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Meet the Quons | Canada's First Chinese-Canadian Restaurant Family to Hit Cable TV
By Julia Paek
It was bound to happen: the first Chinese Canadian family on cable TV.
The year 2011 seems a bit late for an Asian family debut, but perhaps this Chinese-Canadian family of five from Edmonton, Alberta was waiting for the right moment to enter the public realm. I had the opportunity to meet the charismatic cast of the new reality TV series, The Quon Dynasty at their show's Vancouver premiere. Each of the cast members were incredibly full of life, and natural celebrities. From the outset, I was assured that their lively family dynamic was not an act.
The synopsis goes as follows: an entertaining family of Chinese restaurateurs grappling with inter-generational friction and sibling rivalry in their futile quest to please their parents without sacrificing their personal passions. And this all takes place while a camera crew follows them around most of their waking hours. While this set-up would seem obtrusive to the average family, as Miles Quon, the eldest son put it, "we have a story to tell."
The show revolves around their family restaurant, the Lingnan, but it also goes much deeper than documenting the logistics of running a family business. It delves into issues of identity, and showcases what it means to be Chinese Canadian. I asked Miles whether the show perpetuates stereotypes about Chinese Canadians. While he admits that at times, the show may sometimes be a bit cliché, he finds it more important to have some form of Asian representation on TV.
Miles is also sick of hearing how "chicken balls" and "sweet and sour pork" aren't really authentic Chinese food. However, he challenges this notion by saying that he isn't trying to be something he is not.
Can Chinese-Canadian food actually be compared to the traditional dishes of China? The Quon family much like many other Chinese Canadian families have developed their own tastes and styles using the ingredients local to their surrounding areas. Over the years when a recipe called for certain ingredients only native to China, substitutes were made which resulted in new traditions being born.
The current generation of Chinese Canadians are doing things differently from their own grandparents. The Quon siblings know that being Chinese isn't all defining, but as Miles pointed out, it's important to know your family roots. "If you don't know where you came from, you don't know where you're going," he said. The Lingnan restaurant reflects this philosophy.
What draws me to tune in and listen to their stories is how easily relatable their stories truly are. The immigrant family is the norm in Canada, and undoubtedly each of us will be able to identify with a number of their experiences. At the very least, you will laugh and wonder how the family manages to stay sane under pressures of filial piety, career goals, and keeping the Lingnan customers happily satisfied.
You can catch The Quon Dynasty on CityTV every Sunday at 9pm, PT. On Saturday October 29, the series will premiere in Cantonese language on OMNI Television at 7:30pm PT.
You can also watch past three episodes at video.citytv.com
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Julia Paek is an Asia Pacific strategist and intercultural specialist who focuses on education and community engagement. She is also a Masters of Asia Pacific Policy Studies Student at the Institute of Asian Research at UBC. Follow her on twitter @ecoseoul and tumblr: diversitydesigner.tumblr.com.
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No, You Can't Borrow My Hijab for Halloween
By Sadiya Ansari
Mommy, can I be a Middle Eastern terrorist this Halloween?
Not words you would likely hear a child say when selecting a Halloween costume, so why do adults think "being" a race or culture as a costume is appropriate?
Students Teaching Against Racism in Society (STARS) at Ohio University attacked this issue with a brilliant series of posters demonstrating how ridiculously offensive it is to be a "culture" for Halloween. This bewildering behaviour has been a problem on campuses in both Canada and the United States and has even extended beyond Halloween. Universite de Montreal students recently sparked controversy during frosh week this September by donning blackface, appearing to present themselves as a Jamaican track team.
"We're a culture. Not a costume."
What makes the posters effective is their simplicity. Talking somebody through reinforcing stereotypes, the white privilege that allows it, and the fact that it just makes you look plain silly can be an exhausting task. The images allow real people to confront the costumes and puts the onus on the audience to think why this trend is in fact offensive.
Of course, there are always those who think that groups like STARS are simply oversensitive, overly politically correct, and that Halloween is just for fun anyway. (Visit comment boards at the Globe and Mail, the Daily Mail for an array of opinions.)
The campaign speaks to this by simply putting out there that it's not okay to use an inaccurate popular Western representation of a group because members of these groups are telling you it's not okay. And really, if you choose to dress up as a Middle Eastern terrorist, do you truly believe it is a low-key, depoliticized costume choice?
Of course, there are some that the campaign simply won't reach but given it's wide distribution on the web and that Diversity and Student Affairs at Ohio University has offered to help pay for printing these posters, it seems that those that are rolling their eyes may be on the fringe.
The campaign is a win on two fronts: recognizing that archaic stereotypes have bled onto fun holidays like Halloween and creating awareness to prevent the use of such stereotypes to keep the holiday fun.
So put away that burqa, poncho and black facepaint and get going on your costume!
VAFF 2011 | The House
By VAFF Correspondent Illi Ferreira
DIR: Desiree Lim | 2011 | 109 mins
Houses haunted by ghosts are a recurrent theme in literature and movies since the birth of modern horror genre. Houses are artificial spaces, shaped by humans, to attend our primary need of being sheltered against an external world and its roaming dangers that threaten every one of us. It's why movies and tales about haunted houses are particularly so exciting.
Desiree Lim's film The House makes a clever usage of the haunted house concept (and its consequences for the viewer), even if it starts off conventionally, like many movies with similar themes. Jean, a former Wall Street banker that comes back to her hometown Vancouver after 6 months of globe throttling, settles herself in a huge house in the outskirts of the city and progressively notices that objects are being moved by other than her or the house maid. She realizes that she's not alone and that her unwished companies are not other humans or hallucinations—they are ghosts.
Madame du Deffand, famous for hosting in her salons horror story nights, synthesized the expectation of the viewer (or listener) of a ghost tale: "I don't believe in ghosts, but still, I'm afraid of them". Jean's reaction, according to Deffand's principle, should be fear. Instead, The House is an intelligent and unique film of the recurrent premise of alive denizen(s) versus dead denizen(s).
Jean confronts the ghosts in her house: Kevin, a philosophy professor, and his sister Liz and his brother in law Darrell, a trio whose kinship bonds are infused with an inseparable mix of love and grudge and represent a very elegant paraphrase of Jean-Paul Sartre's "No Exit". There are other ghosts, whose stories unfold as the film progresses.
The House is a film of great complexity. Tackling different issues with a profusion of references (none of them excessive), Desiree Lim offers us an intriguing narrative that's impossible to not touch our sensibilities, since they are based on the confrontation of two human experiences that can't be avoided in our existences—the one of being sheltered and the one of dying.
Posted by Jocelyn Gan | October 30, 2011 | Comments (0)
Win tickets to Toronto Reel Asian Film Festival 2011!!
By Jordana MahIt's that time of the year again! One of the year's biggest Canadian film festivals is gearing up next month for another fantastic showcase of contemporary Asian film.
From November 8-13 (Toronto) and 18-19 (Richmond Hill), T.O. residents will be treated to what has been called "one of the best alternative film festivals going." To celebrate its 15th anniversary, this year's festival will be chock full of parties, forums, and free screenings, including fan favourite White on Rice, alongside the over 50 films hailing from Taiwan, South Korea, Japan, Vietnam, Canada, China, and Hong Kong.
Schema is proud to support the Toronto Reel Asian Film Festival by hosting a special giveaway! We are giving away a pair of FREE tickets to 2 select films: Piercing 1 and Pearls of the Far East. Check out the trailers below!
Pearls of the Far East (Canada/Vietnam)
Piercing 1 (China)
To enter, just leave a comment telling us which film you'd want to see and your email! Contest closes November 1, so get your entry in now!
