Daniel Garber talks with Sofia Bohdanowicz about Maison du Bonheur

Posted in Canada, Cooking, documentary, Fashion, France, Movies by CulturalMining.com on August 17, 2018

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

Juliane is a retired astrologer in her 70s who lives in a Paris apartment in the 18th arrondissement, in Montmartre. She believes her personal presentation – hair, makeup, clothes, and shoes – must always be impeccable. Her life should be full of delicious food, lovely colours and fast friends. And her apartment, part of Haussmanns original design, should be a veritable “house of happiness”.

Maison du Bonheur is a wonderful new documentary that follows Juliane over the course of a month by a Canadian filmmaker who comes to stay with her. It records the mundane, yet fascinating, details of the everyday life of a classic parisienne, even as it subtly reveals her — and the filmmaker’s — unspoken secret histories. The film was directed, shot and edited on a microbudget by Toronto-based Sofia Bohdanowicz. Winner of the Jay Scott Prize, the Emerging Canadian Directors award (at VIFF) and many more, this is Sofia’s second film.

Maison du Bonheur opens tonight at the TIFF Bell Lightbox in Toronto.

I spoke with Sofia at CIUT 89.5 FM.

Daniel Garber talks with Alison McAlpine about her new doc CIELO

Posted in Canada, Chile, Cultural Mining, documentary, Indigenous, Movies, Mysticism, photography, Science, Spirituality by CulturalMining.com on August 10, 2018

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

Have you ever stared at the night sky and the stars and planets up there? What does it mean and how does it relate to our lives?

A new documentary premiering next Friday looks at the skies above the Atacama desert in northern Chile, the scientists and astronomers who observe them, and the people born there and who live beneath them.

It explores the filmmaker’s personal impression and interactions with the people she meets. It’s an astronomical, spiritual, anthropological look at life in a desert beneath the vast bright stars.

The film is called Cielo, and its filmmaker is Alison McAlpine. Alison’s award-winning and critically acclaimed documentaries have played at film festivals around the world.

 

I spoke to Alison McAlpine in Montreal by telephone from CIUT 89.5 FM in Toronto.

Cielo opens in Toronto on Friday, August 10.

Disruptions. Films reviewed: Marlina the Murderer, Darken, North Mountain

Posted in Canada, Darkness, Feminism, Indigenous, Indonesia, LGBT, Nova Scotia, violence, Western, Women by CulturalMining.com on June 29, 2018

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

It’s Canada Day weekend – a good time for fireworks, beer, and maybe a movie. So I’ve been looking around for films not from south of the border — and three unusual ones caught my eye. Two are from Canada — and one from Indonesia — and two of the three are directed by and feature women.

This week I’m looking at three movies about people whose lives are disrupted by unexpected visitors. There’s a Mi’kmaq trapper fighting off thieves in eastern Canada, a widow fighting off rapists in eastern Indonesia, and a Toronto nurse fighting medieval soldiers… in a parallel universe.

Marlina the Murderer in Four Acts

Dir: Mouly Surya

It’s present day Sumba, an island in Eastern Indonesia near Flores and Timor Leste. Marlina (Marsha Timothy) is a sad and lonely widow. Her only child died years ago, and her husband’s body sits beside her in her home, wrapped in traditional cloth, awaiting his funeral. All she has left are her cattle, chickens and pigs. But her sad relections are interrupted one day by a visitor on a motorbike. It’s Marcus (Egy Fedly) an evil, long-haired outlaw from a nearby town. He heard she’s alone and comes there to take advantage. I have a gang of six more men on their way, he says. You’re a woman all alone, so we own you now. You’re going to cook us a meal. We will steal your cattle and anything else you own. And — if you’re lucky — we’ll rape you, but not kill you. And there’s nothing you can do about it.

Marlina is sickened and terrified… but not helpless. She poisons four of the men with her chicken soup, and when Marcus sexually assaults her, Marlina, in a moment of desperation, grabs a machete and chops off his head! Not knowing what else to do, she decides to turn herself in to the local police.

At the truck-taxi stop she meets a neighbour named Novi (Dea Panendra) who reacts rather mildly to the dead man’s head she’s carrying.  Novi is more concerned with her own problems. She’s ten months pregnant but the baby just won’t come out! So they set off down the long and twisting road to the nearest town.

But two of the killers are still after her. Will Novi ever give birth? Should Marlina turn herself in? And what will she do with Marcus’s head?

Marlina the Murderer is a genre-busting drama, part revenge pic, part feminist western, part art house dark comedy. It has an amazingly calm tone in the midst of horrible crime. There are horses, and posses, and road trips and fights. I haven’t seen many Indonesian movies, so I’m far from an expert, but the two stars were both in great action movies I actually have seen: Headshot and The Raid 2 – which is a good sign. And it introduces the music, customs and amazing scenery and people of Sumba, a place I had never heard of before this film, but now at least have experienced a taste of it.

Marlina the Murderer is a brilliant, rich and baffling movie.

Darken

Dir: Audrey Cummings

Eve (Bea Santos) is a Toronto nurse who’s feeling down. She’s depressed and her life has lost its point. Until one day she runs into a woman on a sidewalk calling for help. The woman is dressed in a strange medieval leather outfit and is bleeding from a knife wound. She asks Eve to rescue her friends. But when Eve opens a door to a nearby building, she finds herself, like Alice in Wonderland, in a whole other world.

It’s a land called Darken, composed of a series of linked rooms and hallways, It’s always indoors in Darken and always nighttime. It’s governed by a goddess who provides life through her blood and is ruled by an autocratic priestess named Clarity (Christine Horne). It serves as a refuge for outcasts from different eras, all of whom live peacefully together. That is, until now.

The Mother Goddess is out of the picture, and Clarity has declared war on all dissidents. Her spear-wielding guards – all decked out in Game of Thrones gear – provide her the muscle; and a lackey (Ari Millen) — who reminds me of the young Penguin on Gotham — defends her legal rulings.

