Think The Birds, without talent, decent acting, budget and any kind of cinematographic value whatsoever.
Our favorite bad horror movies list to help you decide what to watch on Halloween
For me October is a month of vile creatures, fictional murderers and stories that make me double-check every single lock in my apartment. The past week has been a shameless marathon of the best blood-curdlers and funniest flops out there. Interestingly enough, I had the most fun with those B movies. The ones that are so bad, that they actually end up being pretty good. Here is a list of some of the worst horror movies to make you laugh on those upcoming spooky Halloween nights.
Plan 9 from Outer Space (1959) Considered by some as the worst movie of all time, Plan 9 from Outer Space is the paramount example of the good-because-it-is-so-bad genre. This piece of cinematographic anthology is the product of Ed Wood, one of most significant B movie emissaries. His passion was only equalled by his fundamental lack of filmic talent. Still, his originality and an unshakable will to create films made possible the creation of this ultimate lemon among lemons, this gem of bad taste and awkwardness. The plot is basic enough: aliens coming to earth to stop us from making a weapon capable of destroying all that is good in this world. Their plan? The ninth one, consisting of waking up the dead. From there follows an intense and clumsy struggle between the medievally dressed aliens and the weirdly stiff humans, and also the undead, including a gargantuan brute, a skinny lookalike of Elvira, mistress of darkness, and what appears to be an homage to the renowned Bela Lugosi. Amateur special effects, an overall clunky cinematography and second-rate dialogue all mingle together to produce one hell of a bad movie. Plan 9 from Outer Space is the one movie you ought to suffer through, ‘cause when it’s that bad, it’s actually good.
Birdemic: Shock and Terror (2009)
Think The Birds, without talent, decent acting, budget and any kind of cinematographic value whatsoever.
Think The Birds, without talent, decent acting, budget and any kind of cinematographic value whatsoever. Actually, don’t think the The Birds, Hitchcock would probably turn in his grave. Just add the most sketchy CGI murderous birds ever seen on screen, and here is Birdemic: Shock and Terror for you. Here, the combination of poor quality and actual attempted seriousness on the part of the creators made one of the most well-known bad movies of the last few years. There’s even a sequel that was released in 2013! It is hard to actually successfully describe this movie. It is impossible to convey the actual Birdemic experience without showing the actual movie. Birds killing people is a wacky premise, but not unseen. It is the way it is done: the worst, possible way. You know you need to watch this now right? Believe me, you will never forget your first sight of Birdemic: Shock and Terror‘s beautifully sickening murderous birds. It will haunt you, as any horror movies should. Even if its for the bad reasons.
Killer Klowns from Outer Space (1988) Okay, I know, another “outer space” movie may make this list appear slightly repetitive. Still, when dealing with silly monsters, over-the-top plots and creative slaughters, don’t you think it’s always better when it comes from another galaxy? It brings things to a whole other level in my opinion. This time, aliens taking the form of killer klowns (with a K) are coming to visit us and, unsurprisingly, kill us. The creators of this movie, the Chiodo brothers, succeeded in creating one hell of an absurdly disturbing movie. They gave a somewhat cheap film a twist that transforms the whole invading alien story into a wacky circus-themed killing extravaganza. Those comically creepy extraterrestrials use a variety of tools usual to the humble clownesque profession to kill, torment and scare the inhabitants of a small town. Twisted balloons, puppets, a parade, colourful costumes and makeup: it’s all in there. Killer Klowns from Outer Space is the perfect movie to renew your childhood coulrophobia.
Night of the Lepus (1972) In an unbalanced world, Mother Nature’s offspring has become out of control. Terrifying creatures roam the earth looking for prey to hunt and feed on. A small south western village has to confront these nightmarish monsters and fight for their survival. But how could they defeat those carnivorous, giant, killer…bunnies? It is hard not to both laugh at and be curious about Night of the Lepus’ premise. God knows how many movies have used mutant animals as their scary monstrosities. Still, you’ve got to admit that rabbits are a refreshing variance on the genre. The movie has so much to give to the audience: meticulous (and ridiculous) close-ups of the evil rodents act as attempts to instill a suspenseful atmosphere; bunnies leaping on their powerless victims as spectacularly as the similar Monty Python monster; a policeman very seriously telling people that “there is a herd of killer rabbits heading [their] way”; a final showdown pitting the army and their almighty flamethrowers against the hungry, deadly cottontails. There’s something for everyone in William F. Claxton’s Night of the Lepus, especially for those furry critter lovers out there.
Blacula (1972)
From Kate Beckinsale in a tight black latex one-piece to team Edward
From Kate Beckinsale in a tight black latex one-piece to team Edward, vampires have been used in countless pathetic movies as the cool-tempered, beautiful-looking tormented protagonist. Sadly, none of those films ever achieved the coolness of the true vampire master: Blacula himself! This character comes straight out of the film era known as blaxploitation, and is now considered a true cult figure. In his eponymous film, Blacula is an African prince transformed by Dracula into the funky blood-sucking persona we see on screen. Transported to America by an inter-racial gay couple of decorators (believe it or not, this was quite a rarity in movies in the ‘70s), the haunted prince looks for his long-lost wife taken from him 200 years ago. In his desperate search, Blacula ends up drinking the blood of a panoply of singular characters, each more ridiculous than the last. This tragic vampire story may not be what you would expect from the contemporary sparkling, cheap equivalents, but that’s exactly why it’s worth your time. It’s silly, unconventional and weirdly enjoyable.
Leprechaun (1993) Do not think of Lucky Charms’ lovely character; picture instead a 600-year-old creepy-looking, dark-humoured leprechaun. He still loves to play, sing and joke around like any other member of his mythical race, but he complements those charming characteristics with the bad habit of murdering and torturing people who stand between him and his precious gold. A whole prolific series of films was produced based on this absurd character, and every single one of those movies could be listed here. In the fourth, he goes to space; in the third, he goes gambling in Vegas; in the second, he goes looking for a bride; he even goes to the “hood” to chill with his “homies” in the two following movies of the series. For some reason, a reboot on the origins of the sadistic creature came out this summer. For the sake of this list, though, we’ll choose the original 1993 Leprechaun directed by Mark Jones that started it all. Seriously, it has a pogo-stabbing kill and a shallow shotgun-wielding Jennifer Aniston (badass Rachel?) as the main protagonist. What’s not to like?
Visit the impressive installation situated in the EV building atrium. Photo by Frédéric T. Muckle
Printemps CUBEcois banner installation here to present the history of the Maple
We all experienced the social movement now known as the Maple Spring differently. Some of us participated actively to the countless demonstrations, others protested the movement, some simply read about it in daily newspapers and other media. Do you remember the myriad of banners, signs and even the iconic red cube (a three-dimensional representation of the red square) that roamed Montreal during the spring and summer of 2012?
