Tag: film

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The Netflix Original film you should see

I Don’t Feel at Home In This World Anymore will keep you laughing while on the edge of your seat

While Netflix has a dedicated “originals” section, it can be hard to differentiate between what is actually good and what is just completely unwatchable (ahem, The Ridiculous 6).

Despite the previously mentioned Adam Sandler flop, Netflix Originals has delivered mostly solid content, and this is best showcased in their original television series. Shows like Orange is the New Black and Stranger Things have been among some of the most-watched television series in the last couple of years. Since 2015, Netflix has begun to develop and release their own original films, and the recent I Don’t Feel at Home in this World Anymore, Macon Blair’s feature film debut, is one to watch.

I Don’t Feel at Home in this World Anymore is so much more than just a mouthful of a title. Starring Melanie Lynskey—arguably the queen of weird indie films like Happy Christmas and The Perks of Being a Wallflower—it tells the story of Ruth, a depressed alcoholic who, after her home is burglarized, teams up with her troubled neighbour (played by Elijah Wood) to track down the thieves.

The dark comedy had its world premiere at the Sundance Film Festival back in January and won the festival’s Grand Jury Prize for the U.S. Dramatic competition. It also received tons of critical acclaim before premiering on Netflix on Feb. 24, with Collider describing it as a “satisfying story of two people who have decided the only way to behave in a mad world is to be a little mad.”

Lynskey easily gives one of the best performances of her career as Ruth, a pushover with no direction in life. However, Ruth is given new purpose when her home is invaded and her laptop and late grandmother’s china collection are stolen. But she doesn’t care so much about the stolen goods. She describes the robbery as a “violation.” She can’t get past the fact that a stranger was in her home. She doesn’t feel safe anymore.

We see Ruth overcome her people-pleasing ways as the story progresses—whether it’s cutting in line at the grocery store or angrily questioning a potential suspect, the traumatizing experience of having her house broken into forces Ruth to take charge of her life.

The film keeps you hooked as you watch Ruth and Tony (Wood) on their vigilante endeavours, and also features a killer soundtrack. With an array of eccentric characters dressed in flannel shirts and 70s-inspired mobster garb, and a bloody ending you won’t see coming, I Don’t Feel at Home in this World Anymore gives new meaning to the term “weird little indie film.”

Most of all, I Don’t Feel at Home in this World Anymore has a certainty in its uniqueness that makes it truly enjoyable to watch. If this is what Netflix’s original films have to offer, I’m looking forward to seeing what’s to come.

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T2 Trainspotting: a return to a dark path

RENTON (Ewan McGregor), SPUD (Ewen Bremner), SICK BOY (Jonny Lee Miller) BEGBIE (Robert Carlyle)

Sequel to 1996 hit plays it safe, falls short of its predecessor

A lot of care went into T2 Trainspotting. What holds it back is a strong sense of sentimentality, which prevents it from going as far down a dark path as it could have. The gritty reality of drug addiction takes a backseat to slapstick comedy, coupled with elements usually found in romantic comedies.

T2 Trainspotting, directed by Danny Boyle, and starring Ewan McGregor, Ewen Bremner and Jonny Lee Miller, is the sequel to the 1996 hit Trainspotting. The original cast returns to Edinburgh to pick up where they left off—living fast, getting in trouble and going straight down to rock bottom.

Although a genuinely funny film, some audience members might not enjoy how some serious subject matters are addressed. The tone of the film is reminiscent of Trailer Park Boys in that it brings dark humor to serious issues. It could have been a dreary experience given the presence of drug use, relapse, depression and death. However, it ops for a good time, and viewers should expect a comedy.

T2 is a self-aware film, with many references to the original source material, sometimes so much so that it seems preoccupied with its predecessor’s success.

Under all the jokes, pop music and surprising amount of slapstick humor, T2 could be seen as a decent film about relapse into addiction. When things are going good for the characters, the film is a fun time. It’s a night out with your best friends, it’s choosing life and loving it. When things aren’t going so well, the film takes an emotional dip, as all hope seems to be lost. Whereas the first film was timeless because of how it handled the seriousness of heroin addiction—the sequel does not delve deep enough into the topic. T2 plays it safe.

The original film dealt with addiction in a way that hadn’t been done before, and so comparing T2 to Trainspotting is unfair. But T2 is so rooted in the last film that viewing the first is practically mandatory. Yet, this film does not match up to the 1996 classic.

