Daniel Garber talks with director Boris Ivanov and activist Justin Romanov about Putin’s Blacklist

Posted in Cultural Mining, documentary, LGBT, Movies, Politics, Protest, Russia by CulturalMining.com on October 27, 2017

Boris Ivanov (l), Justin Romanov (r)

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

Since Donald Trump was elected US President we hear new news stories each day about possible Russian involvement in that election. But rarely do we hear anything about Russian politics, it’s government and Russian President Vladimir Putin. Why is he so popular? What are his politics? Who opposes him? And what does it mean to be on Putin’s blacklist?

On Putin’s Blacklist is a new documentary that tries to make sense of it all. It looks at diverse topics like the politicization of the foreign adoption of Russian orphans; political dissidents, propaganda, nationalism and LGBT rights. Using extensive media clips, new political commentary and documentary footage, On Putin’s Blacklist provides an insider’s look at Russia today. The film is written and directed by award-winning filmmaker Boris Ivanov. It features Justin Romanov, the well-known Russian-Canadian LGBT activist.

I spoke with Boris and Justin in studio at CIUT 89.5 FM.

On Putin’s Blacklist is now playing in Toronto.

Made for the Big Screen. Films reviewed: Suburbicon, Human Flow, Faces Places

Posted in 1950s, Anthropology, Art, Clash of Cultures, Crime, documentary, France, Migrants, Refugees, Rural, Suburbs, War by CulturalMining.com on October 27, 2017

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

Do you find it hard to keep up with all these Fall Film Festivals? Here’s some coming in November whose names are nearly self-explanatory: EstDocs shows documentaries from Estonia – This year is Estonia’s 100th anniversary since it first declared itself a republic. ReelAsian is one of Toronto’s biggest festivals, showing features from East and South Asia and their diasporas. And guess what Black Star shows? It’s a curated series of classics at TIFF featuring black movie stars: Dorothy Dandridge in Carmen Jones, Sidney Poitier in In The Heat of the Night, and Denzel Washington in Malcolm X.

This week I’m looking at some movies — a thriller and two art documentaries – with strong visual elements that deserve to be seen on the big screen. These films are about migrating across continents, driving across France… or just staying put in the suburbs,

Suburbicon

Dir: George Clooney

It’s the late 50s in a cookie-cutter suburb. Nicky (Noah Jupe) is a twelve year old boy who lives with his mom and dad in a middleclass, white, Episcopalian home. His father, Mr Gardner (Matt Damon) works at a middle management office job, while his mom (Julianne Moore) stays at home. She uses a wheelchair to get around since she was almost killed in a car accident a year earlier. Her sister (also played by Juliane Moore) helps out around the house. Life is bland, suburban and normal.

Then two big things happen.

First, a middle class black family moves into the house behind theirs. This makes Nicky happy because they have a son his age– someone he can play baseball with. His all-white neighbours, though, didn’t like it one bit, and try to intimidate them into moving away. The second thing is a home invasion by a pair of lowlife criminals. They tie up the family to chairs at the dinner table and knock them out with ether. And when Nicky wakes up, his mom is dead and the killers are gone. Stranger still, his aunt quickly moves in to take her place and dyes her hair to look exactly like his real mom. What’s going on?

Then things get worse. White violence scalates against their new black neighbours escalates. A detective visits Gardner at his office investigating his wife’s murder. He’s suspicious. So is an insurance investigator. Then the killers themselves show up again making new demands. What do they want from him? When Nicky catches his Dad and his fake-mom in a compromising position on the pingpong table he realizes something is very wrong.

Suburbicon is a zany — but violent – mystery/thriller that looks at the dark side of a 1950s suburb, as seen through the eyes of a little boy. It also deals with segregation, but that’s really just a subplot — an attempt to give it relevance. It’s written by Joel and Ethan Coen, with the usual over-the-top violence and absurdist comedy, but it doesn’t feel like a Coen Brothers movie. This is George Clooney’s work. Aesthetically, it’s amazing, with incredible art direction that brings to life a stylized version of suburban America.

It’s a fun story, but that’s all it is — entertaining fluff.

Human Flow

Dir: Ai Weiwei

Millions of people around the world are housed temporarily in makeshift shelters. These refugees flee their homes or villages in fear for their lives. Many more are migrating across borders looking for a place to call home, now that war or famine or poverty has made their previous homes uninhabitable. This human flow, these crowds of people risk their lives qs they walk through deserts, through fields and cities, crossing oceans in leaky boats, as they search for sanctuary.