But Eve falls in with the rebels, including the fierce Kali (Olunike Adeliyi) and the kindly Mercy (Zöe Belkin) who communicates using sign language. Which side will win? And can Eve ever get back to her normal world?

Darken is a science fiction/fantasy set in a parallel universe. It ranges from unexpected plot twists to absolute cheese. Above all, this feature shouts TV, from the set design, to the lighting, to the acting and the script. There are even scenes that fade to black as if they’re saying: Insert Ad Here. And I find shows shot entirely on dark blue sets claustrophobic. But that’s just me.

On the other hand, women-centred science fiction or fantasy movies are rarer than an affordable apartment in Toronto. And this one has a a goddess, an evil priestess, a heroine, and noble fighters — all played by women. The men are there as peripheral characters or arm candy.

And for that reason alone it might be worth seeing.

North Mountain

Dir: Bretten Hannam

Wolf (Justin Rain) is a young hunter/trapper in a Nova Scotia forest. He knows every rock and tree on North Mountain: where to set the snares, where to hunt the deer. He lives a traditional Mi’kmaq life in his Grandmother’s wooden cabin, a life still lit by candlelight. He uses a bow and arrow to kill the animals he eats, and honours and respects each life he sacrifices. It’s a simple, quiet existence, punctuated by monthly visits to the town store where he catches up with Mona (Meredith MacNeil), a long time friend.

Nothing changes except the seasons, until… he finds an older man’s body leaning against a tree. He’s bleeding, barely alive, and is holding a leather satchel filled with cold, hard American cash. Wolf tends to his wounds until Crane (Glenn Gould) comes back to life. Turns out he’s from this place and speaks the same language.

Their first conversations are fraught with violence and fistfights and filled with suspicion. But at some point their initial violent antipathy shifts to something very different: they become lovers! And just as they’re making sense of it, a group of strangers comes to the mountain. A posse of crooked cops and organized criminals. They want the cash and don’t care who they kill to get it. Can a pair of indigenous lovers wielding bow, arrow and tomahawk overcome a heavily-armed contingent?

North Mountain is half violent thriller, half passionate, aboriginal gay love story. Rain and Gould (of Plains Cree and Mi’kmaq heritage, respectively) are excellent as the two lovers, and the action – including references to Peckinpaw’s ultra-violent Straw Dogs – is as heart-pounding as any good thriller.

North Mountain, Darken and Marlina the Murderer 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.

Movies Made by Women. Films reviewed: What Will People Say?, Zama

Posted in 1500s, Argentina, Clash of Cultures, Drama, Family, Indigenous, Kidnapping, Norway, Slavery, Spain, Women by CulturalMining.com on April 20, 2018

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

Spring festival season is on right now, with two or three new ones popping up each week. There are established festivals like Hot Docs, celebrating its 25th anniversary, as well as some new ones. Reelabilities is only in its third year, but already programs a full international slate of dramas and docs – and even a comedy night — for and about people with deafness, mental illness, autism, down’s syndrome, and many others. And they’re dealing with important topics like sexuality and disabilities and disability rights. This week I’m looking at two movies directed by women and that played film festivals in Toronto (TIFF, Human Rights Watch Film Fest). There’s a coming-of-age drama about a Norwegian schoolgirl whose parents come from Pakistan, and an historical drama about a colonial Argentine whose ancestors came from Spain.

What Will People Say?

Dir: Iram Haq

Nisha (Maria Mozdah)is a high school student living in a snow-swept Oslo housing project. She has beautiful long hair, dark eyes and a shy but winning smile. Nisha is a typical Norwegian girl. She hangs with a tight-knit group of friends for partying, listening to music, texting. At night, though, she’s the grudgingly loyal daughter to her traditional Pakistani parents. She is the apple of her fathers eye. Mirza (Adil Hussein) piles money and gifts on his smart and beautiful daughter whom he dreams of becoming a doctor or an engineer. But Her mother is more strict, always wondering what other people – meaning people from Pakistan – will say, if they see Nisha doing outrageous things like… dancing? Little does she know. she’s dating a guy named Daniel who looks like Archie Andrews. But when her dad catches them in her bedroom, flirting, all hell breaks loose.

Before she knows what’s happening she’s on a plane to Pakistan on her way to a relative’s home in a remote town. They take away her phone, burn her passport, and forbid her from using the internet. Mirza says he’s doing it for her own good, but Nisha feels betrayed, lost and abandoned. And then there’s the physical dangers. She can’t just put on a hoodie and explore the streets alone like she did in Norway. Only a young cousin who idolizes her, and Amir, a boy she likes, make her life worth living. But her eyes and tastebuds are awakening to new sights and flavours she never encountered in cold, grey Norway.  She gradually adapts to her new home…. until a big change threatens her life and her future. Will she ever regain her old life and friends? Can she achieve success as a woman? And will she and her family learn to accept each other?

What Will People Say is a great coming-of-age drama that’s a bit of a thriller, too. It gives a multi-faceted look at a teenaged girl, partly self-centred and spoiled, partly facing a miserable life not of her own making. Pakistan is portrayed as a scary and violent place but also a vibrant and beautiful one, filled with both kindness and terror. The director (herself of Pakistani/ Norwegian background) eschews what could have been a one-sided kidnapping thriller in favour of a realistic and touching drama. She avoids easy stereotypes opting instead for a nuanced and loving look.

Zama

Wri/Dir: Lucrecia Martel

It’s 300 years ago in imperial Spain in South America.

Don Diego Zama (Daniel Giménez Cacho) is a low- level magistrate decked out in a white wig and three cornered hat, with a bright reddish jacket and a shiny sword. He’s there to provide justice and compassion in disputes among the colonists, their slaves and the indigenous peoples in the remote colony of Asunción. But he soon discovers his rulings are ignored, his requests disregarded, and his status questioned. He’s far from his wife in Buenos Aires, and his native mistress in Asunción doesn’t like him much, even after she gives birth to his son.

His life depends on the indulgences of a king in far off Spain, and a corrupt and decadent local Governor who spends most of his time gambling to win obscene tokens of power. He covets worthless geodes and decrepit ears sliced off a dead convict’s head. Colonial landholders slaughter Indios with impunity. As his life gets worse and worse, Zama feels trapped in a cesspit he can’t climb out of.

He finally gets his chance by joining a posse searching for Vicuña Porto (Matheus Nachtergaele) a villainous criminal terrorizing the locals. But his search seems equally pointless and circuitous, achieving nothing, waiting for a Godot who may never arrive.

On his journey he faces dangers and fascinations both real and imagineary: small boys with psychic abilities, hidden ghosts and potergeists infecting his lodges. People appear and disappear, seamingly at random, dying and coming back to life, in a colourful whirlwind of unexplained phenomena.

Zama is a fantastic, non-linear adventure based on an Argentinian novel. It explores name and identity, position and class, and race and ethnicity in Colonial Spain. Indigenous languages are spoken without subtitles – we hear it all through Zama’s ears.

I’m not going to pretend I completely understood this movie, but like Embrace of the Serpent (which I reviewed here), the images and exotic scenes in Zama are so engrossing I didn’t worry too much about the plot. Picture a group of women on a riverbank covering their naked bodies with thick brown mud. And the scenery in Argentina’s northeast Formosa province — green moss, sweeping hills, twisting rivers and impossibly tall bare tree trunks — is like seeing those Dr Seuss books I read as a kid again but in real life.

What a great movie.

Zama opens today in Toronto. check your local listings.What will people say is playing at Human Rights Watch film fest.  This is Daniel Garber at the Movies, each Friday morning, on CIUT 89.5 FM and on my website, culturalmining.com.

Is VR the New 3D? Movies reviewed: Ben Hur, Truman PLUS POP 03

Posted in Argentina, Barcelona, Bible, Cultural Mining, Family, melodrama, Movies by CulturalMining.com on August 19, 2016

Pop 03Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Does the future of cinema lie in virtual reality? Not yet, but it’s starting to make inroads in all movie forms. VR gives you a more experiential viewing experience than anything we’ve seen so far, expanding the margins to 360 degrees. A pop-up exhibition at TIFF (called POP 03) explores VR in the context of experimental and avant POP 03garde short films and experiential games.

Inverse Dollhouse puts you inside a virtual dollhouse. Floating hands move giant tables and enormous couches all around you. It’s terrifying!  A Viceland documentary takes you on a ride-along in a pickup truck with Justin Trudeau. He’s visiting Shoal Lake, a First Nation reserve entirely lacking in drinkable water. There’s Food Fight, trippy Exploding Fractals morphing all around you, Guy Maddin’s psychedelic Seances, and lots more. It’s put on by the National Film Board and TIFF, and you can see it through Sunday. I saw it just an hour ago and still digesting it. Amazing stuff.

This week, I’m looking at a 3-D reboot of a sword-and-sandal classic about brotherhood and faith; and a European drama about friendship and loss.

13641025_314903598841395_8827590151682346834_oBen Hur

Dir: Timur Bekmambetov

It’s around 30 AD in Jerusalem. They’re under Roman rule, but bands of zealots are trying to drive them out. But oblivious to all these troubles are brothers Judah and Messala. Judah Ben Hur (Jack Huston) is Jewish royalty and lives a life of luxury. His brother Messala Severus (Toby Kebell) was a Roman orphan adopted by Judah’s family as a child, but keeps Ben Hurhis Roman name religion and identity. The two of them love escaping to the desert to race on horseback. Messala, who is not of royal blood, feels the need to justify his existence. So he leaves his family to prove his strength on the battlefield, and returns home to Jerusalem triumphant.

He is asked by his commander to ensure safe passage through the city for Ben Hur paramount pictures 3Pontius Pilate. Pontius Pilate is the prefect of Judea for Rome, who struts around in foppish fur coats. The Zealots despise him. So when the procession passes the Ben Hur home, a zealot hiding there, shoots an arrow and misses. Ben Hur is blamed for this by his own brother, his family is crucified, and he is turned into a galley slave, rowing Roman warships 24/7. Years later, the ship is sunk and he washes up on shore. He is taken in by a chariot race entrepreneur (Morgan Freeman, in grey dreads!) and made into a charioteer. But so has his brother, Messala Severus, who is the Ben Hur Paramount Pictureschampion Roman chariot driver. A big race is coming soon, and Ben Hur wants revenge. Which of the brothers will triumph and which one will die?

This is a remake (in 3-D) of the 1959 movie, starring Charlton Heston, made during the heyday of sword-and-sandal Roman movies. It’s two hours long, but keep in mind the original was 3½ hours long! This is like the condensed version. Lots of royal Ben Hur Paramount Pictiures2politics, family rivalries and revenge. The whole movie is overlaid with a religious story. Jesus of Nazareth regularly appears on the streets of Jerusalem, preaching to the people to love thy neighbor, turn the other cheek… sort of a gospel greatest hits. The third part is the chariot race itself: exciting and gripping – very well done. Ben Hur may feel old fashioned, too long, too religious, and holding few surprises (if you’ve seen the original) but I still liked it.

13062552_1086121168113471_3948824687084435207_nTruman

Dir: Cesc Gay

Julian and Tomas have been best friends since their schooldays in Argentina. Nut now they live continents apart. Julian (Ricardo Darin) is an actor who lives in Madrid now, performing on stage, in wigs and costumes, in plays by Moilere. He’s divorced, with a grown son, with just his enormous dog Truman to keep him company. Tomas (Javier Cámara) is married to a Canadian woman with two small children and lives in Montreal. He works as an engineer f533ed07c49781675cdeab50a5b2e9bcspecializing in robotics. The two friends have an impromptu reunion — after many years apart – when he shows up, without notice, at Julian’s door, in Spain.

Why did he come from such a distance. Well, he’s heard the news.

12764515_1047339855324936_818289815822313283_oThe news is Julian is dying of cancer. Julian’s cousin Paula (Dolores Fonzi), another Argentinian living in Spain, told him all about it. So Tomas is there to spend a few days with him and help him out – as a friend should do.

Even though they’ve been apart for many years, they’re able to jump right back into their friendship, including the running jokes, wordplay and petty grudges. In the presence of a third person they can pick up on subtle clues and cover for each other. Doesn’t matter that Julian is a habitual liar who finds it hard to 13147317_1096737100385211_3584199723351401637_oface the truth. He wants to tie up loose ends, say goodbye to his family and friends, and find a new home for his dog Truman. And to face his own mortality.

This is a great movie. The story is as simple and straightforward as the performances are nuanced and complex. It’s sad and funny and quite touching. I haven’t seen many movies from Argentina, but it’s funny that I remember all of these actors from previous roles. Great actors leave a lasting 12314287_998340066891582_7019787486162808839_oimpression. Ricardo Darin is one of the best Argentine actors around. From Oscar winning films like The Secret in their Eyes, and Wild Tales. Meanwhile you may have seen Javier Cámara in lots of number of Almadovar movies – a good comic actor. I even remember the beautiful Dolores Fonzi from EL Critico a few years back. Great acting in the main and all the side roles. Even the dog is well-cast. Truman is definitely worth seeing.

Ben Hur and Truman both open today in Toronto: check your local listings. The POP 03 is on this weekend at the TIFF Bell Lightbox. 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

Action, Anarchy and Audacity. Films reviewed: Kanto Wanderer, Tokyo Drifter, 10 Cloverfield Lane

Posted in 1960s, Crime, Cultural Mining, Japan, Kidnapping, Psychological Thriller, Science Fiction, Yakuza by CulturalMining.com on March 11, 2016

RgKr3w_Kanto_Wanderer_2_o3_8897472_1450193360Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Suzuki Seijun is a great Japanese director who made his mark in the 1960s as a b-movie director at Nikkatsu, specializing in low-budget yakuza “B” movies. Still directing movies, he’s known for his stylized images and experimental takes on traditional themes. A retrospective of his work — Action, Anarchy and Audacity — is now playing at TIFF. This week I’m going to talk about two of Suzuki’s early Yakuza films, as well as a psychological thriller from the US.

644613_1140220552677881_5773406903098755507_n10 Cloverfield Lane
Dir: Dan Trachtenberg

It’s a present-day city in the Gulf Coast. Michelle (Mary Elizabeth Winstead) is an aspiring young fashion designer with dark hair and a determined look. She’s leaving her husband and driving she knows not where. But out on the highway there’s a sudden boom! and her car rolls over into a field. She wakes up in a cell, cuffed to a metal bed in a cell. What happened? What was she doing there?

And there’s a young guy in the next room. Is this some sort of prison? She stages an 12804810_1136381339728469_8736079247145773773_nelaborate escape only to discover she’s deep underground, in a hermetically-sealed bunker. It’s the home of Howard (John Goodman) a huge man with a child-like demeanour. He’s no kidnapper, he says; he’s a DIY survivalist. Apparently one with a “black belt in conspiracy theories”. He found her on the road and saved her life. There’s no reason to go back outside since everyone’s dead and the air is filled with poison gas. Emmet (the guy in the next room) says he helped build the place and he isn’t a prisoner — he fought his way *into* the cell when the invasion started.

They form an odd trio. Emmett (John Gallagher, Jr) who regrets not tattooing YOLO on his forehead; Howard, a budding dictator who loves being isolated with a young woman; and our resourceful heroin, Michelle. Is it safer inside or out? Can Howard be trusted? And are they really under attack, or is this just one of Howard’s fantasies?

10 Cloverfield Lane is a follow-up to Cloverfield but completely different. I’m not sure if it’s a sequel, a prequel, or an e-quel (a word I just made up meaning it takes place at the same time as the original). Cloverfield was a found-footage Sci-Fi thriller shot on a hand-held video camera. This one feels more like a stage play on a small set: part horror, part psychological thriller. Excellent acting with an interesting story but one that sometimes meanders. Not perfect but totally watchable.

oYn9wY_Kanto_Wanderer_4_o3_8897506_1450193380Kanto Wanderer (1963)

Dir: Suzuki Seijun

It’s the 1960s in Tokyo. Three high school girls – one the daughter of a Yakuza godfather — are thrilled and fascinated when handsome Katsuta (Akira Kobayashi) a young bodyguard notices them. The three sneak into a shop to ogle another Yakuza j2gVp4_Kanto_Wanderer_3_o3_8897489_1450193370enduring the painful, but exotic practice of tattooing. It’s Diamond Fuyu, (Hirata Daizaburo) from a rival gang. These short encounters help trigger a series of events of rivalry and revenge within the two groups. One of the young women – the one Fuyu likes —  is determined to see the world, falls for a hood from Katsuta’s gang, who secretly sells her to a pimp.

Katsuta, meanwhile, still crushes on Fuyu’s sister, who’s a con artist married to a much older cheater at cards. In this world, Yakuza members are told they should “only wear red or white”: Red means a prison uniforms, white means a corpse. What will Katsuta end up wearing?

JZK2n2_tokyodrifter3_o3_8899020_1450193455Tokyo Drifter (1966)

Dir: Suzuki Seijun

Tetsuya (Watari Tetsuya) is a yakuza hood who protects and reveres the gang’s leader who owns a Tokyo nightclub. His gang is falling on hard times. He’s in love with Chiharu (Chieko Matsubara) a high-class singer. But when a rival gang try to takeover the club ownership, it leads to a gun battle. Someone dies. Tetsuya takes the fall for his boss. He and decides to “drift”, a modern-day ronin without ties to his gang. HE’s forced to flee to the southern city of Sasebo (a zm4Egm_tokyodrifter2_o3_8898958_1450193442major US navy base). But chased by the cops and rival gangs, he’s a marked man: he’s going to die. Will he fight to the end or die quietly? And who sold him out?

There’s also a “meta” dimension to this movie. The title of the film is also the title of a song sung by the Chiharu the nightclub singer. The song is about a Tokyo drifter, just like Tetsuya.  And in a crucial scene, he whistles that song about himself and about the movie he doesn’t know he’s in!

MjKmym_Kanto_Wanderer_5_o3_8897523_1450193349Kanto Wanderer and Tokyo Drifter are similar movies, both about yakuza members who are criminals, but also good, true and above all loyal to their boss. And they both have bosses who are corrupt, selfish and venal. Are they spending their lives defending men who don’t deserve to be defended?

The two films were made 3 years apart but what an incredible difference. Many people say the Tokyo Olympics (1964) was a turning point in modernizing Japan. Kanto Wanderer could be a traditional Samurai period piece with Katsuta  wearing kimono and carrying a sword. His gamblers play traditional card games, with nothing modern about it.
Tetsuya, in contrast, is totally modern, western, dressed in a pale blue suit, and lives in aqjprn0_tokyodrifter1_o3_8898896_1450193481 world of pop art nightclubs with glass walls and yellow halls.

Following Suzuki’s films is like watching the stages of Picasso, developing from realistic to interpretive to almost cubistic.  He hints at his future style in Kanto Wanderer in a scene where the backdrop turns instantly to an intense red the moment Katsuta commits a bloody crime. But by the time we reach Tokyo Drifter, the characters dress in pale blue or bright red, and most scenes are shot on enormous soundtages with vibrant yellow or snowy white backdrops and stairways going nowhere. Suzuki’s movies are a pleasure to watch and you should see them on the big screen while you have a chance.

10 Cloverdale Lane opens today in Toronto: check your local listings. And Action, Anarchy and Audacity: A Seijun Suzuki Retrospective is now playing; go to tiff.net for times.

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

Álex de la Iglesia: Dancing with the Devil. Dying of Laughter, A Ferpect Crime, Witching and Bitching PLUS ’71

Posted in comedy, Crime, Cultural Mining, Horror, Movies, Spain, Uncategorized by CulturalMining.com on March 13, 2015

Q153nG_lastcircus_o3_8514727_1421789020Hi, this is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM.

Alex de la Iglesia is a Spanish director known for his dark, violent comedies, many with a hint of horror and the supernatural. The battles of the sexes is his bread and butter, his stories filled with arrogant, strutting men cut down to size by cruel women. Rivalry, lust, fear and vengeance are the emotions, all seen against the setting of contemporary Spain. And the scary parts? Witches, ghosts, killer… and clowns. Hideous, scary clowns!

Álex de la Iglesia: Dancing with the Devil, a retrospective of his films is showing now at the TIFF Bell Lightbox. This week I’m talking about some of his films, looking at the rise of themes like sexual conflict and the supernatural over the course of his career. Plus a new action-thriller about The Troubles in Belfast.

Q15VQq_Dying_of_Laughter_col_slide_3_o3_8514371_1421789008Dying of Laughter
(Muertos de Risa)

… is an early film of his where the war between the sexes is played out, in proxy, by an odd couple.

Nino and Bruno (Santiago Segura, El Gran Wyoming) are like Dean Martin and Jerry Lewis – a two-man comedy team. Their act is simple: fast-talking Bruno provides the chatter, until it comes time for chubby Nino to respond. Struck with perpetual stage-fright he just stares straight ahead, unable to speak. And then comes the punchline: Bruno slaps Nino’s face. That’s their shtick and it never fails to have the audience rolling in the aisles. They vg9OWg_Dying_of_Laughter_col_slide_1_o3_8514310_1421789002don’t change the act, just the silly costumes they wear. (Nino insists on always wearing the same pair of socks – never washed – for good luck.) They become stars, rich and famous, and build their homes right beside each other.

The problem? They hate each other’s guts! They are consumed with rage and jealousy, each thinking the other is more talented and more attracted to women. They concoct elaborate schemes to ruin their partners and the source of their fame and fortune. And they just might die of laughter…

A bit more supernatural, and heavier on the man vs woman theme is

Vm08Po_Ferpectcrime07_o3_8514673_1421789014A Ferpect Crime
(El Crimen Ferpecto)

Raf (Guillermo Toledo) is the best salesman at the Yeyo department store. He was actually born there, and knows every nook and cranny. He treats it like his personal fiefdom – the silk bathrobes, the lobster and champagne, and kingsize beds. Loaded with self-confidence, he can charm the pants off any woman he meets – and he’s met a lot of them. He’s always surrounded by beautiful saleswomen who want to sleep him, and men who want to be him. Raf’s life is dedicated to high aesthetic values: beauty, quality and prestige. He is opposed on principle to marriage, families and suburban living. But his job and his future are in danger when, in a scuffle after closing, GZQPZ5_Ferpectcrime05_o3_8514619_1421789007his rival, Don Antonio, ends up dead.

The death is witnessed by Lourdes (Mónica Cervera) an unattractive and shy saleswoman. She’s also the only woman he refuses to sleep with on aesthetic grounds. But she’s not as dumb as she looks. After she helps him dispose of the body (she is a former butcher) he is forced to give in to her desire… maybe even marry her. The greenish ghost of Don Antonio warns Raf of her treachery. He will need a perfect crime to get rid of her once and for all… but who will win?

These themes, plus a mammoth dose of the supernatural come to a head in one of his most recent films

2R1nrJ_witchingbitching_09_o3_8515335_1421789031Witching and Bitching
(Las brujas de Zugarramurdi)

Jose and Antonio – a divorced misogynist and a dumb jock — have a perfect plan. Dressed as a silver Jesus and a green plastic soldier, they knock over a pawn shop. They grab a taxi and escape with a bag of loot – thousands of abandoned wedding rings – and the divorced man’s 10 year old son. But he is hotly pursued by his fuming ex-wife and the police tracking her. After an exciting chase the motley crew – the gangsters and the people in the cab — land up a small Basque town lOMK66_witchingbitching_01_o3_8515203_1421789033country named Zugarramurdi. A town run by witches, who view men as fodder for their evil spells.

It ends up as a face off between the whole panoply of male vs women: On the men’s side are the selfish boy, the sex-crazed guy, the bitter divorced man, the wary cab driver, and the clueless, detached older guy. But they are no match for three generations of witches, plus a furious ex-wife. Only the rebel biker granddaughter witch, who’d rather sleep with men than torture and eat them, provides a chink in the armour. But can they escape the world’s largest coven and the Great Satan himself?

The films of Alex de la Iglesia provide just the right balance between sex, violence and gross-outs —  and giddy laughs. They’re not for everyone, but I really like his horror-comedy combinations.

10960424_308995695976723_8427525493433940388_o‘71
Dir: Yann Demange

It’s 1971, and Gary (Jack O’Connell: Skins, Starred Up, Unbreakable) wants to learn a skill and see the world. He hugs his little brother goodbye and sets off with the British Army for his first foreign posting. But he doesn’t get further than Belfast, Northern Ireland.

The city is in the midst of The Troubles and is divided on religious and political grounds. The IRA unionists are Catholic – they want to join the Republic to the south. The protestant loyalists want to stay within the UK. And within these groups, on both sides, 10868016_293166914226268_8893011712378773515_nthere are militants (like the Provisional IRA and the Ulster Volunteers) who seem to relish the idea of killing some people on the way. So the streets of that city are divided by walls and twisting allies, punctuated by Molotov cocktails and ticking time bombs. And fresh out of boot camp is Jack’s squad, plunked down onto the mean streets on his very first day. As luck would have it – bad luck – his army buddy gets shot in the head and he sees the shooters’ faces. But he gets separated from his unit. So he’s all alone in this hellhole. He meets a guide – a tough, wee lad — who 10352272_288200604722899_1580563761024035270_ntakes him in an out of windows and down deserted allies – and a father and daughter who help him hide. But both sides, and perhaps even elements of the army, want him dead. He’s seen too much.

This is a great, exciting action-thriller about a sympathetic young man who catches the brunt of horrific violence… and realizes he’s part of the forces causing all the trouble. ’71 is a war movie, but not a pro-war movie.

’71 opens today in Toronto, check your local listings, and the Álex de la Iglesia retrospective continues through March. Go to tiff.net for details. Also opening today is Harold Crook’s great documentary The Price We Pay, about off-shore banking and what it does to our economy. I interviewed him last December.

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

Daniel Garber talks to Bruce LaBruce about Skin Flicks, the film retrospective now playing at TIFF

Posted in Bruce Labruce, Canada, Cultural Mining, Movies, Punk, Queer, Satire, Sex, Skinhead, Uncategorized by CulturalMining.com on June 25, 2014

Bruce Labruce 53This is Daniel Garber at the Movies for culturalmining.com and CIUT 89.5 FM

Should homosexuality connote homogeneity?

Toronto filmmaker, artist and personality BRUCE LaBRUCE would give a resounding NO. From homocore zine pioneer, to Super-8 punk filmmaker, to reluctant pornographer, his influence has spread to Bruce Labruce8the art scene, fashion, pop culture and of course movies. His work uniquely combines a rough-hewn DIY quality with a punk aesthetic; controversial politics with avant-garde art; and explicit gay sex.

Skin Flicks: The films of Bruce LaBruce is playing now through July 5th at the TIFF Bell Light Box as part of the BENT LENS series. I spoke with BLaB, in studio, about cinematic critique, art, zines, skinheads, blood, sex, aesthetics, romance, gerontophilia, Nazis, Vladimir Zhirinovsky, … and more.

Pier Paolo Pasolini: the Poet of Contamination. Movies Reviewed: The Canterbury Tales, The Decameron, The Arabian Nights

Posted in 1960s, 1970s, Adventure, Catholicism, Communism, Cultural Mining, Disease, Dreams, Fantasy, Italy, Joy, Magic, Movies, Rome, Sex, Short Stories, Slavery, Women by CulturalMining.com on March 15, 2014

The Decameron Pier Paolo PasoliniHi, 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.

Pier Paolo Pasolini: You may have heard his name, but not know why. He was an Italian novelist, poet, artist and director, born in Bologna. He got his start in movies writing screenplays (including Fellini’s La Dolce Vita) before directing his own films. His films – he directed movies from the 1960s until the mid 70s, when he was murdered – celebrate the poor, The Decameron Pasolini 2 TIFFthe outcasts, the people in the margins. They dig at the complacent middle-class, and the oppressive and corrupt church and nobilitiy. He cast non-professionals in his films for their looks and attitude – he wanted his actors natural not contrived. Naturalism was all-important.

Pasolini was in the Italian Communist Party but was kicked out for his criminal activity. His crime? Being gay. So Pasolini embraced his status as sexual outlaw.

All of these elements – politics and sexuality shown in literature and art – come together in his movies: beautiful to watch, full of laughter, but with a rough and tragic streak running through them.

Pier Paolo Pasolini: the Poet of Contamination is a retrospective of his films now playing at TIFF. This week, I’m going to tell you about three of his movies, often called a trilogy, all based on Medieval stories. They are extraordinarily beautiful films and you should see them on the big screen while you can. There’s an English romp, an Italian comedy, and tales of middle-eastern magic.

Pasolini Canterbury Tales 2 TIFFCanterbury Tales (1972)

Chaucer’s Canterbury Tales is the classic collection of stories told by religious pilgrims on the road to Canterbury. Set in 14thcentury England, it’s filled with monastic robes, pious nuns, Oxford students, religious pilgrims. But it’s also a world full of shouting and drunkenness, farts and belches. The old are missing teeth, fat and ugly, and prone to violence. The young, though still beautiful, are selfish and arrogant. And everyone’s apt to break into raucous, unscripted laughter as they do medieval things like milling corn or polishing eggs.

But what do they all desire? Sex (and money). They come up with complex schemes to cheat on their husbands and wives. This movie is very bawdy.

But it has a dark side too. One of the earliest scenes shows a man being burned to death in the market Pasolini Canterbury tales 1 TIFFsquare: he was caught having sex with another man, but was too poor to bribe the police.

Religion and the supernatural are omnipresent. Angels, devils and wood spirits are as likely as a passing neighbour to appear outside a window. A widow wears out a succession of husbands by being too good in bed. An arrogant student fools his mentor into thinking a great flood is coming. Three brothers go from cavorting in a brothel to plotting dangerous and murderous schemes. And a bright red devil shoots the black-clothed sinners of hell out of his ass!

Most of all, it’s a place where large-breasted women and plain-faced men stand around staring… naturally, naked.

Decameron, Il (1971) aka The Decameron Directed by Pier Paolo PasoliniThe Decameron (1971)

Based on 14th century writer Boccacio’s sexual comedy, these piqaresque stories centre on Naples and other medieval Italian cities. Women are tricksters who fool hapless travelers, while sinners look for sex. It’s a comedy about sex, thumbing its nose at church-mandated restrictions.

Here’s a typical story. A nunnery is off limits to all men but the elderly. A young guy, sensing opportunity, pulls his hat down low – like Bob and Doug McKenzie — and pretends to be a deaf-mute simpleton. He gets hired as a gardner. Soon enough, all the nuns are sneaking out to the shed for their daily roll in the hay. But what happens when the mother superior gets her turn? He tells her he’s had enough. He can Pasolini's The Decameron 3 TIFFspeak! It’s a miracle!

This is an amazing movie (I liked it even better than Canterbury Tales) shot around ancient castles and down narrow allies.

Arabian Nights (1974)

The 1001 Nights is the famous collection of intertwined stories-within-stories across the Arab world. Pasolini skips the tale of the Persian Scheherazade as the storyteller, and instead uses a loving Ines Pellegrini in Pasolini's Arabian Nightsrelationship between a wise and beautiful slave-girl named Zummarud, and her young master. She’s smarter than all the men she encounters, and somehow manages to snub potential buyers at her own auction — rich old men who won’t satisfy her sexually – in favour of love at first site. But she is kidnapped by a spurned buyer. This launches a series of journeys as she outsmarts the men she meets and eventually – disguised as a man – rises to the level of king. And all the way her lover, Nur ed-Din tries to find her.

She’s played by Ines Pellegrini, an Italian woman of Eritrean background, and he’s Franco Merli, a Pasolini's The Arabian Nightsteenaged boy Pasolini apparently spotted pumping gas.

Pasolini skips the most famous stories – the Ali Babas, Alladins, and Sinbads – and instead adapts less-well-known ones. Especially the sexy parts.

Like Canterbury Tales and the Decameron, The Arabian Nights was rated “X” when it first came out. Though it includes a lot of nudity, it’s very tame, sweet and almost naïve, by present-day standards. Some of the same actors show up in all of these films. Franco Citti (usually with bright red hair) plays the devil in Canterbury, an unrepentant sinner and homosexual in Decameron and a magical demon in Arabian Nights. Ninneto Davoli (Pasolini’s former lover), is the toothy, curly-haired clown who bursts into tears or laughter, or else stares, dumbfounded, at new things he encounters. Pasolini himself also appears in small — but central — roles arabian-nightsin his own movies — as Chaucer in Canterbury Tales, or as a master painter in The Decameron, who says his art is never as good as what appears in his dreams.

Arabian Nights was shot in Ethiopia, Yemen, Iran and Nepal, and to say the locations are breathtakingly beautiful doesn’t do them justice. It’s mind-boggling, ranging from lunar landscapes and strange curved mud homes, to cavernous, white-and-blue tiled cathedrals, and ancient wooden Nepali shrines. And the faces of the local actors and extras add still more beauty and authenticity to the locations. (A collection of still photos from this film by Roberto Villa is on display now at the Italian Cultural Institute in Toronto.)

Pier Paolo Pasolini: The Poet of Contamination is playing now at the TIFF Bell Lightbox; details on tiff.net. Beginning next Thursday is the CFF a festival of low-budget and independent Canadian films at the Royal:  go to canfilmfest.ca for more information. And cult favourite The Room is playing at the Carlton starting tonight.

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

Flesh + Blood. The Dutch films of Paul Verhoeven: Turkish Delight, Soldier of Fortune, Spetters, The Fourth Man

Posted in Cultural Mining, Movies, Netherlands, Psychological Thriller, Sex, Uncategorized, violence, WWII by CulturalMining.com on January 30, 2014

fourthman_02Hi, 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.

Paul Verhoeven. You’ve probably seen some of his Hollywood movies — Robocop, Basic Instinct, Starship Troopers, Showgirls. He’s known for his shocking nudity, brutal sex and stylized violence. Popular movies, but unpopular with most critics. They saw him as a misogynist, a schlockmeister and a fascist. None of this is true. He’s actually a great director.