Posted by Jordana Mah | October 26, 2011 | Comments (0)Tags:
This Week in Vancouver | The Silver Lining Edition
By Genie MacLeodEvery dark cloud has a silver lining. You may be staring blankly at your screen right now trying to remember what dark clouds look like (Hello October you beautiful month, you!), but don't worry, because I'm not talking about the weather. I'm talking about the metaphorical dark clouds that cast their shadows on our lives. This week's post features a range of events that take something tragic, dark, scary, or neglected, and turn it into something wonderful - a piece of art or writing, a festival, an opportunity to recognize courage and achievement. The power of arts and culture at work, my friends. Go live it.
Image credit: University of Ottawa
Book Launch, Ali Kazimi's "Undesirables"
Tuesday, Oct. 25th, 7:45 pm
Simon Fraser University Surrey Campus, Theatre SUR 2600
Ali Kazimi is best known for his critically-acclaimed documentaries, including Rex vs. Singh (2008), Runaway Grooms (2005), and Continuous Journey (2004). The latter film provides the basis for Kazimi's first book, Udesirables: White Canada and the Komagata Maru, about the infamous boat carrying 376 British Indian immigrants that was turned away by Canadian authorities in 1914. Kazimi will be at SFU Surrey Campus tonight to share his latest project. To register for the event and to enter your name in a draw for an autographed copy of Undesirables, check out the book's website.
Image credit: Heart of the City Festival 2011
DTES Heart of the City Festival
Wednesday, Oct. 26th to Sunday, Nov. 6th
Various times and locations
It seems like we can only ever talk about the DTES in all seriousness and with a look of deep concern on our faces. It is, after all, Canada's poorest zip code, and is plagued by a whole host of socioeconomic ills. But acknowledging the good is just as important as working to correct the bad. Such is the philosophy of the DTES Heart of the City Festival, which celebrates the talent and uniqueness of the community. On the docket are performances by the Vancouver Inter-Cultural Orchestra Small Ensemble, the Carnegie Jazz Band, an Aboriginal Artists Showcase, as well as numerous workshops, dialogues, historical walking tours, all focusing on the power of art in the DTES community. So head down there, take a look around, and you will see that there is much more to the community than newspapers headlines would have us believe.
Image credit: Blim
Cute to Kill II - Special Halloween Edition
Friday, Oct. 28th, 8 - 11 pm
VIVO Main St. & 4th Ave.
You know what makes death, despair, and destruction more palatable? Fuzzy bunnies. Just in time for Halloween, Blim and the Powell Street Festival present a night of short films that pair all things adorable with all things horrible. The event features local, national, and international Japanese filmmakers whose films use a cute and cuddly facade to take on dark and morbid subject matter. And they have t-shirts!
Image credit: WIFTV
Women in Film + Television Vancouver - Call for Nominations
Ongoing
Do you know an outstanding woman who deserves to be in the spotlight for her work in BC's film and television industry? Women in Film and Television Vancouver's annual Spotlight Awards are back and looking for your nominations. The Spotlight Awards includes 8 awards ranging from Woman of the Year award, recognizing the woman who has achieved personal success while also mentoring other women in BC's film industry, to the Honourary Friend, recognizing both men and women who have contributed to supporting women in the industry. And don't forget, WIFTV has extended its deadline for submissions to the Vancouver Women in Film Festival 2012 to November 1st.
Image credit: Turkish Canadian Youth and Harvest Festival
Turkish Canadian Youth Harvest Festival
Saturday, Oct. 29th, All day starting at 10 am
Creekside Community Centre and the UBC Chan Centre
In light of last week's devastating earthquake in Turkey's Van region, which has claimed more than 400 lives so far, there could not be a more poignant time for a festival recognizing and celebrating the Turkish community in Vancouver. The lively and colourful festival is a new one-day celebration of Turkish art, culture, history and language through performances, workshops, storytelling, food vendors and more. This event will be an opportunity to experience a culture that doesn't get much exposure in Canada and, presumably, a chance to contribute to the earthquake rescue and relief efforts continuing in Turkey.
Posted by Genie MacLeod | October 25, 2011 | Comments (0)Tags: Events
Miss Representation | Power and Portrayal
By Kait Bolongaro
What kind of images and norms does the media present to viewers? Why do we as a society accept these stereotypes? In an industry where all genders, but especially women, are stereotyped, Miss Representation challenges us to think critically about how women are portrayed in media. The film goes further to expose the link between negative portrayals of women in mass media and their under-representation in positions of power and influence in the United States. Although targeting an American audience, its message of misrepresentation is relevant across cultures and borders.
We live in a media obsessed world—from the Internet to cellphones to television, our society is constantly inundated with images. Most people under the age of 30 have been raised with this technology and this barrage of negative stereotypes. Men are supposed to be hypersexual, aggressive and dominant, while a woman's value is her beauty, youthfulness, and overt sexuality. God forbid if she has a brain or leadership skills.
Miss Representation 8 min. Trailer 8/23/11 from Miss Representation on Vimeo.
Miss Representation raises an alarming truth about how women in government or powerful positions are portrayed. From Sarah Palin being asked if she had breast implants to the constant criticizing of Hilary Clinton's 'haggard' look, women who challenge men in positions of power are continually hassled about their appearance, placing them back in the confines of youth and beauty, reminding them and viewers that a woman's number one priority should be looking beautiful at whatever cost.
What I find most disturbing is that these negative stereotypes aren't even created by female writers, producers or directors. Women hold only 16% of behind-the-scenes entertainment industry jobs. What's worse, only 3% of those in executive positions in media are women. Women aren't even able to influence how female characters are portrayed; instead, they are a false fabrication invented and approved by a hypersexual middle-aged white male executive (who buys into the image of an overtly masculine male). These characters should not be role models to any woman, especially young girls.
However, there is hope. Writer and director Jennifer Siebel Newsom interviewed prominent women in media and politics such as Margaret Cho, Condolezza Rice and Katie Couric. They spoke of the mentorship given to young women who enter these professions by women who have come before them. Their stories show the vast amount of opportunities for women who push through the barriers. The most important part of this film is its conversations with the next generation. Newsom talked to young women and men about their experiences growing up under constant media pressure to conform. My favourite moment is the interview with a young man who says he refuses to follow the misogynist behavior expected of men. He thinks outside the box, and challenges others to do the same.
The sheer response to this film is a testament to its importance. It has been screened at film festivals worldwide, most recently at the Vancouver International Film Festival (VIFF). It has been widely reviewed, including twice for Schema Magazine. Even Oprah approves, having acquired the broadcasting rights to the film, which aired on October 20 on the Oprah Winfrey Network. Hopefully as more people watch Miss Representation, we as a society will become more critical of the media and create healthy alternatives to the images presented to us.
The Urbanite's Answer to "Living Green"
By Kayo Homma-Komori
I love when designers find clever, unobtrusive ways to incorporate the "green" aspect into their sleek designs. Designing sustainable or environmentally-friendly products should not necessarily mean designing products that look "organic", or made from some plant you can't pronounce that is found in the remote regions of South America, and that can be purchased at your local farmer's market. We need to move away from these assumptions of green design.
Czech designer Kristyna Pojerova is the latest designer to "go green". What Pojerova has designed not only promotes sustainability, it is, on its own, a beautifully-designed piece.
Pojerova designed this sleek, mini-greenhouse to urge those living in urban settings to grow what they can in their own homes. The greenhouse is a glass globe that can be mounted onto a lightbulb in your home, using the otherwise wasted heat given off by the bulb to grow plants and herbs. There are four ventilation holes on the top to maintain a balanced micro-climate, as well as a large opening in the centre bottom to allow for the planting and picking of herbs.
However, as the age-old design dilemma goes, could Pojerova's design perhaps be too form-focused, overlooking certain aspects of functionality? For example, looking at the greenhouse, I wonder, how would you water the plants inside? And picking the herbs through that bottom opening does not look like the most comfortable task. Also, how much light would be given off by the bulb, given that it is now surrounded by plants and soil? Would you need to supplement lighting in the room with another lamp, thereby defeating the purpose of using the existing bulb's wasted energy?
Perhaps there will be future versions of this mini-greenhouse that will address these concerns. But for now, the glass house is a wonderful way to incorporate sustainable living into urban life using sleek, cool design.
