Daniel Garber talks with producer Robert Lantos about The Song of Names

Posted in 1940s, 1970s, Holocaust, Hungary, Judaism, Mental Illness, Morality, Movies, Music, Mystery, Poland, Religion, UK, US by CulturalMining.com on December 13, 2019

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

Photo of Robert Lantos by Jeff Harris.

Martin is an aspiring youg musician, the only son of a concert impresario in prewar London. Then Dovidl, a Jewish-Polish boy his age – who is also a violin prodigy – is left in the care of his family. As war rages across Europe, the two boys grow up together, first as rivals, best friends and almost like brothers. Then, on the evening of his solo debut in a sold out concert, Dovidl just disappears. Where has he gone, Is he living or dead, will Martin ever see him again, and what is this “Song of Names” that may be the reason behind his disappearance?

The Song of Names is the title of a new film that looks at identity, family, friendship, memory, and mourning. It’s directed by Francois Girard, stars Tim Roth and Clive Owen, and its producer is Robert Lantos.

Robert Lantos is one of Canada’s most famous producers – he founded and ran Alliance Communications and later Serendipity Point Films. His production credits are a veritable history of Canadian cinema: Atom Egoyan’s Exotica and The Sweet Hereafter; David Cronenberg’s Eastern Promises; Jeremy Podeswa’s Fugitive Pieces, Istvan Szabo’s Sunshine; an adaptation of Mordechai Richler’s Barney’s Version, among many many others.

I spoke with Robert Lantos in studio at CIUT 89.5 FM.

The Song of Names opens in Toronto, Montreal and Vancouver on Christmas Day.

Daniel Garber talks with Toronto filmmaker Erin Berry about Majic, premiering at B.I.T.S.!

Posted in 1950s, 2000s, Conspiracy Theory, Internet, Mental Illness, Movies, Politics, Psychological Thriller, Republican Party, Secrets, US by CulturalMining.com on November 22, 2019

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

It’s 2008. Pippa Bernwood is a skeptical Vlogger who posts her views on youtube. She’s there to counter all the crazy conspiracy theories that pop up. She wants truth backed by evidence. But her world is turned upside down when a crazy old man named Anderson approaches her with an outlandish theory… and his theory turns out to be true. Now she’s in a quandary. Go with her gut, or believe the new story? Is it a vast conspiracy involving aliens, the government and secret societies? Or is it all smoke and mirrors, just a bit of birthday party “Majic”?

Majic is also the name of a new film about a secretive project called Majestic 12. It’s a combination mystery, sci-fi and conspiracy- theory thriller, all in one.

Majic is co-written and directed by Toronto-based filmmaker Erin Berry, his third feature, and the first made by his production company, Banned for Life.

I spoke with Erin in studio at CIUT 89.5 FM.

Majic has its Canadian premier Sunday, 4:30 pm at the Royal Cinema at the Blood in the Snow Film Festival.

Birth, Death, Birth. Films reviewed: Dead Dicks, In Safe Hands, The Report

Posted in Adoption, Bipolar, Canada, Family, France, Horror, Politics, Suspense, Suspicion, Terrorism, Torture, US by CulturalMining.com on November 15, 2019

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

Fall festival season continues in Toronto, with ReelAsian ending tonight and the EU Film Fest still going strong. Coming soon are Blood in the Snow (aka BITS), featuring Canadian Horror and Genre movies, and CineFranco with French language movies, from Canada and around the world.

This week I’m looking at three movies, two about births and two about deaths. We’ve got mysterious rebirths wanted by no one, a newborn infant wanted by everyone, and a horrifying CIA program they want no one to know anything about.

Dead Dicks

Wri/Dir: Chris Bavota, Lee Paula Springer

Becca (Jillian Harris) is a young bartender who works downtown. But much of her time is filled with taking care of her big brother Richie (Heston Horwin). Richie is a depressed artist with anger issues given to playing music full blast while scribbling in his sketchbook. When there parents died he served as the adult in the family, but now the roles are reversed. She’s forced to deal with his angry neighbours and make sure he takes his meds. So when she she is called away from her job by frantic texts, she thinks this is just another one of Richie’s episodes. But it’s not.