However, despite the shortcomings that keep T2 from being a classic itself, there are some moments which are truly great, such as when Simon reminisces with Mark about the first time they got high—a beautifully heart-breaking moment when two young men effectively destroy their lives for good.

Once the film finally comes to an end, it is clear this is a story about redemption more than relapse— but while T2 accurately depicts relapse, it does not fully delve into the subject.

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Bill Nye fights ignorance with reason in new doc

Bill Nye documentary takes a look at the scientist behind the TV persona

Bill Nye the Science Guy inspired a generation of children to pursue science and think critically about the world around them. He made topics that often appear dense and unappealing interesting to a general audience.

But who is Bill Nye? Who is this man who made topics like friction, gravity, chemistry and electricity palatable to elementary school students? Bill Nye: Science Guy, directed by David Alvarado and Jason Sussberg, takes a closer look at the man who made science fun.

Nye noticed in the 1990s that America had a bad relationship with science, and he wished to do something about it. Through his educational science show, he wanted to raise a generation of critical thinkers.

But the end of the show in 1998 left Nye in flux. He was struggling to find where he fit in the scientific community. Anti-scientific sentiment was still strong in America, with climate-change deniers disputing the established scientific consensus. Nye has made it his personal mission to counter the voices that are shaping a generation of scientifically illiterate children.

The film looks at how Nye challenges the core beliefs of science deniers by engaging in debates with them. He does this to try to bring awareness to the general community of climate-change deniers, and hopefully change their minds so they in turn can use their platforms to change the minds of others.

Nye struggled with his image as he attempted to transition from kid’s show host to reputable scientist. The documentary tackles who Nye really is, separating Bill Nye the character from Bill Nye the person.

For audiences familiar with Nye and his science show, Bill Nye: Science Guy is a documentary that allows a peek behind the curtain to see the real person behind the character, and explores where Nye ends and the Science Guy begins. It looks at how pained Nye is at the rising scientific illiteracy in America, and how he has made it his personal mission to turn it around and bring science back to the masses by eliminating one dissenting voice at a time through logic and the scientific method.

Bill Nye: Science Guy premiered at the SXSW Festival in Austin, Texas on Mar. 12.

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Colossal: The real monsters are inside

Premiering at the SXSW film festival in Austin, Colossal is an original take on the monster genre

Colossal is, at its core, a monster movie. But it doesn’t take long for the film to break away from the conventional monster shtick and veer off in a totally unpredictable direction. It is directed by Nacho Vigalondo and stars Anne Hathaway and Jason Sudeikis.

When a gigantic monster appears out of thin air in the heart of downtown Seoul, the world watches helplessly as it destroys everything in its path. The United Nations calls for an international ceasefire of global conflict while the world’s brightest minds convene to decipher what it is they are facing.

With the world watching and holding their collective breaths waiting for the monster’s next attack, washed-up party girl Gloria (Hathaway) notices something odd: she can somehow control the monster on its inadvertent destructive path. Gloria’s shock is quickly overtaken by guilt at the loss of life that she is somehow, inexplicably, responsible for.

When she finally realizes she is at the helm of all this havoc, she tells her childhood friend Oscar (Sudeikis). Together, they have fun making the monster dance and fool around, confusing the millions glued to their televisions watching.

The tone during the first part of the film is light-hearted, in line with your run-of-the-mill romantic comedy. But it quickly takes on an unexpected dark tone for the second half.

The film’s strongest assets are its characters, their development and their relationship with one another. While Gloria slowly lifts herself out of the darkness of her old habits and alcoholic tendencies, Oscar embraces his vices, slowly allowing them to take over.

Colossal opens in theaters this April.

Colossal can’t be classified in any one genre. It flows between comedy, science-fiction, action and drama in a fluid manner that leaves audiences on their toes and unsure of what to expect. It is this unpredictability that makes the story so gripping. At times, it is extremely funny while, at others, immeasurably dark.

The monster might be the obvious villain, but in reality, it is a projection of smaller, internal conflicts that have snowballed into bigger issues. Opening in theaters in April, Colossal is an original movie with stellar performances by Hathaway and Sudeikis.

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Films to fight cultural ignorance

The FIFEQ aims to give a voice to the voiceless through film

It is easy to settle into the rhythm of your life and forget that other ways of life exist. One way to stay open-minded about other people and their ways of life is to learn through books, the news or through an international film festival.