Posted by Kayo Homma-Komori | October 25, 2011 | Comments (0)Tags: Design, Environment
Can Art Change the World? | South Hill Inside Stories Contest
By Jordana Mah
The world is growing ever smaller, yet how many of us really know our neighbours? In a city as large as Vancouver, one can still feel so alone. Get to know your neighbours, their hopes, their dreams, their struggles, with South Hill's Inside Stories.
Organizer Susan Faehndrich-Findlay and her neighbours have put art to work in their neighbourhood by creating an interactive art installation with the help of filmmaker Nettie Wild, web designer Jeremy Mendes and photographer Shannon Mendes.
This innovative web experience allows viewers to learn and experience the stories of local residents like Ben Kwan, who escaped famine in China to become a tailor on Fraser, and Jinder Johal, who heads up the South Hill local library.
On November 3rd, you can come and meet the people behind this exhibit in person! Find all event details at eventbrite.com.
As well, YOUR story could become a part of this community treasure! Until October 30, check out Inside Stories online and click on "submit your story" to post your POV on your community—Are you an immigrant? An immigrant's kid? Or First Nations? Was it hard or easy to move into your block? Been here for generations? What's it like to see your street and neighbours change?
The INSIDE team will select the most compelling submission and present them as part of the INSIDE STORIES night at the VPL (Alice McKay Room) on November 3 at 7pm. RSVP on Facebook!
Plus the winner gets two tickets to Headlines Theatre's show, US AND THEM—an exciting show breaking down mental barriers between ethnic groups
You don't have to be a resident of South Hill to enter. We are all part of some community and this is your chance to share and be a part of history!
Join the neighbourhood. Change the world.
Posted by Jordana Mah | October 23, 2011 | Comments (0)Tags:
Rise of the Asian models
By Vinnie YuenABC News reported on the new face of fashion: Asian models. But what are the implications?
Lui Wen was the most booked ethnic model this fall at Mercedes Benz Fashion Week in New York. She's also the first Chinese model to strut on the Victoria's Secret runway show. Estée Lauder signed Lui Wen as its first Asian "brand ambassador", joining Elizabeth Hurley and Gwyneth Paltrow as spokeswomen for the cosmetic company.
Jen Wong of Disgrasian isn't convinced that this representation is unproblematic. "Unfortunately, it plays into the stereotypes that Asians all look alike, because the models did all kind of look alike," said Wong. She says that companies are recognizing Asian consumers as a fast-growing market, and maybe they are finally casting models that reflect the customers.
I'm honestly surprised it has taken the fashion industry so long to catch up. Unfortunately, models are by and large still the same body type: tall and lean.
Asian women already have the reputation of being skinny, and these women, though absolutely gorgeous, do little to help those of us who are not as slim as the models on screen. I've never seen a (so-called) plus-size Asian model in my life.
Posted by Vinnie Yuen | October 27, 2011 | Comments (0)
Haute Couture | Saris by Hermès
By Genie MacLeod
Image credit: Jugni Style
The Hermès scarf has always held an magical fascination for me. Now, I am by no means fashion savvy, and I wouldn't actually be able to tell a Hermès scarf from a hole in the ground if I encountered one in person, but to wear a Hermès scarf sounds like the height of glamour. Just the idea conjures up images of luxurious silks, enviably chic Parisian women, and the classical Greek myths from which the label gets its name.
Now for a limited time, and a hefty price, the fabled French fashion house is expanding its product line—by about 6 to 8 metres. Last week Hermès announced the release of five limited edition silk saris, which will set you back about $8200 US. Hermès has produced 28 saris in total, which will be available exclusively at the label's recently opened Mumbai flagship store, their third Indian location.
The saris are inspired by Hermès' ever-popular silk scarf collection, but designed as a "wink" to the brand's growing Indian clientele. This isn't the first time Hermès has branched out beyond the 90 cm x 90 cm of the carré however. They launched a line of saris designed by Sunita Kumar in 2000, after the chief of Hermès had spotted the Kolkata-based painter wearing a sari that she had crafted by stitching together 9 metres worth of Hermès scarves!
If the Hermès scarf is the height of glamour, decking yourself out from head to toe in an Hermès sari sounds like luxury beyond compare. Now if only I had some extra cash lying around and an Indian wedding to attend...
Posted by Genie MacLeod | October 24, 2011 | Comments (0)
James and Daniel Kelly | Different Yet the Same
By Brandon Woo
James and Daniel Kelly are about as different as two teenage boys can be.
They are not only different in terms of colour, with James being black and Daniel being white, but in personality too: whereas James is a gay, social butterfly on a trajectory to post-secondary education, Daniel's a straight, shy male who doesn't mix well with school. Yet, in spite of all these differences, these teens are actually brothers, and not the type of brother you'll call a friend or an adopted brother.
James and Daniel Kelly are biological twins.
How might having a twin who appears to be of another race be possible? The boys' parents, Alyson and Errol Kelly are an interracial couple—Errol is of Caribbean descent.
Dr. Jim Wilson, a population geneticist of Edinburgh University, told the Guardian that although Errol may appear black, Caribbeans are often found to carry European DNA.
"The Caribbean father will have less European DNA than African DNA, so it's more likely he'll pass on African DNA—but rarely, and I've worked it out to be around one in 500 sets of twins where there's a couple of this genetic mix, the father will pass on a lot of European DNA to one child and mostly African DNA to the other. The result will be one white child and one black."
"They were chalk and cheese, right from the word go," Alyson said of her sons. "It was hard to believe they were even brothers, let alone twins."
Although James and Daniel hang out in different crowds, they'll still make time to go out together. "It's good fun, because we can be drinking in a bar and someone will come along for a chat who doesn't know we're twins. And of course they never suspect and then someone else will say, 'Hey, do you know James and Daniel are brothers?'" James told the Guardian. "And people never, ever believe it—they always think it's a wind-up."
"Sometimes we even get people who say: 'I don't believe you! Prove it!'" added Daniel, laughing. "But we don't care whether they believe it or not anyway—we know it's true."
James and Daniel have different skin tones, sexualities, and interests, but they're still brothers. If you'd look back a few decades ago, two people like this wouldn't even be friends, but in this present day, they're brothers. The world isn't just black and white anymore. Rather, it's a world of all colours.
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Brandon Woo is a happy high school student in Vancouver, BC. In working with Schema, he hopes to educate others about current events and learn more about the world around him too.
Posted by Brandon Woo | October 25, 2011 | Comments (0)
The 99 | Secular Islamic Superheroes!
By Justin Ko
The comic book and superhero genre can be dated way back to the early days of the 20th century when Superman was created to help bolster morale during the Second World War. In recent years, the legacy of these comic book superheroes have definitely become more and more prominent in nearly all mediums of entertainment, especially blockbuster films.
These superheroes now have global popularity, but it is important to note that nearly all of them have been inspired and created in the United States. There have been relatively few attempts by other countries or cultures to offer their own take on the modern superhero. This has especially been the case for the conservative and at times extreme regimes in the Arab world and the Middle East.
Enter Naif al-Mutawa. A Kuwaiti psychologist, al-Mutawa has spent the last few years building up an extraordinary premise—a comic book series based on, but not explicitly about certain aspects of the Islamic religion. Named The 99, after the 99 attributes of Allah, his franchise has reached new heights this year in the Muslim world and across the globe with a television series set to air in Saudi Arabia and various other Islamic countries.
The titular "99" are a wide variety of superheroes, both male and female, who each embody some aspect of Allah, although al-Mutawa is clear to note that the comics are not overtly Islamic but rather include allegories from the Qu'ran, just as American comics like Superman embody subtle and secular Christian references.
In this way there's nothing really shocking in the way that The 99 is written, since it simply reflects the influences of the culture it was based on, just like we've all taken Western culture for granted in Hollywood films.
Check out the video below to learn more about this fascinating comic.