This movie follows refugees and migrants around the world: Rohingya in Bangladesh, Syrians walking through Europe, central Americans climbing those walls at the US/Mexican border. It takes us to Gaza, Kenya, Afghanistan, Turkey and Hungary, looking at how these people fare in unwelcoming environs.

Human Flow is huge, epic in scope and very long for a documentary – almost 2 ½ hours. It takes you to different locations without any narrative or order, punctuated with poetic quotes and info scrolling across the screen. There are some exciting parts — like the rescue of migrants in boats on the Mediterranean – but much of the film has a constant “flow”, just drifting to scene after scene. Ai Weiwei is primarily an artist so the filming is gorgeous and grandiose. It uses drone shots looking down from way, way up in the air where refugee camps look like tiny white pills arranged in neat rows. Then it zooms down, until you gradually see what looks like ants and then finally, real people with faces. Human Flow is visually stunning and informative.

I just wish it were an hour shorter.

Faces Places (Visages Villages)

Wri/Dir: Agnes Varda and JR

Agnes Varda is the Belgian-born artist and filmmaker who rose to fame in the French New Wave. JR is a contemporary artist known for his postering. He plasters his work — giant-sized, black and white paper photos – onto outdoor walls. Together they travel across France taking pictures of ordinary people they meet on their way: a coal miners daughter, a waitress, a farmer, and a woman who raises goats. They also pay homage to important figures from Agnes’s past: a man who modeled for her on the beach, the grave of photographer Cartier-Bressson, and Jean-Luc Godard’s home.

They make strange pair. Agnes is short, with a pageboy haircut, her white hair partly dyed with a red halo around the fringe. She’s 88. JR is tall and lanky. He won’t reveal his real name and keeps his face disguised with a fedora and dark glasses. He’s 33. They travel in JR’s little truck that has the image of a camera lens on the side. It functions as a photobooth that prints out the huge paper photos he take. And Agnes films it all, recording the process and people’s honest reactions to JRs art. The posters might wash off of walls by the next high tide , but they will remain longer on film.

Faces Places is a delightful personal documentary about art and photography, both still and in motion.  It shows us the transience of people and images.

Human Flow is now playing, and Suburbicon and Faces, Places 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.

Runaways. Films reviewed: Across the Waters, Wonderstruck

Posted in 1920s, 1940s, 1970s, Denmark, Fantasy, Jazz, Kids, Manhattan, Movies, Nazi, WWII by CulturalMining.com on October 20, 2017

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

Film Festival season continues in Toronto. Planet in Focus is an environmental film festival that bring eco heroes – like astronaut Roberta Bondar – to Toronto along with amazing documentaries from around the world. Everything from a grocery co-op in Brooklyn to a plastic recycling plant in Shandong, China to Genetically Modified Organisms, which are, well, everywhere. Go to Planetinfocus.org for more information.

ImagineNative is indigenous films and media arts, including an art crawl around the city, a wall is a screen, and many workshops, breakfasts and events. It has scary movies, westerns, docs, dramas, animation and so much more. Go to imaginenative.org for details.

This week I’m looking at two movies about people running away. One has a boy and a girl running away to New York City to find family. And the other has a father fleeing Copenhagen to save his family.

Across the Waters

Dir: Nicolo Donato (Brotherhood)

It’s 1943, in German-occupied Copenhagen. It’s an uneasy peace, but because of an agreement the Germans leave the Danes alone. Arne (David Dencik) is a guitarist in a jazz band. He is passionately in love with his wife Miriam (Danica Curcic) and they spend all their free time having sex. But only after they put their 6 year old son to bed. Jacob (Anton Dalgård Guleryüz) likes listening to Danish poems and playing with his teddy bear. Everything is going fine – no need to worry about the Nazis; this is Denmark, not Poland. Until that knock on the door comes one night – the Germans are coming! Run! Now!

The family is Jewish and the Nazis are there to take them away.

There’s only one way to escape; and that’s by boat to neutral Sweden. But how? They make their way north to a small port called Gilleleje, where they hear the fisherman are helping people across the sea. But when they get there things aren’t as good as they hoped.

