with a classic script of the kind I thought Hollywood had forgotten how to write. It even has some filmmaking tricks – like a clever history of his escape attempts – inserted in an unexpected place.

What a feel-good movie this one is.

Let the Corpses Tan (Laissez bronzer les cadavres)

Dir: Hélène Cattet, Bruno Forzani

It’s a sundrenched day at a cliffside bed and breakfast in Corsica. Madame Luce (Elina Löwensohn) – a sultry, middle aged woman with a pageboy haircut – is your hostess, but don’t expect a five star rating. It’s a BnB… from hell. The rooms are made of crumbling rock shelters and breakfast means fried eggs served with live ammo. The guests include a scheming criminal, a crooked lawyer, a young tough, and a smash-faced thug. The only paying guest, Max Bernier, is an over-the-hill novelist from Paris in a perpetual drunken stupor. What are they all there for?

A heist, of course, in the form of a Brinks truck carrying a case of solid gold bars. They carry it off — killing two cops and the driver in the process — but then things start to go wrong. Bernier’s beautiful young wife and kid show up unexpectedly, and a pair of motorcycle cops, dressed in black leather, stop by to take a look around. At this point, gunshots start and rarely stop till the end of the movie. Some of the bad guys realize they’ve been stabbed in the back. Soon everyone on the mountainside is either a hostage or hostage taker, a shooter or a victim (or a potential sex partner) in a final shootout for the gold.

But this plot description doesn’t do justice to what this film really is. It’s an over-the-top horror/thriller/heist movie, flawlessly done in the style of 1960s spaghetti westerns. It’s intense, from the saturated colour to the Morricone score.  Every gun shot — and there are thousands – is followed by a mammoth splash of blood; every cigarette is lit with a whoosh of flame that fills the screen; every stabbing has a disgustingly loud squishing sound. There are extreme close ups, with a single eye or curled lip filling the entire screen. And lots of gratuitous nudity and violence, especially when the drunken novelist imagines stylized sex scenes from his own books.

See this one on a big screen.

The Sisters Brothers

Dir: Jacques Audiard

It’s the 1850s in the Oregon territory, and the country has gone gold crazy. Eli and Charlie Sisters (John C Reilly, Joaquin Phoenix) are brothers who earn their living shooting to kill. Eli is smart and kind at heart, while Charlie takes after their dad, a drunk, mean bastard. They work for a shady robber baron known as the Commodore. Their latest job? Meet up with another man

who will provide them with their victim.

Meanwhile, in a town nearby, is the idealistic Hermann Warm (Riz Ahmed) a brilliant scientist who is flat broke. He has an invention that could make him a millionaire. It’s a chemical he claims will make panning for gold easy as pie. On his travels he meets an upper-class adventurer named John Morris (Jake Gyllenhall). Warm likes Morris’s polite relaxed manner and sees him as a genuinely nice guy. As they travel he share his secret, though not the details, with him. What he doesn’t know is Morris – like the Sisters Brothers – works for the evil Commodore, and that he plans to hand over his erstwhile friend to those killers. But things aren’t necessarily what they seem. The hunters become the hunted with posses tracking the Sisters brothers for their past crimes. The four find themselves on the same side, at least temporarily, but who can be trusted?

The Sisters Brothers is French director Audiard’s first English language film, and he totally pulls it off. This is an excellent western that captures the frantic expansion of the gold rush towns in the old west with entire settler towns appearing, on-screen. We watch characters discover new technology like toothbrushes and hot-water plumbing. It captures the utopian politics of the time (though completely ignoring the plight of indigenous people). Reilly and Phoenix make great shootists, but it’s Riz Ahmed who really steals the show. The Sisters Brothers (based on Canadian writer Patrick deWitt’s novel), is a wonderful, new take on the classic western.

The Old Man & the Gun, Let the Corpses Tan and The Sisters Brothers — all great movies, though for different reasons — 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.

Point of collapse. Films reviewed: Rojo, The Good Girls, Climax

Posted in 1970s, 1980s, 1990s, Argentina, Dance, Economics, France, Mexico, psychedelia, Queer, Secrets, Sex, violence by CulturalMining.com on September 14, 2018

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

At a festival the size of TIFF (Toronto International Film Festival which continues through the weekend) I try to carefully select which movies to see, based on reputation, subject and word of mouth. But even occasionally wandering into a movie at random can be a pleasant surprise.

This week I’m looking at three movies at TIFF set right before — and during — the point of collapse or disaster.

There’s a noir drama set in Argentina before the 1976 military coup, a social drama set in an upper class Mexico neighbourhood before the Peso crash of 82; and a dance, sex and drug fuelled  horror movie set in France in the 90s..

Rojo

Dir: Benjamín Naishtat

It’s the mid 1970s in a small provincial town in Argentina. The military has divided the country into war zones to fight guerrillas in the jungle. All is quiet but something is not right. Whole families are suddenly disappearing from their homes – are they kidnapped? Or just on vacation? Whatever, locals are enriching themselves by plundering whites left behind.