The International Ethnographic Film Festival of Quebec (FIFEQ) aims to give a voice to cultures and communities that may not otherwise have one. The films display unique parts of the human experience, and show the daily lives and struggles from people living around the world.

“It’s an opportunity to learn about other cultures and people that you were unaware of before. FIFEQ shows movies that you likely won’t see anywhere else,” saidAlizé Honen-Delmar, a FIFEQ coordinator. This year, FIFEQ received more than 250 film submissions from filmmakers all over the world, of which the team chose over 30 of their favourites and organized them by theme.

The 14th edition of the festival will take place in Montreal between March 12 and 20 at a variety of locations, but mainly at Concordia, Université de Montréal and McGill. Concordia will be hosting a portion of the festival on March 17 and 18, from 2:30 p.m. to 8 p.m. each day.

Concordia will be hosting two blocks on March 17: Ethnography of Objects which is comprised of films exploring the symbolic meaning of inanimate objects to various people and cultures; and Sink or Swim, which includes films about people living on boats, islands and anything else involving water.

The March 18 blocks at Concordia will be Going Through the Motions and Beyond Borders.

Going Through the Motions tells stories of rituals in different cultures, and Beyond Borders showcases films about the lives of migrants and refugees.

The screenings will be at the J.A de Sève Cinema in the Library building (LB 125), where there will be coffee and tea, as well as catered vegan food available. Entrance and the food at FIFEQ are free, and the festival is open to the entire student body and the general public.

Honen-Delmar’s favourite movie is in the Beyond Borders block. It’s about illegal border crossing in three different places: Mexico and the U.S., Morocco and Spain, and Zimbabwe and South Africa. “It’s interesting to compare the border tensions between different countries, and I think it’s especially relevant today, given current border tensions in America,” she said.

Lots of Monsters, which will screen at Concordia on March 18, is a short documentary centering around the Loch Ness Monster.

“As a film studies student, I love movies, and I also think being a volunteer is good because you can learn so much from the people you work with, and can share important information with others in the student community,” Honen-Delmar said.

In the past, FIFEQ has shown films on topics such as immigration, war refugees, religion and spirituality, and various other anthropological topics. If you’ve ever been to a Cinema Politica screening on a Monday evening at Concordia, you can expect to see films that are similar in content and subject matter.

According to their website, FIFEQ has been dedicated to “showcasing ethnographic film and visual anthropology” since 2003. They “promote representations of alterity—‘otherness’—that are articulated within an anti-colonial framework, [and] celebrate human agency and the diversity of environments we craft for ourselves.”

For more information, including the titles, times and locations of the films being screened, visit FIFEQ’s website.

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Marvel walks a dark path with Logan

Latest superhero film featuring Wolverine is a worthy end to the story

Only a few moments into Logan, our protagonist is met with a confrontation. As the last installment to be included in the Wolverine saga, I felt the battle would be somewhat predictable. Perhaps the grizzled hero would swipe his claws across the villains’ chests or throw them around. What happened instead was surprising. Logan begins with a brutal and extremely violent fight sequence that is worthy of the film’s R rating. This battle sets the tone for the rest of the movie and reminds the audience that this is a dark movie, peppered with lighthearted moments to create strong contrast. In other words, Logan is a different Marvel movie.

The plot is not Logan’s strongest point—it essentially boils down to a ‘get from X to Y’ process. However, as is the case with many stories, it’s not so much about the destination but the journey itself. Loosely-based on the comic book series Old Man Logan, the film takes place in the future of the X-Men universe, when mutants have seemingly gone extinct. Logan, played by Hugh Jackman for the last time, is tasked with keeping a younger mutant, Laura (Dafne Keen), safe.

Along for the ride is series-veteran Professor Xavier (Patrick Stewart) who has deteriorated into a much weaker version of himself. Surprisingly, Professor X winds up providing the narrative with much needed-levity through his brash and vulgar interactions with Logan.

My biggest complaint, if any, is that the relationship between Logan and Laura felt underdeveloped. There are plenty of interactions between the two, all of which are performed excellently. However, by the time these interactions begin to feel truly meaningful, the film rushes to a close. Ultimately, the audience is left wanting more from an already lengthy film of two hours and 17 minutes.