Well, the exhibit Printemps CUBEcois gives you the chance to revisit those souvenirs of past protests, for better or for worse, with an installation created from iconic banners.
The exhibit, created by Montreal artist and archivist David Wingington, is co-presented by the Concordia Student Union (CSU) and the Artéfacts d’un Printemps québécois Archive.
Visit the impressive installation situated in the EV building atrium. Photo by Frédéric T. Muckle
The installation is described by the artist as a “retelling… of the 2012 student-led oppositional movement,” Wingington said in a statement describing the banner installation. “It is an attempt at self-representation which is key to building upon a movement’s own oppositional cultural heritage.”
Wingington also discards the idea of remembrance that the project could suggest to the audience. “It is a non-nostalgic activation of an archive that seeks to nurture the oppositional consciousness that was tenacious in 2012, in preparation for future struggles,” he said. “The cube’s interior represents a safer-space within which activists can meet and speak freely, to seek collective strength that may lead to future acts dissent and resistance.”
Still, one cannot help but go back in time for just a moment by looking at this unconventional arrangement of artistic protest signs. The cube-shaped canvas is also significant in how it reaches into our collective social imagination. With such a controversial and moving subject, the public is bound to develop their own interpretation of the exhibit. Nobody who was present in Montreal or anywhere else in Quebec can deny the importance of the Maple Spring. Today, remembering this short and socially active period in time can create sentiments of resentment for some, and profound nostalgic effervescence for others.
For such a short exhibit to experience (most of you will probably simply pass by it whilst rushing to class this week), it can have a surprisingly strong effect on the person who will stop a second to really look at it. It is probably what determines relevant art forms from a simple artistic essay; it humbly but effectively makes you think, remember and feel.
The banner installation is displayed at the Concordia EV building atrium until Oct. 18. Wingington will be present from Oct. 14 to Oct. 17. For more information about the Printemps CUBEcois exhibit, visit Archives: Imagerie d’un Printemps Érable’s facebook page.
First part of our report of what the FNC has to offer this year
Montreal is known for its array of film festivals taking place during the whole year. The Festival du Nouveau Cinéma (FNC) could be considered one of the most prominent of those said festivals. This year is the 43rd anniversary of the famous festival. The numerous screenings take place in movie theaters all around the city, notably at Concordia University. The FNC started on Oct. 8 with local director Phillipe Fallardeau’s last film The Good Lie and will be ending on Oct. 19 with the acclaimed documentary about Brazilian photograph Sebastião Salgado presented earlier this year at Cannes.
Toronto may have the TIFF, but we have the FNC and, as you will read in this two-part article, our beloved city does not have to feel like less of a major cinematographic metropolis. Here are some of the films The Concordian saw this week–stay tuned for more reviews next week.
Difret
A trip into a troubling world in which the importance of cultural traditions may outweigh law and what could be considered outright justice, Difret will make everyone uncomfortable. Still, this feeling is somewhat inevitable when dealing with a tale as unsettling as this one, especially when it is inspired by an actual true story. Difret, Zeresenay Mehari’s first full-length movie, is the account of an Ethiopian 14-year-old girl accused of killing a man who abducted and raped her so she could become his wife, as the local traditional customs dictates to do. It is also the story of a lawyer working for an NGO which defends women’s and children’s rights, fighting an outdated legal and social system willing to condemn this child to death for murder. This movie offers the public a sober and meticulously slow paced rendering of a dramatic reality. For such a controversial topic, this modesty is a surprisingly mature and enjoyable aspect, since it could have been replaced by an array of cheap cinematographic tricks to try and get sensational and tacky reactions from the audience. Difret ends up being a successful attempt at portraying a harsh but genuine reality of still-relevant cultural issues about social inequalities from around the world. Angelina Jolie is also the film’s executive producer, a first for her.
Je suis à toi with contributions from Olivia Ranger-Enns
How much would you pay for love? That is the poignant and difficult question the film Je suis à toi, by Belgian director David Lambert, asks. Lambert’s work dissects how easily love can be bought, but not sold.
How much would you pay for love?
We are immediately immersed in the life of Lucas, a young Argentinian escort, who is saved from the world of prostitution by Henry, a Belgian baker. Lucas is frankly disgusted by Henry, who is both fat and ugly. The camera frequently zooms in on the physical differences between the characters; whereas Henry sports a hefty figure and grey whiskers, Lucas is dark, handsome and cat-like. Lucas has to share a bed with Henry, give him oral sex, and work early hours in the bakery. As Henry becomes more and more possessive, Lucas becomes more violent. He’s like caged tiger. When Lucas is accused of stealing from the cash register, Lucas wields a kitchen knife, screaming: “I am the thief? You are the thief!” Tensions rise further between the “lovers” until Audrey, Henry’s assistant, comes on scene. It is only at this point that true love strikes. Audrey and Lucas take long walks by the river and feed each other Chinese food. The love triangle just gets more and more complex as the question arises: can Lucas ever really “belong” to Henry?
Although some scenes are cliché (like the shower scenes following forced sex), the film is overall heartwarming. We see Lucas look straight into Audrey’s eyes, admitting that his sexuality is “fucked up” as Audrey tenderly wraps her arms around his skeletal torso. We get the message: Lucas does not need sex. Rather, he needs love and a home. There are funny elements in this film, which provides comedic relief from the heavy drama. Seeing tiny Lucas trying to pummel mountains of dough into the flour machine is hilarious enough. All in all, Lambert struck a sweet note, finding balance between despair and happiness. The film juxtaposes sex to love, independence to dependence, and loneliness to friendship. We all want to belong to someone, but paradoxically we can never belong to anyone but ourselves. Which brings us back to the question: how much would you pay for love?
Cavalo Dinheiro
Cavalo Dinheiro will undoubtedly not satisfy everyone. Its famous Portuguese director, Pedro Costa, is known by the cinema community as an important figure in what could be described as cinéma d’auteur. His movies are mostly focused on depicting the lives and difficulties of the less privileged, especially in Lisbon, his artistic muse. Cavalo Dinheiro perfectly fits these criteria.
The movie follows the nerve-shattered Ventura, played by a non-professional actor, and its metaphysical tribulations relating to his past. The film also portrays the hidden decrepit side of an ever-changing Lisbon. With its dark and magnificent photography, Cavalo Dinheiro shares a vision of poverty and inequalities’ moving beauty.