Claudio (Dario Grandinetti) a mild-mannered lawyer with bald head and a trim moustache, is not bothered by the tension — he is solidly middle class.. He joins a close family friend in a real estate scam to take over one of these empty homes. Claudio’s daughter and his scam partner’s son are dating though she seems less than eager – she’s more interested in the school’s dance club. But Claudio’s own life is disrupted by a disturbing incident at a restaurant: a man, a stranger in this town,  starts a loud argument over a reservation. Later, the argument turns violent, and Claudio secretly dumps the man’s body in the desert. And a famous private detective arrives from Santiago, Chile to investigate a missing person. Could this somehow be related to Claudio? Will this tension – and Claudio’s secret – ever go away? Or is Claudio – and Argentina — entering a terrible new phase of violent oppression?

Rojo is a dark mystery-drama about life in small-town Argentina before the US-backed military coup. It shows the stress uncertainty and violence affecting everyone in the town – from high school kids to the town’s leaders. Rojo nicely mixes politics, history, and noir-ish drama with a stylized, almost surreal 70s look — like an episode of Colombo.

I like this movie.

The Good Girls (Las Niñas Bien)

Dir: Alejandra Márquez Abella

It’s the summer of 1982 in a posh neighbourhood in Mexico City. Sofia (Ilse Salas) is riding high. She’s an elegant and beautiful woman from an upper-middle-class family, married to an investor. And she belongs to an exclusive country club where she and her friends meet daily to play tennis and gossip. Sofia is more interested in bags, shoes and facial creams than local politics. Her birthday party went flawlessly, ending with a wonderful present – a new cream-coloured car from her devoted husband Fernando (Flavio Medina). And with the kids at camp in the US– don’t talk to Mexicans! she tells them — she can devote herself to tennis, shopping and spending times with her friends.

But all is not well. Tell-tale signs are turning up – the taps run dry as the water utility runs into trouble. Oil prices are crashing and so is the Mexican economy. One of her best friends stops coming to the club, and a nouveau riche woman – named Ana Paula –  has taken her place on the ladder. Sofia continues to spend lavishly, but her cheques are starting to bounce. The creditors are moving in. And the servants are leaving, one by one. Is this a momentary lapse? Or – as one of her kids ask – are we poor now, mommy?

The Good Girls is a subtle and nuanced movie about the turning point, the exact moment when a woman realizes her carefully crafted life might crumble in an instant once the money goes away. When dignity disappears – and pettiness takes over – she realizes it could all be finished.

This is a spectacular movie – from the costumes, to the acting – and one I would have missed if I didn’t wander into the theatre at random when the movie I planned to go to was full.

Climax

Dir: Gaspar Noé 

It’s 1996 in an isolated building in rural France. A dance troupe — multi-ethnic, multilingual and multi-sexual  — is perfecting their dance routine. There’s It’s the dress rehearsal before heading off to New York and they do it without a single problem. The celebratory afterparty is just starting, with the Daddy is playing tunes, David scouting a sexual partner, and psyche is pouting. as the choreographer sends her son up to bed. But something is wrong. Somebody has spiked the sangria with halucinegenic drugs! And the dancers are reacting in very strange ways. Dance turns to uncontrolled sex, and unchecked violence, as the dancers run through the red-lit halls in panic  escape. Others form impromptu gangs attacking skapegoats. Will anyone survive?

Gaspar Noé is one of my favourite directors and Climax does not disappoint. This is an amazing and unusual combination of contemporary dance, sex, drugs and extremely disturbing violence. The film starts with interviews of the dancers on old videotape, introducing themselves directly to the audience. Then theres a non-stop dance performance filmed from above, shot in what looks like a single take. Then comes the spiked punch and the horror begins, turning the world upside down. Its erotic, disturbing entertaining and extremely creepy and troublesome.

You also get Gaspar Noes amazing camerawork and design with upside down shots, titles appearing midway through the movie, non-stop music and some very funny lines before everything goes terrible.

Climax is amazing and disturbing.

Rojo, The Good Girls, and Climax are all playing at TIFF right now. Go to tiff.net for details. And don’t forget to show up at the TIFF Bell Lightbox on Sunday around 3 or 4 pm for free tickets to all the winning movies at TIFF selected by the audiences. There are four free screenings around 5-6 pm on Sunday.

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 Renée Beaulieu about Les Salopes at #TIFF18

Posted in Canada, College, Feminism, Quebec, Scandal, Science, Sex, Women by CulturalMining.com on September 7, 2018

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

Marie-Claire is a professor of Dermatology at a Montréal university. She’s in her forties and happily married to Adam, with two teenaged kids. She is researching whether skin cells – which convey touch, the most important of all senses – react to sexual pleasure. And as part of her research she pursues a course of radical experimentation: she decides to sleep with whatever man she desires, whether at work, at play or at home. She finds sexual pleasure without guilt. That is, until she begins to feel the backlash…

Les Salopes: or The Naturally Wanton Pleasure of Skin is a new movie at the Toronto International Flm Festival. It’s an erotic feminist tome that shifts the focus of desire, seduction, pleasure and satisfaction to the female gaze, with men as The Other.

Les Salopes is written and directed by Renée Beaulieu, a screenwriter, filmmaker and teacher at the Universite de Montreal.

Les Salope has its world premier tonight;  I spoke with Renée Beaulieu in studio at CIUT.

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