Tag: film

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Drilling holes in the Atlantic Ocean

In Ireland, the fishing industry is constantly at odds with the interests of the oil companies.

New Cinema Politica film takes a look at how the Irish government destroyed its fishing industry

What happens when the ocean becomes a battleground between two interest groups vying for two different resources in the same location? This issue is discussed in the documentary Atlantic—Cinema Politica’s latest film screened at Concordia, where fishermen are at odds with oil companies.

Drilling for oil in the ocean is a dangerous affair that can have catastrophic consequences, as was made evident by the Deepwater Horizon disaster in 2010. The Deepwater spill was the largest oil spill in human history—causing a range of human, economic and environmental crises.

Funded by the Irish Film Board, Atlantic depicts the struggle of Irish fishers in their daily battle with oil companies. To understand the extent of the problem, the filmmakers provide political background to help explain the current state of the country’s fishing industry.

In 1973, Ireland handed over the regulation of its waters to the European Union after becoming a member. Irish fishermen’s original control of 23 per cent of the country’s waters was reduced to a mere four per cent. This sent a wave of frustration through the many communities left entirely dependent on the fishing industry—and the situation was only about to get worse.

The European Union began drilling oil in the fishing ground, something the local fishermen found appalling. It had worked in Norway—the government created Stat Oil, a state-owned, highly regulated company and the country’s successful oil exportation ended up being rather beneficial for its citizens. Such success, however, was the result of the work of great politicians, according to the documentary. This political strength was not present in Ireland.

In Ireland, the fishing industry is constantly at odds with the interests of the oil companies.

For one, the Irish government was not part of the decision-making process about drilling in its waters. In fact, the oil companies were the ones implementing the rules. This happened to be the case, because the Irish government wanted to export large quantities of oil in order to strengthen its economy thus they let the oil companies do what they wanted. The tax rates imposed on the oil businesses by the Irish government, more specifically Ray Burke, were the second most generous in the world. Given that these companies were not state-owned, oil exportation revenues did not profit the Irish economy, but instead were kept by the privately-owned companies. The politician responsible for this extremely loose regulation, the Minister of Foreign Affairs Ray Burke, was jailed in 2004 for tax fraud and corruption.

Furthermore, oil companies must generate underwater explosions every 10 seconds to locate the oil’s position. The operations are deafening and disruptive to mammals and fish who use sound waves to navigate, causing behavioural changes and loss of hearing. The fish population has substantially decreased since the start of these activities, putting strain on the ocean’s ecosystem and Ireland’s already struggling fishermen as shown in the documentary.

Atlantic is a beautiful documentary which showcases the ongoing battle between the fishermen and oil industries. With both after different resources in the area, tensions and disagreements were inevitable. The documentary leaves the viewer flabbergasted by both the imagery and the  lack of judgement of the politicians involved.

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The jumpscare craze: Why we aren’t scared anymore

Jump scares have become an overused technique in horror films hoping to cause a fright without actually terrifying anyone.

A look at a trend affecting the quality of modern horror releases

If you ‘ve seen any horror films released within the last decade, it’s likely you have experienced a jump scare. The term “jump scare” is used to describe the introduction of a sudden image on the screen, usually accompanied by a loud noise, with the purpose of scaring the audience. This gimmick can be observed in the majority of current cinema, particularly the horror genre, according to YouTube movie critic Jack Nugent.  Movies like Paranormal Activity are notorious for their overuse of this technique—to the point of annoying the viewer.  However, the film still managed to gross over $100 million on a $15 million budget, according to IMDB. Its success sparked a handful of other low-budget copycats like the 2011 Canadian horror film, Grave Encounters trying to capitalize on the jump scare technique. Despite saturating the market with this tactic, horror movies like The Conjuring and Sinister, that rely on cheap thrills are still performing rather well, according to moviepilot.com. The introduction of the jump scare generated a revival of the horror genre.