Posted by Justin Ko | October 26, 2011 | Comments (0)Tags: Comics
VIFF 2011 | Martha Marcy May Marlene
By VIFF Correspondent Amy Chow
DIR: Sean Durkin | Cinema of Our Time | USA | 2011 | 103 mins
Elizabeth Olson—who for now is more famously known as the younger sister of Mary Kate and Ashley Olson—shines in her first feature as a damaged girl fleeing from a cult.
The film begins with Martha frantically running away from the commune. The commune is an idyllic farmhouse in the Catskills of Upstate New York. Hysterical and terrified, Martha calls her estranged older sister Lucy (Sarah Paulson) from a payphone and begs her not to hang-up. Soon Martha is lounging around her sister's and new husband's lakeside Connecticut summerhouse. Their capitalistic lifestyle is a far cry from her life on the commune.
Yet all is not well. Martha's behaviour makes it quickly apparent that she is deeply troubled. She doesn't understand the regular norms of society. But Martha won't or can't divulge what she's been through. It's while she's sleeping that the film effortlessly weaves back to her life in the cult. Throughout the film, Martha becomes increasingly paranoid that her former cult could be pursuing her.
Director Sean Durkin's debut is a honest portrayal of a woman who struggles with her identity, her life in the cult and her past actions. John Hawkes plays Patrick, the charismatic cult leader who preys on Martha's issues of abandonment and systematically rapes her. Durkin convincingly shows how this can happen. Patrick masks his evil acts with genuine values and even musical talent. For example, he believes in living in a non-materialistic society and sets out to build a self-reliant farm. His alternative lifestyle and close-knit community targets displaced young girls. They tell the new girls that they'll find a role in their new family and that they can make a meaningful contribution to their group.
This universal need to belong and to contribute to society makes this a relatable story, even if Martha's situation is extreme. Part of this is because Durkin doesn't sensationalize Martha's experiences in the cult. There's no mass suicides or mass murders, fanatical religious beliefs, or dozens of underage pregnant girls. The films focuses on Martha and what her life is like immediately after leaving the commune.
Olson shines as a vulnerable young woman and she's able to reflect Martha's emotional roller-coaster. While for now she's knows as the Olson twins' younger sister, this film rightfully shows that should be judged on her own merit.
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A diverse writer, Amy Chow has covered health and education related topics, written social commentaries, profiles, travel stories, restaurant and movie reviews. She's written for The Tyee, Xtra West, Westender, Asian Pacific Post, Momentum, Ricepaper, and Schema Magazine.
Related Links:
Martha Marcy May Marlene
Official film website
Tags: Film, Film Festival, Vancouver International Film Festival, VIFF 2011
Anrealage | Fashion Foward in Harajuku
By Olga Pazukha
When it comes to fashion, the newest styles are often inspired by the times a few decades before our times. The newest incarnation of such a trend is 8-bit-inspired fashion, complete with a store decked out in pixelated chairs, tables, and art. Welcome to Anrealage in Harajuku, Tokyo—a store specializing in showcasing pixelated designs from Kunihiko Morinaga in a similarly pixelated environment.
Just looking at the photos of this place is confusing. On the one hand they are clear, colourful pictures, yet because they show everything created in 8-bit the items seem pixelated. The store, like the clothing, is definitely a visual experience. Harajuku continues to live up to its notoriety as one of the most fashion forward places on our planet.
VIFF 2011 | Por el Camino
By VIFF Correspondent Amy Chow
DIR: Charly Braun | Cinema of Our Time| Brazil, Uruguay | 2010 | 85 minutes
Por el Camino combines a visually gorgeous road-trip of Uruguay with the development of a romantic attraction between two vastly opposite characters. Santiago is a former Manhattan investment banker, while Juliette is a Belgian free spirit. While Santiago is driving his way home to claim his inheritance from his Argentinean parents, he stops for Juliette, a beautiful sea-sick girl he noticed on his ferry ride to Montevideo.
Juliette is tracking down an Uruguayan commune leader that she had met on her previous trip, hoping to resume their romantic liaison. Juliette, tired of her dead end job is searching for a different life adventure. She accepts Santiago's offer for a ride.
On their journey they meet interesting locals and visit various road-side attractions while they stop at the estate of Santiago's god-father near the tourist resort of Punta del Este. A local describes it as where "everybody wears the same Lacoste shirt and has the same kind of wife." Visiting with the well-connected god-father, they interact with various unique characters including Naomi Campbell in a cameo.
The class-difference between the two characters quickly becomes apparent. While Juliette feels uncomfortable in Santiago's world, it's later Santiago's turn to feel out of place at the commune. These scenes are the funniest in the film.
Beyond the Road Trailer (Além da Esrada / Por el Camino) from Além da Estrada on Vimeo.
While director Charly Braun's first feature follows the typical romance formula—boy meets girl, boy likes girl, girl leaves and boy pursues her, it still works. The on-screen chemistry and the casual, fun relationship they have is very natural. It is easy to picture the potential pair together 50 years later.
Besides the character development of Santiago's god-father, the various characters on the road aren't given enough screen time for the audience to really get to know the locals. Another odd choice in the film was Santiago's flashback of his relationship with Juliette when they had only recently met. And while each character seems to be running away from something, what that could be is not explored.
The Vancouver International Film Festival advertises that you can visit different countries by staying at home: this is one film that inspires you to take your own road trip.
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A diverse writer, Amy Chow has covered health and education related topics, written social commentaries, profiles, travel stories, restaurant and movie reviews. She's written for The Tyee, Xtra West, Westender, Asian Pacific Post, Momentum, Ricepaper, and Schema Magazine.
Related Links:
Por el Camino
Official film website
VIFF 2011 | Marathon Boy
By VIFF Correspondent Malin Dunfors
DIR: Gemma Atwal | Non-fiction Features of 2011 | India | 2011 | 98 mins
From the opening scenes, the Marathon Boy could be any feel good documentary about a young boy rising from the Indian slum, like a phoenix out of the ashes.
Budhia Singh became an overnight celebrity for running marathons from the age of three. By the age of four, Budhia had run 48 marathons. That's nothing short of amazing. It's hard not to be moved by watching this tiny, tiny boy conquering the back country and streets of India in his worn out red sneakers. However, this fairy tale about a sports prodigy and of beating the odds doesn't unravel quite the way you think it will.
After Budhia's mother sold him to a passing peddler for 800 rupees, India's top judo coach, Biranchi Das, spotted his talent as a runner, took him in and began training him. It's a controversial relationship, to say the least.
In 2006 Orissa state authorities banned Budhia from long distance running. That's the start of a dirty tug of war between Biranchi and Budhia's mum, who's convinced there's money to be made and that Biranchi isn't letting her in on the whole lot. The authorities charge Biranchi with intimidation and torture, though the charges are later dropped. Budhia is returned to his mother and his running suffers.
Biranchi is a complicated character. Does he train and support Budhia because he sees a marathon wonder kid in the making or does he have ulterior motives? What's in it for him? Well, nothing's ever really black and white—not even in documentaries. The Orissa state authorities certainly don't attract any future tourists to the state by their handling of the case; rather they fulfill every stereotype about corruption in India. One almost forgets that in the middle of all the fighting and back stabbing, there's a boy without a proper home and without anyone to care for him.
Gemma Atwal's documentary debut is equally saddening and uplifting. The Marathon Boy raises several larger than life questions, such as is sport the right way out of poverty, and at what expense? Who is best equipped to take care of a child, the biological or adoptive parent? What's the vested interest of the state in one child while there are thousands suffering at the same time?
Today, Budhia is a boarding pupil at a government run sports hostel in Orissa State. He has a new coach, though he is no longer required to run the distances he ran before and his weekly schedule includes hockey, discus and football.
***
Malin's a Swedish, bilingual journalist, currently doing her MA in Journalism at UBC. When she's not busy hunting down some obscure snowboard movie or Marilyn Monroe biography, you'll most likely find her outdoors at the slope or in the woods. Twitter account: @Dunfors.