She arrives to see an apartment in disarray, with a huge mouldy patch formed above his bed, and Richie wandering around naked, in a daze. His brain feels fuzzy he says. Turns out he killed himself just a few minutes before. And almost immediately expelled, fully grown, through a hole in the wall. But the dead body he left behind is still there, hanging in the closet. And another one in the bathtub, and another one in the kitchen. Living Richie is surrounded by all the dead Dicks from his repeated suicide attempts. He’s experimenting, he says.

But that leaves Richie and Becka with a pile of dead Dicks to get rid of, a mysterious birth canal on his wall and an angry neighbour (Matt Keyes) who could get them arrested by threatening to call the cops. What is causing all these rebirths? What does it mean? And what are the unanticipated consequences?

Dead Dicks is a bizarre, low budget film, part horror, part mystery, part comedy. The film does not encourage death by suicide. Rather, It deals with issues of family and mental illness, within a weird fantasy setting. It manages to be grotesque and gruesome, with very few special effects, and an absurd humorous streak running through it.

In Safe Hands (Pupille)

Dir: Jeanne Herry

It’s present-day Brest, in French Brittany.

A young woman arrives at a hospital in labour. She’s a college student and says the pregnancy is the result of a one-night stand, and says she doesn’t want the baby. This starts a dozen gears spinning into action, notifying dozens of doctors, nurses, psychiatrists, midwives, social workers, foster parents, and adoption agencies. And little Theo, the baby, is the centre of attention. He is transferred to an incubator, with lots of faces peering down at him. But can his lack of contact with his birth mother damage him for life? Or will a concerted effort place this baby into safe loving hands?

In Safe Hands is mainly a dramatization of the process of birth and adoption, but there are a few interestingside plots along the way. Jean (Gilles Lellouche) is a married dad who takes care ofhis own daughter and two troubled foster boys who takes care of Theo as he awaits adoption. Karine (Sandine Kiberlain) works for the adoption and fostering program and has a thing for Jean… but will an affair upset the adoption process? Alice Langlois (Élodie Bouchez) is single and works describing action at live plays for the visually impaired. She applied for adoption when she was attached. A social worker is concerned both for the privacy of the birth mother and of the baby who might one day wish to get in contact with her. And many, many others, all centred around a wordless, Yodalike baby who seems to take everything in. It was interesting from a parenting and adoption point of view, exposing all the hidden parts of the mechanism of adoption, but isn’t very satisfying as a dramatic or romantic movie, more just as an educational docudrama, as acted by famous French movie stars.

The Report

Wri/Dir: Scott Z. Burns

It’s post 9-11 Washington, DC.

Dan Jones (Adam Driver) is a young college grad appointed to a group to write a bipartisan internal report on the CIA for the Senate Intelligence Committee. The committee is headed b Sen. Diane Feinstein (Annette Bening). Dan is locked up in a dark basement in a nameless bureaucratic and told to find out what the CIA has done since 9/11. It turns out their practices, supposedly enacted to stop terrorism, were immoral, illegal and of no value whatsoever for intelligence. Specifically, he uncovers the practice of “enhanced interrogation techniques,” a policy previously known as torture and banned by the Geneva Convention.

They were under the direction of two psychologists, James Mitchell and John Bruce Jessen (Douglas Hodge and T Ryder Smith) working on contract with no experience in interrogation. They stripped prisoners naked, chained them to walls, waterboarded them and nailed them – live – into wooden coffins, covering their skin with crawling insects. The torture yielded no intel, yet was repeated for many years in blacksites around the world.

Dan outlines these heinous war crimes in a long report to the committee, shocking senators by its findings. But instead of offering support and investgating their own lawbreakers, the CIA initiates a coverup, threatening Dan himself with jail time if he releases his findings. And the CIA sends operatives to spy on the Senate itself in order to coverup the findings. Will Dan Jones’s report ever see the light of day? And will the war criminals be punished?