Compared to other Marvel films, the action in this film is unparalleled. The fights are more akin to those in Deadpool, which focus strongly on brutality and gore. This works well with the darker tones of the story, and had me wincing and cringing as the beloved steel-clawed mutant hacked off limbs and impaled heads with his signature claws. This may point to Marvel’s acknowledgment of an older fanbase. With the success of Deadpool, it seems Marvel is willing to pursue the R-rating by tackling bloodier scenes and harsher themes such as mortality and aging.

In the end, Logan is a worthy send off for both the character and Hugh Jackman. All loose ends are tied up, and the conclusion is both satisfying and incredibly powerful. If there were to be a Marvel film to reinvigorate the now-tired superhero genre, this would absolutely be it.

4.5/5

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The irrelevance of the best picture winner

Not winning a Best Picture at The Oscars is inconsequential in the long run

Last week’s Oscar ceremony proved to one of the most eventful in the Academy’s history. The night was a collection of great TV moments, including Auli’i Cravalho from Disney’s Moana being hit over the head by a backup dancer’s prop during her performance, and Denzel Washington marrying two tourists.

It was one of the rare award ceremonies that managed to keep my attention throughout its three-hour runtime. However, the broadcast ended abruptly after one of the greatest mistakes ever made at the Oscars: the wrong movie was called as the winner of Best Picture—the most prestigious honour in the cinematic industry.

The Best Picture winner is always one which creates friction and frustration amongst movie enthusiasts and the public. Often, more culturally-relevant films are snubbed, with the award going to a forgettable and generic film which will be forgotten in a couple of years, such as last year when Spotlight won instead of Mad Max: Fury Road. Several of the most popular and revered directors in cinematic history, such as Quentin Tarantino, Alfred Hitchcock and Stanley Kubrick have never won a Best Picture award.

The Best Picture winner is selected by a voting system including all the members of the Academy, composed of over 6,000 individuals. The membership status is obtained by invitation or by winning an Academy Award. Therefore, any previous actor or director who won an Oscar during their career is eligible to vote for the Best Picture winner. Hence, the system can quickly become biased as the members can cast their votes for their friends and colleagues. Moreover, cinema is a subjective topic, making the result open for discussion and debate.

In order to win the Best Picture award, a film must be able to reach a larger audience, and must appeal to the majority of the Academy’s members. This explains how movies which tend to push the boundaries of cinema, or are targeted at a niche audience are not likely to win an award at the ceremony. Nicolas Winding Refn’s latest thriller, Neon Demon, whose cinematography mirrors La La Land’s in terms of precision and astonishing shots, did not get nominated for any category. A reason for this might be because it dealt with sensitive and shocking topics, such as cannibalism, pedophilia and necrophilia, therefore narrowing its mass appeal. There is also a tendency to avoid mainstream releases like superhero movies—they are often overlooked by the Academy’s members due to their escapist and sometimes childish nature.

Even though the mix-up which occurred during the announcement of this year’s Best Picture category was an entertaining moment, the outcome does not truly matter in the long term. Both Moonlight and La La Land were incredible films that equally deserved the award. But what makes a film stand the test of time is not necessarily the number of awards it brings in, but the impact it has on the collective consciousness of the audience.

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A Cure for Wellness: Style over substance

Gore Verbinski’s latest horror film is nice to look at, but lacks interest

Gore Verbinski’s latest film, A Cure For Wellness, falls into the trap of focusing so much energy on making the film look pretty, that it’s not interesting.

The film was written by Justin Haythe and stars Dane DeHaan, Jason Isaacs and Mia Goth. It is set in a surreal “wellness centre” located in the remote Swiss Alps. Lockhart (DeHaan), an ambitious Wall Street broker and the epitome of the movie banker cliché, must leave his busy life in New York to retrieve his company’s CEO from this secluded location after receiving a strange letter from him.

As one would imagine, there is something amiss in this hospital, as all the patients seem to be under the influence of a mind-controlling substance. As the plot advances, weird and sometimes downright ridiculous situations unfold as our protagonist looks for his business partner and, consequently, a reason to leave this unsettling place.

The main issue with this film is its lack of effective pacing and editing. The movie drags for 150 minutes and the audience can feel every second of its runtime. Nothing happens for several scenes, and the biggest scares come from the perpetual nudity of the senior patients. Suspense-building music is used in a very frustrating manner. One scene uses a 30-second musical build-up to reveal a lipstick, and I couldn’t help but chuckle at the sheer lack of competence from the film’s director.