Related Links:
Marathon Boy
Official film website
Tags: Film, Film Festival, Malin Dunfors, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Imams Go to School
By VIFF Correspondent Malin Dunfors
DIR: Kaouther Ben Hania | Spotlight on France | France | 2010 | 75 mins
In this 2010 French documentary, directed by Kaouther Ben Hania, we follow a couple of imams as they are sent out to the Catholic Institute in Paris to learn about secularism.
It's ironic that they are not admitted to religious studies at Sorbonne, the epicenter of liberté, egalité, fraternité (the documentary doesn't explain why this is the case—it would definitely have been interesting to know the reasoning for sending the imams to a religious institute to learn about non-religious matters).
The movie might be about being an Islamic leader in today's France, but it is as much about how France is coping with a second large and continuously growing religion, next to Catholicism. It's almost as if after the debates about headscarves in school, the political establishment didn't know what else to do in their efforts to "Frenchify" its new citizens.
It's hard to decide how much the professors teaching secularism are playing up in front of the cameras (or perhaps secularism is just a really dramatic subject to teach.) For the uninitiated, you're getting a French history lesson for free. There's no way you'll forget the 1905 French law on the Separation of the Churches and State. It's interesting to hear and see how deeply rooted secularism is in French society—especially the notion that society and church is forever separated.
The imams seem to take their classes with foresight, even though one of the professors treats them like little children. This professor could learn as much from the imams as they are, potentially, learning from him.
Another scene that stands out is when French public TV comes to the school to do a story on the Imams. The students are told by their teacher that they don't have to answer any questions if they don't want to. The cameras are rolling but none of the students feel comfortable to talk about the studies they are undertaking.
The enjoyment of this movie lies in seeing how a Western country deals with the issue of Islam within the context of its own national identity. There are perhaps no right or wrong answers but considering how current and potent this issue is for most Western European countries, the film gives an inkling to the forces at work when religion and immigration collide.
***
Malin's a Swedish, bilingual journalist, currently doing her MA in Journalism at UBC. When she's not busy hunting down some obscure snowboard movie or Marilyn Monroe biography, you'll most likely find her outdoors at the slope or in the woods. Twitter account: @Dunfors.
Related Links:
Imams Go to School
Official film website
Tags: Film, Film Festival, Malin Dunfors, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Old Dog
In its first North American screening Old Dog, directed by Pema Tseden, is a naturalistic film that flies the flag for Tibetan cinema. Tseden brings to the screen a visually stunning film that depicts the changing times in Tibet.
Set in Tibet, the plot shows the contrast in village life to how people deal with demands from the city. After a number of dog thefts in the area and the growing interest in the animals by the mainland gangsters, Gonpo decides to sell the family Nomad Mastiff instead risk having it stolen without making any money. Gonpo's father on the other hand does not want the dog to be sold, stating how the mastiff has been in the family and will not be a pet for someone else.
Old Dog is slow in pace but carries a charm throughout the movie through the beautiful backdrop of Tibet and the natural performances by the cast. The film has moments of humour, such as when Gonop has sold the dog to a local business man, his father sets to reclaim the animal with the help from his nephew, the neighbourhood policeman, who is stuck between the two trying to do what they ask.
The story behind Old Dog also raises many moral issues between father and son. Gonopo's father is adamant in not selling the family dog no matter how much is offered, whereas Gonopo is ready to make a quick buck out of the animal to spend on beer.
Without an explanation Gonopo's father kills the dog in the end scene. You could argue after that Gonopo's father would rather have the dog dead than sell it for profit or have it in the hands of gangsters. In addition the mastiff was the family's working dog, which is clear from the amount of countryside it has to roam; by ending the dog's life puts a stop to the animal being a prized possession and a material product.
Posted by Jocelyn Gan | October 17, 2011 | Comments (0)Tags:
Nobel Peace Prize Awarded to Three Women
By Genie MacLeod
Image Source: Reuter's
Of all the prizes awarded in the name of Alfred Nobel, the Peace Prize is one of the most difficult to pin down. Wangari Maathai, who passed away this year, received the honour in 2004 for work combining environmentalism with women's rights. Obama was awarded the prize for umm...what was it again?
Over the years the Nobel Peace Prize laureates have helped better the world through economics, environmentalism, political activism, medicine, humanitarian aid, missionary work, anti-war efforts and more. This year's prize is going to a trio of women who are every bit worthy of the prize, maybe even more so than some of the previous laureates on the list.
Ellen Johnson Sirleaf, Leymah Gbowee, and Tawakkul Karman are receiving the Nobel Peace Prize this year for their varying work in women's rights. The official citation reads: "for their non-violent struggle for the safety of women and for women's rights to full participation in peace-building work." Sirleaf is president of Liberia and the first democratically elected female president in Africa. Gbowee organized a non-violent women-led movement that brought about the end of the Liberian war. Karman is the "Iron Woman" of the Yemeni uprising that began during the Arab Spring.
Many believe that establishing women's rights is the key to stability in third world countries, so it is wonderful to see these inspiring women being recognized for their peace-building achievements.
Posted by Genie MacLeod | October 21, 2011 | Comments (0)Tags: Activism
Recreating Urban Street Art in Rural Gambia
By Kait Bolongaro
This October, eight well-known street artists converged on the village of Kubuneh in the Gambia with Wide Open Walls (WOW). The project aims to increase tourism to more remote regions of West Africa and to transform Kubuneh into a living art village: an art installation that incorporates local elements and the artist's personal style.
WOW is the brainchild of Lawrence Williams, a conservationist and street artist originally from the UK. Williams is co-owner of the Mandina River Lodge and co-founder of the Ballabu Conservation Project, part of the United Nations' S.T.E.P program—Sustainable Tourism to Eliminate Poverty, which focuses on bringing sustainable and prosperous business to the area.
Williams was having a hard time getting the world interested in this rural corner of Africa, so he decided to recruit street artists such as Roa and Eleus to paint murals on the walls of different buildings in Kubuneh.
Roa's signature style is to use local animals in his graffiti. From elegant giraffes to lazy zebras and curious monkeys, he manages to capture the Gambia's natural beauty.
Eelus is famous for his picture of a woman with birds flying from her hair. He recreated this image in Kubuneh; however, his inspiration was an African woman and birds native to the Gambia. It is absolutely stunning, as it encapsulates the whole project into one painting. These street artists are certainly not bringing something new to the Gambia or to Africa—instead, they are incorporating rural Gambian experiences into their urban landscapes to create one-of-a-kind international works of art.
VIFF 2011 | The Price of Sex
By VIFF Correspondent Julia Kalinina
DIR: Mimi Chakarova | Nonfiction Features of 2011 | USA | 2011 | 73 mins | Canadian Premiere | English, Turkish, Romanian
"This film isn't about prostitution, it's about slavery," says Mimi Chakarova, the director of the Price of Sex who committed a decade of her life to uncovering the dark truths behind human trafficking in the Middle East and Eastern Europe.
Without sensationalizing the issue, Chakarova investigates the criminal networks behind the human sex trade and the causes behind it, and presents personal accounts from some of the women, children and families affected.
Chakarova moved to the United States from Bulgaria as a teenager, a year after the break-up of the USSR. In the decade that followed, many of her childhood schoolmates were trafficked out of Bulgaria on promises of well-paying jobs overseas, only to be sold for sex upon landing overseas, their passports confiscated.
Across Eastern Europe, the collapse of the USSR forced millions of people into poverty and millions of women and children became easy prey for human traffickers as they sought opportunities to make money abroad.
The film turns the hackneyed image of Reagan in West Berlin calling for Gorbachev to "tear down this wall" if he sought "freedom and prosperity" for his country on its sardonic head.
When the filmmaker was growing up, Bulgaria had the highest percentage of employed women in the world and under communism they earned the same wages as men. But when the system collapsed and the free market arrived and factories shut down, the dream of gender equality came to an end. "The whole world moved away," said Chakarova's grandmother who is one of the few still living in her village.