However, the movie feels more like an exercise of style and form than an actual movie. Even if you can get a sense of strength emanating from the raw charisma of the main characters, it still manages to be too much and too long for the average movie-goer. Sure, every once in a while it is good to watch a good “artsy” movie. Still, this ode to a past Lisbon, this social commentary about poverty is sadly but simply boring. It is the perfect example of an uncompromising director putting his own thoughts on screen. It also shows that sometimes, you should keep in mind the people willing to experience your artistic work while putting on canvas your vision. If not, people may end up leaving the movie theater behind before the end, and never give the film a second thought.
Hermosa Juventud
Jaime Rosales’ latest movie, Hermosa Juventud falls a bit flat.
Hermosa Juventud, Spanish director Jaime Rosales’ latest movie, follows the mundane but still eventful lives of two young adults in love living in Madrid. The movie also depicts an economically crippled Spain in which a whole generation of youth lives without much hope for the future. An unexpected pregnancy, an inability to provide what is needed to form a family, a stab wound and even an amateur porn scene, Hermosa Juventud provides plenty of pivotal moments to the story. Still, it is all about how this relationship will evolve through all those incidents. Moments of love, despair and melancholy show that the potential of the director and actors of this production. However, even with two decent main actors and an experienced director at the mast, Hermosa Juventud ends up feeling flat. An ever-present feeling of monotony saturates the movie. It does not mean that such a movie needs action-packed scenes like a car chase or a gunfight to be good, but even routinal moments can be interesting enough so that the audience can enjoy the screening.
Something feels off. It feels as though something is missing from the lives of those beautiful young people. Cinematographic elements and some original and interesting aspects like using a smartphone screen as a tool for transitioning through time are nice additions. Sadly, they are countered by some other unexciting and even annoying features like the omnipresence of the shaking camera. It makes Hermosa Juventud look like a cheap movie. Other ambitious characteristics, like the absence of music in the movie, once again shows the potential of the creators, but still lacks the sparks necessary to hook the viewer. Overall, a good idea made into a dull movie.
For more information on the Festival du Nouveau Cinéma, visit nouveaucinema.ca.
Discussions on the relation between arts and the Aboriginal cultures will take place during the colloquium. Photo by Claude Latour.
The iakwé:iahre (we remember) colloquium looking into Aboriginal artistic facets
Concordia will be hosting the iakwé:iahre (we remember) colloquium to bring together Aboriginal artists and community members to produce a collective conversation about Aboriginal culture. This conference will be the first of its kind to be held in the province of Quebec. More precisely, this interesting group of artists and curators, assembled with the help of the Aboriginal Curatorial Collective (ACC), will expand on the theme of remembrance. This ode to memory will also be presented in the creation of “a living archive.”
This idea takes its roots in the centuries-old tradition of oral communication deeply anchored in the Aboriginal culture. By discussing and sharing, the people involved in the colloquium will focus on the act of remembering using the living archive.
Discussions on the relation between arts and the Aboriginal cultures will take place during the colloquium. Photo by Claude Latour.
Various artistic exhibitions will be presented in collaboration with the iakwé:iahre (we remember) colloquium. The Fofa gallery will be presenting Exhibiting the archive / Performing the archive, an exhibit exploring our relationship with Canada’s colonial past using the artworks of three aboriginal artists. Sonny Assu will be exploring this notion of the living archive with a mix of contemporary and more classical artistic style and techniques to act as a platform for the themes of remembrance.
Amy Malbeuf, a multi-disciplinary visual artist, will be exhibiting her work concerning the ways culture, nature, identity and history can all be intertwined together when looking at such elaborate topics. Emilie Monnet will also be offering a performance closely related to the dramatic tales of Missing and Murdered Aboriginal Women archived in the province of Quebec.
The VAV gallery will also be presenting Making A Mark, an exhibit focusing on the somewhat complex relationship between settlers and Aboriginal societies and how art can act as a way to communicate for those two populations. This exhibit will also be specifically presented to fit into the reflection process initiated by the ACC conference.
Other cultural activities and exhibitions will take place in relation to the colloquium to show how art is related to Aboriginal history and culture.
The three-day long colloquium, taking place mostly at Concordia, will open with artists’ works and events for Aboriginal artists such as Alanis Obomsawin and Jean-Marie Gros-Louis. During the weekend, various talks and happenings, both in French and English for the pleasure of Montreal’s bilingual population, will be addressing an array of topics all related to the Aboriginal culture. During those three days, Concordia will become the epicentre of necessary and engaging discussions.
Aboriginal Curatorial Collective’s iakwé:iahre (we remember) colloquium will be taking place at Concordia University from Oct.16 to 18. For more information about the colloquium schedule, visit iakweiahre.com.
For more information about the Exhibiting the archive / Performing the archive exhibit, visit fofagallery.concordia.ca.
For more information about the Making A Mark exhibit, visit vavgallery.concordia.ca.
Exhibit makes you understand what living with a disability is really like
A big part of the way we live our lives is a question of perspective. How do you see yourself, the people surrounding you and what you do with what you have? What we call empathy is one of the most beautiful and crucial emotions that human beings are capable of. Yet, we often forget to think about how other people perceive and live through our world.
See ____ through my eyes tried to palliate to this scarcity of shared understanding. The exhibit organized by Concordia’s Access Centre for Students with Disabilities (ACSD) presented a unique way to get a glimpse into someone else’s way of life. The artists were all Concordia students registered with the ACSD. Together, they created a mosaic of testimonies about how they experience life–probably a little differently than others. Still, messages of hope and determination that were associated with the photos and pieces of art showed that most of them did not let their disabilities define who they are.
The artists presented understandings of their own disabilities. Photo by Frédéric T. Muckle.
What could have been an exhibit about difficulties and differences turned out to be more of an affirmation of one simple fact of life: how you are born and how you grow up to be should not define who you are; the way you see and live your life should.
As Paul Tshuma, one of the artists of the exhibit, explained in a note by his art, “I may be disabled, but my ability to live life to the fullest is not limited.”
Still, various parts of the exhibition showed and described how certain disabilities may affect one’s day-to-day routine.
It may be confusion for some, others may have trouble with daily tasks, and some may be forced to continuously adapt to their illness.
Nonetheless, most of these statements also bring up one very important necessity: one should never be determined by his or her disability.
After all, are we not all subject to bad experiences in our lives? This does not mean that the weight and seriousness of a disability or illness can be lessened by the everyday anxieties of the average John and Jane Doe. But in the end, it is possible for anybody to overcome a problem with a bit of help and a lot of determination.
To quote artist Christina Tricarico, “you determine your path, not your disability.”
See ____ through my eyes made an attempt of raising awareness by allowing the people concerned by these issues to share what it really is like dealing with a disability or an illness. It successfully achieves its goal. It also was definitely more creative and enjoyable for the viewer than dry descriptions and numbers explained by people in white blouses. Fortunately, this kind of participatory creative project seems to be a growing trend, according to the ACSD.