The Report is a good political drama about the illegal use of torture by the CIA, but a thriller it’s not. It incorporates elements of All the President’s Men, and is nicely shot with lots of fluorescent lights and stark, brutalist architecture. Driver is great as the persistent policy geek, with an understated Bening as a veteran Senator. Warning: there are a few highly disturbing reenactments of the torture itself, which are extremely hard to watch. Much more common are the reenactments of the culprits – John Yoo, Jose Rodrigues, John Brennan (Ted Levine), Cheney, and the psychologists – war criminals who leave a very bad taste in one’s mouth.

I liked this one.

Dead Dicks will be playing at Blood in the Snow, In Safe Hands at Cinefranco, and The Report at the Tiff Bell Lightbox all starting one week from today.

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 Jennifer Deschamps about her documentary Inside Lehman Brothers

Posted in Corruption, Crime, documentary, Economics, France, Suspicion, US, Wall Street, Women by CulturalMining.com on August 23, 2019

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

It’s 2008, and Lehman Brothers, one of the world’s biggest investment banks, is riding high on the hog. With assets in the trillions, it has pioneered innovative financial products like marketing subprime loans to people who can’t otherwise afford a mortgage. And its top execs are pocketing huge amounts of cash… that is, until it all came tumbling down, plunging the world into an economic crisis. Everyone seemed surprised, except some insiders at Lehman Brothers… who saw it coming a mile away.

Inside Lehmann Brothers is a new documentary about the criminal activities of the financial sector that helped being about the Wall Street crash of 2008. It’s told through the eyes of the insiders, accountants, salespeople, auditors and underwriters whose warnings were ignored by both the company and by government regulators. It’s co-written and directed by noted Paris-based filmmaker and journalist Jennifer Deschamps, who has created films on topics ranging from Scientology to the Sub-Prime economic crisis.

I spoke to Jennifer Deschamps in the south of France, via telephone at CIUT 89.5 FM in Toronto.

Inside Lehman Brothers plays on Sunday, Aug 25th on Documentary Channel.

Daniel Garber talks with immigration attorney Judy Wood about the new biopic Saint Judy

Posted in 2000s, Biopic, Drama, L.A., Migrants, Movies, Refugees, Resistance, Trial, US, violence, Women by CulturalMining.com on June 14, 2019

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

It’s the early 2000s in L.A. Judy Wood (Michelle Monaghan), an immigration lawyer and single mom, discovers a shocking case. A young woman – a school teacher who defied Taliban oppression in Afghanistan – is incarcerated in California awaiting deportation. But sending her back to her home village would be like a death sentence. Why isn’t she considered a refugee? Trouble is women are not a minority group, and her religion, language and nationality – Muslim and Pashtun – are the same as her oppressors. Which means she’s not a “persecuted minority” and doesn’t qualify for asylum. What can she do?

Saint Judy is a new biopic based on real events that tells the story of this important trial. It centres on Judy Wood, an immigration lawyer – still practising in LA – who changed the Law of Asylum.

I spoke to Judy in Los Angeles via telephone from CIUT 89.5 FM in Toronto.

Saint Judy has its Canadian Premier on Thursday, June 20 in Oakville, and its Toronto VOD launch on Friday, June 21 at the Revue Cinema in a benefit for Sistering.  Judy Wood will appear in panel discussionsat both screenings.

Tagged with: , ,

“What is Democracy?” Daniel Garber talks with Astra Taylor about her new documentary

Posted in documentary, Economics, Greece, Interview, Italy, Morality, Movies, Philosophy, Politics, Poverty, Protest, US by CulturalMining.com on November 9, 2018

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

Photos by Jeff Harris

Is democracy justice or is it freedom? And if it’s freedom, is it freedom to think and say what you want, or is it freedom from hunger, poverty, and homelessness? Or is it just choosing which political party to vote for once every four years?

Should democracy just exist inside a nation, or should it extend across borders? Is majority rule fair and equal?

What is democracy, anyway?

A new documentary poses just that question to intellectuals and the hoi polloi in America and across the Atlantic. It talks to barbers and doctors, students and politicians, in legislatures and at Trump rallies, to try to determine what democracy actually is.