What started out as a photojournalism project turned into a full length documentary about the trafficking of women and girls for sex, as Chakarova travelled all over the Middle East and Eastern Europe, speaking to survivors of trafficking, their pimps, police (who are "not always angels"), NGOs, survivor's family members, and government officials, sometimes posing as a prostitute to gather her material.
Trafficking has a recurring pattern. Girls are approached and offered jobs such as cleaning and waitressing overseas. With poor prospects and struggling families at home, many agree and travel abroad, most often to Turkey, Dubai, and other countries in the Middle East. Upon arrival, their passports are confiscated and they are sold to a pimp. The girl's price becomes a debt she must repay her pimp, as well as the costs of her flight, accommodation, food, and sometimes even showers. Pimps use intimidation and violence, both physical and psychological, to keep girls working. Over time, with their spirits broken and their identities twisted and torn, many girls continue to work in the sex industry even after they have payed off their so-called debt, unable to return to their previous lives. Sometimes someone gets a call for help out and there is a police raid on a hotel or a brothel, but these are for show. Women get arrested, sent to jail and then deported, penniless and broken. Most often, pimps walk free.
Chakarova says that she "wanted to make this film so that people could get close to these women because once you feel close to them, it changes you as a human being." Whereas in everyday life, sexual slavery remains well-hidden from the public eye and its victims cast away as "loose-women" without a second thought, having seen this film, it is more difficult to dismiss the issue.
The product of Chakarova's work is a nuanced, complicated, and above-all human film. The women she interviews are real. Their eyes tell stories far beyond what their mouths are saying. Both men and women are implicated, as Chakarova focuses attention on avoiding gender-blaming and perpetuating hate. The film stings to the very gut.
It is clear that the director is conscious that her fate is tied to the women she interviewed. She says she sees no reason other than fate for why her schoolmates were trafficked, while she escaped. The director disarms the audience by the force of her courage and honesty, and the dedication it took to get this story. Everything Chakarova had went into the making of this film. And she says she won't stop touring with it until it has a life of its own. Which it will. The film is not one that can be forgotten.
***
Related Links:
The Price of Sex
Official film website
Tags: Film, Film Festival, Julia Kalinina, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Miss Representation (2)
By VIFF Correspondent Jordana Mah
DIR: Jennifer Siebel Newsom | Nonfiction Features of 2011 | USA | 2011 | 90 mins | English
Miss Representation was a film I had been seeking to watch for the past year. Even just watching the thriller had me excited, so it was with high hopes that I entered the Empire Granville theater to finally watch this documentary. I was not disappointed.
Spurred on by the birth of her daughter, director Jennifer Siebel Newsom created this film as a criticism of modern American media and its enslavement to the 256 billion dollar advertising industry. Citing tons of scary statistics by handfuls of respected medical and psychological associations, Newsom outlines a frightening world where women are treated as second class citizens, where their only worth is their beauty and their only power, their sexuality, which they must use as barter to make their way in the world. It's a scary scenario—and it's real.
From the toys girls play with, to the images they see on television, in music, in magazines and online, young girls are constantly bombarded with a narrow, unrealistic version of their reality. No woman is left unscathed, in particular female leaders, such as Hilary Clinton and Condaleeza Rice. Newsom systematically documents again and again how women are slighted in language and commentary in both obvious and insidious ways. Whether it's a twist of a verb, or the ever downward necklines of local newscasters, an atmosphere of sexualization pervades American society.
Sure, Newsom implies, women are allowed to vote and to go after any job they want, but they are also conned into not wanting to exercise any of those rights by seductively manipulative media conditioning that teaches them to regress into brainless, petty creatures.
Lest you think women are the only ones affected here, think again. Newsom highlights men as well, and how the rigid gender roles being used to sell consumer goods are harming boys as well. In exchange for the sexualization of women, boys are also taught to expect this skewed reality as desirable. Have as many women as you can by acting as masculine as you can, and you have all the power, the message states and if you don't—well, the consequences can be harsh.
Watching this film, I went through a myriad of emotions: disbelief, rage, sadness, shame, and cynicism. If all this is true, and I know it to be, and I know it to even be reflected in a lesser extent in my own reality, then how can there ever be change? I suppose one has to have a bit of faith that change is possible and has always happened against great odds. Newsom has some obviously, as her crusade has changed her life. She has her daughter to think of. We all have daughters and sisters and and mothers and cousins and friends to think of and aren't they are worth fighting for? In the end, Newsom leaves us with hope, in the form of young women, and men, who are waking up and fighting back. Looking at the youthful audience around me, I had hope as well.
***
Jordana is an avid blogger and writer as well as Schema's Social Media Coordinator. She loves writing about fashion, food, film and culture, but she also loves a good nap - things which sadly often conflict. You can find her online ramblings at @mizzjblog and @schema_magazine.
Related Links
Official film website
Miss Representation on VIFF
Tags: Film, Film Festival, Jordana Mah, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Sleeping Beauty
By VIFF Correspondent Vinnie Yuen
DIR: Julia Leigh | Cinema of Our Time | Australia | 2011| 102 mins | English
Sleeping Beauty is not a fairy tale. What happens to you when you sleep? Would you dare capture what happens on video? A young attractive university student is about to find out.
Lucy, played by Emily Browning, is bored with her monotonous life. Between school and her two jobs as waitress at a café and photocopying minion at an office, she seeks out men at bars for casual sex. She goes through most of her life emotionless, except when she is with her friend Birdman, a pale reclusive alcoholic.
Lucy decides to answer an advertisement in the paper for a job that seems sexual in nature. After a brief interview (which includes a strip-down and examination), she gets hired. She starts off as a server in lingerie at an upscale dinner party for elderly rich folk, but is later promoted to provide a special kind of sexual service—she is drugged to sleep and elderly men may touch her as they please. However, no penetration is allowed.
Lucy's character is full of complexities, yet the film never explains much. She speaks boldly and assuredly to men, takes recreational drugs as she pleases and shows no fear in her day to day life. When her boss tells her there will be no penetration as her vagina is a temple, she scoffs and declares, "My vagina is not a temple." She sheds tears only with her friend Birdman.
Many of the sexual scenes are not at all erotic. The scene of young women in lingerie draped upon elderly men in suits and two nude women displayed, bent over as if in Yoga child's pose, elicits laughter from the audience. It's strange that a film with so much full-frontal nudity can be so unsexy.
Emily Browning delivers a hauntingly convincing performance in this film. Although the scenes jump and jumble, the effect of the film is undeniably disturbing. Sleeping Beauty touches on issues of commodification of the female body, insecurities of male sexuality, and the eeriness of voyeurism, but audience members will not walk away with a clear-cut message. The film awakens your senses, but you're left unsure of what to feel and how to feel—you just know you cannot interpret the name of this classic fairy tale the same way again.
***
Related Links:
Sleeping Beauty
Official film website
Tags: Vancouver International Film Festival, VIFF 2011, Vinnie Yuen
VIFF 2011 | Target
By VIFF Correspondent Patricia Lim
DIR: Alexander Zeldovich | Cinema of Our Time | Russia | 2011 | 154 mins | Russian
Target is set in the year 2020, in a Russia made prosperous by mineral resources and transit income thanks to a superhighway that cuts through Russia connecting Guangzhou to Paris.
The film focuses on a group of super-elite Muscovites—the amiable Victor, who serves as Minister of Natural Resources; Zoya, his beautiful and much younger wife; Mitya, Zoya's brother and a hyperarticulate TV gameshow host; and Nicolai, a colonel responsible for overseeing the superhighway.
The film kicks into action when the four take a trip to an astrophysics complex near the Mongolian border known as "Target" that is said to restore youthful vitality.