The exhibition can also be seen simply as an opportunity for students to express themselves. Painting, photography and writing can allow the artist inside us a way to better understand ourselves. It also can be used as a form of catharsis. It can help us live through difficult moments of our lives. People need ways to deal with reality, and art, in all its forms, can help.
Azalia Shahidi Kaviani successfully described this in the note accompanying her work: “I found deep peace in my heart in art. That is also one of the reasons why I started to paint. When I paint, I feel like flying like a bird in the heavens.”
Let’s be honest, at some point in our lives we all deserve to be able to let go. Especially when you are a living example of courage and determination, just like the talented artists of See ____ through my eyes.
For more information about Concordia’s Access Centre for Students and possible upcoming events, visit the concordia.ca/students/accessibility.
The Botanical Gardens dresses in lights for Montreal’s annual Gardens of Lights classic
The Chinese’s Garden scenery is composed of countless lanterns coming straight from Shanghai. By Andre Vandal on Flickr
Summer is ending, winter is coming, and our collective interest in outdoorsy activities is diminishing slowly but steadily. To end this season of terrace-drinking, park-reading and sunny day moments, the Botanical Gardens dressed itself up to get you out of your comfy and warm cocoon one last time before Montreal solemnly puts its white coat on. From Sept. 9 to Nov. 2, Botanical Gardens’ Gardens of Lights is taking place. A new lighting design in the Japanese Garden pleasantly complements the annual autumnal classic of “The Magic of Lanterns” happening in the Chinese Garden.
One part of the nocturnal exhibit is the yearly lighting of the Chinese Garden. With its array of lantern-like sculptures coming straight from Shanghai, the garden gives to its visitors the impression of being in a dream. The main scenery offered to sightseers portrays a scene of epic proportion. This overwhelming panoramic is probably one of the best-known exhibits of this its that Montreal has to offer, and for good reason.
The brand-new exhibit in the Japanese Garden differs greatly from the Chinese Garden. As some may expect, the Japanese Garden instead gives the public a relaxing place where being zen is highly recommended. To achieve that state of mind so rare to most urbanites in today’s world, the garden offers a variety of scenes. First of all, a flock of beautifully crafted paper birds welcomes you into the Japanese Garden. Following the directions given by those little origami angels, the visitors will get into what is an ordinary patch of forest by day, but becomes a still-life theater by night. With music giving the tone to a programmed light show and trees as the main protagonists, this particular exhibit gives the audience a glimpse of a world in which trees can tell their stories. A little further down the road, the visitors will find a resting point installed specifically for people in need of a simple but beautiful scenery to forget about their everyday responsibilities. You just sit on the wooden bench, listen to the soothing sound of the waterfall and look at the chromatic poetry taking place in front of you.
Coming out of a short but enjoyable stroll in the gardens, one will find themselves thinking about how singular this nature-filled haven actually stands in the center of Montreal. So few places offer this kind of retreat of all the noise and commotion of the city’s heavily populated urban area. But really, at this time of the year the Botanical Gardens become truly more than just a park-like milieu. At dusk, it becomes a labyrinth in which you can wander and lose track of time; a place that helps you craft one of those rare unforgettable moments; a fiction-like setting just there for you to fall in love with. The one negative thing about this event is that, just like the flowers acting as the canvas of the Gardens of Lights, this beautiful harmony of light and nature will fade away soon. Everyone should grab this chance of simply dreaming a little in those phantasmagoric gardens before we get buried in snow.
Photo by Andre Vandal
Botanical Gardens’ Gardens of Light event takes place until Nov. 2. For more information, go visit the Botanical Gardens’ website: calendrier.espacepourlavie.ca/gardens-of-light
Montreal is getting a little more musical with its flamenco festival this week
Sweaty bodies entangled with one another, mesmerizing rhythms possessing them, a trance-like state of being only achievable in those rare moments of ecstasy… Yes folks, we are evidently describing the art of dancing. For many people, dancing is one of the most sensual and emotional ways to express one’s true self. It is not only a healthy and fun activity, but also a real passion for some. Inseparable from it, music could be described as the soul mate of dancing. One could hardly exist without the other, and the former’s main reason to be is to serve the latter. Keeping this in mind, the specific case of Flamenco, the Andalusian dance and music form, is a perfect example of this ardent relationship.
Thanks to this flamboyant art, Montreal will get a little hotter and sweatier in the next week while Montreal’s Flamenco Festival is taking place. A number of music and dance shows will be held during those few days. International musicians and dancers will make flamenco’s aficionados wonderfully happy. Well-known figures such as Dani Navarro and Fiona Malena will be sharing their latest performances with their Montreal fans.
If the idea of being seduced by flamenco’s suggestive ambiance while unwinding after a hard day of work, drink in hand, the festival is the place you should be. Flamenco’s happy hours will be held in charming bars and little restaurants around the Mile-End neighborhood from 5 to 7 p.m. during the whole week. It is a great way to combine deals on delicious culinary goods, tasty beverages, and an enjoyable show. Usually, those said happy hours will be situated near the venues of the evening shows. People longing for more music and dance will then be able to get a really satisfactory sum of flamenco’s splendor.
Another interesting event offered by the festival is the intermediate and advanced flamenco classes, taught by the previously mentioned Dani Navarro. Furthermore, a photo exhibit will be presented at the Dépanneur Café for the whole duration of the festival. Flamenco dancers dancing and singing to the music with passionate fury is an attractive photographic subject and this will surely inspire photography’s amateurs to pass by and take a look.
As a whole, Montreal’s Flamenco Festival will give Montreal’s dance and music amateurs an exceptional opportunity to enjoy both arts marvelously entangled together. Montreal’s Flamenco Festival will be on from Sept. 7 to 13. For more information, consult the schedule on their website: www.festivalflamencodemontreal.org
A take on how Bill 3 exposes the hypocrisy of Montreal’s police force
If you have been out of the house in the past few months, chances are your path has crossed with strangely-dressed police officers, over-abundant red stickers and oddly ornamented municipal cars. As you may already know, those are all techniques used by the police, the firefighters and other public worker unions to protest Bill 3. This bill, as well as a number of other political and economic measures, was brought forward by the Liberal party as a way to help with the impending deficit of Quebec’s society.
In the last few months, these groups protested quite heavily with other, more intense actions; they lit a fire in front of Montreal City Hall and, more recently, they ransacked through it and chased the mayor through the halls.