It’s called What Is Democracy and is written and directed by noted documentary filmmaker Astra Taylor, whose works include Examined Life and Zizek!

What is Democracy had its world premier at #TIFF18.

I spoke with Astra Taylor at NFB’s Toronto headquarters during TIFF. Her film is opening soon.

Questioning Authority. Films reviewed: Empty Metal, The Oath, The Happy Prince

Posted in 1800s, Biopic, comedy, France, Indigenous, LGBT, Politics, Protest, Resistance, Supernatural, UK, US by CulturalMining.com on October 19, 2018

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

Toronto’s Fall Film Festival season continues with Imaginenative, in its 20th year. Imaginenative looks at indigenous film and media arts on the big screen and in galleries. There are scary movies, docs, short films, video games VR, and lectures. Look out for Alanis Obomsawin, a retrospective of Métis director Marjorie Beaucage, CBC’s Rosanna Deerchild on Colton Boushie, and Oscar winner Zacharias Kunuk’s latest. There are dozens of things to see and do, from North America and around the world, and many of them are free.

This week I’m looking at three new movies about people who question authority. There’s a writer in exile for breaking a law, an American in trouble for ignoring a law, and indigenous revolutionaries fighting the law… using telepathic powers!

Empty Metal

Wri/Dir: Adam Khalil, Bayley Sweitzer

It’s present day America, where native protesters face rows of armed state troopers. Aliens, a three member electropunk band in Brooklyn, are obsessed by the upcoming apocalypse, and sad they might miss the end of the world. So when they are approached by a young indigenous activist on their first band tour, they are wary, but intrigued by what she offers them. She says they can play a crucial role in the upcoming collapse of everything… but they will have to communicate telepathically. She is advised by three elders – a Zen like white man with a shaved head, a white bearded Rastafarian, and a matronly indigenous activist – who plot the group’s future. Meanwhile, a posse of white, NRA militiamen are training in the woods for their own armed insurrection. And observing – and listening to – everything are unseen government intellegence agents using drones and cellphone listening devices. Who will survive this never ending battle between surveillance and subversion? And why are these people body worshipping a wild boar and opening umbrellas on sunny days?

Empty Metal is a strange and disjointed but ultimately satisfying look at music, art and politics. Some of the images are baffling – what’s with the frying eggyolks and stirring soup? But what seems at first like a series of unrelated events and bizarre practices gradually coalesces into a coherent narrative. It ends up as a cool, if unusual, arthouse espionage drama.

And it’s having it’s Canadian premier at ImageineNative.

The Oath

Wri/Dir: Ike Barinholtz

Chris and Kai (Barinholtz and Tiffany Haddish) are a middle class liberal couple hosting a big Thanksgiving dinner for all of Chris’s family. Since he’s known for his outspoken views, Kai makes him promise to stay away from political discussions. But his vows all evaporate when his little brother’s girlfriend Abbie (Meredith Hagner) shows up. She’s a poster child for Fox News views and doesn’t care who knows it. Get ready for big fights over turkey. But there’s a bigger issue splitting the family – and the country – apart. That’s an oath the president declares all citizens must sign, affirming their loyalty and patriotism. And the deadline for signing is Black Friday, the day after Thanksgiving. Who has signed the oath and who has stood firm? And what will happen to people who refuse to sign?

Things take a turn for the worse when quasi-official government agents show up to enforce the new law. Peter (John Cho), is a reasonable guy, but his partner Mason (Billy Magnussen) is another story. He’s a rude, crude pit bull, longing for a fight. And he’s carrying a gun. When things violent can Chris keep his family safe? Or are they headed for disaster?

The Oath is a dark comedy about life in a divided America under a Trump-like president (they never say his name). It’s also a look at masculinity, with Chris changing from a mansplaining but progressive white guy to a stand-your-ground defender of family and home. Basically a drawing room comedy, it deals with stereotypes and politics, in a funny, though violent, way.

I liked this movie.