Moreover, most of the film’s twists were revealed in its trailers, aside from one disturbing and unnecessary incestual subplot. There is little to no explanation for this awkward narrative device, which ends with the most unpleasant sex scene I’ve had to watch in recent memory. There is a feeling of hatred towards the viewer, and the director seems to be playing a sadistic game with his audience.

The only good aspect of the film is its artistic direction—the sets are interesting and showcase compelling visuals. Despite the loathing I have for this cinematic mess, I must recommend it for those who love poorly-executed and overly-pretentious vanity projects, as some scenes in this flick have to be experienced just for the sake of “it’s so bad it’s good” entertainment. I, on the other hand, prefer my viewing experience to be devoid of such sadomasochistic elements.

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The Great Wall: Fictionalizing history

Chinese-Hollywood cinematic collaboration is biggest blockbuster yet

What if instead of protecting China against a Mongolian invasion, the Great Wall had actually been erected to protect against mythical creatures that devoured everything in their path?

That’s the premise of The Great Wall, director Zhang Yimou’s first English cinematic epic set in a mythical China. Written by Carlo Bernard and Doug Miro, the fantasy film stars Matt Damon, Tian Jing, Andy Lau and Pedro Pascal.

European mercenaries William (Damon) and Tovar (Pascal) find themselves embroiled in a clash between humans and monsters after stumbling upon the Great Wall in their search for gunpowder.

The wall is buzzing with activity, as thousands upon thousands of soldiers, their armor color-coded according to their branch, prepare for the biggest battle of their lives. The Chinese Nameless Order—the protectors of the wall—have had 60 years to prepare for the invasion of the Tao Tei—gluttonous green monsters with gaping maws that devour everything in their path. Not only are these monsters impossibly hungry, they are also intelligent and capable of learning. William and Tovar find themselves in the wrong place at the wrong time, on the eve of the greatest clash between humans and beings of myth.

This film is a typical action film, with a peppering of historical accuracy and a whole lot of creative interpretation. The visual elements of the film are one of its strongest attributes. It is exciting, eye-popping and masterfully conducted, complete with sweeping landscapes and fast-paced action sequences that draw the viewer in. An interesting aspect of the film is that it doesn’t present a case of whitewashing. Chinese roles are played by Asian actors, and white actors play the roles of European tradesmen. It is a cultural cross-over rather than a hijacking. In that regard, the film succeeds where others, such as Gods of Egypt, have failed.

This is not one of Damon’s best performances. His accent—whether it’s supposed to be British or Irish is hard to tell—ebbs and flows during the movie, as if he’s still trying to figure it out himself. He delivers a decent performance, yet his character seems much more demure and restrained than other roles he’s played in the past, such as Mars scientist extraordinaire Mark Watney in The Martian.

But maybe his lackluster performance isn’t a bad thing. Damon’s character is a hero and central figure in the story, but he is not the hero. Although he has a hand in helping end the invasion, he is not the white European man who single-handedly saves the day. His character acts more as an entry point for Westerners into the story.

Is The Great Wall great? No. Is it terrible? No. It strikes a chord somewhere in the middle. It is still a good film despite its shortcomings and lack of solid plot. It’s the type of movie you know not to have too high expectations for, so you can sit back and enjoy it.

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Le Concierge: Exploring the meaning of home

 Concordia professor Federico Hidalgo’s film screened at La Cinémathèque Québécoise

It was a special weekend for Montreal filmmaker and Concordia communications professor Federico Hidalgo. His latest chef d’oeuvre, Le Concierge, premiered Friday, Feb. 3 at La Cinémathèque Québécoise, attracting film enthusiasts and the general public alike for an evening of entertainment, reflection and intrigue. Hidalgo not only wrote the film, but also acted in it and directed it.

Le Concierge tells the story of a concierge responsible for the upkeep of a small apartment in Montreal. As part of his duties, the concierge must also show the vacant space to potential renters. Despite its lackluster appearance, the space becomes highly desired by people from all walks of life, including an immigrant artist, a widower and a teenage girl seeking independence.

As he meets with more interested clients, the concierge becomes increasingly disturbed by a peculiar reality—the owner of this building refuses to choose a tenant. With people continuously opening up to him about their house-hunting struggles, the concierge bears a heavy weight on his shoulders. The audience is urged to reflect on notions of honesty, humility and, ultimately, home.