Adding to the absurdity of it all, the policemen on duty were standing by and did nothing to stop the protesters. For all those people who have been arrested, pepper sprayed or harmed in any way in the student protests of 2012, this social and political situation seems quite hypocritical. Can anyone imagine the police response to students pushing their way into City Hall or lighting a bonfire at Place Émilie-Gamelin? What kind of double standard allows one group to physically intimidate government officials in their workplace, but makes the police conduct mass arrests on the other because of an unannounced itinerary?
Also, people leaving their posts to protest is one thing, but when we are talking about those who are supposed to protect and serve the general population, it becomes a question of safety. It is true that protesting is a fundamental right of any worker and citizen in a democratic society. Still, tragedies usually do not care about the protesters’ will to bully the mayor.
Nonetheless, it is important to state that, in many ways, the government employees are right to protest a bill that makes them pay for mistakes that others did. A number of people that would be affected by the bill are either swallowing this harsh pill or looking to negotiate with the government. Still, a certain group of people — composed mainly of firefighters, policemen and blue collar workers — are acting as bullies, thinking they will get something out of it.
The fact is that, by doing this, they alienated the part of the population that did not already think that they had become the thugs. Also, anyone without a pension or any kind of financial security has only one thing to say: tough luck.
It is obviously hard for anyone to have advantages you cherish taken away from you. Still, in this case there are two sets of rules that seem to apply: if you are the law, then you’re above the law.
In today’s world, everyone is taking pictures of pretty much anything. From selfies to pictures of food, photography is now anchored to the way we live. This overuse of photography changed the way we approach the once almost sacred act of taking a photo. Nowadays, it is merely a way of sharing something with someone as easily as possible. Even if it can be seen as a great technological and social change in the way we interact with each other, this democratization of photography also brought a certain level of mundanity and sometimes insignificance to photography. Luckily for this honorable art, people all around the world are still practicing photography as it was first intended: to show people the reality of others.
In this vein, the World Press Photo exhibition, which will be held in Montreal until Sept. 28, is a perfect place to see an array of talented photographers’ works, published in different publications across the globe. The World Press Photo nonprofit organization assembled a team of 19 judges this year to choose amongst a tremendous amount of pictures sent to them for the contest. The collection is being presented at the Marché Bonsecours, a beautiful building situated in the Old Port, giving viewers a chance to encounter countless stories in one room. From the horrors of the Syrian civil war to the profoundly touching tale of an Olympic athlete’s fight with cancer to beautifully captured moments showing the fragility of Mother Nature, the exhibition has something for everyone. It is true that some people may be disturbed by some of the pictures showcased at the exhibit. For example, a selection of photos showing an American veteran that lost most of his facial structure in an explosion may cause some discomfort. Still, the idea of the exhibit is to show to the world what others are facing, and cause them to reflect on what they have witnessed. Sometimes, the photos show stories of survival and can even inspire its viewers: in the previous example, the badly scarred war veteran is now helping people that need help coping with such disabilities, and has become a well-known figure in the world of comedy.
It is possible to judge the quality and the importance of the World Press Photo exhibition by the effect that it has on the people witnessing it. Most of us have become desensitized to the gruesome and depressing events happening all around the world shown on television or on the Internet. However, when set in front of a stunning giant picture of a family’s everyday life in a poverty-stricken society, we are bound to be moved in some way. This little je ne sais quoi that emanates from those pictures may give you the chills, make you smile or simply make you wonder. In all cases, the World Press Photo exhibition will not let you indifferent.
The World Press Photo exhibition will be taking place at Marché Bonsecours until Sept. 28.
It was a humid and hot Tuesday night, in a freshly renovated theater on this highly interesting street that is Sainte-Catherine. In this said old-looking building, decorated with a welcoming horse head’s sculpture, a grandma’s lamp and giant portraits of a few blues legends, a gang of somewhat eccentric personas are conversing and obviously happy to be reunited. It is because they are all here, in this still paint smelling hall, for the beginning of Grinders Comedy Lab’s second season. For most of you that are not familiar with Grinders Comedy Lab, it is important to clear up something: it has nothing to do with the gentlemen location-based meeting application that some of you may know. Grinders is actually an open-mic night where comedians and artists of all acabits and occupations are invited to perform in front of an audience. It actually takes its name from a comedic web-series, simply called Grinders, involving by regular participants of the Comedy lab such as the two hosts Alain Mercieca and Stefen Petersen. It is not only a place to go for a enjoyable Tuesday night, but it’s also a chance for those eager to mount on stage to be, even just for a moment, who they really are. So for those of who would like to show off their latest homemade choreography, an awesome harmonica solo or simply tryout as a comic, Grinders Comedy Lab is a place where you will be accepted for the best and the worst.
Photo courtesy of
Still, even if the night is open for every kind of artists there is, those open-mic evenings are mainly occupied by comedy as the first night of the second season showed. The only exception to the rule was a talented musician who graced us with one of its compositions. During this said evening, the array of comedians on stage gave the audience reasons to laugh about pretty much nothing and everything; from Amish television shows to wearing someone else underwear, passing by time-travelling and the simple act of loving mayonnaise.
A strong sense of community is in the core and fabric of the Grinders Comedy Lab. Involving Mercieca, Petersen, the newly appointed host Jacob Greco and a lot of other performers, the Lab tries to bring a more Americanized version of the open-mic night by inviting comedians to try new things every night instead of simply putting the same performance they have been working on for a long time. It diverts from what is seen in Montreal most of the time. It also gives some sense of randomness to this kind of evening since both the audience and the performers will not know what will result of this said open-mic session. This is what an open-mic is really supposed to be about. Comedians need a stage and a public to really try out their work. As suggested by the actual name of the weekly event, a comedy club like the Grinders Comedy Lab is a place in which comedy is created. It’s true that sometimes creation means trying and failing. It also means that by attending those evenings, the audience is passively participating to this creation process. And in some rare instance, it also means that together, it is possible to craft wonderful moments of hilarity that can only be achieve in a confined, un-pretentious and peculiar environment such as The Grinders Comedy Lab.
The Grinders Comedy Club – Every Tuesday at 8:30p.m. – Sainte-Catherine Theater
Jack and the Cuckoo-Clock Heart is a musical that tugs at the heart strings.
The Best The Zero Theorem (2013)
Directed by Terry Gilliam
Set in a dystopian future, The Zero Theorem features a colorful cast of misfits.
