Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
Most forms of entertainment ask for little commitment from their viewers: just sit there and take it all in. But sometimes they demand a little bit more.
I just saw a production — a combination of theatrical drama, music, modern dance and exercise — called It Comes in Waves (Jordan Tannahill, bluemouth inc., and Necessary Angel). The audience actually rows canoes to a remote part of Toronto Island, in a Heart of Darkness journey past wild egrets and tame swans. Once there, expect to catch a trumpet and snare drum drifting past in a rowboat, Naked Guy running across a field, voices singing in the woods, campfires, Celtic dances and a Waiting for Godot-style surprise party (where the audience — us — are the guests). You walk down the beach carrying lanterns as an ethereal angel dances half a mile away. It’s a play that completely eliminates the proscenium arch, and it’s like nothing you’ve ever seen before.
But what about movies? This week I’m looking at two films that require if not participation, at least commitment. There’s a historical political drama from Ireland that stimulates intellectual rigour, and a crime drama from the Ukraine that activates creative vigour.
Dir: Ken Loach
James Gralton (Barry Ward) witnessed the roaring twenties in NY. 10 years later, it’s the Great Depression and he’s back home in County Leitrim, Ireland. He’s there to take care of his aging mother (Aileen Henry). He’s keeping a low profile, having been kicked out after the Irish Civil War. He’s back to work digging up peat. But no sooner does he get there than he sees kids from the town dancing the jig on a country road. Is this a local custom? No. They just have nowhere else to go. A decade earlier he had built and opened a community centre on his land, where people would sing songs, write poetry, draw, study literature, dance to jazz music, practice boxing… but the hall was closed and he was kicked out.
Now that he’s back, he’s surrounded by locals imploring him to reopen Jimmy’s Hall, a place where they can enjoy life. Is there anyone, anywhere who could oppose such a thing? You bet there is. Father Sheridan (Jim Norton) the top local priest. If it isn’t run by the church, it is, by definition, no good. “He’s a communist and plays jungle music!” says the good Father.
And a high-ranked official also loathes Jimmy for his left-wing politics. His daughter, though, can’t wait to join the club. And Jimmy’s lost love Oonagh (Simone Kirby) is glad to see him back
But local incidents can lead to national repercussions. With Catholic and Protestant labourers striking together in Belfast the Powers That Be feared what James Gralton might inspire. As tensions escalate, who will triumph? Father Sheridan and his supporters? Or Jimmy?
Based on a true story, Jimmy’s Hall is a typical Ken Loach movie. Its politics are decidedly left-wing, but the characters and the ideologies they espouse are never cut-and-dry. For every right-wing Father Sheridan, there’s a younger priest urging compromise. And like Loach’s other historical dramas (The Wind that Shakes the Barley, Land and Freedom), it has scenes with long — though never boring — political discussions. Not for everyone, but I liked this film a lot. Well-acted and nicely shot, it filled in a period of Irish history — leftist politics in the 1930s — that I knew nothing about.
The Tribe (Plemya)
Dir: Miroslav Slaboshpitsky
It’s present-day Ukraine. A nondescript kid named Sergey (Grigory Fesenko) arrives at his new home, a boarding school for deaf kids. It’s a typical school, the classrooms and dorms flavoured by drab Soviet austerity.
Sergey is honest, polite and naïve. And he suffers like any newbie: he’s at the bottom of every possible totem pole at the school. Even a boy with Down Syndrome nonchalantly steals his lunch. Almost immediately, he’s guided by a weasely fast-talker to meet his new boss, a no-nonsense older student. Higher-ranked bullies confiscate his money, and he’s put right to work.
He’s thrown out of bed on his first night and sent out to a truck stop along with two young women from the school. Anna (Yana Novikova) is a flirty, pale blond, her dark haired coworker is bigger and bossier. They ply their trade by knocking on parked truck windows, and Sergey pimps them out and collects the money. This is just part of a complex criminal gang operating out of the school.
They sneak out at night to mug pensioners and steal their groceries. They also send young kids to ply ugly little plush toys on commuter trains, a front for unlawful behavior. They’re looking for charity donations but are just as willing to beat up reluctant donors.
His status begins to rise when he fends off four guys in a no-rules fight. He becomes a tough enforcer: he shakes down little kids for their pocket change. Literally! He holds them upside-down by their feet until their money falls out of their pockets.