Hidalgo’s film features very little dialogue, letting the mise-en-scène tell the story instead.

Members of the audience at Friday night’s screening included some of Hidalgo’s students from Concordia. Nasim Gizabi, who is completing a specialization in communications, said seeing his teacher on the big screen was “a great experience.”

“I think maybe now, when I see him in class, it will be different,” he said. “He always talks about the films we make in his class, and now we know how he himself makes them. I saw him actually doing the things that he has been teaching us about—cinematography, mise-en-scène and acting. It’s amazing.”

Gizabi also pointed out the similarities between Le Concierge and works by Korean filmmaker Kim Ki-duk. “He makes films with characters who don’t speak at all. I personally prefer films with minimal dialogue, and Le Concierge was something like that. I liked it,” he said.

Zoé Realffe Dagenais, who is pursuing a major in communications, said she enjoyed the way the film was shot, and agreed that seeing her professor on screen was a unique experience.

“It was kind of weird seeing my prof on screen, but I have more of an appreciation for him now,” she said. “When you see your prof actually doing something that he’s teaching you, it’s kind of cool. That he acted, directed and wrote this film is really inspiring.”

As an exploration into the many reasons why we seek a place to call home, Le Concierge maintains an ambiance that is both insightful and introspective. “The mood is kind of mysterious and psychological,” said Hidalgo, who starred in the film as the concierge. The idea for the story emerged from his own experience renting an office in an apartment complex.

“I saw a lot of people who were going through difficult transitions in their lives, taking these little apartments like the one in the film,” he said. “I became interested in how you can pick up a sense of the types of difficulties they were going through, even though you don’t know them very well.”

Staying true to his real-life inspiration, Hidalgo sought out a small space to film. However, this meant working with a smaller production team of three to four people, plus Hidalgo,  compared to some of his previous films which could include over 50 crew members.

Le Concierge did not receive any grants. Instead, Hidalgo relied on the support of family and friends to put the film together. Making use of the resources provided by family and friends is one of the ways Hidalgo encourages aspiring filmmakers to get their foot in the door. “Start by taking stock of what things you can put together, aside from getting some money. Then, start writing and think of things you can do with the resources you have already at hand.”

“Instead of writing something that you would need a lot of resources for and hoping that one day you get it together, think of [scenes] you can make with the resources you already have,” said Hidalgo. Similarly, he also encourages writers to create scenes according to the spaces which are available to them.

With a series of accomplishments under his belt, including winning Best Screenplay at the Brooklyn International Film Festival and the Miami International Film Festival for his 2003 film, A Silent Love, Hidalgo maintains a special appreciation for the film scene here in Montreal.

With so many beautiful locations in the city and such a diverse population, Hidalgo said Montreal filmmakers hold a unique ability to tell many different kinds of stories. “I find it very, very inspiring because you don’t feel limited by one homogenous culture that can only understand certain types of films or certain languages,” he said. “It’s very competitive, but it’s competitive everywhere. I think it’s a pretty good place to make films.”

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Oscars predictions: Who will bring home the gold?

The Concordian’s film critic-in-residence gives his two cents about the upcoming Academy Awards

If you’re like me, there are few things you find as enjoyable as indulging in the entirely pointless, but enormously thrilling game of predicting the Oscars. The nominations aren’t as hard to predict, but only one can win in each category, so you either get it right or you don’t. Nervous? Just think of the eternal glory and bragging rights you will get with every correct guess. So let’s take a brief look at the main categories.

Best Picture

The big winner of the night hasn’t been this easy to predict in years—it can only be La La Land. The picture got a historic 14 nominations, which means that, if a different film were to win, it could be the biggest snub in Oscar history. Just like nothing could sink James Cameron’s Titanic, Damien Chazelle’s musical masterpiece is simply unstoppable. For all other categories in which La La Land is the nominee, it can safely be expected to win.

Best Director

Although there have been splits between Best Picture and Best Director in the last few years, the incredible support for La La Land could guarantee its success in both categories. That would make Chazelle the youngest Oscar-winning director ever—and he completely deserves the honour.

Best Actor in a Leading Role

This is one category La La Land is unlikely to win. The ongoing race is between Casey Affleck for Manchester by the Sea and Denzel Washington for Fences. The younger Affleck brother is the current frontrunner for his moving, subtle performance as a man consumed by guilt and internal anguish. But should the Academy go with Washington, he would join a very small club of three-time acting Oscar winners.