From the comedic genius of Monty Python to the numerous surprising movies that he has made, Terry Gilliam has shown what is needed to become a giant in the artistic universe. The third and last opus of his “Orwellian triptych” reconfirms it. The Zero Theorem is a story about a peculiar character named Qohen Leth, interpreted by the always-wonderful Christoph Waltz, working for a Big Brother-esque company called Mancom. In a dystopian world, an array of colorful misfits pass through Qohen’s life to disturb his routine, either to help or disrupt his progress towards completing his important assignment. This said mission, bestowed upon him by the almighty Management of Mancom, is to prove the zero theorem, therefore confirming that everything in this universe is meaningless. For those of you familiar with dark but still fascinatingly amusing movies like Brazil and Twelve Monkeys, you can start to fathom what kind of absorbing and interesting world Gilliam is able to create. With his surprisingly lovable protagonist evolving in a not-so unrealistic futuristic society, Gilliam points out and critics many important and smaller facets of today’s world. With some slight exaggerations and caricatures of our own contemporary habits and surroundings, he is able to make us see the incongruity of an over-stimulated, productivity-obsessed, sex-driven civilization. The beauty of it is that The Zero Theorem never feels like it is patronizing. It uses clever humor and poetic representations to let us understand how absurd humankind could become. Let us hope that even in this dystopian future we will still be able to appreciate ingenious masterpieces such as Gilliam’s last work. Watch the trailer here.
Bloody Knuckles (2014)
Directed by Matt O’mahoney
Bloody Knuckles brings in the pain with the help of a zombie hand.
We all hate censorship. Well, at least when it concerns our favorites shows, artists or even media figures. Still, some people might think that a selective censorship is necessary for some “unacceptable” things in our society. In recent history, we can think of Jyllands-Posten’s Muhammad cartoons controversy for example. Bloody Knuckles, when you pass over the vulgar absurdity and the usual gore fest associated with decent B-movies, is a testimony of freedom of speech and the right of laughing about anything and anyone. The film portrays an uncompromising cartoonist named Travis (Adam Boys) using his comics to critique and joke in a particularly obscene fashion about well-know figures. Sadly for him and his soon to be severed hand – the subject of his last comic – Chinatown’s ultimate mobster, Leonard Fong (Kasey Ryne Mazak), is one of those people that thinks that sometimes you should censor yourself. Luckily for us – and the young, now depressed and silenced artist – the disconnected hand comes back from the dead with its offensive attitude to help his master get revenge. From there, the cartoonist, the zombie-hand, a clever journalist (Gabrielle Giraud), and one the most awesome and funny vigilante ever put on screen called Homo Dynamous (Dwayne Bryshun), group up to defeat the evil criminal gang. Bloody Knuckles is not what we would call a classic blockbuster. It will not win an Oscar and could be criticized for its few attempts at serious drama. Still, most of what Bloody Knuckles does is done right. If you are looking for an unconventional and wildly entertaining genre movie, go fetch this pus-covered hand and have a great and disgusting moment! Watch the trailer here.
Jack and the Cuckoo-Clock Heart (2013)
Directed by Stéphane Beria and Mathias Malzieu
Jack and the Cuckoo-Clock Heart is a musical that tugs at the heart strings.
We all have this one Disney movie that we cherish and re-watch secretly every once in a while. We also have a special spot in our hearts for their soundtracks. Still, when we grow up we tend to get more and more annoyed by sing-songy characters and predictable children’s movies. That is why the musical and lyrical gem that is Jack and the Cuckoo-Clock Heart more than surprised this Concordian! With its flamboyant characters, its classic but still interesting romantic story and its poetic penchant, this movie has the ability to charm you. One of the strong points of the movie is the surprising array of well-known French artists lending their voices and musical styles to the lovable animated figures. Grand Corps Malade’s guttural yet sensible sound for example, gives Joe – one of the villains – an indescribable quality. The gorgeous cinematographic style and the well-crafted story, both originating from Mathias Malzieu’s novel La Mécanique du Coeur, brilliantly complete this musical score composed by the French rock band Dyonysos. Yes, in the end it could be considered as just another childlike animated movie with singing redundancy, but that would be completely ignoring the ‘petit je ne sais quoi’ of Jack and the Cuckoo-Clock Heart. This movie has something special to offer to young and old alike. You should give it a chance to charm you, you will not be disappointed. Just be sure to make a bit of place in your head for another lovely song or two to add along to your favorite Disney melodies. Watch the trailer here.
The One I Love (2014)
Directed by Charlie McDowell
The One I Love takes the tried and true romantic getaway for a new spin.
What starts as an often seen storyline quickly changes to something much, much different. A couple, named Sophie (Elizabeth Moss) and Ethan (Mark Duplass), are struggling to save their marriage. Their therapists recommends a retreat, promising that this weekend away will renew their relationship. The couple embarks on a journey, unknowingly crossing the line between normal and abnormal.Once arrived at the retreat – which is a beautiful house – seemingly in the middle of nowhere, the couple spends a lovely evening. Things only start to go awry when Ethan discovers the guest house. In it lies an almost identical copy of their significant other. Only one member of the couple can be in the guest house at once, meaning that Sophie and Ethan cannot meet their clones, but can interact with the other version of their spouse. But how could this be? As the couple tries to wrap their brains around this new (clearly impossible) reality, even stranger things start to occur. What follows in an amazingly different story, a film that could be considered the perfect combination of a romantic comedy and science fiction. The film includes flawless acting from both Moss and Duplass, and beautifully shot scenes. It is incredible to think that such a complicated story line can be so well delivered by only three actors, one of which is only in the first few minutes of the film. The film will keep you guessing until the very last minute, and will leave you with a smile on your face, thinking ‘of course!’. Nothing less than genius can be expected from the people who created Jeff, Who Lives at Home and Safety Not Guaranteed. Still, The One I Love is one of the films to see this year. Watch the trailer here.
– written by Nathalie Laflamme
Once Upon a Time in Shanghai (2014)
Directed by Ching-Po Wong
Once Upon a time in Shanghai brings us back to the golden age of Bruce Lee and Asian Kung-Fu cinema.
Once Upon a Time in Shanghai is one of those movies that perpetuates the image of the god-like Kung Fu fighters, and does it really well. More traditional and lyrical in its approach and its cinematographic look than recent martial arts action movie such as The Raid. This movie takes you back to the era of old-school martial arts’ cinema, a time in which CGI did not over-stage the actual talent of the men and women seen on screen. This is probably one of the main qualities Once Upon a Time in Shanghai: it feels authentic. Still, the creators of this movie are well aware of the day and age in which we live in, and use plenty of effects and added stylistic details to give to the film a persona of its own. Simply put, it is theatrical and grand. A classy but still very dangerous Shanghai is portrayed and used as context for the two talented good guys, powerful mobsters and an evil army man trying to take over. It is the story of how it can be hard and unrewarding but still necessary to do good so that justice can prevail. A good old (but brand new) martial arts movie for everyone who misses the virtuosity of mister Bruce Lee himself. Watch the trailer here.