The critical tide seems to be turning. His films are now being revisited in a TIFF Netherlandsretrospective. This week, I’m looking at the less-well-known, but fantastic films he made in the Netherlands in the 1970’s and 80s before going to Hollywood.

In some ways Verhoeven’s early films were totally Hollywood. His men (Rutger Hauer, Jeroen Krabbe) are lantern-jawed and lusty; his women (Renee Soutendijk, Monique Van den Ven) are petite beauties… and as independent and blatantly sexual as the men. His movies are filled with full frontal nudity (both male and female) explicit sex, and brutal violence, often with a queer twist. And a constant undercurrent of anti-authoritarianism.

They explore the postwar world of the baby boom and its sexual revolution in the glory days between the pill and AIDS.

Rutger Hauer Turkish DelightTurkish Delight (1973)

Erik (Rutger Hauer) is a sculptor in a small city. He has long blond hair and aviator sunglasses. He’s the kind of guy who takes whatever he wants – an old lady’s fur coat, a stranger’s ice cream cone. This applies to women as well – he’s a champion pick-up artist.

But he bristles at the old guard – the uptight shopkeepers and burgermeisters– and despises their hypocrisy. Erik’s sculpture of Lazarus (the biblical character who comes back to life), gets him in trouble – the town fathers don’t like the worms and maggots eating Lazarus’s flesh. But Erik revels in them.

Verhoeven also piles on the shocks. The decay and rot of old ideas are turkish_delight_02everywhere: clean, orderly Netherlands is shown as a country full of worms, feces, garbage and vomit. Old people have cancer and dementia; their sex is furtive and hidden. Erik wants sex to be free, open and everywhere.

So he heads off to Amsterdam, but is picked up by a beautiful young woman, Olga (Monique Van de Ven) on the way. Olga is voluptuous and impetuous; they leap into bed in bloodsoaked sexual abandon. But is their marriage a flash in the pan or everlasting love? Olga is the woman of Eric’s dreams… but she’s still young. She grows bored with him and the constant sex. Can he  ever get her back?

Turkish Delight is a delightful sex comedy.

soldieroforange_01Soldier of Orange (1977)

Leiden University in 1938. War is looming, but the upper-class frat boys are more concerned with hazing, songs, tennis and drinking. They’re apolitical toffs who swear loyalty for life. Erik and Guus (Rutger Hauer and Jeroen Krabbe) become fast friends. But then, the Germans invade, Queen Willhemina flees to Britain, and the Netherlands is under Nazi occupation. Suddenly everything changes. Friends fight friends.

Some – like one student whose mother is German —  drift toward Nazi collaboration; others join the Resistance. They send out furtive messages to London by wireless, but the Germans – riding on bicycles with detectors around their necks – uncover the operation. They arrest most of the conspirators and use them to unwittingly spread false rumours. Some remain loyal till death, other’s crack under torture and switch sides. A few dozen men escape, including Erik and Guus. They climb onto a Swiss ship and make it to London. There, in the name of the Queen, they operate air raids and launch undercover missions. Based on a true story, this epic is a fantastic, wartime look at the few and the brave.

spetters_eyefilm_02_mediumSpetters (1980)

Three best friends in their twenties, one redhead, one dark and one blond.  Rien,  Eef and Hans (Hans van Tongeren, Toon Agterberg, Marten Spanjer) work together at a mechanic shop: Rien drives a dirt bike and Eef can take one apart and put it back together… blindfolded! They love to race and ride at local events and they all idolize the the champ — their hero Gerrit (Rutger Hauer).

They all end up crushing on the same  carney Fientje (Renee Soutendijk) who runs a fry and croquette truck with her brother. Fientje is older and tougher than the boys. She has curly blonde hair but is no pushover – she’s ambitious. She’s quick with her pot of boiling oil against any guy trying to steal from the chip wagon. The spetters_eyefilm_01_mediumthree guys decide the best endowed will get to date her – but she has other ideas; she chooses the redhead Rien – the only one with a girlfriend. She gets him a sponsor and an expensive bike; she hopes her star will rise with his. (But will he make it as a champion?)

Next comes the dark-haired Eef, a farmers son with a homophobic streak: he bashes gays and steals their money. He uses the cash to buy one-way tickets to Canada for Fientje and himself so he can escape his abusive home… but is he sexually compatible with her?

The blond, Hans, is the third in line, with nothing to recommend him. He too wants to be the next champ but faces a cynical, exploitative world… can he win her heart? 

Spetters is a great coming-of-age story about where fate takes one woman… and the three young men who want her.

fourthman_01The Fourth Man (1983)

A Psychological Thriller.

Gerard (Jeroen Krabbe) is a novelist in Amsterdam with a vivid imagination. He likes to “lie the truth”. He sees signs, symbols and omens everywhere: the number four, the virgin Mary, a detached eyeball. He’s Catholic – but more into the spooky gothic icons than the sinning and repenting. He’s also a red-blooded gay man. So when he spots a young guy at a newsstand near the train station he is in love. (Well, in lust). He chases him but misses the train.

Soon, he finds himself in a small town doing a book reading. Christine (Renee Soutendijk), a stunning blonde widow in a red dress, 1940s-style is filming him in super-8. They end up in bed, but he fourthman_03awakens from a bizarre castration nightmare involving Christine and a pair of scissors. (She owns a beauty salon called Sphinx.)

Going through her letters when she’s out of the room, Gerard discovers a photo of her boyfriend Herman (Thom Hoffman). It’s the same man he saw at the train station! So he fakes a psychic vision and convinces her to invite her macho and jealous lover to come stay with her. He aims to seduce Herman. But he discovers that MBDFOMA EC004Christine has a secret history of her own. Will this sexual triangle end in love… or death?

I recommend all four of these films. Turkish Delight, Soldier of Orange,  Spetters and The Fourth Man are all part of Flesh + Blood, the Paul Verhoeven Retrospective at the TIFF Bell Lightbox now through April. 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

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