The Happy Prince

Wri/Dir: Rupert Everett

It’s the 1890s. Oscar Wilde (Rupert Everett) is a London playright and novelist at the height of his career, rich, famous and wildly popular. He has a happy life at home with his wife (Emily Watson) and two young sons, whom he loves to tell bedtime stories. He’s also gay, a felony at that time. His love affair with an aristocrat, Bosie Douglas lands him in the notorious Reading Jail for two years hard labour. And his career, reputation and homelife disappear overnight. Now he’s in France under an assumed name, living off a tiny allowance. His affairs are handled by a former lover named Robbie Ross. Robbie (Edwin Thomas) is still deeply in love with Oscar Wilde, but thewriter still carries a torch for the diffident Bosie, the cause of all his problems. And when Bosie  (Colin Morgan: Merlin) shows up again, things start to go wrong. Will Oscar Wilde die lonely and neglected in Paris or living life to its fullest?

The Happy Prince is a look at the last years of Oscar Wilde’s life, but is also a fascinating glimpse of the marginal nature of gay life nearly a century before it was legalized in the U.K.. Though solidly upper class, Oscar spends time with beggars, thieves, sailors, street urchins and drag queens. Or running away from bigoted cricketers armed with lead pipes. Rupert Everett plays Oscar – in excellent French and English — as a tragicomic figure, whether witty and urbane, or rude and lusty.

This movie is a lot of fun.

The Oath, The Happy Prince both open today in Toronto; check your local listings. Empty Metal is playing tonight go to Imaginenative.org 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 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.

Western-ish. Films reviewed: Lucky, Hostiles, Sweet Country

Posted in 1800s, 1920s, Australia, Indigenous, Movies, Music, US, violence, Western, Wilderness by CulturalMining.com on October 6, 2017

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

If the western seems like an old, tired genre to you, there are some new movies you should take a look at. They reinvent the western by changing key elements and points of view.

This week I’m looking at three new movies that are westerns (or at least western-ish). There’s justice in the outback, a northbound trail, and a lonesome cowboy in the great southwest.

Lucky

Dir: John Carroll Lynch

Lucky (Harry Dean Stanton) is a very lucky man. He’s 89 years old, smokes a pack a day, lives on milk, coffee and bloody mary’s – and not much else – and is still in perfect health. He’s a crotchety old coot who wears cowboy boots and a straw hat. He lives alone in a small town in the great southwest, amidst giant Seguara cacti and hundred-year-old tortoises. He likes yoga calisthenics, mariachi and crossword puzzles. He hangs out at the local diner by day and at the corner bar at night. So why is Lucky so sad?

The other day he fell in his kitchen for no reason. His doctor says that’s just what happens when you’re old. This makes Lucky reexamine his long-held attitudes and his stubborn ways. But can you teach an old dog new tricks?

Lucky is a nice and gentle look at an old cowboy in a multi racial southwestern town. It’s an arthouse film, full of music, stories, and funny, quirky characters, (played by David Lynch, Tom Skerrit and others.) It also functions as a tribute to Harry Dean Stanton himself, who plays the music and provides the backstories for the anecdotes Lucky tells. Stanton died earlier this year, but the film is less of an epitaph than a wry celebration of his life.

I like this movie.

Hostiles

Wri/Dir: Scott Cooper

It’s the 1890s in New Mexico. The Indians have all been killed or jailed under an army led by Captain Blocker (Christian Bale). Blocker is widely known for his fighting prowess and his cruelty – they say he’s scalped more natives than anyone. So he’s surprised when the President himself orders him to protect and accompany his sworn enemy on a trip to Montana. Blocker fought and jailed Cheyenne Chief Yellow Hawk (Wes Studi) a decade earlier. But now the Chief is dying of cancer and wants to be buried in his ancestral lands. Blocker sets off with the Chief, his family and a squad of soldiers. On the way they meet Rosalie (Rosamund Pike) a dazed mother still holding a dead baby to her breast. Her entire family was wiped out in a Comanche raid a few days earlier. She joins the group. The Chief offers to help them fight the Comanche but Blocker doesn’t trust him – he keeps him shackled to his horse. Is the enemy of his enemy his friend? But as the soldiers travel ever northward they begin to understand their captives, and overcome the fear, bigotry and hatred that killed so many.