The Worst WolfCop (2014)
Directed by Lowell Dean
Trite and forgettable, Wolfcop is the bane of all buddy-cop movies.
A movie about a dreadfully stereotyped and one-sided alcoholic cop who becomes, in spite of himself, a werewolf. That is WolfCop for you. This review could probably end here and now, but it is necessary to make people understand how awful this film truly is. The unpleasantness of it all first comes in important things such as the characters. As mentioned, the main protagonist is a low-life alcoholic cop that becomes a werewolf (Leo Fafard). Around this un-nuanced character evolves an obnoxious cast including a redneck weirdo, an objectified barmaid, a puritan politician and a poorly executed mix of The Matrix’s Neo and the Driver’s role in Drive as the main villain. Other than that, the plot is pretty simple. A cop becoming a werewolf becomes an efficient wolfcop and starts cleaning the city of bad guys until the final revelation, a cheap and easy plot twist to say the least. Also, some on the most annoying things in WolfCop are some little, exasperating details and scenes. For example, you would be surprised how at how rapidly and seemingly without incident the main protagonist accepts his newly obtained status of werewolf. I don’t know about you. fellow readers, but I would need a few minutes to cope with the news. Additionally, there is an exquisitely ironic sex scene between a scantily clad red riding hood and wolfcop. Very classy, I tell you. It is necessary to admit though that the movie offers a few funny choreographies and werewolf moments. WolfCop could have been exempted from the “Worst” list since it is clearly a B-movie simply doing its thing. Nonetheless, other movies that could be included in the B-movie category such as Bloody Knuckles shows that it is possible to do it right. Sadly, Wolfcop failed miserably. Watch the trailer here.
Bros Before Hoes (2013)
Directed by Steffen Haars and Flip Van der Kuil
Forgettable, childish and misogynistic, Bros Before Hoes doesn’t quite deserve attention or merit.
There is not much to say about this movie, really. It is an example of what Hollywood does badly and repeatedly, this time executed by filmmakers from the Netherlands. Two brothers (Daniel Arends and Tim Haars), after living through their parent’s messy divorce, swear never to get involved in serious relationships, and therefore sleep with different women daily. Soon, one woman changes things (Sylvia Hoeks), and a love triangle become apparent. Sex related, scatological and all other kinds of stupid jokes are hashed and rehashed in this misogynistic movie for horny teens. The overused romantic comedy tale is painfully executed by a whole cast of characters that seemed to try too hard to imitate How I Met Your Mother’s over-the-top protagonist, Barney Stinson (Season nine Barney Stinson… Yes, it is that bad.) This movie uses all the poorest stereotypes and easy jokes there is in the book. By far the worst movie this sorry Concordian editor had to suffer through during this whole festival. Even the substantive amount of Rambo: First Blood quotes cannot save this movie from ending up in a good amount of body bags. Watch the trailer here.
The House at The End of Time (2013)
Directed by Alejandro Hidalgo
While The House at The End of Time might be formulaic, the ending is what truly adds the nail to its proverbial coffin.
This Spanish horror movie is as basic as can be. In the same veins as The Orphanage and The Others, The House at The End of Time is putting its viewers into the familiar setting of a strange and seemingly haunted house. It presents what appears to be a regular family with regular problems, well at least at first. This simplistic premise and set have been seen in numerous occasions, but this does not mean it is a bad thing. Even in the various techniques used by the director to scare the viewers–loud noises used in contrast with heavy moments of silence, mystery hiding behind a closed door, footsteps coming from beyond– almost every conventional horror technique is used. The horror genre is known to use the same formulas over and over again, and still succeeds to deliver some surprising and widely entertaining movies. You do not have to reinvent the wheel to make a great horror film. So, why is The House at The End of Time in the shameful “Worst” list you may ask? Simply put, it is mainly because of the last fifteen minutes. A no spoiler policy will be strictly enforced for this article so we will not go into any specific details, but what seemed to be a decent and honest horror movie just frankly lost it all at the end. Some other critics may be prone to advance the argument that this said ending is a complicated but still very clever twist. This is merely because in our generally simplified cinematic era, an over-complicated ending is often wrongly associated with a sign of quality. Confusion does not automatically rhyme with ingenious. Because of this unsuccessful attempt at cleverness, the movie just loses most of its significance. Sadly, the original tension that you felt during those few good moments just fall flat because of those odd and inconsistent final explanations. Sometimes, mysteries are simply better left alone. Watch the trailer here.
Monsterz (2014)
Directed by Hideo Nakata
With such a great pedigree under his belt, director Hideo Nakata’s Monsterz is forgettable at best.
We have all seen and been traumatized by either the remake or the original versions of some horrifying Asian movies, such as Ringu or Ju-on: The Grudge. Hideo Nakata, the director of the above-mentioned Ringu and Monsterz, is considered a master of the art. However, this recent installment will not stand in the annals of Asian horror movies. The plot revolves around two young men, one with the power of bending the minds of anyone unlucky enough to meet his gaze, and another that seems to be the only one immune to this power. From this premise comes an ever-lasting duel between those two superior beings while society decides that they are a threat to humankind. It is cautionary tale about exclusion and stigmatization. Yet, even if it is evident that there were people with good intentions and talent behind this movie, Monsterz does not hold up to the expectations. Annoying characters, including the most outrageous gay stereotype of the last decade showed on screen, sometimes totally illogical moments and ridiculous dialogues ruins the potential of the movie. This movie had a great concept at its core, but failed to exploit it properly. Hopefully, this will not be the swan song of one of the most talented director when talking about Asian horror movies. We will just need to forget about this unsuccessful attempt. Watch the trailer here.
Notable The Texas Chainsaw Massacre (1974)
Directed by Tobe Hooper
There’s little that hasn’t already been said about this classic piece of cinema history.