Eventually he hooks up with Anna in a paid encounter, and they become a couple. But her main goal is to get the hell out of there with an exit visa to Western Europe. And as he becomes more experienced his personality is transformed.Will the moral Sergey ever come back to the surface?
The Tribe is a fantastic movie. And – get this — all dialogue is in sign language – with not a word spoken in the entire movie… and no subtitles either. But it’s completely clear what they are saying. The actors are all hearing-impaired and express themselves beautifully. Each scene is shot in a single take, with one camera constantly moving down halls, around corners, and into rooms. Explicit sex scenes, violent fights… everything happens right in your face.
The Tribe and Jimmy’s Hall open today in Toronto; check your local listings. It Comes in Waves is now playing as part of Panamania, the cultural side of the Pan Am games. For more information go to toronto2015.org/panamania.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM, looking at high-brow and low-brow movies, indie, cult, foreign, festival, documentary, genre and mainstream films, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Ukraine is at the top of the news. Beginning in November last year, Euromaidan street protests drove President Yanukovych out of office and out of the country. Soon after, Russia took control of Crimea, with sites in Eastern Ukraine facing further unrest. But long before any of this, a different form of protest, one you could call unique, was taking root in that country. The group is called Femen. It’s a self-proclaimed feminist protest group. What’s unusual is the form of their protests: to oppose the oppression and sexual exploitation of Ukrainian women… they expose their slogan-covered breasts for the cameras!
A great new documentary that played at Toronto’s Hot Docs gives an inside view of the Femen protestors and exposes their contradictions. The film is called UKRAINE IS NOT A BROTHEL and I spoke with its Australian director, Kitty Green, on April 29th, 2014 in Toronto. Kitty talks about protests in Ukraine, the sex trade, feminism, Femen, its members, the languages spoken, and the meaning of the word “girl”.
May 25, 2012. Rescue Me! Movies Reviewed: Chernobyl Diaries, Hysteria, Where Do We Go Now? PLUS Inside-Out
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, genre and mainstream movies, helping you see movies with good taste, movies that taste good, and how to tell the difference.
Toronto’s spring film festivals are full speed ahead now. Inside out, Toronto’s great LGBT film festival is on through Sunday, featuring a Women’s Spotlight evening tonight, including the Toronto premiere of Cloudburst, Thom Fitzgerald’s new movie starring Olympia Dukakis. And coming soon are the Toronto Japanese Film Festival, The CFC Short Film Festival, and NXNE.
Festivals are a chance to see on a big screen foreign, indie, niche, low-budget, or experimental movies, the kind that never make it to your movieplex. But at a recent screening at Inside Out, one of the directors said something that struck me. Ira Sachs, (director of Keep the Lights On) made the point that, were it not for the support they receive from these film festivals, many of these movies could never have been made in the first place. All the more reason to see movies at film festivals.
So this week I‘m looking at a horror movie about jaded tourists who want to ogle technological excess; an historical comic-drama about how technology can make women happy; and a drama about how how the women in a Lebanese village try to stop a war.
A group of Americans backpackers are relaxing in Ukraine where one of them has an apartment, when one of them announces a change of plans: Instead of Moscow, let’s try extreme tourism – a daytrip in and out of Chernobyl! That’s the uninhabited site of the nuclear disaster back in the 1980’s. It’s a post-apocalyptic time capsule – all the workers at the plant only had minutes to flee the village, leaving half-eaten sandwiches and family photos behind. With its abandoned classrooms and peeling communist murals, it’s a modern-day Pompeii. And nature has reclaimed the town of Pripyat, with feral animals and plants running wild. So it’s a creepy thrill for the travellers to explore, and their guide Uri carries a Geiger counter to warn them if the radiation level gets too high.
But when Uri disappears, possibly attacked by wild dogs, and the van they came in stops working, they are forced to find their own way out. Can they survive the radiation, the wild animals, and… maybe, the people who never escaped the place? Sounds like something scary is about to happen…
I spoke with its writer and producer Oren Peli this week, the creator of the classic Paranormal Activity series. He said “there are moments where you don’t see anything but you hear a noise far away, you don’t know what the noise is, but just the fact that the noise exists that you are hearing something cluttering in an apartment nearby when there is not supposed to be anyone else there, that can be really scary.” And he’s right — the soundtrack really is scary and the images and the mood are perfect.