Along the way they meet Anna, who provides voice-instruction for Chinese audio tape lessons, and she and Mitya quickly fall in love. After they spend the night in the facility (the film doesn't overexplain how exactly this complex restores youth, mentioning both "chi" and "cosmic rays."), they return to the city, bringing a local girl, Taya, with them. Initially, all is well, but eventually the longer-ranging effects on the characters' psyche prove to be destructive to several of the characters.
Target is always fascinating and thought-provoking, even when it's bizarre or confusing (which is most of the time). The bizarreness shouldn't be surprising to those familiar with Russian post-modern writer Vladimir Sorokin, who co-wrote the screenplay with the director, Alexander Zeldovich. In one of his previous books, he wrote a sex scene with Stalin and Khrushchev's clones.
There's nothing like that here (although there is plenty of sex); instead the film includes a hodgepodge of different scenes and plot devices: a game show where contestants cook while debating philosophy or complex political theories (this kind of game show might actually interest me), a scene where rich people ride motorcycles to shoot and capture immigrants with net guns, eyeglasses which can quantify a person's percentage of "good" and "evil," a phantasmagoric party scene by the pool. As far as I could tell, the film tries to tackle the meaning of happiness, the nature of love and sex, class systems, moral objectivism, mortality...I could go on; however, I'd need to see this film a couple of times to even attempt to understand what's going on.
The set design is quite outstanding as well; there was obviously a lot of thought put in the technology and design of the cars, cellphones, and interior design—not too futuristic to be unfamiliar or to see the potential of having these kinds of technologies in the near future.
Also impressive is the acting, with one of the standouts being Justine Waddell playing Zoya, running the whole gamut of emotions as her world spirals downward. The only major criticism I'd have of Target is that it may be overly ambitious as to be confusing to the common viewer. However, I should also state that I'd rather a movie try too hard to say something than not say anything at all.
***
Patricia Lim is managing editor for Ricepaper magazine and a part-time librarian. She likes to meet weirdly interesting people and attend artsy events to stretch her mind. You can see what she writes on Twitter @ricepapermag.
Related links:
Target
Tags: Film Festival, Patricia Lim, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Grandma, a Thousand Times
By VIFF Correspondent Patricia Lim
DIR: Mahmoud Kaabour | Nonfiction Features of 2011 | Lebanon , Qatar , UAE | 2010 | 48 mins
In one scene early in Grandma, a Thousand Times, 83-year-old Teta Fatima, the title character, listens to a cassette tape of her late husband playing the violin, and tears come to her eyes even though it's been 20 years since her husband passed away. There are several such tear-inducing scenes in this poignant character study of the outspoken yet sensitive grandmother of Lebanese documentary filmmaker Mahmoud Kaabour.
Although a running time of 48 minutes doesn't allow much time for the film to delve deeper into Teta's life outside of being a wife, mother, and grandma, the film has a brief overview of her childhood and an expression of the wish that she had to learned to read. However, this is a small quibble. The narrow focus allows the viewer to gain a deeper insight into the life of Teta and her relationship with her family. In particular, her relationship with her grandson is especially close, since he is her husband's namesake and also bears a remarkably similar resemblance. On occasion, she even calls her grandson "Little Husband"—which could be perceived as slightly disturbing in other contexts, but comes off here (mostly) as a sign of deep affection.
Kaabour films wordless scenes where his grandmother is enjoying smoking arguileh on the balcony, listening to music, and walking on the street with her grandson. However, Teta's personality truly shines when she talks to the camera. In one scene, she meets and embraces her grandson's fiance, and feeds her oranges by hand. Despite that, she then complains about her being a white girl and critiques her looks—although she admits that she's got a nice body. Later on, she abashedly realizes that she's still wired for sound and laughs as she remembers too late that she should watch what she's saying.
While never mean-spirited, she has that sort of candid frankness that only seems to be acquired with age, and should remind many of the viewers of their own grandparents. While affectionate and light-hearted for the most part, Kaabour also captures the darker aspects of growing older—Teta ruminates on death, describes the different medications she must take (although her medicine box includes an Oreo) and the loneliness she feels as family move away from the city.
Grandma, a Thousand Times is a lovely, heartwarming, and very affectionate tribute not just to Teta herself, but to family and the close relationship between grandma and grandson. After watching this film, many a grandchild will likely be inspired to pay a visit to their grandma.
***
Patricia Lim is managing editor for Ricepaper Magazine and a part-time librarian. She likes to meet weirdly interesting people and attend artsy events to stretch her mind. You can see what she writes on Twitter @ricepapermag.
Related Links:
Grandma, a Thousand Times
Tags: Film, Film Festival, Patricia Lim, VIFF 2011
VIFF 2011 | The Turin Horse
By VIFF Correspondent Patricia Lim
DIR: Béla Tarr | Cinema of Our Time | France , Germany , Hungary , Switzerland , USA | 2011 | 146 mins
The Turin Horse begins with plain text across the screen, telling the story of Friedrich Nietzsche's mental breakdown in Turin in the late 19th century after he sees a horse being whipped.
The film then opens with a workhorse being driven by a farmer at a steady pace across a fog-filled, desolate countryside. (Is this the same horse that was witnessed by Nietzsche? The film doesn't say.) A mournful-sounding dirge plays throughout this scene and repeats itself through key parts of the film after the farmer arrives home to his daughter. During the times when this musical theme doesn't play, the sound of the howling wind stubbornly bears down on every scene, almost like another character, persistently reminding both the characters and the audience that it may very well sweep them away from the earth.
For five days the film follows the farmer and his daughter around on their daily tasks. The daughter helps the farmer dress and undress; she boils potatoes; they eat potatoes; they stare out the window; they worry when the horse doesn't want to eat. With a few exceptions, these actions are repeated even while they make attempts to leave the farm.
Two scenes are welcome breaks and actually provide the majority of the film's dialogue and explicates the film's themes—a neighbour borrows palinka and rants about the degeneration of society, and a band of gypsies pays an unwelcome visit. But for the most part, the long takes and lack of dialogue forces you to sit there, desperate for some sort of stimulus, compelling you to then notice every detail of the farmer's bearing, his unexpressed affection for his daughter as she helps him remove his jacket and shoes, the play of light and shadows, and the slow rhythms of life in a 19th century Hungarian farmstead.
It would be an understatement to say that watching this film requires a certain amount of patience. Around day four, as I watched the farmer and his daughter eating their potatoes for the fourth time, I found myself in a sort of stupor as I wondered when the film would end. But a sort of stark and powerful beauty can be found in the beautifully filmed black and white cinematography, the measured pacing, the mournful musical theme, and the sound of the howling wind. Thus, when nature itself seems to fail the farmer and his daughter, it doesn't come as a surprise or an apocalyptic event, but as a slow, sad, inevitable realization. In the words of T.S. Eliot: This is the way the world ends/ Not with a bang but a whimper.
***
Patricia Lim is managing editor for Ricepaper Magazine and a part-time librarian. She likes to meet weirdly interesting people and attend artsy events to stretch her mind. You can see what she writes on Twitter @ricepapermag.
Related Links:
The Turin Horse
Tags: Film, Film Festival, Patricia Lim, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Return to Burma
By VIFF Correspondent Sadiya Ansari
DIR: Midi Z | Dragons and Tigers | Taiwan | 2011 | 84 mins
Director Midi Z secretly shot the majority of his first feature film in Burma. Like his main character, Midi Z is also ethnic Chinese from Burma. Having left the country many years ago, he returned to Burma to make this film. Burma, also known as Myanmar, is said to have the world's most censored media, the film gives the audience a rare insider's perspective.
Wang Xing-hong is returning to his hometown of Lashio after working in Taipei for several years. With him, he brings home the ashes of his friend and coworker, Rong, who died in a construction accident. The audience follows his journey back, immediately noticing the simplicity of life as compared to Taipei and the strange contradictions, such as the absurd government-produced pop music promoting democracy.