Hostiles is a good, traditional western, shot against breathtaking scenery. It’s a bit slow, and there are way too many long-winded apologies as each character asks for forgiveness when he confesses his crimes. (One dramatic mea culpa would have been enough.) Though told from the white point of view, it is sympathetic toward the plight of First Nations. It satisfies as a Western with the horseback riding, shoot-outs and lots of dramatic tension. And Christian Bale makes a great silent soldier who sees the light.

Sweet Country

Dir: Warwick Thonrton

It’s 1929 in Northern Territory, Australia with three homesteads not far from a small town. They’re owned by whites, but worked by aboriginal families. Sam (Hamilton Morris) works for a kindly preacher (Sam Neill); Cattleman Archie (Gibson John) is indigenous but comes from far away. And mixed-race kid Philomac (Tremayne Doolan) lives near — but not with — his white father.

In comes Harry March, a deranged WWI veteran demanding some “black stock” – how he describes aboriginal workers — to repair a fence. Sam and his family volunteer, but March gives them no food or money for their work, and then sexually assaults Sam’s wife.

They flee back to the preacher’s house, pursued by March, armed and dangerous. Sam defends himself but ends up killing March, a white man (as secretly witnessed by Philomac). So Sam and his wife flee into the bush pursued by a posse that includes Sergeant Fletcher (Bryan Brown) and Archie as their guide.  The sergeant is the de facto law in these parts and plans to lynch Sam whenever he finds him. But things changes when Sam ends up saving the Sergeant’s  life and turning himself in. Then an actual judge shows up to conduct the trial. But can an Aboriginal man receive justice in a white, frontier town?

Sweet Country is an excellent western set in 20th century Australia. It gives a raw and realistic look at brutal racism and frontier justice. It’s also a subtle examination of identity, and the uneasy give-and-take among the different aboriginal groups, the white settlers and their mixed race descendents.

I recommend this movie.

Sweet Country won the Platform Prize at TIFF and the Special Jury Prize at Venice.

Lucky starts today in Toronto, check your local listings, with Hostiles opening later on. You can catch Sweet Country on Thursday, Oct 19th at the Imaginenative film festival. Go to Imaginenative.org for show times and tickets.

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

Heads up! Films reviewed: Keepers of the Game, Mansfield 66/67, City of Tiny Lights

Posted in Canada, documentary, First Nations, Hollywood, Indigenous, Mystery, UK, US by CulturalMining.com on June 2, 2017

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

Toronto’s film festivals continue with Inside Out and Canada’s Sport Film Fest. This week, I’m looking at two documentaries and a noir drama. There’s a Mohawk lacrosse team keeping traditions relevant, a Hollywood star keeping her mystique afloat, and a private eye in London just trying to stay alive.

Keepers of the Game

Dir: Judd Ehrlich

The Akwesasne Mohawk territory straddles the US/Canadian border that runs between New York and Ontario. 20 years ago there was widespread discord among the longhouses. So to calm the waters, they started a boy’s lacrosse team to compete in the local high school division, off reserve. The idea was to bring back self-respect using a traditional custom. Lacrosse is a precolumbian warlike sport used by the Mohawk and other Iroquois long before Europeans came to North America. Hundreds, or even thousands of men would play the game together on open fields. It shows valour, strength and offers thanks to the creator.

Flash forward to the present. High school girls are facing the same problems – bullying, depression, suicide – as the boys did, but without the traditional sport outlet. They need a medicine to cure their ills. So they decide to start a girls team, using lacrosse as a traditional Mohawk medicine. But they face opposition from all sides. Awkesasne men say they are defying tradition by letting girls play a boys sport and want it stopped. The school board is facing cutbacks, so the are against funding a new team… especially one for girls. And the players themselves are afraid they lack the confidence and experience to win. Even so, they manage to raise the money and recruit the players to have a regionally competitive team. But can they beat their rivals  — a mainly white team who use a feathered native cartoon as their team mascot?

