For the past decade and a half, the Montreal International Black Film Festival (MIBFF) has had a mission to foster diversity by showcasing Black stories from around the world. This year, in spite of everything that’s happening, and also because of it, MIBFF’s mission will continue.
Given the current reality of the Black Lives Matter movement as well as the fact that COVID is still raging around the world and disproportionately impacting communities of colour, a festival that gives a platform to Black artists that would otherwise be invisible more than makes sense — it’s essential.
Understandably, the format will be different this year. MIBFF’s 16th Annual Edition will be almost exclusively online.
Most film festivals operating for the first time without the in-person cinema experience have been forced to geo-block their content to a particular region or country. MBIFF’s lineup, though, will be available to stream all around the world.
Speaking of that lineup, this is Canada’s largest Black film festival and this year features 120 films. An All-Access Pass costs $49 and gives you access to all of them throughout the festival’s run.
Here are some of the highlights:
The Cuban: A film by Sergio Navarretta about a young woman who meets and unexpectedly becomes friends with an elderly Cuban musician while working her first job at a nursing home.
Black Market: This is a series of free panels focused on the industry side of cinema. Topics include: Racebending in Film and Television, Black Stories Matter, and Black Women Behind the Lens.
MBIFF in the Neighborhoods: When we said the festival will be almost exclusively online, this is the exception. It will take place at the Maison Culturelle et Communautaire de Montréal-Nord, and feature screenings of Mahalia Melts in the Rain and Briser le Code, followed by discussion.
Black Boys: A documentary from Executive Producer, activist and two-time Super Bowl champion Malcolm Jenkins and writer/director Sonia Lowman celebrating the full humanity of Black men and boys in America and revealing the emotional landscape of racism in order to ask the viewer to re-imagine a different world.
Canadian Films: This year MIBFF is putting a spotlight on Canadian filmmakers.
The 16th Annual Montreal International Black Film Festival runs from September 23 to October 4. You can watch all 120 films whenever you want during the run of the festival by purchasing an All-Access Pass for $49 through MontrealBlackFilm.com where you can also see the full lineup.
In spite of indoor public gatherings of up to 250 people being allowed, Montreal’s annual Fantasia Film Festival has opted to go online this year due to COVID-19. The event is described as a “cutting-edge virtual festival, taking place August 20 to September 2, 2020.” Among the festival’s offerings this year is the film Anything for Jackson, a horror film whose subject matter is reminiscent of the 1970s films of the same genre. I had the privilege of speaking with star Konstantina Mantelos about her role, and the effect the pandemic has had on the film industry.
Anything for Jackson is about Mantelos’ character, Shannon Becker, who at eight months pregnant is kidnapped by a pair of elderly Satanists, played by Canadian actors Sheila McCarthy and Julian Richings. The two Satanists are hoping to bring back their dead grandson via a Satanic ritual involving Becker’s unborn child. When I pointed out the similarities of the plot to 1970s horror films, Mantelos enthusiastically agreed.
“When the director and writer first met with me they referenced Rosemary’s Baby meets Hereditary. They really pulled on a lot of older, classic horror film ideas and they modernized it. They’ve taken a new twist on horror films that are happening right now and used these themes as metaphors for real life things that we face. It sounds like a zany concept, but there’s a lot of love in the story, there’s a lot of themes of motherhood and caring for those you love, and that’s really what’s at the centre of the story.”
I wondered if given this ongoing trend in horror, Mantelos felt the film’s subject matter was especially relevant given the current apocalyptic times, or whether Anything for Jackson was just a bit of fun. Mantelos laughed and said it was a bit of both.
“I think there’s an interesting factor in the story, an older couple trying to bring back their grandson with no regard for the fact that they are doing this to a young woman who has her future ahead of her and who has this child that she would love and be her own. There’s a sort of selfishness there, as well-meaning as these two are, as you’ll see in the film that they are quite endearing, at the end of the day there is a sort of slightly larger metaphor of older generation: what’s happened to the planet, what we as a younger generation are facing now. There’s a little bit of that. We discussed it when we were working on the film that we think is not a prominent theme in the film, but what I think can be gleaned from it.”
When I asked which of the countless horror sub-genres Anything for Jackson fell into, Mantelos said that despite the subject matter seeming quite campy, the movie sits more within the realm of reality.
“The stuff that we’re facing is quite out of this world, but the way it’s dealt with is in a quite down to earth, dark manner.”
Given the intensity of the part she plays in the movie, I was curious as to the challenges she faced working on the film. Mantelos laughed at this question, discussing the challenge of playing someone who is eight months pregnant when she herself has never been pregnant.