But what about the movie? The title is somewhat misleading. It’s not a found footage film like the Paranormal Activity series; it’s more of a conventional horror movie, (one without the camera as a character) with lots of constant suspense, shocks and boos. But the story itself lacked much humour, sympathy for the characters, or surprising plot turns… and it didn’t quite make sense to me. It was just a lot of panicky people screaming and shouting as they run around, randomly chased and knocked off (as tends to happen in horror movies) by mysterious, and possibly zombie-like bad guys. Yes, it’s scary, but it’s not as scary as Paranormal Activity.
(I saw this one at last year’s TIFF, and it’s just delightful.)
It’s Victorian London, and earnest and handsome young Dr Granville (Hugh Dancy) is trying without luck to help people stay clean and healthy while remaining loyal to the ideals of Lister, and modern medicine. He is hired by a psychiatrist, Dr Dalyrimple, who gives special treatments to rich, society women suffering from the blanket ailment “hysteria”. Women who were designated frigid, or nymphomaniacal, or moody, or argumentative – well, they’re all “hysterical”, so the problem must be in their uterus (and hysterectomies were sometimes considered a “cure”). Treatment consists of manual genital massages behind discretely mounted miniature red velvet curtains.
He’s engages to marry the Dalyrimple’s porcelain-skinned but conservative daughter Emily (Felicity Jones); she’s a pianist and an phrenologist: Oh, Dr Granville, your thrombus is rigid and jutting! she says after feeling the bumps on his head. But he always seems to be in arguments with the fiery Charlotte (Maggie Gyllenhall) a suffragette and social worker who runs a settlement house in the impoverished East End. And poor Granville might lose his job because of the repetitive stress injury in his right hand. But, together with his gay-ish best friend and steampunk inventor (Rupert Everett) he just might have the solution to eveyone’s problems– a new machine that may permanently cure hysteria.
I was expecting nothing from a movie about the invention of the vibrator, but it was a real treat – a romance, a comedy, an historical drama, an old-fashioned Hollywood-style movie, along with a taboo twist. I think this is a great movie!
This movie was the surprise winner of the people’s choice award at last years’ Toronto Film Festival, and Director and star Labaki was the first woman to win it.
The movie takes place in a small village, a town divided equally between Muslims and Catholics. It’s surrounded by landmines, and all too often, people get shot or blown up. Up at the top of a hill is the graveyard where women dressed in black from both sides meet to bury the dead. The town itself is peaceful, and after some brave kids weather the landmines to set up an antenna, the mayor declares it’s TV night in the town square, and everyone gathers to watch the blurry movie.
The danger, though, is that the fragile peace will break, and the men will start killing each other again in reprisals. So the women of the village formulate a plan: anytime news about violence reaches the village, they will hide it or distract the men. Gradually — with the cooperation of the Priest and the Imam — their plans escalate and their schemes get more and more elaborate. They stage religious miracles, and even secretly bring in Eastern European strippers – anything to hide the fact that someone in the village was killed in an incident.
Will it work? Can they create an island of piece in turbulent Lebanon? And will their final, shocking surprise serve to jolt the men away from their never-ending violence?
I thought the movie has an extremely slow beginning, with a low-budget, handmade feel to it. Not promising at all. But the pace picks up and gets much better in the second half. And the ending is just great – clever and imaginative, leaving you with a much better feeling.
Chernobyl Diaries, Hysteria, and Where Do We Go Now open this weekend in Toronto, check your local listings, and Toronto’s Inside Out LGBT Festival continues through Sunday: go to insideout.ca for more info.
This is Daniel Garber at the Movies each Friday morning on CIUT 89.5 FM, with podcasts and complete reviews available on my web site CulturalMining. com.
March 2, 2012. Daniel Garber interviews Julia Ivanova about her documentary Family Portrait in Black and White
Julia Ivanova’s moving documentary, Family Portrait in Black and White (now playing) deals with a foster mom in a tiny Ukraine village who takes care of dozens of mixed-race children who were abandoned by their parents. The kids face ostracism by some racists, but stick together, forming a tight family with the woman they call Mom. But some of the children bristle at her strict, Stalinist ways, and her refusal to give up the kids to wealthy western Europeans looking for children to adopt. Will the generation gap pull this family apart?