One fisherman named Kaj is demanding high fares. But Arne and Miriam are nearly broke. There are way too many refugees in the town to keep them a secret from the Nazis. While some of the locals – the police chief, the pastor – are risking their lives to save fellow Danes, others have questionable motives. Who can be trusted, and who is collaborating? And will the family escape to Sweden?

Across the Waters is a fictional retelling of a true story. The movie is Danish but it was shot in Ireland to give it that period, seaside look. I always like a good WWII drama, and there have been some great Danish films, like Flame and Citron and Land of Mine, that deal with the topic. This one is smaller and more of a family drama than an action thriller, but it does keep the tension and suspense at a high level. (Including a scene reminiscent of Melville’s Army of Shadows.)

Worth seeing.

WonderStruck

Wonderstruck

Dir: Todd Haynes

It’s the late 1970s in Gunflint Lake, Minnesota. Ben (Oakes Fegley) is a 12 year old boy who lives with his aunt’s family. He suffers from strange dreams since his mom, a librarian, was killed in a car accident. Some nightmares involve being chased by wolves, but others are stranger still. They tell a continuous story, night after night, and they’re silent, and in black and white — just like an old movie.

These dreams tell a parallel story about Rose (Millicent Simmonds) a 12-year-old girl who lives in her father’s mansion in 1927 like a bird in a gilded cage. He’s a rich, divorced man in Hoboken, New Jersey. Rose’s head is in the stars – she spends most of her days reading title cards at silent movies or collecting photos she cuts from magazines. She’s obsessed with a certain pale-skinned movie actress named Lillian Mayhew (Julianne Moore).

Rose doesn’t go to school. But when she discovers her local theatre is switching to talkies she she knows it’s time for a change. She’s deaf and can only communicate by writing things down or reading words on a screen. So she bobs her hair and takes the ferry into Manhattan where she hopes to find the legendary actress.

Ben, meanwhile, is an orphan. His mom never told him who his birth father was. But looking through her things he finds an old bookmark with a message. It was tucked into a book about a museum collection, and the message was written by someone named Danny who visited their town before he was born. Could this be his dad?

But when he tries to call him up long distance, lightening strikes — literally. The electric shock travels through the phone line, leaving Ben deaf (just like Rose). But he catches a bus to New York City anyway, arriving at the Port Authority carrying just the name of a bookstore and a handful of cash. There he meets another 12-year-old named Jamie (Jaden Michael) who befriends him and says he’ll help him find his (possible) dad.

Jamie gives Ben a place to stay… a storage rooms at the Museum of Natural History (where Jamie’s father works). Will Ben find his dad? And will Rose find the movie star? Can two deaf 12-year-olds survive in a huge city? And what connects the two runaways?

Wonderstruck is a wonderful kids movie about seeking the unknown. It’s full of dreams, coincidences, and flashbacks, too many for it to be a real story. But it works great as a kids’ fantasy. It’s also beautifully made, using amazing animated paper models to tell part of the story. And through ingenious special effects, it incorporates the two main characters into what looks like period footage — of streetlife in New York in the gritty but colourful 70s,  and the fuzzy black-and-white 20s.

Just wonderful.

Wonderstruck opens today in Toronto; check your local listings. Across the Waters is playing Sunday afternoon as part of the Chai Tea and Movies programme. Go to tjff.com for details.

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

Daniel Garber talks with Alanis Obomsawin about Our People will be Healed

Posted in documentary, Education, Environmentalism, First Nations, High School, Music by CulturalMining.com on October 20, 2017

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

Photos by Jeff Harris

Above the northernmost tip of Lake Winnipeg, Norway House is a Cree First Nation community that works. It has a wonderful school system, local radio station, police, cultural groups, a language renewal program, music, dance and more. Traditional rituals are preserved, and young people are mentored by elders about their relationship with the land and their history. But — after 150 years under the Indian Act, with broken treaties, disease, death, and poverty; forced assimilation, mass incarceration, cultural genocide, residential schools, widespread discrimination, racism, rape and murder – this is a people that needs to be healed.

Our People Will Be Healed is the name of a new documentary that premiered at TIFF and is now showing at ImagineNative, Toronto’s Indigenous film festival. It is the work of master director Alanis Obomsawin, Canada’s doyenne of documentary filmmaking, who has recorded the lives and issues of First Nations in fifty films over fifty years.

I talked with Alanis on location at the National Film Board in Toronto during TIFF 17.