Best Actress in a Leading Role

And now back aboard the La La Land train. The competition in this category is absolutely staggering—heavyweight Annette Benning couldn’t even manage a nomination—but Emma Stone, being the emotional anchor of her film, is expected to win. You might also want to watch out for Natalie Portman as Jacqueline Kennedy in Jackie —it’s the type of role the Academy usually adores.

Best Actor in a Supporting Role

After two years of noted absence, African-American actors are back in the Oscar race, dominating the supporting categories. Mahershala Ali is the favourite here, for a memorable part in the wonderful Moonlight. While it’s easy to root for this likeable performer, it’s okay to hope the Academy gives due consideration to Jeff Bridges as a sheriff in Hell or High Water, and even more so to Michael Shannon as another, more sinister sheriff in the underrated Nocturnal Animals.

Best Actress in a Supporting Role

This Oscar belongs to Viola Davis already. She came close to winning for brilliant roles in 2008’s Doubt and 2011’s The Help, and the third time’s going to be the charm. She outdid herself in Fences, consistently stealing scenes and proving herself to be one of the finest talents of our time.

Best Original Screenplay

For a long time, it seemed like Manchester by the Sea was a sure winner here—musicals don’t win in the screenplay categories, we were told—but La La Land has emerged as the alternative. Here’s to the musical that could.

Best Adapted Screenplay

If there’s one film to even remotely challenge La La Land in the Best Picture race, it’s Moonlight. The movie, after all, comes as a powerful response to the call for diversity that has challenged the Academy in recent years. While its odds of winning in most categories are all but hopeless, the three-part story of a gay African-American young man making his way through life, which is adapted from an unpublished play, deserves to be celebrated for its unique and insightful screenplay.

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The Same Difference looks past the labels

New Cinema Politica documentary looks at the biases rampant within the black lesbian community

Woman. Man. Black. White. Straight. Gay. Trans. Queer. The world is full of labels and boxes that attempt to define people based on their gender, race and/or sexuality. Those who don’t conform to these socially-accepted conventions make people uncomfortable, as they challenge these clear-cut definitions.

The Same Difference, to be screened by Cinema Politica next week, looks at how this notion of boxes and conformity remains rampant, even within marginalized groups.

Director Nneka Onuorah examines how black lesbians discriminate against each other, enforcing gender roles and stratifying the community according to heteronormative assumptions. The individuals who make up this community are broken down into two broad groups: masculine-projecting studs and feminine-projecting femmes. Anything that defies these two ‘types’ of lesbians is frowned upon.

The film is structured around four social ‘rules’ that exist in the black lesbian community. First, you must either be a stud or a femme. Nothing in between is allowed. Second, no stud-on-stud relationships. Third, no bisexuals. And fourth, no pregnant studs.

These social rules revolve around the same theme: gender roles, and the perceived balance of femininity and masculinity. To be a butch lesbian is fine—so long as you don’t date another butch or get pregnant, as that no longer conforms to the characteristics of the label.

The film is centered around the experiences lived by those who do not conform to these rules. This is where The Same Difference draws its greatest strength, as it gives a voice to those discriminated against or stigmatized for either how they present themselves or for who they choose to love. By zeroing in on those directly affected by the damaging and stringent guidelines that rule the lives of black lesbians, Onuorah shows just how harmful and unnecessary they are.

In addition to allowing those affected a platform to voice their discontent, the film also includes commentary from members of the black lesbian community who support these social rules. It offers their perspective as to why they believe these individuals do or do not belong to certain groups. Thus, the issue is examined from the perspective of both those who are affected by, and those who propagate the social structure.

In addition to screening The Same Difference, Cinema Politica will also screen Pariah. Directed by Dee Rees, Pariah tells the story of Alike (Adepero Oduye), a 17-year-old girl coming to terms with her sexual identity. The film, which portrays her tense relationship with her mother, who refuses to acknowledge that her daughter is a lesbian, won the Excellence in Cinematography Award at the 2011 Sundance Film Festival. This is the first time Cinema Politica will screen a documentary and a fiction film at the same time.

The Same Difference and Pariah will be screened in H-110 on Monday, Feb. 13, starting at 7 p.m. Admission is free, but donations are encouraged.

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