Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.
April 19th is National Canadian Film Day, which bills itself as the world’s largest film festival. On that day — at theatres around Toronto, and across the country – you can see free screenings of Canadian movies, often with actors or directors in attendance. Comedies, kids’ movies, French, indigenous… and they’re all free. Check it out.
This week I’m looking at movies about unusual relationships. There’s a disabled woman who moves in with a recluse, a ghost who inhabits a young girl, and a teenage boy and girl who inhabit each other’s bodies.
Dir: Emilie Lindblom
Elvira (Wilma Lundgrun) is a 12-year-old Danish girl heading to camp for the first time. Camp Bjorkuddens is a lot like a Canadian summer camp: it’s on a lake, they play games, roast weenies on sticks and tell scary stories by the campfire. The big difference is instead of tents or small, bare cabins they stay in a huge, elaborate building filled with dusty antiques. Elvira has two roommates, the blond and snobbish Meja (Ella Fogelström) and the darker, shy Bea (Elena Hovsepyan). And due to a plumbing problem they move to room 213, empty for many years.
That’s when weird things start to happen. The door creaks open in the middle of the night, and treasured items disappear (and the three girls suspect one another). A girl with red hair and bright green eyes named Mebel appears — is she a ghost? And when Elvira’s brown eyes start turning green, is it Mebel taking over?
Room 213 is a scary movie aimed at small children. It’s tame even by YTV standards — no violence at all, no slashers in hockey masks, just general spookiness. And it deals with problems like exclusion, bullying and young love in a multi-ethnic Denmark. But this is definitely a movie for little kids only.
Your Name (君の名は)
Dir: Makoto Shinkai
Taki is a high schooler in central Tokyo. He’s scrawny but quick to fight. He hangs out with his two best friends and has a crush on his sophisticated, female boss at his part-time restaurant job. Mitsuha is a teenaged girl in a remote Japanese village, known for its obscure shinto shrine and little else. She lives with her little sister Yotsuha and her traditional grandmother who knows about the old ways. Things like weaving colourful lanyards, and chewing up glutinous rice, spitting it back into a wooden box so it ferments into sake. Yum! And there’s a celestial comet that passes close to the town every 200 years (that day is approaching soon.)
Taki and Mitsuha are total strangers who live far away from each other. So what’s their connection? Some mornings, Taki is waking up with breasts, and Mitsuha with a penis. Well not exactly; they’re actually waking up inside each other’s bodies. They have to live those days at school, at work and with friends they’ve never met before. It’s not all bad. Mitsuha lands Taki a date with his boss, and Taki gains some insight into shinto rituals. He becomes more mature and she is more assertive. The two manage to communicate with each other using cryptic scrawls they leave in notebooks and diaries recorded on cel phones so they can know what happened during their switch-body days. Until something changes. The body switches suddeny stop and all the notes they left each other fade away. For Taki it’s as if Mitsuha never existed and it was all a dream. But it was real. He can’t remember her name, but he knows it all happened. Using a sketch of her town he drew from memory, he sets out to find her.
Your Name is deeply-moving romantic drama with a touch of the supernatural. It’s a beautifully- drawn, animated film from Japan with neat camera angles and lovely art. It’s also a record-breaking smash hit across East Asia that has finally reached these shores. It’s the only movie playing now to sell-out crowds, with huge lineups inside the theatre before each screening. And I understand why. No spoilers, but there’s a wrenching revelation in the middle that sent shivers down my spine, the sign of a really good story. Anime is a particular genre, and if you’re not familiar with it it might be hard to understand, but if you like anime, this one is a must-see.
Dir: Aisling Walsh
Maud (Sally Hawkins) is a disabled woman who lives in post-war Digby, Nova Scotia with her controlling aunt. Every moment of her life is supervised and she’s treated like a simple-minded child. But on a visit to a local shop she finds a way to escape: a hand-written ad for a live in housekeeper. Everett Lewis (Ethan Hawke) wrote the note, though his house is barely a home. He lives in a rundown shack on a small plot of land, earning a meagre living as a fish monger. He’s unmarried, mainly because no woman can put up with his rudeness.
But Maudie can. After dogged persistence, she moves in with him and immediately starts to work. He is peculiar and abusive, but she sticks with it. In her free time she begins to decorate the walls with small paintings of flowers and animals. When her hand-painted postcards sell out at the local general store, she moves on to bigger paintings, selling them for $5 apiece. These catch the eye of a rich woman from N.Y. City who spreads the primitivist paintings among her friends back home. Meanwhile, Maud’s relationship with Everett gradually shifts from boss/servant to bedmate to wife. But can a reclusive misanthrope handle living with a recognized artist and local celebrity?
Maudie is the true story of a self-taught painter whose works now hang in famous galleries and in the homes of collectors. It’s also an unusual romance about a pair of social outcasts hammering out an unusual relationship on their own. Sally Hawkins is outstanding as Maudie – you really believe she is who she is playing. Hawke, though capable in his portrayal of such an unsympathetic character, pales in comparison to his co-star. This is a good — though very dark — movie.