Our People will be Healed is playing at the ImagineNative Film Festival in Toronto on Saturday, 21 October 2017 at 3:00 pm at the TIFF Bell Lightbox.

And two more: Professor Marston and the Wonder Women, The Florida Project

Posted in 1930s, Cultural Mining, Feminism, LGBT, Movies, Polyamory, Poverty, Psychology, Romance, Sex, Sex Trade by CulturalMining.com on October 13, 2017

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

I’m back again because it’s a bumper crop this week, and there are two more great movies opening today that deserve to be seen. One takes place in the shadows of Disneyworld, the other reveals the origins of Wonder Woman.

Professor Marston and the Wonder Women

Wri/Dir: Angela Robinson

It’s the 1920s at a prestigious University. William Marston (Luke Evans) is a Harvard-trained psychologist who lives and works alongside his brilliant wife Elizabeth (Rebecca Hall). They are both outspoken advocates for women’s rights and create the world’s first lie detector. But when William takes on a young research assistant named Olive Byrne (Bella Heathcote), Elizabeth suspects hanky-panky. So what a surprise when they all answer intimate questions about their truest feelings and desires using the lie detector: Olive desires both William and Elizabeth! And the feelings are mutual. They form a triad – a polyamorous relationship – among the three of them. To the outside world they are a married couple with their widowed relative, but behind closed doors anything goes. The three move into a large house and raise their children together, exploring new sexual avenues – including role play and BDSM — while the kids are away at school. But when their secret is revealed and he loses his job, Marston is forced to look for new ways to earn a living. So he creates the world’s first feminist superhero, Wonder Woman, based on the two women in his life. Her outfit is inspired by clothing they see at Greenwich Village fetish shop, and the Lasso of Truth is a combination of bondage and lie detectors.

Professor Marston and the Womder Women tells the delightful and always surprising love story about the origins of a superhero before she was whitewashed into blandness and conformity.

The Florida Project

Dir: Sean Baker

Moonee (Brooklynn Prince) Jancey (Valeria Cotto) Scooty (Christopher Rivera) are three little kids who live in the giant pink motels that dot the highways around Disneyland in Orlando Florida. They spit off balconies, explore junk piles and panhandle tourists for ice cream. Though rundown, the motels serve as a community and home for the nearly homeless and marginal. They are forced to vacate their rooms weekly and relocate – they’re not allowed to call their homes home. They are all looked after by the stern but benevolent manager Bobby (Willem Dafoe)

Halley, Moony’s mom (Bria Vinaite) earns her living reselling wholesale perfume bottles or turning the occasional trick. Other moms work as waitresses or as de facto daycare, just trying to keep the kids fed and out of trouble. And boy do these kids get in trouble. Abut when something serious happens, the delicate balance between parents and kids quickly falls apart.

The Florida project is a fascinating look at the poor and marginal people around Orlando, in a private hotel that functions like a housing project, Florida-style The kids are great, although occasionally prone to cuting-it-up for the camera. And the raw, beautiful camerawork, crumbling houses against a tropical sunset, give it an immediate, authentic feel. Great movie.

The Florida Project and Professor Marston and the Wonder Women both open today in Toronto. This is Daniel Garber at the movies each Friday morning for CIUT 89.5 FM and on my website culturalmining.com.

Making history. Films reviewed: Mark Felt: The Man Who Brought Down the White House, Goodbye Christopher Robin, BPM (Beats Per Minute)

Posted in 1920s, 1970s, 1990s, France, H.I.V., Kids, LGBT, Poetry, Politics, Pop Culture, Protest, Watergate, WWI by CulturalMining.com on October 13, 2017

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

It’s festival season in Toronto: Reel World film festival brings the world’s untold stories to the big screen; and Toronto After Dark has horror, sci-fi and fantasy pics that make you laugh your ass off or will scare your pants off. Toronto after Dark and Reel World are both on right now.

But this week I’m looking at historical dramas based on real events. We’ve got protests in Paris, politics in Washington, and Pooh in East Sussex.