Scary movies tend to bring in a bigger audience—usually teenagers seeking thrills. According to Livescience, the typical horror viewer is a male between the ages of 15-45.  Films like The Purge Anarchy are destined to be experienced in a packed theater anyway, since part of the fun is hearing the audience react to the on-screen action, according to Forbes writer Scott Mendelson. The thrill of watching a scary movie is the experience itself—which surpasses the act of merely seeing a film, said Dr. Mark Griffiths in Psychology Today.  As horror movie watchers tend to be rather young, an R-rated horror movie will lose any potential spectators who are not old enough to buy a ticket. For instance, Forbes writer Scott Mendelson pointed out that Eli Roth’s cannibal thriller, The Green Inferno, was an abysmal box-office flop because the studio did not want to embark on an expensive marketing campaign for an R-rated horror movie, decreasing the chances of making a profit from the film.

Mohamad Hassan Bassal, a member of the Concordia Film Union, argued that jump scares are an easy and cheap way to scare the faintest of heart. It is an inconsequential technique which will not leave the viewer terrified after watching the film. It is a quick and inoffensive rush. The omnipresence of the jump scare does not allow for the quality of scare classic horror movies to be delivered. The reason why films like The Shining or The Exorcist are truly scary is their use of atmosphere and suspense. Despite these movies being beloved by critics, “there isn’t a lot of interest in the more suspense-driven horror style,” according to Bassal. Movie producers seem to be more focused on creating franchises like Paranormal Activity.

Aside from superhero movies—which are breaking box-office records one after the other—PG-13 horror films are the biggest money-makers right now, according to entertainment outlet The Wrap. Don’t be surprised if there is another onslaught of jump scares in this year’s horror releases.

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Seeing clarity in blindness

Borealis is the story of a father trying desperately to reconnect with his daughter, Aurora, who is slowly becoming blind.

Borealis, which had its premiere in Montreal last year, returns for a limited screening

Things aren’t exactly peachy. Jonah (Jonas Chernick) owes Tubby (Kevin Pollak) close to $100,000 in gambling money. His house is in shambles. His daughter Aurora (Joey King) is slowly losing her vision to a rare illness and wants nothing to do with her father who just never seems to be able to keep a promise. Yet, despite his daughter’s resentment towards him, all Jonah wants is for Aurora to see the Northern Lights once before completely losing her sight.

Borealis, written by and starring Jonas Chernick, is both heartwarming and heartbreaking. Chernick based his idea for Borealis on Blind, a short film by  Borealis’ director, Sean Garrity. The film has garnered recognition at a few festivals, with Joey King winning Best Actress at both the Vancouver International Film Festival and the Canadian Filmmakers Festival, where Garrity also won Best Director.

“For me, the genesis of the feature film came from when I started to imagine who the characters would be in my version of the story. I immediately saw a father and a daughter who each had a crutch or an addiction,” said Chernick. In the film, Jonah’s love of playing cards creates tension and resentment between him and Aurora, ultimately fraying an already fragile relationship.

Having written the script, produced the movie and played the main character, Chernick was intimately involved in nearly every aspect of the film—from conception to post-production. According to Chernick, writing the script made it easier to portray Jonah, as he understood the psychology of the character and the motivations behind the choices he was making since he had orchestrated them in the writing.

The strength of the film comes from the strength of the characters and the wide spectrum of emotion they display. However, there were also challenges associated with Chernick’s role, as he had to go to some dark places while portraying the lying, gambling-addicted father. According to Chernick, “playing a shitty dad” was one of the toughest challenges of portraying Jonah.

Chernick, who has two daughters himself, described Jonah as a reckless father who has no idea how to connect with his daughter. “He’s a mess. And he makes terrible choices for most of the movie. It was difficult to tap into that, as someone who takes great pride in the choices he makes as a father,” Chernick said.

The film is not only beautifully scripted and portrayed, but it is also visually strong, with well-composed and interesting shots throughout the film. A recurring visual cue is that of smudged or dirty glass or reflections. Since the movie deals with the issue of blindness, Garrity wanted to use this concept of skewed sight in the visual composition.

“Shawn really liked the idea of blindness as a metaphor,” Chernick explained. “Not just visual blindness, but blindness to yourself, to your emotions, to what is right in front of you.”

As the film progresses, we slowly begin to see the characters through dirty glass or reflections less, as these characters finally see each other more clearly than they have ever before, according to Chernick.

Borealis returns to theaters in Montreal for a week, starting Oct. 28. in English at the Cineplex Forum, and dubbed in French at the Quartier Latin Cineplex.

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Diverse Brazilian cinema hits Montreal

A former child prodigy begins teaching violin to youth in Sao Paulo in The Violin Teacher.

Take a look at the upcoming films that will be screening at the Montreal Brazilian Film Festival this week

The 10th edition of Montreal’s Brazilian film festival kicked off at Cinéma du Parc on Oct. 21. The festival runs until Oct. 27 and promises an eclectic lineup.

The festival’s program director, Katia Adler, said this year’s festival will be especially exciting, as the festival will be hosting the first and only Canadian screenings of many of the films.

“Brazilian cinema is doing well,” Adler said. “Our production doesn’t stop growing, with about 150 feature films a year. The festival presents a variety of Brazilian films—there are auteur films, comedies and documentaries. There’s something for all tastes. The public can choose what they prefer to watch.”

While Montreal is home to several annual film festivals, this is the only one that solely showcases Brazilian films. The event is also unique because it has no sponsors and is organized and run by a team of volunteers.

The festival’s opening film, Aquarius, premiered at Cannes and is sure to be one of the festival’s highlights. Directed by Kleber Medonça Filho, this drama tells the story of a retired music writer who refuses to accept a buyout for her old apartment. The film has already received critical acclaim, but it has also incited controversy. Reviews in both The Guardian and Variety commend Sonia Bragaès performance in the film, with Variety writer Jay Weissberg calling her “incomparable.” The film itself has political overtones.

Other highlights this year include The Violin Teacher, which will be released in theaters in Montreal on Oct. 28—Nise-The Heart of Madness, starring Gloria Pires—and Neon Bull, which received an honorable mention at the 2015 Toronto International Film Festival.

The Violin Teacher, directed by Sergio Machado, won the audience choice award at the Sao Paulo Film Festival in 2015. Based on a true story, this musical drama follows Laerte, a violinist who fails his audition with the OSESP Orchestra and has to teach music classes at a public school instead. Variety film critic Guy Lodge praised Lazaro Ramos for his performance, and Alexandre Guerra and Felipe de Souza for their “elegantly ornamented score.”

Neon Bull is a provocative drama. It follows Iremar, a bull handler who hopes to someday become a tailor for women’s clothing. He satisfies his creative needs by creating horse masks and sexy outfits for his bull handling group’s truck driver, Galega. Galega also performs sexually provocative dances for men at rodeos. The movie focuses on the issues that surround this rodeo group, along with their romantic and sexual connections.

Other films at the festival include Jonah , Don’t Call Me Son and A Boyfriend for My Wife. There will also be two documentaries screened: Arpoador and Betinho-Hope on the Line. Depending on the movie and its showtime, subtitles are available in English or French. For tickets and more information, visit their website.

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American Honey: Chasing American dreams in a hopeless place

Shia LaBeouf gives a stellar performance as Jake in this fourth feature film by Andrea Arnold.

One of cinema’s leaders in social realism, Andrea Arnold, returns with an American Indie classic

As the blockbuster season finishes and award season begins, American Honey, the fourth feature film by Andrea Arnold, emerges as an early favourite for number one movie of the year, winning the Cannes prix du jury.

An intimate American road trip movie about a few disenfranchised youths, American Honey provides a fun, sometimes horrifying look at people who aren’t often seen in cinema. It is a simple film in terms of plot, yet it is very complex in terms of character development. It is realistic without being cynical, and sympathetic to its characters without romanticizing the lower-class hero. American Honey is a special film with characters who are not romanticized as heros.

The film follows Star (Sasha Lane), an 18-year-old who is taking care of her dirtbag boyfriend’s two children. A chance encounter at a KMart with Jake (Shia LaBeouf)—in the role he was born to play—opens the door for her to escape her troubled domestic situation. She decides to go across the country with Jake and his ‘crew,’ a merry band of magazine-selling misfits. An intense romance quickly develops between Star and Jake, to the disapproval of their boss, Krystal (Riley Keough). From here on, there is not much plot—it is a mixture of a mundane work-a-day lifestyle and spring break.

Typically Arnold’s films deal with characters trapped in a society packed with symbolism related to a constant desire to be free in nature. ‘The Crew,’ as they are referred, move aimlessly around the country selling magazines while singing along to songs about making money. Star is quickly accepted by the group as one of their own, yet she still seems to not fit in completely. She is an outsider within outsiders.

Viewers who aren’t familiar with Arnold’s work should note going in that she is not a director interested in finite conclusions or plot-based stories. Rather, she is more preoccupied with observing people in the margins of society. Some viewers have been put off by the open-ended nature of her endings as well as the idleness of her plot lines, and American Honey is no different. However, the brilliance of this film is not the end of the road, but the journey itself. This is a road trip movie with no destination, because there cannot be a destination. In fact, Star’s journey is effectively just a circle which ends where it started.

While the cast, besides Lane, is entirely white and mostly heteronormative, interested viewers should be aware that this is not a nostalgic Americana love letter to the past. American Honey is a very critical look at a country built on classism—one which ignores its poor, never granting even a small hope of escaping the cycle of poverty. The film can be described as an epilogue for the American Dream.

American Honey comes to Montreal theatres on Oct.14. It will be playing at Cinema Du Parc and the AMC in limited release. 

Grade: A (4.5/5)

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Live-action Disney films: A worse idea than you can imagine

Graphic by Florence Yee

A study on the reasons Disney is remaking its beloved animated movies

If you’ve been following entertainment news recently, you might have heard Disney is planning on releasing live-action retellings of its classic animated movies. The first film in this genre was Alice in Wonderland, a 2010 remake which grossed over $1 billion worldwide, according to Box Office Mojo. Although the Jungle Book exceeded the studio’s forecasted expectations, the recent onslaught of adaptations announced within the last week has left some people dumfounded.

There are now 12 live-action Disney films in the works, including some childhood favorites like Aladdin and The Little Mermaid.  Even a Chip ‘n’ Dale adaptation was announced earlier this month, according to mashable.com. In my opinion, these remakes are a ridiculous idea with the sole purpose of increasing the production company’s bottom line. Why is Disney rushing out all of these remakes instead of developing new ideas?

For starters, according to Business Insider, Disney is a risk-averse company, and every time they take a chance with a challenging project, they fail miserably. For example, their attempt at entering the video game business—which, according to the same source, resulted in hundreds of jobs lost and the closing of six video game studios. According to Forbes, movies like Mars Needs Moms and John Carter lost the company upwards of $500 million. It is becoming incredibly difficult to attract audiences with new ideas in a world filled with derivative works, or works based on something that already exists, like a book. Moviegoers want to go see a film they know they are going to enjoy, not risk spending two hours grinding their teeth, Business Insider states.

It is also important to mention that Disney, like any other company, has to have a constant stream of output. The many animators hired by the company can’t remain idle—it would bankrupt the studio. Hence, any project, no matter how absurd, might start production if the executive team believes in its money-making power, as said in Creativity Inc., by Pixar president Edwin Catmull and Amy Wallace.

According to the same book, by adapting their previous works, Disney believes they will attract millennials who have been increasingly avoiding movie theaters. According to an article in The Atlantic, people between the ages of 15 and 30 grew up watching The Lion King on VHS and will go see its adaptation regardless of its quality. This is worrisome as the increase in ticket sales might cause Disney to believe that they no longer need to come up with new ideas—they can just continue to allow one remake after another.

This is not the first time Disney has opted to recycle stories rather than develop something new. The studio has been releasing sequels to their animated films since the late 90s and early 2000s, from Cinderella 3 to Aladdin: The Return of Jafar. At least the company had the decency to release those films straight to video instead of giving them worldwide theatrical releases.

According to Catherine Russell, chair of Concordia’s Mel Hoppenheim School of Cinema, filmmaking is constantly evolving. Due to its constant transformation, the movie industry should be dominated by adventurous producers, not money-hungry executives.

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Stigmas tackled on the silver screen

In Good Words, a film by a former Concordia student, a smooth interview suddenly goes awry when the question of mental health arises.

The Au Contraire Film Festival aims to change negative representations of mental illness through more than 20 works

In film, mental illness has often been used as a scapegoat, or as an excuse for a character to act a certain way. There is a predictable pattern that emerges—characters living with mental illness are often isolated, dangerous or unpredictable. They are dependent on caregivers. These characters find themselves being defined by their illnesses and are at the mercy of their symptoms. This is especially true in the horror genre, where many “evil” or “bad” characters are crazed, deranged, or on the run from the psychiatric hospital.

The Au Contraire Film Festival, a film festival focusing on the theme of mental illness, seeks to change this negative representation of mental illness by challenging the usual narratives surrounding mental illness. From Oct. 25 to 28, over 20 works by filmmakers around the world will be presented at the fourth edition of the festival, which will take place at the Montreal Museum of Fine Arts.

Each film defies the conventional understanding and representation of mental illness, and instead offers edgy alternatives. Each work destroys stigmas of mental illness by reclaiming what it means to either be living with mental illness or know someone who is.

Philip Silverberg, the festival’s founder, thinks there are a few gems worth noting in the program. “Our free Youth Awareness Matinée for senior high school students is always a much awaited event, and this year we are featuring an interactive assembly, using short films, to combat stigma,” said Silverberg. “We are also excited by a new program called Animated Minds that features short films that, in some manner, involve animation in the production.”

The festival will open with a monologue by internationally-renowned comedian Christophe Davidson. Drawing on his own experiences with mental illness for the first time on a public platform, Davidson will talk openly about his own struggles, while incorporating a comedic element.

Silverberg considers this comedy routine, followed by the screening of a Patient’s Rites, to be one of the most powerful parts of the festival’s programming. Patient’s Rites is a musical documentary, and tells the story of a patient who spent nearly two decades in a psychiatric hospital after descending into psychosis.

This year, the festival will also feature a short film by a former Concordia student. Robby Reis, a Montreal-based filmmaker and founder of the Montreal film production company Natali Film, graduated with a bachelor of fine arts in film production from Concordia’s Mel Hoppenheim School of Cinema. Good Words, directed by Reis, is a short film that looks at what happens when the subject of mental health comes up in a job interview. The short film will be screened on Thursday, Oct. 27 at 2 p.m.

Since the festival’s inception, Silverberg has noticed a shift in how mental illness is portrayed. “At the local media level, there are increasingly more human interest stories that touch on the positive achievements of those who have mental illness. Although sensational headlines involving fanatic behaviour spike the stigma, on the whole there is a definite trend of acceptance,” Silverberg said.

The festival opens on Tuesday, Oct. 25 with Davidson’s monologue. Tickets for screenings are $10 and can be bought on the festival’s website. Tickets for the opening and closing ceremony days are also available online, although the prices differ.

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Highlights from the Festival du nouveau cinéma

The Student, a Russian film based on a German play, takes a look at religion and atheism in Russia.

Here’s a look at a few of the festival’s films that have stood out so far for their remarkable storytelling

In this second week of the Festival du nouveau cinéma, let’s take a look back at some of the best films screened so far—some of these will be screened again, and all are expected to play in theatres.

American Honey

Undoubtedly one of the best films of the year, American Honey is the worthy winner of the Jury Prize at Cannes—the third such win for English director Andrea Arnold. It is a wild and memorable alcohol-fueled road trip through an invisible America, one of social outcasts and abandoned youth. Don’t let the 162-minute running time scare you away—this is an experience that deserves to be stretched out. For its startling authenticity and social realism, it demands comparison to the Dardenne Brothers’ best work. While it presents characters and situations that often feel all but hopeless, it never loses sight of the light at the end of the tunnel—one that is sometimes just a flicker, but can grow into a camp fire. Also, this film should end the debate on whether or not Shia Laboeuf can act. Spoiler alert: he can.

The Student

This is a rare and important look at religion in Russia—a once atheist country that is no longer averse to embracing fundamentalism when it suits a political purpose. It is odd to realize the film is based on a German play, when everything in it feels topical and adapted to the reality it depicts. A high school student suddenly and inexplicably becomes a Christian fanatic, interpreting the Bible as a call to arms in this tense and staggering story. If the film is somewhat didactic in its approach, it feels not preachy, but well-measured—in fact, much of the dialogue is lifted straight from the Bible—with the sources, such as book and chapter numbers appearing on the screen, and the structure seems to reference the great anticlerical texts of the Age of Enlightenment, something out of Voltaire.

Neruda

Nowhere near an ordinary biopic—or even, perhaps, an ordinary film—this is a fittingly poetic exploration of Nobel Prize winner Pablo Neruda’s persona and art, depicting an episode of Chilean history through playful, contemplative experimentation with form and content. Luis Gnecco, as Neruda, on the run when Chile outlaws the Communist Party to which he belongs, and Gael García Bernal, as the inspector on his trail, are exquisite in ways that transcend the conventional cat-and-mouse relationship you would expect. The unnatural colours and dreamlike editing create a distinct environment in which truth and fiction overlap in tribute to a larger-than-life character.

Aquarius

Controversial in Brazil, its country of origin, for political reasons that have more to do with the filmmakers than with the film itself, this is a sensitive character study elevated by a career-defining role for aging legend Sonia Braga. A woman refuses to give up her apartment when the building is being bought up by a conglomerate that plans to destroy it. She hangs on to the apartment as a piece of the disappearing world she was once a part of. She knows she will die, and she knows the building will eventually be gone, but she will not allow it to happen on her watch. The accumulation of subtle details and elements of the woman’s life creates a portrait that conjures up feeling and respect for her.

American Honey will be released on Oct. 14. Neruda will be released on Dec. 16. Aquarius will screen again Oct. 15 at 6 p.m. at Cinéplex Odéon Quartier Latin (with French subtitles). Release dates for Aquarius and The Student have not yet been announced.

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Snap, crackle, chirp: Crickets and the future of food

Although insects are nutritious and viable sources of protein, there is a cultural challenge to serving them for dinner.

Snap, crackle, chirp: Crickets and the future of food

Next time you head to a fancy restaurant for dinner, cricket cavatelli might be one of the menu options, served alongside a hearty mealworm soup and tangy fried tarantula. It might sound revolting at first to picture insects as food rather than annoying creepy-crawlies, but the logic behind it is sound and buzzes with promise.

The idea of eating insects because of their rich source of nutrition and protein is at the heart of Bugs on the Menu (2016), scheduled to air on CBC’s documentary channel in October.

The film explores how insects are currently used as an alternative food source in different cultures in places like Mexico and South Africa.

Produced by Ian Toews and Mark Bradley from 291 Productions, based in Victoria, B.C., the film hops across four continents in an effort to make a case for the human consumption of insects. The film looks at the economical, social and business aspects of bug consumption.

“Ian and I had a meeting, and he suggested insect protein as a possible [film] subject, and I was immediately disgusted,” said Bradley. “When I started looking around and researching, I realized that there were a lot of people in the US and Canada who were working on trying to normalize insect protein.  It really opened my mind to other possibilities for feeding the world.”

According to the film, it is estimated that the world population will swell to over 9 billion people by 2050. Our methods for farming, agriculture and water dispersal are already unsustainable given the current the population size—they will not be able to provide for an even larger global population.

Enter the mighty bug, packing a big nutritional punch in a small package. The dietary wonders of insects are already well-known and touted by the United Nations. The UN Food and Agriculture Association even went so far as to publish a 200-page report in 2013, encouraging restaurants in the food industry to add insects to their menus as a way of reducing pollution, boosting nutrition and curbing world hunger.

The documentary takes an all-encompassing look at the insect industry, bringing in expert opinions as well as anecdotal evidence in support of insect consumption. The film provides statistics and nutritional comparisons between crickets, chicken and beef. The statistics on the feed-to-protein ratio is especially poignant—cows require on average 10 pounds of feed to produce one pound of protein, whereas crickets require only one and a half pounds of feed to produce the same amount of protein.

“Our company and I have always made films about important issues related to environment, human health [and] society,” said Toews. “I’ve always liked the films to show ‘another way’ to do things. Typically that means a ‘better’ way.”

Bradley  hopes the film will engage the audience, and encourage them to think differently about insects. “We want the film to spotlight the issue of food security, and get people thinking about other sources of protein that are not as environmentally harmful as traditional proteins like beef,” Bradley said.

The film is successful in that it normalizes insect consumption through its footage and interviews. The documentary features experts on bug nutrition, the director of the National Institute of Food and Agriculture, and a host of startup, insect-based snack companies, resulting in a solid argument for the implementation of insect-based protein in Western diets.

According to Pat Crowley, an entrepreneur interviewed in the film and the creator of the insect-based protein bar, Chapul, one of out of every 10 people at the Michigan State University annual Bug Buffet were willing to try insects in 2012. Now, only four years later, only one out of 10 people refused at the 27th edition of the festival.

“There is a hurdle in people’s minds that they have to get over,” said Bradley. “But once they do get over their initial apprehension and try their first bite, and once they realize that insects are food just like anything else, people seem very open to the idea.”

In addition to looking at the present situation of raising insects and serving them in different kinds of dishes, the film also looks at the issues on the horizon if and when the mass production and consumption of insects begins. Before insects make the transition from a quirky and adventurous meal choice to an affordable commodity, there must be a modernization to the practice of harvesting bugs.

“We want the film to be part of the movement, part of the solution that is finding other sources of protein for humanity,” Toews said.

Bugs on the Menu airs on Oct. 11 at 9 p.m. ET and Oct. 16 at 9 p.m. ET/10 p.m. PT on CBC documentary channel.

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The Cinéclub Film Society starts the Halloween season early

Get into the spirit of Halloween with two classic horror films

Nosferatu and The Cabinet of Dr. Caligari will be screened and accompanied by live music

For those interested in getting into the spirit of Halloween a little early, the Cinéclub Film Society of Montreal has a solution. On Oct. 7 and 8, the Cinéclub will be screening a double feature of Nosferatu and The Cabinet of Dr. Caligari.

Be warned: this is not a normal vintage screening. While the Cinéclub usually holds screenings at Concordia’s downtown campus, this event will be held at the Gothic-style W. P. United Church in Westmount. Each screening will feature live music, including a cello, piano and theremin. Period costumes will also be on hand for the purists, along with popcorn and drinks. In keeping with the Cinéclub’s tradition, both films will be projected onto a screen.

The silent films being showcased are two hallmarks of German expressionism as well as cornerstones of the horror genre. Nosferatu (1922), directed by the great F. W. Murnau, is the vampire movie. Considered to be the first vampire film ever made, Nosferatu is known for its use of shadows. Count Orlok’s shadow moving up a staircase is one of cinemas most iconic scenes.

The Cabinet of Dr. Caligari (1920), directed by Robert Wiene, tells the story of the psychopathic Dr. Caligari, the director of an insane asylum who hypnotizes sleepwalkers into killing victims. While Nosferatu is known for its vampires and striking shadows, The Cabinet of Dr. Caligari features incredible set design. The film has more of a resemblance to a series of gothic paintings than to a modern-day horror movie. The camera captures the many shadows painted on the sets, creating some of the most memorable expressionistic visuals to come out of the horror genre. Both films will be presented with English intertitles.

The Cinéclub Film Society is dedicated to preserving Montreal’s film culture. The group has been active in the city since 1992 and, in association with the Mel Hoppenheim School of Cinema, they screen classic films throughout the year. The group is one of the last outlets for Montreal cinephiles to experience film on actual film, as colloid projections become increasingly difficult to find. Anyone interested in attending this or any of the Cinéclub Film Society’s events is guaranteed to have a one-of-a-kind experience not found in the average cinema.

The W.P. United Church is located at 4695 de Maisonneuve West, near Vendome metro. Tickets cost $14 ($9 for students) and can be purchased online or at the door. The screenings start at 7:30 p.m. but event organizers recommend arriving early, as the church pews fill up fast. You can visit the Cinéclub Film Society’s website for more information.

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Spike Lee Presents King Of Pop Documentary at Concordia

Kay Art for Michael Jackson's Journey From Motown to Off the Wall. Photo Courtesy of SHOWTIME

Spike Lee brings Motown back to life with his latest documentary

Spectators were full of excitement at the Concordia Hall Theatre on Saturday, as students, families and reporters were graced with the presence of the well-known and occasionally controversial writer and director, Spike Lee.

Presenting his latest documentary Michael Jackson’s Journey from Motown to Off the Wall, Spike Lee was the guest speaker of honour for the second to last day of the 12th annual Montreal International Black Film Festival. Concordia had the honour of hosting both the screening and Spike Lee’s live Q&A with the audience after the show.

Upon his entrance in the theatre, Lee, dressed in his classic baseball hat and hoodie, acknowledged and thanked the audience for their applause. He then, to the spectators’ surprise, walked towards them and took a seat in his “reserved” row with his entourage, and watched his entire documentary film, laughing aloud alongside the audience.

The film itself is a fun, entertaining experience for all Michael Jackson fans. Opening directly with found footage, the audience is able to watch part of the King of Pop’s legacy and contribution to both music and the world. The film begins during Jackson’s childhood with the Jackson 5, and continues throughout the devastation of leaving Motown, to his days on Broadway, and recording Off the Wall. The film is one big party, making it difficult not to dance in your seat as songs like “Shake Your Body” or “Blame it on the Boogie” play.

This is a feel-good movie with many comedic moments. It engages the audience, and has the potential to inspire both long-time fans, and new admirers. Seeing Michael Jackson’s perfectionism and incredible work ethic is what makes this film worth watching.

The film has a large variety of interviews and commentary from people who knew him or who have been influenced by him, such as Stevie Wonder, Valerie Simpson, and The Weeknd. The film is nothing more than an entertaining summary documenting the albums from Motown to Off the Wall, as the title suggests. It rarely delves away from the performances and on-stage content. This performance documentary is not for viewers who wish to learn something new about Michael Jackson, or even the Jackson 5. It’s simply a blast from the past, focusing on the musicianship rather than the personal details of Jackson’s life.

If you’re looking for an informative biographical documentary on the legendary King of Pop, this film is not for you. On the other hand, if you are interested in seeing the transition of Jackson’s performance and music through interview commentaries and found footage, you will definitely enjoy this film.

Categories
Arts

Blockbusters 2016: The worst in recent memory

Graphic by Thom Bell

Looking at the economic factor behind the silver screen and this year’s biggest flops

It is officially October, and with the arrival of the cold weather comes the reflection on this summer’s  of the blockbuster season. This year has proven that big-budget movies are not always guaranteed box-office successes. It has been a bitter pill to swallow, but rising ticket prices are driving most people away from the theaters, with movie attendance dropping by 10 per cent this past summer—according to Business Insider.

Over the last decade, Hollywood has been primarily misled by the potential success of sequels, reboots and remakes. Promising movies with bloated budgets that become huge financial disappointments have become the norm in recent years. The most recent of these failures was the Ben-Hur remake, which had an abysmal opening weekend. According to Forbes Magazine the film brought in a mere $11.4 million dollars, while the film had a production budget of $100 million dollars.   One of the reasons these movies fail to meet the production company executive’s profit expectations is they often go over budget. Business Insider reports that some movies are so poorly managed they can exceed estimated production costs by over $100 million. How can this be possible?

According to Anton Shevchenko, professor of operational management at Concordia, a movie is like any other project. It is a set of processes and tasks all undertaken in order to reach a goal. In the case of the movie industry, the goal is to reach an audience and reap enough profits to make the film’s production worthwhile. Studios typically hire a set of financial analysts to determine whether or not the studio should take on a project, and give a tentative budget for production.

If the crew chosen for the production process is unable to work together and drags out the production process, a once-promising movie can become a financial nightmare. For example, according to writer Ryan Lambie, in an article for denofgeek.com, director Michael Cimino went 200 per cent over his budget during the realization of Heaven’s Gate (1980). Cimino built a gigantic set, just to tear it down for no apparent reason without the studio’s approval. The film became one of the most expensive box-office flops of all time.

The Telegraph reported that Michael Mann’s Blackhat, starring Chris Hemsworth, was the biggest flop of 2015. Bringing in only $4.4 million at the box office, the film had a $70 million dollar budget, and only made about a quarter on its budget back after its release.

Box-office failures are worrisome, as they can lead to severe financial pressure placed on studios. According to Business Insider, Warner Brothers fired 10 per cent of its workforce after Man of Steel failed to meet attendance expectations and that the worst part is that the studios don’t seem to realize what they are doing wrong— the majority of movies scheduled for release in summer 2017 have a budget of over a $100 million.

Graphic by Thom Bell

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