Your Name is now playing and Maudie opens today in Toronto; check your local listings. Room 213 is one of many films showing at the TIFF Kids Festival – go to tiff.net for details. And canadianfilmday.ca will tell you where to see free films on April 19th.
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.
It’s spring film festival season in Toronto right now. There’s Cinefranco Special Quebec showing French language movies for free. Next week is the 29th annual Images festival, with galleries and movie theatres both presenting art on film. And Hot Docs, Toronto’s documentary festival is on later this month. But right now, starting today, is TIFF Kids, with movies from all over the world for kids age 3-13, including many free screenings.
This week I’m looking at movies about life and death. There’s a real-life drama about a dog trying to keep some animals alive, and a biopic about a country and western singer trying to drink himself to death.
Dir: Stuart McDonald
Emily (Sarah Snook) is a conservationist from a small town in Australia. It’s a tourist village filled with locals dressed in historical outfits. Emily lives with her young daughter Olivia (Coco Jack Gillies) and her boyfriend, Bradley (Alan Tudyk) a tourism exec from New York. Her job? To keep alive a tiny flock of fairy penguins. These adorable little birds return each year to nest on a rocky island just offshore. It’s a wildlife preserve. But the penguins are threatened by an invasive, European species – foxes – that is knocking down their numbers. For the island to remain a sanctuary, free of development, it has to have at least ten little penguins.
So they set up a watchman with a tranquilizer gun to stop the foxes, and build special boxes for the penguins to nest in. But still the numbers decrease. What can they do to save them?
Enter Olivia’s Grandpa (Shane Jacobson) and his dog Oddball. Swampy is a husky, bearded chicken farmer, given to frank talk and wild schemes. Oddball is a furry white dog who keeps the foxes out of Swampy’s chicken coops. Olivia adores her grandpa and his dog. Emily does too, but finds them a bit if a nuisance. Bradley can’t stand the dog. When Oddball runs rampant through the town, all hell breaks loose. He messes up an important event and upsets the apple cart. Literally. The town bigwigs are furious and banish Oddball to the farm forever.
But when Swampy notices how kind Oddball is to a penguin he saves, he and Olivia hatch a secret plan: Oddball becomes the official Penguin Guard on the rocky island. But they mustn’t let the bad guys who want to develop the island into a tourist trap – know what they’re doing. Can they save the penguins, outsmart the townfolk and preserve the sanctuary?
This is a cute movie based on a true story. It’s full of fair dinkum Aussie culture. And it avoids most of the pitfalls of kids movies: it’s not too violent or scary, no talking dogs, no princesses, nothing supernatural, and no commercial tie-ups. The only thing this movie is selling is conservationism.
I Saw the Light
Wri/Dir: Marc Abraham
It’s 1944, in Andalusia, Alabama. Hank and Audrey are young musicians madly in love. Audrey (Elizabeth Olsen) is pretty as a picture with her doe eyes and auburn hair. Hank Williams (Tom Hiddleston) is skinny and tall with jug ears. They’re getting married on the sly, with no wedding, no preacher, no guests. They hope to be famous someday, but for now they still live with Hank’s single mom, Lillie (Cherry Jones). She’s a classic stage mother chauffeuring her son to shows for 10 years now. Her Hank can do no wrong, but that Audrey – she could be trouble.
Hank and his band — guitar, bass, fiddle and steel — perform their hillbilly tunes on local radio each morning and at a bar at night. Some people like the sad songs he writes, but it doesn’t stop the hecklers and fighters from making his life miserable. One man nearly breaks his back in an unprovoked barroom brawl. So Hank shows up drunk as a skunk at most gigs. Alcohol eases his pain. His mom keeps him happily inebriated dropping bottles of hooch into his coat pockets, and Audrey doesn’t like it one bit. She thinks they’d be famous by now if he weren’t such a lush. And when he drops her from his radio show – her screechy voice is unpopular — things get dicey between them.
Though he’s a prolific songwriter, churning out hits by the dozen, he wants to be known as a performer. His ultimate goal? To join the Grand Ole Opry in Nashville, Tennessee.
I Saw the Light follows Hank Williams’ quick rise to fame, cut short by a heart attack at age 29. Based on a tell-all biography, the movie concentrates on his problems at home and his troubles at work. So we get to see his fights with his wife, his extramarital affairs, his alcoholism, his back pain and his addiction to painkillers. At work we’re privy to the back room deals of the country music industry, with his agent/manager Fred Rose (Bradley Whitford) as our guide and sometime narrator. The question is — why? His agent is boring. And his home life is depressing. It’s all very sordid and sad with hardly any good moments to relieve his relentless funk. I’m not saying the movie’s boring, just not fun to watch. We can ogle Hank’s hard times from afar, but we never get to see into his heart or share his passion.
The one redeeming factor is Hank Williams’ music. Something about his songs — both the sad tunes and the upbeat ones – always brings a tear to my eye.
I Saw the Light opens today in Toronto: check your local listings. And Oddball is the opening night movie for TIFF Kids. Go to tiff.net for details.
This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.