Mark Felt: The Man Who Brought Down the White House

Dir: Peter Landesman

It’s June, 1972 in Washington DC. Mark Felt (Liam Neeson) a top-ranked FBI agent, notices something strange: burglars were caught breaking into the Democratic National Committee in the Watergate Hotel. And they weren’t stealing money, they were looking for files. And the burglars are former Federal agents. Who is behind it all? Felt investigates. The trail leads to the White House where Richard Nixon is running for reelection. But his investigation is stifled by a suspicious political appointee named Gray. He’s the provisional head of the FBI – J. Edgar Hoover just died — and seems to be taking orders from the White House. This is a no-no. And the White House seem to know everything the FBI is doing – is there a leak in the Bureau? So Felt decides to do some leaking himself. He secretly meets with reporters from Time Magazine and the Washington Post to pass on crucial information. Will the truth about Nixon and Watergate come out and can Felt keep his identity a secret?

No spoilers here: you’ve probably heard of the Watergate scandal that brought down Nixon. And about Deep Throat – the mysterious source journalists Woodward and Bernstein used to break their stories. And the Senate Watergate Hearings which investigated it all. This movie, though, looks at it from an entirely new perspective: as a power struggle between the White House and the FBI, personified by Felt a career federal agent.

It’s also about Felt’s private life, with his depressed, alcoholic wife Audrey (Diane Lane), and his hippy daughter who disappears and who Felt thinks is a member of the Weathermen Underground. At its worst, this film seems to paint the FBI – which has plenty of its own skeletons in its closet — as the saviour of a nation. But at its best it captures the mood of a superb thriller, based on a huge, real-life conspiracy.

Goodbye Christopher Robin

Dir: Simon Curtis

A.A. Milne (Domhnal Gleeson) is a popular playwright in London’s west end just back from WWI. On the surface he’s full of witty patter, all whizbang and tiddley poo. But he’s actually he’s shell-shocked: Champagne corks or popping balloons send him diving for cover. He’s so shaken up he moves out to the country where he hopes to write an anti-war book in peace. His flapper wife Daphne (Margot Robbie) makes it clear she would much rather be partying in London. Milne has writer’s block. And the crying baby makes the situation even worse. They hire a nanny, Olive (Kelly Macdonald) to help raise their son Christopher Robin whom they call Billy Moon. But when Daphne moves back to London, and Olive to her dying mother’s bedside, Milne is suddenly left alone with a son he barely knows (Will Tilston). He has to talk to him, cook for him and entertain him.

And that’s when some serious father-son bonding kicks in. They go on adventures in the Hundred Acre Wood, climb trees, make up stories and play with Billy Moon’s stuffed animals – a teddy bear, a piglet, and a donkey. He invites his friend — an illustrator — to draw pictures of it all. And Milne begins to write poems. He sends one, Vespers, about their son praying before bed, to Daphne in London to show her he’s writing again. She submits it to Vanity Fair and soon it’s a huge hit. Milne publishes his poems and stories and, suddenly, his son and the toys he plays with – Winnie the Pooh, and Kanga and Roo – become celebrities, famous around the world. The boy is dressed up and trotted out for book tours and toy stores and radio interviews. And this upsets him. Strangers know everything about his private life and his imaginary inventions. They think he’s a fictional character come to life, but he’s not Christopher Robin. He’s Billy Moon. Can the family stop this tide of fame before their lives are ruined?

Goodbye Christopher Robin is a touching story about the reality behind the beloved childrens’ books. It’s also the contrast between the British stiff upper lip – no touching or showing emotion – and all the humour and imagination yearning to escape. The movie is a bit slow in parts, and sometimes succombs to nostalgia and sentimentality, but I liked it anyway. And it also has beautiful locations and great costumes.

BPM (Beats Per Minute)

Dir: Robin Campillo

It’s the early 1990s in Paris, AIDS is at its peak and people are in a panic. The government makes speeches but does nothing and big pharma is sitting on crucial medication. Meanwhile, people are dying every day. So a group of activists launch a protest group called Act Up Paris (after its US counterpart) and spring into action.

They storm into government meetings and pharmaceutical offices, throwing plastic sacs of fake blood at the walls. Then they stage mass die-ins, falling to the floor until they’re dragged away by police. They meet in university lecture halls to hash out their disagreements: men and women of all ages and sexualities. But will their actions fall on deaf ears?

BPM is a story about the group, but especially two of its members, Sean –a scrawny, cynical latino (Nahuel Pérez Biscayart ) and Nathan, a student from a small town (Arnaud Valois). After a spontaneous first kiss – when they take over a high school to teach safe sex – they move in together: Sean is HIV positive, Nathan negative. Their relationship is intense and passionate, partly because Sean might die at any moment. BPM is a long and detailed – but very moving – look at a civil disobedience movement. It captures the fluidity and uncertainty of life and love in the midst of a crisis.