This documentary is a record of one season of a real-life team and the obstacles they face, on and off the field. It shows the role traditional customs can play in a modern sport. Players design their own war paint as they compete for the first time, even as mothers and grandmothers pass on language and rituals. It’s about young aboriginal women who gain self respect as they reclaim a sport their own ancestors created. It’s an inspiring story.

Mansfield 66/67

Dir: P. David Ebersole, Todd Hughes

Jayne Mansfield was a bleach blonde bombshell in the 1950s, who lived on publicity. She was known for her whispery voice, her highpitched squeals, and personality – that of a naïve, dumb blonde seemingly unaware of her sexiness, even as she posed for playboy and appeared naked on the big screen. In fact, her persona was self-created and nurtured by the Hollywood studios, and fed by the tabloids paparazzi and gossip rags who lived in her stories. She married Mickey Hargitay, a body-builder, to complement her own figure. And she lived in a pink mansion, legendary in Hollywood for its 45 rooms. But did you know she was a multilingual musician, and a student at a top university? Sadly, her movie career faltered in the 1960s, and  she began to follow another celebrity, a man named Anton LaVay. LaVay was known for his shaved head, his black goatee and his sinister but commanding looks. He founded a new religion — The Church of Satan. And not long after, her life was suddenly cut short in a terrible accident that totalled her car and chopped off the top of her head. Those are the bare facts. But what really happened to Jayne Mansfield?

You could call Mansfield 66/67 a documentary, but that might give you the wrong idea. It’s actually a highly stylized tribute to — and desconstruction of – a Hollywood legend. There are the usual talking heads  — from gender studies professors, to stars like Tippi Hedron and starlets like Mamie van Doren. But there are also underground icons, eighties pop stars, models, drag queens, and the chronicler of Hollywood himself, Kenneth Anger.

This is not your usual bio doc. What other documentary creates a cutesy cartoon of Mansfields son being mauled by a lion? Or intricately choreographed dancers of both sexes wearing matching blonde wigs as they worshipped  the devil in Busby Berkeley-like formations? This is a strange combination of film lore, academic analysis, hollywood gossip, and extremely campy performance art.

City of Tiny Lights

Dir: Pete Travis

Tommy (Riz Ahmed) is a private detective who lives and works in an ungentrified part of London. It’s a neighbourhood in flux, full of nervous shopkeepers and streetcorner drug dealers, radical imams, and sketchy real estate speculators. His dad (Roshan Seth) is a die-hard Briton whose life is guided by Charles Dickens and Cricket. As a South Asian Ugandan he was forced to flee under dictator Idi Amin. One day a sultry sex worker named Melody (Cush Jumbo) hires him to look for her friend Natasha. She hasn’t seen her since her last trick 8 hours earlier and doesn’t answer her cel. But when he searches her hotel room he finds a dead body, not Natasha. It’s a real estate broker involved in a major development. He also discovers the dead man gave money to an Islamic youth group known for driving drug dealers off their streets, led by a radical Muslim preacher. Lurking in the shadows is a sketchy security spook working for the US government. And it is all somehow related to his boyhood, a friend named Lovely, and woman named Shell. Who is behind the murders and disappearances? Organized crime, terrorists, corrupt developers or American spies?

City of Tiny Lights is a well-acted, low budget look at a private detective in contemporary London. Some of the camera work is annoying and gimmicky – like cheap 90s TV — that distracts from the story. I was also confused by frequent flashbacks — the young actors look nothing like their adult counterparts. But I liked the complex, multi-levelled mystery and the acting is terrific.

Mansfield 66/67 is one of many films at Toronto’s Inside Out Film Festival which continues through Sunday; Keepers of the Game is the opening night feature at the ninth annual Canada’s Sport Film Festival, beginning next Friday. Tickets and showtimes are at sportfilmfestival.ca. City of Tiny Lights opens today in Toronto, as does Ken Finkleman’s satiric comedy An American Dream: The Education of William Bowman (I talked about this film in March). 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

%d bloggers like this: