Tag: film

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Arts

September arts & culture festival masterlist

Don’t get too cozy yet! The weather was strangely warm this week and it appears it’ll stay that way for another… so get off the couch! Take a study break and go check out these festivals happening all over Montreal this fall! Oh, and if you haven’t seen any part of the Momenta Biennale, do that too!

 

THIS WEEK

LadyFest
Returning for its fifth year, LadyFest is a comedy festival celebrating femme and non-binary talents. I had the opportunity to go last year and had such a great time! Did I mention that I went back to watch a show alone… and sat in the front row? I didn’t even anxiety-hurl! LadyFest is truly soul food. Anyway, this magnificent happening ends Saturday, Sept. 21, so get your tickets here or at Théatre St-Catherine. For more information visit http://ladyfest.ca

 

Feminist Film Festival
No one will be turned away for lack of funds at this intersectional film festival! With local and international film shorts, FFF promises to challenge gender norms and feature strong female leads.

The schedule is as follows:

Sept. 21 at Association des réalisateurs et réalisatrices du Québec (ARRQ), 5154 St-Hubert St.
4:30 p.m. – The Different Faces of Maternity

Sept. 22 at Association des réalisateurs et réalisatrices du Québec (ARRQ), 5154 St-Hubert
St. 6:30 p.m. – Racialized Points of View

 

Stop Motion Festival
A fabulous contributor covered the Stop Motion Festival last year and completely overwhelmed me with the number of cool workshops that took place. Largely based on Concordia’s campus, this festival screens at the J.A. de Sève Cinema in the Hall building, in the EV building’s main auditorium, the LB atrium, and at Mckibbin’s Pub on Bishop St. Grab a beer and freak out about some sick animation until Sept. 22. View the full schedule here.

 

NEXT WEEK

Sept. 24-29: Montreal International Black Film Festival
I’ve attended the MIBFF since I started writing for The Concordian. Each year, my eyes are opened wider than the last. I was particularly fascinated by last year’s documentary on the reclamation of Dutch wax fabric, one of the most popular textiles in Africa.

With programs for youth, discussions, markets, and screenings, of course, this festival – opening with a tribute to Harriet Tubman – isn’t one to miss. For more information and tickets, visit http://montrealblackfilm.com/

Sept. 25-28: VIVA! Art Action
Taking place in the industrial heart of St-Henri, the VIVA! Biennial will feature over 20 artists from all over the world, including a handful from Montreal and a couple from Concordia! Performances, workshops, conferences, and other participatory experiences take the forefront at this festival, where lines between the artist and the viewer are blurred. Keep your eyes peeled for this one.

 

Sept. 25-29: POP Montreal
Hello fall festival queen, are you a person who likes to spend all day at art shows and all night at concerts and movies at the same time? Yes? Me too. Last year’s POP Montreal drained my soul in the best possible way. I have fond memories of walking to and from venues with POP’s specialty drink in my hand.

Committing to the festival means discovering new spaces and experiences you wouldn’t typically find yourself in. Queer visibility and sexuality, the underlying theme of Art POP, connects various satellite exhibitions across Montreal. Partnerships include UQAM, artist-run center Articule, and Elephant gallery – where Concordia-based creator Skawennati has developed a virtual portrait project with youth from Montreal North and Kahnawake.

It doesn’t stop there. In addition to art and music, POP Montreal includes a segment of symposium talks (which cross disciplines between art, music, queer theory, etc.) and film screenings at the glorious Cinema Moderne in the Mile End.

 

There is ALWAYS something happening in Montreal. No matter the weather. The end of September just so happens to be the sleepiest and busiest time ever. Yeah, yeah Green Day, I’ll wake you up when September ends, (that’s a lie I will wake you up now so you can festival hop.) Happy fall! Stay hydrated! Wash your hands!

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Arts

“The Lower Plateau”, a movie half a decade in the making

How Montreal local and Mcgill graduate, Liz Singh turned her life into a film

Liz Singh spent nearly half a decade working on her first film, The Lower Plateau, which was released in 2018. Made on a $19,000 production budget using just one camera and a boom mic, the film was Singh’s way of illustrating the many facets of her own life in the lower Plateau as an emerging artist. Based in Montreal, Singh obtained her bachelor’s degree in cultural studies at McGill in 2006, and went on to study film and television production at the University of Southern California.

Singh’s inspiration in pursuing this venture arose from a lack of interest in other opportunities. “I was looking for a project, and I couldn’t find anything I wanted to work on, so I made my own,” she said. Filmed in Montreal, the cast and crew consisted of about 50 people, many of whom had never worked on a movie set before. For a bunch of first-timers, the end result is quite impressive.

The Lower Plateau follows a 20-something named Jaine, who seems to be idling in uncertainty as to where to take her life. In an experience that is all too familiar to the creatively-adept young adult, she navigates toxic relationships, unemployment and a routine that seems tantalizing in its swift ability to direct her attention back to both.

A few solid friendships pull Jaine through the worst of times, though each bond bears its own set of scraps. Singh attributes the personalities of some of the supporting characters to her real-life companions. “I think probably every character that you write is a facet of yourself, and then mixed in with bits and pieces of people you know,” she said. “I wanted it to feel like my life in the lower Plateau; a lot of people I know, this is how we’re living, sort of working in bars and working at night, doing multiple gigs and making art on the side.”

Right now, Singh and co. are working on a few web series, one of which may involve “a modern take on superheroes,” Singh said. Through her production company, Dépanneur Films—which was established in 2014 under the name Cinéma La Vox—Singh has also put out a web series that resembles The Lower Plateau, called Bonjour Hi.

In listening to Singh describe her past as well as her ambitions, the parallels between her and Jaine are clear, despite one poignant detail. If Jaine is a version of Singh in any capacity, I have reason to believe that she represents a Singh of the past. The beaming woman who stood before me to eagerly discuss the details of her debut film seems to have surmounted a period of uncertainty and poured her heart and soul into her art. The result is content as beautiful as it is sad.

Though The Lower Plateau is a noticeable first attempt a full-length film, if it’s any preview of what Singh and the rest of her crew are capable of under a tight budget, I’m looking forward to whatever’s next.

The Lower Plateau was screened on April 7 at Transparent Film Festival in New York City, and will be available online next month as part of the Lift-Off Sessions.

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Student Life

Exploring identity through film

Photo courtesy of Jackie Batsinduka

Jackie Batsinduka explores loss and family history in Geni

“Growing up as a child of two survivors of the [Rwandan] genocide, the big thing for my family—and I think it’s true of many people’s family—is that it’s not really talked about,” said Jackie Batsinduka, a Concordia communications studies graduate. “My mom lost the majority of her immediate family, except for two brothers, and my dad lost his entire family. So imagine that, then you have a kid two years later.”

Jackie Batsinduka is a rising filmmaker and recent Concordia communication studies graduate. Photo courtesy of Jackie Batsinduka.

Starting on April 7,1994 and lasting about 100 days, the Rwandan genocide resulted in the mass murder of nearly one million people, the majority of whom were Tutsis. Batsinduka was born in Ottawa just two years after the genocide. “I guess it was easier to just forget and live your life,” said Batsinduka, “focus on this new chapter.” Although her family rebuilt their lives and eventually settled in Gatineau, Batsinduka explained how the past would come up in small ways, no matter how much they tried to push it away.

“Whenever there’d be a class project that had to do with your family tree, I’d be like ‘I don’t know,’” said Batsinduka, with a shrug. “Then as a six-year-old, having to explain to your class like, ‘yup, doesn’t go higher than my parents; unfortunately I don’t know anything else’ and everyone else can’t really relate.” Because her parents hardly spoke about the genocide, Batsinduka said she grew up feeling as though asking questions about her family’s history was too painful. “I’m kind of embarrassed to say it,” said Batsinkduka, “but I also wasn’t, like, out there seeking to know more.”

Throughout her childhood, Batsinduka was fascinated with how TV shows and movies could bring people’s imagination to life, despite not thinking of herself as imaginative. “As I got older and into high school, I realized ‘hey, I can make this stuff,’” she said, with a laugh. Batsinduka’s filmmaking career began in high school where she’d make amateur videos with her friends in media club. In CÉGEP and eventually at Concordia, she further explored her multimedia passion and continued developing her unique voice.

After graduating from communication studies at Concordia in summer 2018, Batsinduka delved into writing the script for her first project post-graduation, titled Geni. The short film tells the story of a girl estranged from her mother, a survivor of the Rwandan genocide, who is invited back to her childhood home at her mother’s request. Batsinduka is both writing, directing and co-starring in Geni, which explores how one family is impacted by the genocide, the intergenerational trauma carried by the children of survivors, and how each family member’s unique experiences feed into one another.

Christine Kayirangwa, Batsinduka’s mother, was born in Kigali, Rwanda. Photo courtesy of Jackie Batsinduka.

“Whenever there’d be a class project that had to do with your family tree, I’d be like ‘I don’t know,’” said Batsinduka, with a shrug. “Then as a six-year-old, having to explain to your class like, ‘yup, doesn’t go higher than my parents; unfortunately I don’t know anything else’ and everyone else can’t really relate.”

“This project is an opportunity to heal, not just for the Rwandans involved in the making of this film, but for everyone who will watch it,” writes Batsinduka in her director’s notes. “By bringing Geni to life, I can thankfully now say that my identity as the daughter of Rwandan genocide survivors is something I have begun to claim.”

Geni is also the shortened, Americanized nickname for the main character, Mugeni. Mugeni means ‘bride’ in Kinyarwanda, one of the mother tongues of Rwanda. Batsinduka’s mother, Christine Kayirangwa, has no acting experience but is also co-starring in the short film as Geni’s estranged mother. “Having her support and her confidence in me, and trusting me that this is a story worth being told and that I can tell it, has been amazing,” said Batsinduka. “Just her willingness to embark on this exploration of how this story could change our lives, or our relationship.” Though Batsinduka’s father passed away a few years ago, before this film was conceptualized, she likes to think that he’s smiling down on her and Kayirangwa as they explore their shared history together.

Identity reconciliation is a central theme in Geni, as is profound loss and the cyclical nature of family dynamics, which Batsinduka feels everyone can relate to. “The film is for everyone, but it’s especially for my community,” said Batsinduka. “There are nuances that are very much for people of that community, and that was important to me […] to not hold back on the audience. This film will definitely leave you thinking.”

Geni is scheduled to film in early May, and is aiming to premiere at festivals in summer 2019. This year marks the 25-year commemoration of the Rwandan genocide, which took place from April 7 to mid-July 1994. Batsinduka is holding a crowdfunding campaign on Indiegogo from March 19 to April 16.

Feature photo courtesy of Jackie Batsinduka

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Arts

Punisher Season 2: Netflix’s redemption

Frank Castle returns in all his grim and violent splendor 

To fans of the Marvel Netflix shows, it came as a big surprise when Netflix announced that they would be cancelling Iron Fist, Luke Cage and Daredevil, due to a massive decrease in viewership last year, according to Screen Rant. Many thought Marvel Netflix originals were coming to an end, which is why it was unexpected to most when Netflix released the second season of Punisher on Jan. 18. With this new addition to the Marvel Cinematic Universe, viewers are presented with 13 more episodes delving into the war-torn psyche of Frank Castle.

For those who need a refresher, Frank Castle, or “The Punisher,” is a former marine, as well as a member of the Cerberus Squad, a covert special operations task force created by William Rawlins, director of covert operations in the CIA, as part of a plan to smuggle heroin from Kandahar to the United States. Due to problems with Rawlins’s leadership, Castle decided to take his leave and return to his family, only to lose them in a shooting orchestrated by Rawlins in order to prevent Castle from finding out the truth about his smuggling operation. Wanting nothing more then revenge, Castle takes on the mantle of a violent and ruthless vigilante in order to achieve it.

The season starts with the meeting of a new protagonist, Amy Bendix, a cunning grifter who’s caught in a fight that’s completely out of her depth, presenting Castle with a new conflict that demands his brand of violent justice.

Their paths cross with a hitman named John Pilgrim, an ex neo-nazi turned devout Christian who takes orders from powerful people, a nod to one of the Punisher MAX comics’ antagonists, The Mennonite, who was also a religious hitman hired to hunt Castle. His pursuit of the jarhead and Amy leads him to New York, where, just like in The Mennonite, he is subjected to all sorts of temptation, which ultimately leads to his downfall.

And, of course, we see the return of Billy Russo, struggling with amnesia and psychosis following his traumatic disfigurement at the end of season one. In this season, he takes on his colder, darker “Jigsaw” persona from the comics to continue to taunt and toy with Castle.

As far as comparing it to the previous season, there were some major improvements. Firstly, there was the camerawork. In the first season, what bothered a lot of viewers was that there were awkwardly long  30 to 45 second bust shots of certain characters giving their lines in a monologue without anything interesting happening in the background. In the second season, they seemed to have learned from their mistakes and varied the shots during those long monologues. Secondly, there were major improvements in the story as a whole. The first season can be boiled down to a continuation of Castle’s origin story, where he realizes that his mission is not yet complete and goes back to work with the help of Micro, a former NSA agent who shares enemies with our favourite vigilante. However, the second season plays on the aftermath of said mission: what does Castle do now that he got his revenge? Does he move on to live a normal life? Is that even possible for a man like him, so psychologically entrenched in war and violence? This entire season rests upon the fact that there is no Punisher-free life in his future, and he learns to accept it.

Overall, the second season was a successful redemption from the first, giving as much depth to Castle’s character as the villains’, making it a much more interesting tale. Even though it’s a Netflix Original that doesn’t have to stick to the canon story, they made references to both the movie and the comics that definitely did not go unnoticed, making the show richer as a whole.

Graphics by @spooky_soda

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Arts

Dragon Ball Z offers new iteration of fan-favorite Broly hits all the marks

Dragon Ball Z Super Broly reveals another side to newly redesigned villain

Explaining the origins of Broly, Goku and Vegeta: Dragon Ball Z Super Broly takes its time to illustrate their dramatic backgrounds. Establishing Broly as the main character, this movie places him in the spotlight, providing insight into the villain’s past and allowing the audience to justify his actions.

The original iteration of Broly was a straight up villain. He wanted revenge on the protagonist of the Dragon Ball Z series, Goku, for crying too much as a child, which made it impossible for him to sleep and led to his mental instability. Broly made it his sole goal to destroy Goku.

The new iteration of Broly is more of a tragic character, newly redesigned by the creator of Dragon Ball, Akira Toriyama. Already revealed earlier in the series, as a baby, Broly was exiled to a barren planet, where he was held captive and brainwashed by his father. His power was controlled, as it was greater than Vegeta’s father’s, the king of the planet where Broly was kept. The king feared a mutiny, which led to Broly’s father failing to rescue his son and ending up stranded there as well. Broly’s father then manipulates his son in order to exact his revenge on Goku and Vegeta. When saved, Broly is revealed to be much more than a big, heartless brute.

Toei Company, a Japan-based studio, did an amazing job bringing the television series to the big screen. Their techniques allow the film to shift between flat 2D and dynamic 3D animation, allowing for very detailed graphics in the background and in the main scenes. The fight between Gogeta—a fusion between allies Goku and Vegeta—and Broly was the highlight of this film, as it featured some of the best animated fight choreography. The energy attacks were well-represented with immense shimmering orbs to show just how powerful the fighters are.

In the movie theatre, the audience cheered when Gogeta unleashed the Stardust Breaker, which is a little easter egg throwback to Dragon Ball Z: Fusion Reborn (1995). It was in this movie that Gogeta first used the technique to destroy his enemy. Goku exposed his shining silver hair and aura, better known as his Ultra Instinct Form, which not only increases his power tremendously, but does not require thought, giving them more time to attack. The Dragon Ball fan base was hoping Goku had finally mastered the form’s transformation to use it against Broly. This was the first time the creators have given the audience detailed transformations throughout the entire Dragon Ball series.

Dragon Ball Super: Broly is now playing at the Pepsi Forum and other select theaters. You can catch a new episode of Dragon Ball Super dubbed in English every week on Adult Swim, or buy episodes 1 through 78 on Blu-Ray and DVD at Sunrise Records.

 

Graphics by @spooky_soda

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Arts

Into the Spider-Verse: a new era of superheros

The new Spider-Man is more than just a comic book reboot

It might be easy to think that the time for superhero movies has passed. The seemingly endless sequels and franchises that have been taking over the industry in recent years have all started to look the same. No one needed another reboot.

Spider-Man: Into the Spider-Verse has restored and modernized the superhero comic genre with its evolved style of animation, engaging storyline and fresh characters. Both comic skeptics and die-hards can take something of value away from Sony and Marvel’s latest project. Phil Lord and Christopher Miller, also the creative directors of 21 Jump Street and The LEGO Movie, have produced something that any audience can enjoy and admire.

The story is based on the pre-existing Spider-Verse comic series, where all different versions of Spider-Man from parallel dimensions come together. The film, however, puts Miles Morales, a Black-Latino teen from Brooklyn at the forefront of the story. He’s joined by other members of the Spider-Verse, including the original Peter Parker, and Spider-Woman, and pig version Peter Parker to name a few. Together, they fight a new enemy unlike any they have faced before.

While the crossover plot idea isn’t exactly new, what ties the movie together is a dynamic, almost psychedelic comic book animation style. With vibrant colours and multi-layered depth and movement, the creators used every bit of space on the screen to push the boundaries of what animation can do. Every scene feels like being pulled inside the panels of a comic book.

Fitting to the animation style, the story is engaging and refreshing. Every turn in the narrative feels genuine, surprising, and natural. Every one of the characters is unique and charming. Smart and well-placed humour makes it easy to forget that it’s a G-rated movie.

The soundtrack, featuring artists such as Vince Staples, Lil Wayne, Duckwrth and Post Malone, is a fantastic addition to a movie that defies boundaries. It brings an energy and intensity that’s hard to find in a family film.

What’s even more interesting than the visuals or music, is the true heart of the story. Through the eyes of Miles Morales, we struggle through self-doubt and deal with the negative side of great expectations. We experience the reality of a kid carrying too much on his shoulders. In facing the impossible, we learn how to take a leap of faith.

As far as originality and creativity are concerned, Into the Spider-Verse has set the bar high for 2019 and has broken new ground on what we can expect from animation and the future of the film industry.

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Arts

Navigating the South Asian diaspora in film

Montreal welcomes eighth annual South Asian Film Festival

Outside of Montreal’s Pepsi Forum, it is increasingly rare to see international films in the city. Hollywood dominates the film industry, leaving little to no room for other diasporas. Hosted by the Kabir Centre for Arts and Culture and running for its eighth edition, the South Asian Film Festival showcased South Asia’s best cinematography and presented films in various languages from Oct. 26 to Nov. 4  in Montreal.

“We are committed to showcasing new artistic work that has South Asian content that fosters discussions and explores the world we inhabit,” said festival director Dipti Gupta. “The festival is a platform for filmmakers worldwide whose films have a focus on South Asia and its diaspora.” The festival first began in 2011 and has been an annual non-profit event since.
As festival director, Gupta said she had the honour to select for the featured films. This allowed her to meet many influential people and draw diverse audiences.

The South Asian Film Festival is the only festival in Quebec that highlights the South Asian region. The festival’s focus on this area of the world allows audiences to understand the way of life in these countries. Overall, Gupta said she hopes the festival sheds light on the art, culture, politics, economics and social issues of this region.

“While the films may be from South Asia, the themes are often relevant to the entire world,” Gupta noted.

Last year, the festival introduced a diaspora panel where filmmakers are able to share their work as well as interact with the audience. According to Gupta, this panel encourages local filmmakers and film students in the audience to seek out stories that are important to them and touch on subjects that have not been encountered in film before. This year, four filmmakers discussed their work as well as their journeys in the industry.

In addition to her work in the festival, Gupta has taught a Bollywood course at Concordia for 12 years. She has also been teaching a course on diaspora and filmmaking since last September. “These courses are very much linked to the idea that I came up with last year to add a diaspora panel to the festival,” Gupta said.

Dant (Teeth) focuses on the unconventional relationship between a hungry street child and a medical student who cross paths.


The festival showcased 27 unique films that deal with the theme of diaspora in thought-provoking ways for audiences across generations. Among these was the seven-minute long Bengali film Dant (Teeth), directed by journalist and scriptwriter, Iqbal Hossain Chowdhury. Dant (Teeth) is Chowdhury’s first film and focuses on the unconventional relationship between a hungry street child and a medical student who cross paths.

Gupta said she and her team recognise that the festival’s audience is diverse and hope to keep improving every year. “Our staff always makes sure that there is something for each palate and age group and that we can draw an intergenerational audience for the festival,” she said.

The festival will continue in Saguenay from Nov. 16 to 18 in collaboration with Bibliothèques Saguenay. For tickets, visit www.saffm.centrekabir.com/en/2018-edition/films-saguenay.

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Arts

A dream come true

The 14th annual MIBFF features over 70 new, international productions

“This is a dream,” Fabienne Colas, founder and general manager of the Montreal International Black Film Festival (MIBFF), told CBC in early September. Her excitement stemmed from Spike’s Lee agreement to participate in an open discussion with film goers and other filmmakers on Sept. 26. “He chose Montreal, and he chose the Montreal Black Film Festival, so it’s a huge honour for us.”

Lee is an influential figure in black film; his work tends to gravitate toward black issues in the modern world. His most recent film, BlacKkKlansman, won the Grand Prix at the Cannes Film Festival last May. Lee has also been nominated at the MIBFF for Do the Right Thing and 4 Little Girls.

The festival was created by the Fabienne Colas Foundation in 2005 under the name Montreal Haitian Film Festival. In addition to a name change that has broadened the scope of the festival to include all black culture, the festival has gone from presenting three films over three days to screening more than 70 films in English and French over the course of six days.

On Sept. 26, Lee will lead a panel discussing his experience in the film industry as a director and producer, and his views on today’s socio-economic climate. Tickets are available online for $35. A $135 VIP package is also available for those who would want to have a drink with Lee and take a picture with him. The cocktail hour is set at 7 p.m. while the conference starts at 8 p.m.

Throughout the week, theatres around the city will host more than 70 films made by students and professionals alike.

The annual event promotes independent film productions, and the projects are diverse. Among the 70 productions are documentaries, short films, animations and children’s movies that explore the often ignored reality of living as a person of colour. This year, filmmakers from 25 countries have submitted their work. Over the last 14 years, grants and awards have been given out to the winners in efforts to help develop the Canadian and international cinema industries.

Starting off this year’s festival is the British film OBEY, directed by Jamie Jones. The film is centered around a man living in eastern London who is torn apart by his love for a woman while living in an ever-changing and turbulent society. OBEY will make its Canadian debut as a strong, emotional opening to the festival on Sept. 25 at Cinéma Impérial.

Throughout the week, a multitude of films will be presented daily. Festival goers may also participate in a series of Black Market conferences, where a wide range of topics, from social issues to how to navigate the film industry will be covered.

For more information about the schedule, visit montrealblackfilm.com. Tickets for films and conferences can be acquired on the website or in person 30 minutes prior to a screening.

 

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Arts

White Boy Rick is no stranger to crime

New release falls short, despite stellar performances by Matthew McConaughey and Richie Merritt

White Boy Rick, a riveting film set in 1980s Detroit, is stylized and well-acted, but was dampened by its uneven pacing and convoluted storyline.

White Boy Rick tells the true story of Richard “Rick” Wershe Jr., a 14-year-old FBI informant-turned-drug dealer. Rick, played by newcomer Richie Merritt, lives in a completely dysfunctional family. His father, Richard Wershe Sr. (played by Matthew McConaughey), is an arms dealer who dreams of opening a video store; his sister (played by Bel Powley) wrestles with drug addiction. Rick is no stranger to crime, so the FBI decides to use him as an informant in their war on drugs. With such a premise, things can only go wrong—and boy do they.

What really makes the film is its colourful main characters. For one, Rick’s father is completely erratic. Less than five minutes into the movie, he chases his daughter’s boyfriend at gunpoint while fighting with his parents who live across the street. However, there is nuance to his character. Yes, he sells guns out of the trunk of his car, but Wershe Sr. isn’t just another lowly outlaw. He does what he does so his children can have a better life than he did. He is a father first, a hustler second. McConaughey is perfect for the role. Rocking a mullet, he impeccably juggles the comical dialogue and emotional scenes.

Wershe Sr.’s son and the titular character is just as interesting. Rick tackles everything that life throws at him head-on and with the nonchalant confidence—or stupidity, depending on who you ask—of a teenager who’s on top of his world. Merritt delivers a compelling first performance. He matches McConaughey in some hilarious back-and-forth dialogue which is no easy feat.

Max Richter’s soundtrack is also worth mentioning. The music—or lack thereof in some dramatic scenes—really helps set the atmosphere and compliments whatever is on screen.

Where the movie ultimately falls short is in its screenplay. The film is dense, too dense. There are so many things happening that the story becomes too convoluted for its own good. The audience doesn’t have time to truly appreciate an event before it’s on to the next act. This problem may stem from the fact that the story is about true events, limiting the director’s choice.

Regardless, the movie ends up seeming more like a succession of events rather than a testament to the intricate storyline. Everything happens too quickly; the audience doesn’t have the chance to get invested in the story. Overall, the movie is entertaining, but it fails to really connect with the viewer.

In the end, White Boy Rick is perhaps a bit too ambitious in terms of what it can cram into its runtime, but the performances and aesthetics make it worth the asking price. It balances humour and drama, and it makes for a good time at the theatre.

White Boy Rick is currently screening at the Cineplex Odeon Forum and other select theatres.

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Arts

“Put us in your stories”

Graphic by Zeze Le Lin
Article written by Maggie Hope and Tyson Burger

The importance of (authentic) queer representation in mainstream films

Art reflects life. But the life it reflects is usually specific to the culture or group that produced it. The norms and values found in mainstream popular art in western society pertain to the dominant groups in that society. The problem lies in these values being unrealistically idealized and presented as “normal.” The more these values are enforced and normalized through pop culture, the more groups that don’t fit the model are alienated and often forced to explain or justify their identity.

This is particularly the case in mainstream film and television, which enforce heteronormative values among viewers. These values are often unrealistic and unrepresentative of most people’s lives—especially those who are gender fluid or not heterosexual. Think about most of the comedies, dramas and action movies you’ve seen. The ending usually involves (or is even centred around) the initiation of a heterosexual relationship. Mainstream films almost always run on the assumption that people adhere to certain traits based on a binary model of gender, which usually involves desiring a relationship with a person of the opposite sex—and in that assumption lies the normalizing aspect. Some examples of this in recent media are It, the second season of Stranger Things and Baby Driver. The plots of these films and shows are driven by universal heteronormativity, which makes it seem natural.

The beginning of relationships at the end of mainstream films often mark the end of the main character’s troubles. This is unrealistic and damaging. For one, people may not always desire a sexual relationship, but if this value is portrayed as natural in most of the media they consume, then they may feel unnatural or inadequate. Also, when the endings of mainstream films display a perfect relationship that ends any depression, insecurities or financial problems the main character had, it establishes expectations in the viewer for their own relationships, which—since their life is not a movie—will not be met. Young people, who are especially susceptible to the cultural values they see in society, should not be socialized to want things that are unattainable.

Folks of all sorts of beliefs, values and gender identities make up our diverse society. It is important to have representation for all kinds of lifestyles in films. It is equally important not to present certain lifestyles as “normal,” but rather as an example of one person’s unique experience. Queer representation in films is important, and we are seeing it more in mainstream films than we have in the past, which is good, but also comes with its own set of problems.

A question that has guided many discussions about queer representation in film—and in other media, for that matter—is whether any representation is good representation. In a podcast titled LGBTQ Representation by Film Comment, writer and journalist Mark Harris articulates that while it is clear queer communities would like to see themselves reflected in more mainstream media, how this could be achieved is another question entirely. For many, any representation is not necessarily a cause for celebration. Stereotypes, exaggerations and assumptions are prevalent throughout Hollywood representations of queer people, and while some may view these characters as progressive, others might see them as half-hearted attempts to temporarily pacify queer audiences.

The answer then must be to push toward broader, more fluid representations of queerness in film. Because of the narrowness of the space that queer characters are given in film and other media, there is not nearly enough room to express the multiplicities of queer experience that exist in reality. In the same way that it’s important to debunk the idea that straightness is “normal” and queerness is “abnormal,” it is also necessary to understand that queerness itself also exists in a variety of ways. This is why it is often difficult for filmmakers and studios—especially those in Hollywood—to represent the entirety of the queer community through the experiences of a few characters.

In a 2016 article titled “Still Looking,” Harris presents another way films can begin to feature more queer characters. “Representation is, of course, an across-the-board struggle, and the fight for inclusiveness usually comes down to two demands: tell our stories (or better still, let us tell our stories), and put us in ‘your’ stories,” Harris writes. He claims that queer authorship, as well as representation through characters, is key to building a more inclusive, well-rounded collection of queer films.

“We’re [here] already; a film doesn’t have to stop a story in its tracks to acknowledge that, or hand itself a humanitarian award for figuring it out,” Harris concludes. All that’s needed is a little more space.

Noteworthy upcoming event:

The Montreal-based “queer film community” fliQs hosts bi-monthly queer film nights at Notre-Dame-des-Quilles (32 Beaubien St. E.) featuring short films by local filmmakers. They are currently accepting submissions for the next edition, which will be on April 23 at 8 p.m. More information can be found on fliQs’ Facebook page.

Graphic by Zeze Le Lin

Categories
Arts

Sharing stories of family and cultural identity

The Toronto-born filmmaker has received three awards from TIFF. Photo by Charles Duquet.

Concordia student Carol Nguyen shows self-discovery and reflection in captivating films

Carol Nguyen is the director, writer and editor of eight short films—she is also 19 years old. The undergraduate student at the Mel Hoppenheim School of Cinema found success at the Toronto International Film Festival (TIFF) as a three-time winner of the Jump Cuts award for young filmmakers in 2014, 2015 and 2016. Nguyen is also an ambassador of the Share

Her Journey campaign, a TIFF initiative to raise awareness about gender equality in film. Additionally, she attended the 2018 Sundance Film Festival as an Ignite fellow to establish and develop connections in the film industry.

The common thread among the Toronto-born filmmaker’s notable works, like How Do You Pronounce Pho? (2014), This Home is Not Empty (2015), and recently, Every Grain of Rice (2017), is her use of distinct aesthetic forms and voiceover presences.

Born from personal struggles and understandings, the films don’t adhere to traditional documentary mediums, varying in their use of live action, animation, archives and miniatures. Nguyen’s work plays with the way we perceive reality and embraces creative techniques that are truthful to the filmmaker’s stories. She is a committed filmmaker and returns to consistent themes throughout her body of work.

As a child who grew up in a hybrid Vietnamese-Canadian household, Nguyen’s cultural identity is a prominent feature of her films. In one of her first shorts, How Do You Pronounce Pho?, she explores this hybridity. Told from her perspective as a teenager, the film shows Nguyen as she realizes the cultural differences between her school peers and herself. “Food was a metaphor for me trying to blend into another culture,” the filmmaker explained. “When you are young, you don’t think about complex ideas like that, and it comes out in the most simple things, like your school lunches and comments, as microaggressions.”

Nguyen’s film, Every Grain of Rice (2017), explores the relationship between food and cultural assimilation.

In this work, Nguyen shows her interest in the topic of hybrid culture. Her narration describes her experience tasting “culturally unstable” Western concepts of ethnic cuisine versus authentic Vietnamese meals cooked by her mother. The film empowers the candid young voice while still considering it in the process of learning about cultural hybridity.

How Do You Pronounce Pho? reflects on the process of learning not to limit ourselves to certain groups and languages. For Nguyen, it’s important to interact, collaborate and share ideas with others in a multicultural society. “Not to do so would mean missing enriching and impending stories and experiences,” she said.

As beautiful as hybrid culture can be, it can also be frightening. Three years after making How Do You Pronounce Pho?, Nguyen explored her fears in Every Grain of Rice, a film that delves into the relationship between food and cultural assimilation. She addressed the cultural assimilation that follows each generation. While emotionally attached to some of her parents’ Vietnamese traditions, the young filmmaker doesn’t substantially continue them, but holds the last tie with Vietnamese culture in her family.

“When my parents die, everything that goes along with my Vietnamese culture will die with them,” Nguyen said. “I’m not going to carry the recipes and the stories that they have.”

Thinking of topics for her films wasn’t always so clear for Nguyen. In 11th grade, Nguyen experienced a bout of writer’s block and became extremely uninspired. “I was stumped. I didn’t know what to make a film about,” she said. “Something that helped me was my teachers getting me back to the roots of film, back to my personal roots, asking questions like: ‘Why are you making this type of film? Why does it matter to you?’”

This Home is Not Empty (2015) is centred around a miniature paper replica of Nguyen’s childhood home.

What followed was This Home is Not Empty, in which Nguyen tried to portray her nostalgia for childhood. Using paper, she created a highly detailed miniature of her childhood home. The small-scale house is abandoned, sitting in a studio. Shots of the replica are contrasted with lively family photographs. The miniatures are constrained to dark grey tones on an insignificant scale. Objects are on the ground, her childhood fish tank is smashed and food is left out on the miniature table. With this film, Nguyen builds a paper collage of archives and reconstructions. She compares the photographs to the paper replica so the viewer can interpret their nostalgic relationship.

The filmmaker confronts the audience with a unique approach to represent her thoughts.  The film’s universe isn’t constrained to fictionalized memories. In a delicate way, the viewer is brought outside the paper house. Nguyen presents her work while embracing the process of making it. The filmmaker shows the hands that place the objects of the paper house, and the studio in which it is lit. The film presents her memories with honesty.

Nguyen’s films depict her internal explorations, and their highly controlled aesthetic gives a sense of restrained emotions. This February, Nguyen will direct her ninth film, the second to be produced within the Mel Hoppenheim film production program.

You can see This Home is Not Empty and How Do You Pronounce Pho? on Nguyen’s Vimeo page.

Feature photo by Charles Duquet.

Categories
Opinions

Separating artists from their behaviours

Graphic by Alexa Hawksworth.

Why it’s acceptable to appreciate the work of people accused of sexual violence

According to several news outlets, Netflix has “completely dropped” actor and producer Kevin Spacey due to several sexual assault allegations. With this comes the question of whether supporting Spacey’s projects means you are supporting the actor’s actions.

It is not a new debate, as many famous individuals have been caught engaging in unsavoury and, in some cases, criminal activities. Despite all this, the accomplishments of these people have been and will be remembered more than the individual and their downfalls.

This is why, in my opinion, you can support great art despite the actions of the artist.

Before we talk about the most recent cases, like Spacey and Harvey Weinstein, we should look back at past examples. Arguably the most famous, or should I say infamous example, is French-Polish director Roman Polanski. Polanski was convicted of “unlawful sexual intercourse” in 1977 after allegedly drugging and raping a 13-year-old girl. Originally, he was charged with five different crimes related to the incident, but eventually took a plea bargain and was convicted on the previously mentioned lesser charge. Despite all of this, Polanski is, and will likely be, recognized as one of the best film directors of all time, with classics like The Pianist.

Another example is Woody Allen. Despite the allegations of child abuse against him, according to BBC News, Allen is known as a fantastic actor, producer and director. It isn’t just figures in film though. Some athletes have had very troubling personal lives, yet are regarded as some of the best in their field.

People like Spacey and Weinstein are currently in the news for their despicable actions, but what I wonder is, will they always be? Spacey has starred in amazing projects, like American Beauty, Se7en and Netflix’s House of Cards. Weinstein has produced films like Gangs of New York, Pulp Fiction and won an Academy Award for his work on Shakespeare in Love.

I believe the heinous actions allegedly done by those in the entertainment industry will usually be overlooked in favour of their achievements. While this is an eye-opener on how our society views celebrities, it also points to why a person shouldn’t feel bad for supporting the project or accomplishments of these people.

Using Shakespeare in Love as an example, Weinstein was one of five people to share the Oscar for Best Picture. Should the four others involved in that film suffer because of his actions? Shakespeare in Love also won six other Oscars that year; should Weinstein’s actions muddle the accomplishments of the actors in his films as well? The same argument can be made for Spacey: why should the hard work of those involved with his projects be shunned?

With the fate of House of Cards up in the air, the city of Baltimore (where the show is filmed) is also at risk of suffering for Spacey’s actions. According to an article from the New York Daily News, the cancellation of House of Cards would result in the loss of thousands of jobs. Why should a camera-man or a craft services employee lose their jobs because of someone else’s misconduct?

When a figure involved with great masterpieces is revealed to have allegedly committed sexual violence, their work should not be what is shamed. A movie may star an actor or actress who has done horrible things, or the film could be produced or directed by a terrible person, but that person is not the only one involved in the project. The art will always outlast the character of the artist, and supporting great art means more than supporting one person involved.

Graphic by Alexa Hawksworth 

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