BPM, Mark Felt: The Man Who Brought Down the White House and Goodbye Christopher Robin all open today in Toronto; check your local listings. This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website culturalmining.com.

Daniel Garber talks with filmmaker Pat Mills about Don’t Talk to Irene

Posted in Bullying, Canada, comedy, Cultural Mining, High School, LGBT, Movies by CulturalMining.com on October 6, 2017

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

Irene is an unusual girl who lives in a small town an hour north of Toronto. It’s her first day of highschool and she can’t wait to join the cheerleading team. But her mother says she’s just not cheerleader material. She’s chubby, plain, and has no friends; garbage is her comfort zone. And when she is bullied by a mean girl and sent to an old age home for community service, she worries she’ll never fit in. Luckily, she meets a lot of potential mentors: an ex-boxer, two elderly women, a non-binary classmate, a mean-ass cook, and a poster of Geena Davis on her ceiling… that seems to communicate with her. But will any of them ever talk to Irene?

Don’t Talk to Irene is the name of a new movie, a coming-of-age comedy that premiered at TIFF17 and is now playing in Toronto. It’s written and directed by Toronto filmmaker Pat Mills known for his very dark — and very funny — looks at society’s outcasts.

I spoke with Pat Mills in studio at CIUT 89.5 FM.

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.

Goethe Films: Margarethe & Barbara. Films reviewed: Hannah Arendt, Rosa Luxemburg, Marianne & Juliane

Posted in 1910s, 1960s, 1970s, Germany, melodrama, Movies, Nazi, Terrorism, WWI, WWII by CulturalMining.com on September 29, 2017

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

Margarethe von Trotta is a leading German director and one of the only women in the New German Cinema (Neuer Deutscher Film) of the 60s, 70s and 80s. She co-wrote and co-directed (with Volker Schlöndorff) the first commercially successful film of that movement – The Lost Honour of Katharina Blum. Though her films are about dynamic women and told from a female point of view, von Trotta has distanced herself from some schools of feminist cinema. She creates movies about women, but not “Frauenfilm” (women’s movies).

She started her career as an actress, so she knows how to draw amazing performance from her actors. And she has a decades-long working relationship with one actor in particular: Barbara Sukowa.

Barbara Sukowa is a reknowned actor with a beautiful, square face that she completely transforms to match each character she portrays. She can play a role as both passionate and restrained, her emotions churning just beneath the surface.

This week I’m looking at three great films (based on historical figures) directed by Von Trotta and starring Sukowa. They’re part of a special series called Goethe Films: Margarethe and Barbara playing on the 3rd, 5th and 12th of October at the TIFF Bell Lightbox. There’s a melodrama about a revolutionary, a family drama about a terrorist and her sister, and an intellectual drama about a journalist-philosopher.

Hannah Arendt (2012)

It’s the 1960s in New York city. Hannah Arendt (Sukowa) is German-born writer and philosopher who is part of the intellectual scene in that city. She studied philosophy under Heidegger – and was his lover — but when the Nazis came to power she was stripped of her credentials as a Jew, while he embraced Nazism. She fled to France and later the US. Now she is offered a strange assignment by The New Yorker magazine – to cover the upcoming trial in Jerusalem of the notorious Adolf Eichmann. Eichmann was one of the main architects of the Holocaust and the murderer of millions. He testifies in a glass booth. Eichmann denies everything and paints himself as a gentle bureaucrat.

But Arendt’s description of Eichmann’s behaviour as the Banality of Evil — that of an ordinary-looking man who killed so many – meets with widespread shock and criticism, even among her friends and colleagues. Her writings on totalitarianism, guilt and responsibility reverberate around the world.

Hannah Arendt is a beautiful and magisterial depiction of a major intellectual figure as iconoclast, a hero fighting the tides. It’s also a biopic, given to long pauses of contemplation. And one that somehow seems kinder to Heidegger than to Arendt’s critics in academia.

Rosa Luxemburg (1986)

It’s 1900, the start of a century of change. Revolution is brewing in Russia and Germany is close behind. Rosa Luxemburg (Sukowa) is an educated, Polish-Jewish woman who walks with a limp. She is also a social democratic revolutionary, a firebrand who writes articles and gives passionate speeches. Now she lives in Berlin after being jailed and nearly executed in Warsaw.

She’s in a tempestuous relationshio with her sometime lover and fellow revolutionary Leo Jogisches (Daniel Olbrychski). But when she discovers he is having an affair, she begins a relationship with a friend’s adult son. And, with Karl Liebknecht, she founds the Red Flag newspaper and the Spartacus party, a Marxist (but not Leninist) Socialist party.

She calls for a massive strike to resist the war but nationalism is on the rise. Bloody Rosa is arrested and jailed during WWI as a political prisoner. Will her political dreams ever be realized, or will nationalism prevail?

Rosa Luxemburg is a fascinating historical biopic, told in a melodramatic style. There are as many scenes of her shouting to cheering crowds as there are of her gardening in prison or writing letters. A costume drama, this captures nineteenth-century romanticism in its music, poetry and idealism.

Marianne & Juliane (1981) Die bleierne Zeit

It’s the 1970s. Juliane (Jutta Lampe) is a journalist who writes for a feminist magazine. She grew up in a large family with a bible-thumping father, a conservative minister. Her sister Marianne (Sukowa) looked up to her as a teenager. Julianne was the rebel. She smoked, talked back to her teacher, wore pants – not a skirt! – and caused a furor when she danced alone to a Vienna waltz ata high school dance. The two are shattered by the documentaries they see in school on Nazi mass murder, and vow they will never let it happen again. But the two have taken different paths and their roles have changed.

Marianne is now a brash, self-centred woman who rejects concepts like marriage, family and money. She doesn’t ask for things; she demands them. She’s a member of the dreaded Red Army Faction — a terrorist group that sets off bombs and hijacks planes — and is on the run from police. She also has a young son, Jan, but can’t take care of him. When she is caught by the police, it’s up to Juliane to visit her in prison to keep her sane and alive. She smuggles in notes hidden in tissues, and passes on her messages. Can Juliane’s marriage and job — and Marrianne’s son — survive the prison sentence and the widespread public hatred of the crimes she committed?

Although this is a fictional drama, it’s based on RAF member Gudrun Ensslin and her journalist sister. This powerful drama is not a historical biopic; it was made just a few years after the events it portrays.

All three films encorporate historical black-and-white film footage and prison scenes, about heroes (and villains like Eichman)  encaged and restrained. Together, these three films provide a century-long view of modern Germany through the eyes of three women.

Marianne and Juliane, Hannah Arendt, and Rosa Luxemburg are all playing next week on the big screen at the TIFF Bell Lightbox in Toronto — $10 per ticket — with Barbara Sukowa introducing Marianne and Juliane. Go to Goethe Toronto for details.

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

Surfaces. Films Reviewed: Ghost Hunting, Battle of the Sexes, Beach Rats

Posted in 1970s, drugs, Feminism, LGBT, Movies, Palestine, Sex, Sports, Tennis, Torture by CulturalMining.com on September 22, 2017

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

Toronto’s fall film festival season has begun. This week I’m looking at three movies that played at festivals: Sundance, TIFF and the Toronto Palestine Film Festival — two of which are directed by women. There’s a drama on the boardwalk, a biopic on the tennis court, and a documentary on a cold prison floor.

Ghost Hunting

Dir: Raed Andoni

Raed is Palestinian movie director who sends out a strange request. He’s looking for steelworkers, set builders, carpenters and painters to recreate a notorious Israeli prison inside an abandoned warehouse. The strange part is these builders and architects will also play the prisoners and their interrogators in the film he’s making. And stranger still, all the cast — including the director — were once prisoners at this very prison.

The interrogation centre is in the Russian Compound in Jerusalem known to prisoners as Al-Moskobiya (Moscow). They recount what happened to them. Many endured days or even weeks of nonstop interrogation in small cells. They were chained to walls, hung on their tiptoes suspended by pulleys or forced to kneel on the ground. Some were shaken, choked, hit, and denied sleep, water, or toilet access.

Hunting Ghosts has a complex artistic structure. Its partly a verite documentary, showing the construction of the set while the former prisoners candidly tell their stories. It’s partly a drama, the scripted re-enactment of the interrogations themselves. It’s partly meta – where the people working on the set become caricatures of themselves (i.e. the cruel director, the angry set-builder). Explicitly scripted scenes – often moving and disturbing – are always presented in a way you know it’s just a film. We see the actors putting on their makeup before they’re locked into the cells. The real drama often begins after the director yells cut, when the actors start talking.