If you are into horror movies, you must have been there with us. If you are a real fan, you could not miss this once in a lifetime chance. Yes indeed, I am talking about the screening of one of the best horror movies of all time, the original The Texas Chainsaw Massacre in all its splendor on the big screen! Not only that, but the actual horror legend that gave us this horrifying gem, Tobe Hooper, was there to present it to the lucky people able to enter the presentation. For those of you who cried for a week after having realized the missed opportunity, here is a general overview of the evening. After an energetic presentation by the hyperactive Fantasia host and a short appearance by Tobe Hopper himself, everyone meowed their heart out and the festive ambiance suddenly became creepy with the opening credits and iconic photo-taking. Then the whole audience proceeded to scream, laugh and get traumatize by the amazing classic that is The Texas Chainsaw Massacre. It was very interesting to think about how horrified the public must have been back in the day by the gruesome film. It was also easier to experience how this movie not only perturbs its viewers psychologically with its demented protagonists and the general craziness, but also how it affects the audience physically. Indeed, the fact that it was properly presented on a cinema screen with quality surround sound made you realize how unsettling the numerous camera movements, high-pitched noises and general atmosphere and that all those elements could affect you directly and physically. Overall, it was wonderfully frightening to see this movie screening with a public composed of die-hard horror fans. Sadly, the interview and Q&A that followed with the director was not as satisfying. After a few rounds of applause, the Fantasia host started a very interesting and informative interview, or at least he tried to. Maybe mister Hooper was tired or maybe he just did not feel like being there, but in the end even the most stimulating questions directed at him were answered by anecdotic moments or non-related stories. Frankly, it felt more like a reading of IMDB’s trivia pages than a unique opportunity to interview and listen to one of horror’s most talented directors. Still, Tobe Hooper will remain the creator of one of the scariest films ever made. Thanks to him, and the Fantasia International Film Festival, we could finally be scared properly by The Texas Chainsaw Massacre. Watch the trailer here.
Angry Video Game Nerd: The Movie (2014)
Directed by Kevin Finn and James D. Rolfe
As James Rolfe’s magnum opus, The Angry Video Game Nerd movie is a sure-shot for fans of the YouTube superstar.
Most people got to know him as the “Angry Nintendo Nerd” when he first began his short and corrosive reviews of old-school video games a few years ago. Today, James Rolfe is an Internet superstar with over 1.5 million subscribers to its YouTube channel and fans from all around the world, showing a dedication rarely seen on the web and its micro-celebrity sphere. With the help of these devoted fans, the nerd finally delivered his ambitious movie project. In this movie, the infuriated geek and his friends go on a quest to unfold the mystery surrounding the so-called “worst video game of all time”, Eee-tee The Extra-Terrestrial for the Atari 2600. James Rolfe delivers in this wacky film a fair and honest comedy that is surely going to appeal and amuse all of us who watched and laughed at his countless comical videos. The various references to different movie genres, the caricatural characters, the iconic frustrated moments of the nerd himself and the chaotic finale are all elements that kept the whole crowd laughing for nearly two hours. On the other hand, it is important to keep in mind that most of the audience members were Rolfe fans. The reason this movie is not in the “The Best” category is that this is a movie for those fans. It is very doubtful indeed that people who never heard of the “Angry Video Game Nerd” and its original web reviews will like this film. This movie is more of a continuation of the work of James Rolfe and the people that helped him more than a solid stand-alone film. Nonetheless, Angry Video Game Nerd: The Movie will satisfy anyone who loves the rolling rock’s drinking character that will play those games that…Oh well, you know the song as well as I do and if not, you probably won’t like the movie. Watch the trailer here.
Mr. Go 3D (2013)
Directed by Yong-hwa Kim
It is a South-Korean blockbuster about a gorilla that becomes a baseball star…in 3D. What else do you need? Watch the trailer here.
Goal of the Dead (2014)
Directed by Thierry Poiraud and Benjamin Rocher
Who knew zombies and sports would go along so well?
What could have been a cheap use of zombies to justify a bad story installed in a sport related setting was after all a nice revelation. Not good enough to be in the honorific “best” list, but its uniqueness, a characteristic rare enough in our contemporary zombie-filled cultural landscape, makes it worthy of our attention. Created with the help of Canal+, this horror comedy will surely entertain you with its smart use of the sometimes laughable world of international sports and the anger and admiration it stirs up. By offering a nice little analogy of the absurdly violent hooligans, it gives us a light and easy to watch two-part movie. It is necessary to precise that people unfamiliar with the French general culture and people may find the movie a little less funny that it really is. Nonetheless, it stands as a nice zombie movie anyway and that is something we all ought to like. If you do not, well you can always go play soccer outside…at your own peril… Watch the trailer here.
It is important to precise that that many wonderful movies and plenty of very bad ones have been omitted in this article. Big titles such as Guardians of the Galaxy, Welcome to New York and I Origins have been left out but certainly deserve your attention. Indie gems such as The Unusual Metalhead and critically acclaimed international hits such as Jacky au Royaume des Filles have also been overlooked. This list is clearly imperfect and insufficient to give a complete portrayal of what the festival has to offer. Your humble writers had to make some difficult choices to bring you this article, and hope that you will understand that, to really experience the Fantasia International Film Festival, you have got to simply be there and make the most of its brilliant selection.
International genre film movie festival will run until August 6
Tired of those boring movie theatres in which everybody stays still and silent? Looking for this gem of a movie that perfectly mixes mystery, suspense, a bit of romance and a girl who has chainsaws for hands? Frustrated by those mainstream animation movies that systematically gives you the same old childlike story? Well, starting today, July 17, all of your wildest cinematographic dreams will come true!
The Fantasia International Film Festival is one of the most prominent genre film festivals in the world. It is proposing to Montreal’s movie addicts an array of movies that will surely move you out of your comfort zone. From animation movies to usually ignored international blockbusters, the festival has it all. Concordia University has been hosting this festival since 2003.
The 18th edition of the Fantasia International Film Festival is offering to the public movies by well-known directors as well as promising newcomers’ short films. For instance, festivalgoers will have the chance of seeing Terry Gilliam’s third and last movie, Orwellian triptych, Zero Theorem. For those who are more into Asian movies, like most of Fantasia’s regulars, Takashi Miike’s latest project will be shown, as well as plenty of other treasures. You even get to watch some classic genre movies that were made before you were born!
Another very interesting feature of the festival is that some directors and actors will be present at their movie screenings. This allows the public to ask questions and interact with the people that they would normally only see on screen. It also gives today’s low profile directors a little time under the spotlight so they can maybe move towards becoming tomorrow’s next big name in the industry. In all cases, the Fantasia International Film Festivals offers a crowd-pleasing, diversified and fun medley of cinematographic creations.
Fantasia is all about giving you the chance of seeing beautifully weird and creative movies that would not fit in any traditional categories. In some cases, it will actually be the only time anyone in Montreal will be able to watch these movies on the big screen. But really, the pleasure of going to the Fantasia International Film Festival is actually about taking a leap of faith and experiencing something new. It is true, you may fall onto the most disturbing movie you ever saw, but you may also get to watch your new favourite movie of all time. The brilliantly thought-out randomness of the festival’s selection is exactly what should make you want to attend.
The Fantasia International Film Festival will be taking place from July 17 to Aug. 6. Films will be screened at different locations around downtown campus, including the J.A. DeSève Cinema (J.W. McConnell Building), the D.B. Clarke Theatre (Henry F. Hall Building), and the Alumni Auditorium (Henry F. Hall Building).