Toronto is known for its film festivals, but TIFF Kids, which is on now, is different. This festival programs films specifically for children and young adults. But what kind of films do they show, how do they choose them and which ones win the awards? To tell us more about children’s films I turned to the experts themselves, the TIFF Kids jurors. Reid is a ten-year-old from Toronto who is in Grade 5 at Kingsway College School. He likes hockey and movies. And Grant, from Windsor Ontario, is 12 years old and likes Harry Potter movies and sports. I spoke with Reid and Grant in studio at CIUT.
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.
Lots of movies use kids. Some try for a young audience, others have young characters. And the two types don’t necessarily overlap. This week I’m looking at three movies: a chiller-thriller about two kids and a haunted mirror they can’t escape; an art film with kids reenacting the Algerian War; and an animated film from Uruguay about a girl with an envelope she can’t open.
Kaylie and Tim (Karen Gillan, Brenton Thwaites) are sister and brother. Kaylie is a decisive, take-charge kind of girl with long red hair like her mother. Tim is brown haired like his dad. A decade earlier, something violent and terrible happened in their home. And by the time it was over, they were orphans. They locked up 10-year-old Tim in a mental hospital. Now, they declare, he’s all cured. No more of that childish nonsense he used to spout – about voices and mind-control and a demon who lives inside a mirror. He’s a responsible adult now, ready to live in the real world. (Like a babe in the woods.)
Apparently that antique mirror has been spawning grisly murders for centuries. It possesses all it encounters and muddles their thoughts until they can’t tell illusion from reality. So Kaylie has rigged up a complicated system, involving cameras, computer screens, alarm clocks, and a lethal-looking blade that’s always poised to smash the mirror.
The return home triggers strong memories in Tim’s mind – he begins to relive the old days alongside the recent events. Are Tim and Kaylie strong enough to resist the demon’s illusions?
This is a good, scary movie with the two stories – now and flashbacks – unfolding side-by-side, and occasionally overlapping. Parts feel hackneyed, but the two sets of actors (in their teens and twenties) are totally convincing.
Suitable for children? Only if they can handle extreme violence, gore and nightmarish horror.
It’s Algeria. Boys dressed in stylish shorts and silk neckties are playing on the beach. They swim in the ocean, float on beached tires and lie in the sun. Until one of them farts.
You fart like an Frenchman! they shout. It’s those bloody beans — loubia make you fart. So they raid the picnic basket the girls brought. The girls warn them there are soldiers on the streets: war is coming.
(Context: Algeria is a north African country, once colonized by its neighbour across the Mediterranean. France annexed it and hundreds of thousands of Europeans settled there. A War of Independence broke out in the 1950s. The Algerian War was notorious for the violence, torture, and cruelty used by both the French military and the FLN revolutionaries. A third group, the OAS – French extremist-nationalists who refused to leave Algeria – terrorized both the French and the Algerians.)
So the revolutionary boys and girls who want more than just beans to eat set out along the beach, just as the sun sets. They don wigs, scarves, masks and capes. They paint their faces and bodies with drawings and fake beards. At a French monastery they gaze at the statues, fillagries and icons. They fight an evil man in a pigs mask, and make friends with a French soldier who was drafted to serve. And they project their shadows against a white washed building, making animal noises.
Bloody Beans is a beautiful and strange reenactment, 50 years after the end of the Algerian war. It includes lots of subtle details: women fighting alongside men, the colonial division between the French haves and the Algerian have-nots, and the violence and torture on both sides. It ends with a floating recitation in the ocean, with the boys and girls repeatedly asking: is it better to be than to obey? (Vaut-il mieux etre que d’obeir?).
This complex film is a work of art that uses video as the canvas, kids as the paint.
Anina Yatay Salas is a girl with wild, red hair and a triple-barreled name. Her dad loves the symmetry of her palindromes, words where the head matches the tail. And each day Anina looks at her bus ticket to see if its number is a palindrome like her.
One day, on the school playground she bumps into blonde Yisel, sending her sandwich flying through the air and down a drain. This starts a big fight. Anina calls Yisel, a big girl, “the elephant”. Yisel makes fun of Anina’s palindromic names.
Their punishment? The principal gives them both mysterious black envelopes, closed with red sealing wax. They have to keep it safe and unopened for a week. Will this strange punishment teach them a lesson?
Anina is a very simple film, but it looks amazing. It’s an animated cartoon in a dusty and smudgy, retro style. It’s filled with fascinating details that shout Uruguay: eggs wrapped in paper, strange fried foods, kids wearing white smocks to school. At the same time, its buses, classrooms, and playgrounds look just like here.
But the movie is at its best when Anina’s imagination takes over: her bus turns into a riverboat, she gets lost in an imaginary hedge maze. And there’s a fantastic nightmare sequence where the Principal and a mean teacher morph into a ghostly judge and jury – ready to punish her for what she did to her black envelope.
Anina is clearly a kids’ movie but everyone can appreciate its amazing look.
Oculus opens today in Toronto, check your local listings; Anina is part of the TIFF Kids film festival, on now (tiff.net), and Bloody Beans is playing April 14th at Toronto’s Images festival of moving art (imagesfestival.com).
This is Daniel Garber at the Movies, each Friday morning on CIUT 89.5 FM and on my website culturalmining.com