The movie is also part fantasy, with animated scenes reflecting the thoughts running through their heads during long interrogations, their heads covered in cloth bags. One man thinks he sees his dead mother walk through a concrete wall to bring him water to drink.

Hunting Ghosts is a powerful look at the treatment of Palestinian prisoners and a tribute to the reported 750,000 arrested since 1967.

Battle of the Sexes

Dir: Jonathan Dayton and Valerie Faris

It’s the early 1970s in California. Billy Jean King (Emma Stone) is the top women’s tennis player in America. She’s happily married to her husband Larry (Larry King, but not the CNN journalist) but her real devotion is to the game. She’s shocked to discover prize money on an upcoming tour will be one eighth what the men get. The women threaten a walkout, but Jack Kramer — President of the ATP (Association of Tennis Professionals) — tells them that men deserve more money because they have to support families, because they sell more tickets, and because women are “too emotional” to be thought of as real athletes. So the women start a League of Their Own.

Bobbie Riggs (Steve Carell) is a former national tennis champ twenty years earlier. Now he works at a desk job for his very rich wife’s dad. He’s a compulsive gambler who wins big bucks – including a golden Rolls Royce — by challenging rich country clubbers to heavily handicapped tennis games.

But Bobby wants to be really famous again. So he dubs himself a Male Chauvinist Pig and says women should stay in the kitchen and the bedroom, not on a tennis court. And he challenges Billie Jean King to a Battle of the Sexes, man vs woman. King smells a media circus, but finally agrees when she thinks it will advance pay equality between the sexes. Who will win?

Meanwhile,  unbenownst to the outside world, Billie Jean is having a clandestine affair with a woman named Marilyn (Andrea Riseborough) her hairdresser. A chance meeting sparks new feelings in Billie Jean King… but will her love affair interfere with her game?

I’m not a tennis buff, but I found Battle of the Sexes a thoroughly enjoyable, feel-good movie. I was even interested in watching the the game itself, which uses actual sports footage and historical commentary (by Howard Cossell) worked into the film. The side roles are also well-cast, from Bill Pullman as the condescending Jack Kramer, to Sarah Silverman as the feminist manager. Steve Carell is funny as the dog-and-pony showman, and Emma Stone is just great as the pretty and determined Billie Jean King.

Beach Rats

Wri/Dir: Eliza Hittman

It’s a hot summer in a hipster-free section of Brooklyn. Frankie (Harris Dickinson) is a white, working class guy who lives with his parents and his little sister. He likes handball, vaping and posting weight-lifting selfies online. He spends most of his time at the Coney Island boardwalk, hanging with three local yahoos who like to make trouble.

One night, he meets Simone (Madeline Weinstein) a pretty girl who tells him he’s sexy. She thinks the fireworks are romantic. Frankie is not so sure. His own parents met on the boardwalk too.  But his dad is dying of cancer and his mom is on edge. He’s unhappy about it too, but at least his dad’s cancer keeps him well supplied with prescription opiates he shares with his beach rat buddies. Aside from his home and the beach there’s a third universe Frankie visits, but only after dark. It’s an online date site called Brooklyn Boys where he posts his selfies. There he meets older men for anonymous sex. He considers himself straight but enjoys having sex with men.

But when his father dies, everything falls apart. Simone dumps him — he’s too much of a “fixer upper”. His Oxy supply is cut off, so he’s reduced to pawning his mom’s jewelry to buy drugs. And he’s worried his pals — the Beach Rats — might find out about his sex life. Can Frankie come clean with his mom, cut down on his drug use, and reconcile his self image with his sexuality? Or will his whole life crash and burn?

Beach Rats is a terrific coming-of-age drama set against the carnival lights and phosphorescent waves of nighttime Coney Island. Dickinson is a new face but is perfect as the enigmatic Frankie, a young man simultaneously self-obsessed and self-doubting. Beautifully photographed, Beach Rats blends an up-to-the minute topic with a classical indie feel.

Battle of the Sexes launched at TIFF and Beach Rats at Sundance; both open today in Toronto — check your local listings. Ghost Hunting is one of many films and cultural events on now at the Toronto Palestine Film Fest. Go to tpff.ca for details.

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

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