She did some research and reached out to friends who have been pregnant. Mantelos speaks affectionately about how helpful her co-star Sheila McCarthy was when speaking about her own pregnancy experience, and about the extreme emotional and physical changes involved. She described the heavy jelly-filled pregnancy vest she had to wear throughout most of the filming day, and the challenge of being chained to a bed for much of the film.
Given all the talk in the media about the decline in the arts due to the pandemic, I wanted to know how it had affected Mantelos’ work. She pointed out the obvious decline in auditions she was getting, as well as many productions shutting down.
“Funny story, we shot this film — it was a three-week shooting schedule. We literally wrapped on the day that all production got shut down. I essentially went from this very hectic, busy shooting schedule to coming back home to Toronto and essentially being stuck in my house!”
Though auditions have shut down, Mantelos has found a way to make the best of things. She has used the isolation to be productive on personal projects, including screenwriting and producing, which she’d never had time to sit down and give the attention they needed. She mentions that being stuck at home allowed her to complete the first draft of a script she was working on.
When I asked her what else she was getting up to during the pandemic, Mantelos mentioned doing a movie marathon, where she watched a film every day and posted about it on Instagram. Though she no longer watches one every day, she’s already reached 160 movies, mostly fiction. In addition to the movie marathon, she has also been baking, recently making a strawberry and cream bread from The Hobbit Cookbook.
Given how much adapting the arts have had to do since the pandemic started, I asked Mantelos if she thought the changes would be permanent. In response, she mentioned that Anything for Jackson is set to come out on Super Channel Fuse in October, which was planned in advance.
“They’re doing a really wonderful job, and part of it is nice because things like Fantasia are things I always wanted to participate in or have participated in and attended, but a lot of people don’t know that there are things that the public can buy tickets to and the average Joe can get tickets to a big movie premier, and it’s really amazing that it’s accessible. In that way it’s nice because now people are going to be able to access the premier all across Canada, and that’s something wouldn’t have happened if we were doing a traditional red carpet premier in the theatre.”
Anything for Jackson premieres tomorrow, September 1, 2020, as part of the 2020 Fantasia International Film Festival. Info and tickets available through FantasiaFestival.com
With pretty much every major Montreal summer festival either cancelling for 2020 or rescheduling until the fall due to the ongoing COVID-19 pandemic, we can happily report that the Fantasia International Film Festival will take place this summer with only slightly different dates (August 20 – September 2). The only other difference is the festival will take place entirely online.
No, this doesn’t mean that the internationally famous destination genre event will be making this year’s films available for on-demand streaming. Instead, they’ll be replicating the in-person cinema experience as much as possible through Festival Scope and Shift72’s virtual screening platform.
If you buy tickets to a movie premier that starts at 8pm but log on at 8:15pm, you’ll miss any trailers or intro material offered as well as the beginning of the film. They’ll also be limiting tickets to a number comparable to the capacity of the venue that would have, under normal circumstances, played host. The event will also be geo-restricted to Canada.
The security of the platform will allow Fantasia to still offer global premiers. This approach will also mean they can avoid having to compete with other major film festivals that usually run in the fall.
They will also offer as many Q&As with special guests as possible. It won’t be completely the same experience as in years past, but it will be as close as possible to it given the current public health restrictions.
Fantasia runs August 20 – September 2, 2020 and is still accepting submissions, so we don’t have a lineup yet, but we will announce it when we do. For more: fantasiafestival.com
This is the time of year where thoughts start to turn to summer and, in particular, all the shows the season usually brings to Montreal. At Forget the Box, this is when we start thinking about just how we’re going to cover all the festivals (music, theatre, comedy, etc) and what sort of ticket giveaways we may run.
This year, as everyone knows, will be quite different due to the ongoing COVID-19 pandemic. Even if some of the restrictions currently in place are loosened and things get back to some semblance of normal, the summer’s events won’t be coming back until next year, or in some cases this fall.
So there are no shows to cover, but that doesn’t mean we can’t run a contest to give away tickets. You’ll just have to wait a while to pick up your prize.
With everything upside down, what time better than the present to start thinking of the future. If we beat this thing with our social distancing, we’ll have reason to celebrate.
So without any further ado, here’s FTB’s Lockdown Contest:
The Grand Prize is two tickets to the show of your choice with some restrictions. Given the huge financial hit the event industry is bound to take this year and the fact that they’re probably all too busy right now to coordinate a contest with us for the future, these won’t be promo passes.
Instead, we’ll be buying a pair of tickets like everyone else and then giving them to the winner free of charge. As such:
It can be any concert, play, comedy show, festival, etc, but it must happen in the Greater Montreal Region (if you can get there by bus and metro, it’s in the zone) before the end of 2022.
Tickets to the concert or show must be available for purchase to the general public. So if a show’s sold out for the public, it’s sold out for this contest, too.
We don’t guarantee your first pick, or preferred seating, but we’ll do our best.
Price of a single ticket can be no more than $200. Depending on what you pick, you might get access to an entire indie festival, a day’s worth of top-notch concerts or just one really great show.
You must be legally allowed to enter the venue where the show is taking place.
How to Enter the Contest
Normally with giveaways, we try to keep things simple. This time we’re asking a little more. Here are the details:
Send us your best Montreal on Lockdown Story by email to firstname.lastname@example.org with Lockdown Contest in the subject line before May 22nd 2020 at midnight.
We’re looking for uniquely Montreal stories – funny anecdotes, personal tales of how you’re dealing with our new reality, interesting accounts of how people are respecting social distancing in their own way, heartwarming tales of community solidarity, whatever you think might inspire, interest or amuse. They could be written, told through photos, or a combination of the two.
Share this post either on Facebook or Twitter and tag @forgetthebox also before May 22nd 2020 at midnight.
We reserve the right to publish the stories we receive and will definitely publish the winner (so please let us know how you would like to be credited – just one name, a name and an initial, your full name, a fake name, etc. – if not we’ll just use your name.
We know that these times are trying and that not everyone is in the right headspace to be positive right now. This contest isn’t designed to preach positivity, but rather to try and give everyone something to look forward to.
The shows will return. This summer will look and feel very different in Montreal, but if we all do our part, we’ll all be partying together at some point – and you can be the one who got in with free tickets!
Adapted from Eileen Atkin’s 1994 play of the same name, Vita and Virginia is based on the real-life romance between aristocratic socialite and author Vita Sackville-West and literary icon Virginia Woolf. With a scandalous romance, the glamour of the 1920s, and famous works of literature, Vita and Virginia’s story in the right hands could have been a very special film. Unfortunately, despite some strong acting and beautiful cinematography, this film is an uneven mess that never quite comes together.
When we first meet Vita (Gemma Arterton) it’s hammered into us that she’s a thoroughly modern woman; she drives her own car, wears pants, declares proudly that “Independence has no sex.” When Vita goes to a party hosted by, as her mother (Isabella Rosselini) describes, “bohemian communist socialists” that she meets the elusive Virginia Woolf (Elizabeth Debicki).
It’s made clear from their first meeting that their relationship will be a sexual one; Vita observes Virginia dancing from across the room with a decidedly male gaze. Virginia, as the object of desire, acknowledges that gaze and welcomes it.
Arterton and Debicki do what they can to save the film with their performances. Arterton is more than capable of showcasing the charm and insatiable lust of Vita, who while in an open marriage, had affairs with both men and women alike. And Debicki (who should have broken out after the criminally under-seen Widows) gives the strongest performance in the film. She is so good here she makes you forget all about a certain Australian actress who won an Oscar for portraying the same woman.
But despite these performances, the film falls apart under the direction of Chanya Button. While the melodic electro score (by Isobel Waller-Bridge) is beautiful and perhaps meant to show these women were not of their time, it takes you out of the story. The same goes for the decision to have the women read their letters to each other aloud while looking directly at the camera. It’s overly stagey and completely unnecessary.
And then there’s the magical realism that’s thrown in to show Virginia’s increasingly unstable mental state. If it had been used all throughout the film perhaps it would have made more sense, but only used a few times it doesn’t work. Not to mention that Debicki is a more than capable performer who could have showcased Virginia’s bipolar disorder without a scene where a flock of birds who aren’t really there attack her.
The real-life Vita and Virginia continued a friendship long after their romance fizzled, until Virginia’s death in 1941, which for some reason, Button decided not to mention in the final title card was a suicide, although Virginia talks about death throughout the film.
Their relationship inspired one of Virginia’s most popular books, Orlando. If you’re curious about these fascinating women and their influence on each other, I recommend you read that book (or see the 1992 Tilda Swinton film adaptation) instead.
J. J. Abrams, you had one job…and you pulled it off. The Rise of Skywalker is both an epic end to the nine film Skywalker Saga that hits all the right emotional punches and at the same time a visually stunning and fun movie that works as a cap to the current trilogy’s character arcs.
Well, not completely in regards to the current trilogy, but more on that later. For now, let’s dive in with a MAJOR SPOILER WARNING in full effect:
Rey and Emperor Palpatine
Star Wars in general, and the Skywalker Saga in particular, has always been, at least at the highest levels, about good versus evil, or more specifically the Jedi versus the Sith. In The Rise of Skywalker, we get all the Jedi, through Rey (Daisy Ridley) finally destroying all of the Sith in the form of previously dead Emperor Palpatine (Ian McDiarmid).
McDiarmid delivers as always and fully embodies absolute evil and Rey is finally paired with an opponent who matches her albeit newly confirmed importance in the Force. The big reveal that she is his granddaughter makes sense and adds to the finale.
Her choice at the end to go by the name Skywalker delivers the right emotional punch to cap off nine movies. At the same time, Ridley’s performance was on point and helped Rey’s character arc come to a solid completion.
If these story choices sound like “too much fan service” as I have seen in other posts, well, I’m a fan and feel properly served. It’s the only way this saga should have ended.
I saw the movie on the preview night and I’m still thinking about it. That’s what Star Wars should do.
This movie was also the end of Leia’s story. In fact, it was originally supposed to involve the Princess turned General quite a bit, a task that seemed next to impossible to accomplish after the incomparable Carrie Fisher passed away.
Yet, with just a bit of unused footage from The Force Awakens, one use of a body double and some seriously clever scripting and shooting, Abrams was able to make Leia a major character in this movie. Honestly, her inclusion only looks slightly off twice.
He also gave Leia’s character a proper farewell. While it was doubly sad given that Fisher is no longer with us, it really worked.
Kylo or Ben, Doesn’t Matter
The only major arc I really didn’t buy was Kylo Ren’s redemption story. To be honest, I never really liked him as a villain or as a match for Rey.
She’s way out of his league both in terms of Force powers and romantically. That kiss was cringy (and I’ve seen Empire), but at least she got to defeat Palpatine on her own.
Ben getting closure with his parents was good, and the Harrison Ford cameo was cool and probably cost Disney a ton of cash. He didn’t need closure with Rey, though.
Fast and Funny
The comedy was on point. This movie managed to bring the humour that is integral to any good Star Wars film.
You even got the feeling that you were in the middle of a comedic adventure story. New characters, aka old characters, like Lando (Billy Dee Williams) just melded in. The best comedic moment coming when Leia asked the random resistance fighter to be more positive.
Sure, it was juxtaposed with all the epic drama, but it seemed properly balanced. My only complaint would have to be that some of it seemed rushed.
I Now Like The Last Jedi Less
It seems like the only major problems I have with this movie are actually issues with the last Star Wars Skywalker Saga Film The Last Jedi. While I may have been in the camp that approved of Rian Johnson’s entry in the franchise, I now see how much better this movie could have been if the last one had been different.
In particular, the ex-stormtrooper crew we first meet near the end of the film and Zorii Bliss (Keri Russell) and Babu Frik who we meet soon before are very interesting characters. If we had met them during TLJ instead, those parts might not have seemed so rushed here.
Also, all that Force Skyping between Rey and Kylo really seemed cheesy under Johnson’s direction, but here, it works. Hell, they even have a lightsaber fight without even being in the same room.
J.J. solved the problems that persisted from the previous entry and delivered what I would consider to be the best entry in the current trilogy and a solid end to the saga.
Anne + is a web series where Anne (Hanna van Vliet) has just moved into her first grown-up apartment after graduating university in Amsterdam. While out on an errand, she runs into her ex-girlfriend and first love Lily (Eline van Gils). The encounter makes her ruminate on her ever-evolving dating life since their break up four years earlier.
Split into six stories running about ten minutes each, the episodes explore how all of Anne’s relationships have helped define the person she has become. While the main character is queer, the relationship issues she experiences are universal; your first big romance fizzling out, falling in love with someone who just wants to be casual (or the other way around), being attracted to someone’s wild personality but then getting overwhelmed by it.
The series is run by Maud Wiemeijer and Valerie Bisscheroux, two Dutch lesbians who wanted to create more authentic media for queer women. And in that goal they absolutely succeed; although your window into each of Anne’s relationships is brief, they feel real and lived in. And each episode builds off the last so, by the end, you really feel like a world has been created.
My personal favourite episode was Anne+ Esther, where she has an affair with an older boss. After a devastating infatuation with a woman who didn’t love her back, Anne is giddy sleeping with Esther (Kirsten Mulder). She’s getting off on the secrecy of it all and assumes Esther just wants to keep things casual. Especially since she’s already in an open but committed relationship with someone else. But when she discovers that’s not the case, now it’s Anne’s turn to let someone down.
The series really works because of the appeal of its lead, Hanna van Vliet. She’s a character you immediately root for, even when she dumps sweet Lily for wild Janna, or feels no shame about sleeping with her married boss.
While there are a few supporting characters that show up throughout the season like her friends Casper (Alex Hendrickx) and Jip (Jade Olieberg) it’s mostly Anne who carries this show, and van Vliet does easily. I’m looking forward to seeing more of Anne’s exploits (they’re currently filming season two) in the future.
You can watch all of the Anne + episodes (some of the episodes already have subtitles, other episodes you have to fiddle with the settings) on the show’s official English website
Swedish filmmaker Levan Akin’s third feature And Then We Danced is about sensitive dancer Merab (real-life dancer Levan Gelbakhiani making an impressive acting debut) coming to terms with his homosexuality in the conservative, hyper-masculine world of Georgian dance. While that may sound like a giant bummer, the film manages to retain a sweet optimism throughout.
When we first meet Merab, his dance instructor is chastising him for being ‘soft’. It’s clear that while Merab is extremely passionate about dance, he doesn’t quite fit in this world. He’s too expressive with his movements, too sensual.
But still, Merab is desperate to please. He comes from a long line of dancers and despite his father’s warnings that the profession can destroy you, wants to take it seriously.
Merab’s life changes when newcomer Irakli (Bachi Valishivili) arrives. Irakli is brash, talks back to the instructor, and immediately becomes a rival for dance numbers.
They eventually do become friends, and then more, when members of the dance troupe go away together for the weekend. I mean who wouldn’t want to experiment with their sexuality when you’re drinking wine and dancing to Robyn shirtless in the woods?
Lesser films would have focused solely on the melodrama of Merab and Irakli’s ill-fated romance. Yes, Merab is devastated at how it works out, but the story isn’t focused on that.
The real focus is about how that experience helps him become the man he’s truly meant to be: He meets some new like-minded friends and has an epic night out. He’s able to come clean to his longtime dance partner/sort-of girlfriend Mary (Ana Javakishvilli) about who he really is.
But most importantly, Merab dances the way he wants to dance, not the way his instructors have tried to drill into him. There’s no big Flashdance moment where Merab impresses the dance company so much they completely change their minds about him, but as he walks offscreen for the last time, you can’t help but feel it’s off to a much better future.
An adaptation of Fiona Shaw’s novel, Tell it to the Bees has plenty going for it. There’s a strong cast, led by Anna Paquin and Holliday Grainger, beautiful Scottish countryside locations, and dreamy period costumes.
While there’s nothing revolutionary here (small-town people were prejudiced in the 20th century!), for most of the film the story works. That is until the unfortunate third act, where the screenwriters lean into the outdated cliche that a story like this can only end in tragedy and sadness.
At the beginning of the film, we’re introduced to a grown-up Charlie (voiced by Billy Boyd, heard but never seen) as he reflects on growing up in Scotland in the 1950s. There we meet young Charlie (Gregor Selkirk) who’s being bullied at school. After a fight with his schoolmates, Charlie is brought to the local doctor by family member Annie (Outlander’s Lauren Lyle).
It is here Charlie meets Dr. Jean Markham (Paquin) who has just inherited her father’s medical practise and estate. Sensing that Charlie needs more than just medical care, she befriends the young lad, eventually becoming friends with his mother Lydia (Grainger) as well.
Both Lydia and Jean aren’t new to town gossip: Lydia is in the middle of splitting up with Charlie’s dad Rob (Emun Elliot) and Jean left town many years earlier after she was caught kissing another woman.
As Lydia and Jean’s relationship progresses, especially after Lydia becomes Jean’s housekeeper and she and Charlie move into Jean’s house, the town becomes increasingly hostile towards them. But even so, the two women find themselves falling in love.
Paquin and Grainger have excellent chemistry together; their scenes are without a doubt the highlight of the film. When they do finally consummate their relationship, it’s a moment that both feels earned and is very sexy without getting too Blue is the Warmest Color.
And then the unfortunate third act arrives. A film that spent most of its time being a gentle love story suddenly has moments of rape, domestic violence, and a scene where Annie is forced to get an abortion after her family discovers she’s gotten pregnant by a coloured man.
There was no reason for this horrific scene except to ramp up the melodrama and it feels really forced. Eventually, Jean and Lydia are separated for good, and as an audience member, we’re left wondering why we spent time investing in this relationship in the first place.
Tell it to the Bees plays at Université Concordia Cinéma Alexandre de Sève on November 24th as part of IMAGE+NATION and is available to watch on Netflix.
Returning for its 32nd edition, the LGBTQ Film Festival Image+Nation will be running from November 21st to December 1st in downtown Montreal.
“As we live through times of social change in the world, image+nation 32 proudly brings new films from countries that share stories through LGBTQ cinema’s newest voices,” states Programming Director, Katharine Setzer, “with an emergence of exciting Eastern-European filmmaking, the cream of local talent, and even a pioneering Guatemalan production, this year, more than ever, we’re bringing the best new and innovative storytelling to Montreal.”
Below are five films that I’m looking forward to seeing at this year’s festival.
This is Not Berlin
Hari Sama’s semi-autobiographical epic of adolescence in 1980s Mexico City. Outsider Carlos (Xabiani Ponce De León) finds his life changed when he gets swept up in a punk-filled world of sexual liberty and drugs. Navigating the storms of his sexual awakening in the process, Carlos finds himself faced with a choice; the comforting inclusiveness of popularity, or being true to himself.
Tell it to the Bees
Charlie, a young boy in 1950s Scotland befriends the new doctor in town, Dr. Jean Markham. Concerned about this relationship, Charlie’s recently single mother Lydia confronts the doctor.
When she subsequently falls on hard times, Dr. Jean invites her to come work for her and live in her home. While Lydia begins as Dr. Jean’s cleaning lady, the relationship quickly becomes something more when the women realize their undeniable chemistry.
Scream, Queen! My Nightmare on Elm Street
This documentary explores how 1980s horror films, in particular Nightmare on Elm Street, were in part a backlash against Reagan conservatism and the terrors of the AIDS epidemic.
Based on a pulp novel, this 1970s homoerotic prison drama follows Jamie, a new inmate who gets the nickname “The Prince” by an older inmate he forms a friendship with.
Vita and Virginia
A fictionalized version of the real-life romance between London socialite and popular author Vita Sackville-West and literary icon Virginia Woolf.
Image+Nation runs November 21 through December 1, tickets and full schedule available through image-nation.org
If you walked into Noah Baumbach’s latest drama Marriage Story without knowing anything about the film, you’d be forgiven for thinking that it was a love story. It opens with the leads Nicole (Scarlet Johansson) and Charlie (Adam Driver) talking about each other’s greatest qualities; she is a good mom, dancer, is attentive even to strangers. He is a good dad, eco-conscious, self-sufficient.
But then the rug is quickly pulled from under you. These lists were created after a marriage counsellor suggests they read them to each other.
Charlie passive-aggressively offers to read his first, Nicole doesn’t want to read hers at all. That’s when you realize this isn’t going to be a movie about a hip New York theatre couple. This is a movie about a frustrated separated couple that will soon become a divorced one, and the brutal road it takes to get there.
This is Baumbach’s second foray into directing a movie centred around divorce. The 2005 film The Squid and The Whale was inspired by his parents’ divorce and in that story, Jesse Eisenberg was clearly the Baumbach stand-in.
This time it’s Adam Driver’s turn, in a story based on his own 2013 divorce from Jennifer Jason Leigh. Because Baumbach is using moments from his own life to write and direct this story, it’s perhaps not surprising that Driver gets more of the focus in the film.
While I did want to see more of Nicole’s side of things, honestly focusing on Charlie didn’t ruin anything for me. I’ve loved Driver ever since he was the horny weirdo onGirlsand in this film he delivers a career-best performance in a career that’s already filled with really great ones.
The scene about half-way through the film when Charlie and Nicole decide they need to have a sit-down in his temporary LA apartment he’s begrudgingly rented to spend more time with his son stands out especially. It’s a 10-minute one-act play in many ways.
It begins with the couple tensely but calmly expressing the desire to work out their issues, and increasingly escalates until people are punching the walls, sobbing uncontrollably, and wishing the other person was dead. It’s a master class in acting and guaranteed to get Johansson and Driver both Oscar nominations. In Driver’s case, I think he has a really good chance of winning.
Neither Charlie or Nicole is a blameless victim in this split. Yes, Charlie cheated, but Nicole has also taken their son across the country to LA and has no intentions of sending him back to New York.
Their lawyers (Laura Dern, Alan Alda and Ray Liotta) go from trading witty barbs to brutal punches as they try to paint their clients as the victims or heroes in this story. But we know that neither is really the case.
While this all sounds like a monumental bummer, I assure you the film isn’t all non-stop heart-wrenching drama. There are in fact plenty of humorous moments in between all the serious ones to give you some breathing space in between the more intense scenes like the one I mentioned above.
The product of all this is without the best film I saw at the Festival du Nouveau Cinema, and so far my pic to win all the awards this season.
Marriage Story will have a limited run in theatres before streaming on Netflix December 6th
“So that was basically Inglorious Kingdom, right?” I overheard someone tell their friend as I left Cinema Imperial after last Sunday night’s screening of Taika Waititi’s (What we do in the Shadows, Thor: Ragnarock) latest project, the Nazi-buddy comedy Jojo Rabbit.
As I’ve thought about the film the past few days, I feel it’s the perfect way to explain this movie to people: It balances broad comedy and the (historically inaccurate) horrors of war like Quentin Tarantino’s Inglorious Basterds while also being a sweet coming of age story filled with fairy tale colours and hipstery music choices like Wes Anderson’s Moonrise Kingdom.
The film tells the story of Johannes (newcomer Roman Griffin Davis) a 10-year-old boy living in World War Two era Germany. So much is Johannes indoctrinated in the Nazi propaganda machine that whenever he needs a good pep talk to get himself psyched up, he imagines the Fuhrer himself (played by Waititi, who is a triple threat here as writer/director/actor) coming to give him some words of encouragement.
While it’s a little suspicious that Johannes would envision his hero to be this silly and effeminate, as a viewer you get it. If there’s anyone out there who deserves to be mocked and derided, it’s Adolph Hitler.
As we follow Johannes to Nazi youth camp, (where his instructors include Sam Rockwell, Alfie Allen, and Rebel Wilson, who all deserve recognition for doing their best with very cartoonish, undeveloped characters) we see that as much as he protests that he’s “really into swastikas” he can’t murder a rabbit when asked. It’s very clear that Johannes, or “Jojo Rabbit” as he’s now called by his fellow Nazi youth campers, is never going to be the ruthless fascist he aspires to.
Johannes’ blind devotion to the cause gets even more muddled when he returns home and realizes that his eccentric mother Rosie (Scarlett Johansson) has been hiding Jewish girl Elsa (Thomasin McKenzie, who gives another amazing performance after last year’s Leave no Trace) in the walls of his dead sister’s bedroom. Talking with Elsa whenever Rosie is out of the house, Johannes comes to realize that all the stuff he’s heard about Jews is wrong. And maybe instead of being revered, Hitler should just fuck off?
Jojo Rabbit has received mixed reviews since premiering this fall at the Toronto International Film Festival. Some people have said the film is not funny (which I vehemently disagree with, I thought it was hilarious) and that trying to make a coming-of-age story set in Nazi Germany is problematic.
I do agree with that to some extent. The film definitely shows the horrors of war when it wants to, and then either avoids or over sentimentalizes other moments when it wants to focus on the comedy/coming-of-age bits.
But that still doesn’t dissuade me from recommending this film to people. In fact in many ways, I’d say it’s the Hitler buddy comedy you never knew you needed.
Ever since I saw Pedro Almodovar’s All About My Mother I’ve been a huge fan of the Spanish auteur. I’ve always been impressed by how this filmmaker can make films that are outwardly so outlandish in scope; with their eccentric characters, brightly hued colour palettes, and melodramatic storylines… feel so intimate and authentic.
A lot of has to do I think with the autobiographical elements the filmmaker sprinkles into his stories. With his latest film, Pain and Glory, Almodovar creates one of his most personal stories yet.
It follows a charming but depressed ageing director Salvador Mallo (Antonio Banderas in a career-best performance). Salvador is not-so-subtly inspired by Almodovar himself. His house is apparently an exact replica of Almodovar’s, and Banderas even wears some of the director’s own clothes.
One of the reasons Banderas’s performance is so great here is while he gives a brilliant homage to one of his most frequent collaborators (the pair have made eight movies together since the 1980s) he still manages to make Salvador feel like his own man. Never once when you’re watching the film do you feel like “This is Banderas playing Almodovar.”
Salvador hasn’t made a film in years and he’s consumed with a litany of physical ailments that may or may not be psychosomatic in nature. Just when he’s wondering what the hell to do with himself, he gets a call from the local cinematheque; they want to screen one of his films from thirty years ago and would like him to come speak to the audience afterwards.
This call inspires Salvador to track down the star of the film Alberto (Asier Etxeandia) with whom he famously had a falling out years before. Seeing Alberto again is both a disaster (he convinces Salvador to try heroin for the first time) and a good thing; it allows Salvador to reflect on other key moments from his past.
He ends up reconciling with an old lover. We see glimpses of his relationship with his mother (Penelope Cruz and then portrayed in later years by Julietta Serrano) and his first crush on a local handyman Eduardo (Cesar Vincent) that sparked his realization that he was queer.
Dealing with these ghosts of his past seems to spark hope in the director. He may not be the bad boy of Spanish cinema anymore, but he’s ready to create more personal, contemplative stories.
Again it’s hard not to see the parallels between Salvador and Almodovar himself here; because this film is without a doubt his most personal and contemplative yet. Critics have been comparing this film to Fellini’s 8 1/2 and it’s an apt comparison.
Let’s just hope instead of a filmmaker at the end of his career looking back, that this is just the beginning of many more Almodovar films to come.
Dirty God, Dutch filmmaker Sacha Polak’s English-language debut, tells the story of Jade (Vicky Knight) an acid attack survivor who’s trying to rebuild her life. Fresh out of the hospital, Jade has plenty to contend with; nightmares of her ex-partner and father of her child who perpetrated the attack, her young daughter calling her a ‘monster’, her hard-partying circle of friends not quite knowing how to handle her.
After interactions with her family and friends don’t prove helpful, Jade turns to the internet for relief. First through obsessively researching plastic surgery options, secondly by connecting with strangers for video sex chats. Unfortunately, both of those avenues lead to disaster as well.
In the hands of a lesser director, Dirty God could easily have become either a dreary drama about a woman who can’t catch a break, or a sentimental puff piece about someone finding the beauty within. Thankfully the film walks masterfully in between those two extremes; it’s able to find moments of happiness for the feisty and resilient Jade without losing its grasp on reality. Jade has had a hard life and it’s likely only going to get harder, but she’s a woman strong enough to face these adversities and keep going.
There are some strong supporting roles in this film, such as Katherine Kelly as Jade’s shoplifting mom Lisa, and Bluey Robinson as Naz, Jade’s best friend’s boyfriend who just may have feelings for her as well. But what really makes this film worth seeing is the performance of Vicky Knight in the lead.
It was important to director Polak that Jade be portrayed by a real burn survivor. As a child, Knight’s body was burned badly in a fire. Imagining Knight would understand what Jade is going through isn’t much of a stretch. The fact that she easily carries this whole film on her performance alone, especially when it’s the first time she’s ever acted, is something even more impressive.
What is it about dysfunctional father/daughter relationships that female directors find so appealing? Whatever the attraction is to tell these kinds of stories, I’m glad they’re being made; it’s led to some truly great cinema. After last year’s Leave no Trace, the actress turned filmmaker Annabelle Attanasio gives us her impressive debut feature Mickey and the Bear.
Set in rural Montana, the film tells the story of teenage Mickey (Camila Morrone) and her Iraq-war veteran father Hank (James Badge Dale). While there are brief glimpses of Hank’s charm, he’s mostly a violent and pathetic addict who doesn’t know how to function in the world anymore. With her mother dead for an undetermined amount of time, Mickey has taken up the mantle of running the household.
Mickey celebrates her eighteenth birthday early in the film and with adulthood, she finds herself at a critical crossroads. Does she stay in Montana and keep taking care of her father, who clearly won’t survive without her, or pursue her dreams of a life out west?
While it’s clear she loves her father, it’s impossible to deny their relationship has become increasingly toxic. Things get especially disturbing when Hank gets a little too handsy and keeps calling Mickey by her mother’s name during his binges.
Morrone and Dale both give impressive performances as the conflicted father and daughter, but it’s Dale who really shines. Hank likely was a good person at some point but has let his rage and disappointment in the world consume him. Dale manages to show all of that with a simple glance or line delivery.
It’s the first film I’ve ever seen with Morrone but after her nuanced performance as a teen desperate to discover her purpose, I’m looking forward to seeing what she does next.
That goes double for writer/director Annabelle Attanasio. Although I’ve seen this type of film before, both as a writer and filmmaker she manages to make it feel fresh through the intimate story, interesting music choices, and most of all, allowing her performers to shine.
Anyone who knows me even casually knows my deep devotion to film. Which is why I’m excited, after years of blogging about music and theatre, to be getting back to my roots and covering the Festival du Nouveau Cinema for Forget the Box. I encourage anyone interested in international film to check our site during the festival, as I’ll be posting regular reviews of the films I see.
While preparing for my upcoming festival experience, I had the pleasure of speaking withZoé Protatthe head of programming. She explained that while other Montreal film festivals cater to niche audiences, FNC is more of a general festival that has “a little bit of everything for everyone.”
Her rule of thumb while selecting which films make it into the festival? “Basically it comes down to two things,” Protat explained, “I want to be surprised, and not bored.”
While Protat is eager for audiences to see all the films, she admits she has a soft spot for new talent: “The core of this festival is really about showcasing first features.”
In that vein, when I asked about films she’d recommend this year she gave me the following three suggestions; Matthew Rankin’s The Twentieth Century (which recently won Best Canadian First Feature Film at The Toronto International Film Festival) and Jérémy Clapin’s I Lost My Body(Which has won several awards including the Grand Prize at the Cannes Critic’s Week) and the Polish film Monument which Protat describes as one of “the boldest, edgiest films I’ve ever seen.”
So what am I looking forward to at this year’s FNC? It’s a combination of the newest offerings of my favourite auteurs, discovering new female filmmakers, and a couple of wild cards that could either be amazing or complete disasters.
Without further ado, here’s my top five FNC list in no particular order:
Teenage Mickey takes care of her PSTD-afflicted father. As their relationship becomes increasingly toxic, Mickey is forced to make major decisions that will change the rest of her life in this film directed by Annabelle Attanasio.
Family Romance LLC
Werner Herzog’s latest film explores Japan’s phenomenon of “rentarufurendo“: agencies that fill emotional voids in people’s lives by offering the services of actors to pretend to be family members or lovers.