Wang comes home to his parents and brother, and as the story unfolds it becomes clear the struggle for survival felt by is family is commonplace. In Taiwan, Wang made about ten times what his father or brother were able to make. As a result, many young men seek to leave the country, paying enormous sums of money to go to places like Malaysia or China. The impossibility of prosperity in the country is demonstrated as Wang explores options to make a living when deciding whether or not to stay in Burma.
This is not a plot-driven film. Nor is it necessarily character-driven. It is about Wang rediscovering Burma, ultimately discovering not much has changed. While watching his journey, I couldn't help but feel like it needed to happen a little faster. The slow pace of the film leaves you craving for something,anything, to happen. The painful stretches of silence and being forced to observe Wang's quiet, introspective moments created a feeling of hopelessness.
I almost felt trapped in the film and desperately wanted a way out. In this way, Midi Z is quite successful in communicating the sense of bleakness felt in the country without being overtly political as you might expect a film about Burma to be. It is the subtle details in the film, such as how young men coveted the position of migrant hard labour, usually otherwise associated with exploitation and unfair compensation. The universality of dreams is another theme that is well-communicated. Parents wanting a better life for their children or teenage boys hoping to be rock stars are all very relatable experiences that are woven into the film quite nicely.
If you are looking for an action-packed, highly politically-charged film, then this film definitely isn't for you. However, Return to Burma has definite value in its subtle political and cultural observations and I would recommend it to those that want an inside look into everyday Burmese life.
***
Related Links:
Return to Burma
Tags: Film, Film Festival, Sadiya Ansari, VIFF 2011
VIFF 2011 | Mitsuko Delivers
By VIFF Correspondent Genie Macleod
DIR: Ishii Yuya | Dragons and Tigers | Japan | 2011 | 109 min | Japanese with English subtitles
Times are tough in Ishii Yuya's Tokyo. The economy is in free-fall and workers in all industries are losing their jobs left right and centre. On TV, a man confesses to his interviewer that he lost his job but cannot bear to tell his wife, so everyday he puts on his suit and sits on a park bench until the work day is done.
Despair is everywhere, but not so for Hara Mitsuko. Nine months pregnant, alone and penniless, Mitsuko refuses to feel sorry herself. She lives by the mantra, "when the wind is going in your direction, go with it, when it isn't, take a nap!" So she follows the winds of change back to her childhood home in a forgotten shantytown in the heart of Tokyo.
Mitsuko is a rare treat for those of us raised on Hollywood schlock: a strong female lead in a comedy. Think back to the last time you watched a comedy starring a woman who is selfless but not because she is desperate to please, or who is strong-willed but isn't portrayed as humourless bitch, or who has character flaws more substantial than kinda-clumsy-but-in-a-really-adorable-way-so-she's-still-cute-and-totally-innoffensive. Ladies and gentlemen, I give you Hara Mitsuko!
Mitsuko is like a Japanese Amélie, poking her nose into other people's business and trying to solve everyone's problems before her own. Who has time for morning sickness and swollen pregnancy feet when you're too busy tending to your bedridden former landlady, single-handedly saving a foundering restaurant, playing match-maker to unrequited lovers and fending off marriage proposals from your childhood sweetheart?
But where Amélie is impish and delicate, Mistuko is tough as nails and perpetually sour-faced—except whenever a shantytown resident recounts his tragic life story and she bursts into a flood of hormonal tears.
The film moves at a quick pace that is supported rather than interrupted by flashbacks to Mitsuko's childhood when she was just as determined as now, and cute as a button to boot!
The story soon hurtles into organized chaos when all the characters and their accompanying plot lines convene on the little shack where Kiyo, bedridden landlady lives—hilarity ensues, naturally. The absurdist tone of the film is matched a quirky score that ranges from bright and cheery string interludes to wild screechy clarinets and madcap drum sections.
Everyone in the shantytown agrees that it is best to lead a "cool" life—I'm not sure how this translates in Japanese, but it always got a laugh from the packed house whenever it came up. To the shantytown dwellers acting "cool" seems to mean sharing what you have, looking out for your neighbours, and generally living with humanity. "Cool is the Japanese aesthetic," says Kiyo at one point. I can't speak to Japan, but after seeing this excellent film I can say with certainty that "cool" is Ishii Yuya's aesthetic.
***
Genie is an editorial assistant for Schema Magazine and self-appointed seeker-out of Schema-worthy events in Vancouver. She is a certified bookworm with a special fondness for Shakespeare and CanLit. You can follow her on Twitter @geniemak
Related links:
Mitsuko Delivers
Tags: Film, Film Festival, Genie Macleod, Vancouver International Film Festival, VIFF 2011
Beili Liu's The Mending Project | Defying Convention
By Brandon Woo
1500 scissors, hanging by threads, dangle above a woman's head, and all the woman does is mend cloth. You could easily kill someone with one of those scissors, but the woman cares not. Instead, she continues on with her activity.
Beili Liu, the woman beneath the scissors and the artist behind this exhibit, calls her project The Mending Project. Juxtaposing the scissors against herself and the cloth, Liu strikes fear in her audience, but she also manages to calm them. The atmosphere is one of both danger and innocence—a balance.
This installation at the Women and Their Work Gallery of Austin, TX engaged its visitors in spring 2011, inviting them to cut cloth to offer to Liu. In this way, visitors became a part of The Mending Project, walking under the sky of scissors to Liu's table.
Liu told My Modern Metropolis that having grown up in China affected her project. "There is a warm familiarity about them," Liu said about the scissors. "I am interested in harnessing the threatening essence of these ... scissors," she explained. "They are not 'polite' like the ones we are use to [in North America]. You can use them to cut or stab."
But what Liu's project also reminded me of was women who defy convention; women who create their own rules and blaze their own trails; women who are not afraid of achieving their dreams in spite of the sexism that still exists, particularly in the business and science worlds. Women who ignore the razor sharp scissors in life and do what they enjoy.
--
Brandon Woo is a happy high school student in Vancouver, BC. In working with Schema, he hopes to educate others about current events and learn more about the world around him too.
Posted by Brandon Woo | October 18, 2011 | Comments (0)Tags: Art, Feminism, Gender, Sexual Stereotypes
VIFF 2011 | Planet Yoga
By VIFF Correspondent Jordana Mah
DIR: Carlos Ferrand | Canadian Images | Canada | 2011 | 87 mins
The global phenomenon that is yoga is as misrepresented as it is popular. Hailed as the aerobics for hippies, yoga has been long associated with many things, not all of them positive.
Some hail yoga as a means to awaken from the corporate drudgery of the modern world, while others see it as cult-like nonsense, or commercialized spirituality. In order to find out the truth, director Carlos Ferrand embarked on his own journey into yoga as it took him from San Francisco, to Vancouver, Montreal and finally, India.
To figure out the whats and the whys of yoga, Ferrand meets with both Western and Eastern gurus and discusses with them just what yoga means to them. It's a simple premise: if you want to know about something, you talk to the experts. Through these discussions, viewers learn about the journey of yoga from the East to the West, to the South and to the very tips of the North, where even Inuit teens are learning asanas (poses).
Repeatedly throughout the film, it is emphasized that yoga is not a religion, but rather is a ritualized form of spiritual discovery, opening the gateway for practitioners to relearn the beauty of stillness and connection with one's body and soul. Whatever religion or beliefs you may hold, yoga has a place for you and by the end it would seem that Ferrand is convinced that yoga is indeed, a bastion of serenity in our chaotic universe.
The film is a fascinating journey and leaves me wanting more. As a practitioner of yoga myself, I found the film to be educational and reminiscent of many of the philosophies my teachers had spoken of. Previously many of my friends have questioned me on just how much spirituality is awakened in most yoga students, if any, and whether most people merely see it as an exercise activity that involves buying over-priced gym gear.
After seeing the film, I know that it doesn't matter either way. Yoga is not a religion to be spread and followed to the letter. Even if you're not aware of it, just following the practice is already changing who you are. All yogis know that just as with a difficult pose, you cannot force yourself into things. You must learn to be still, to relax, and without even trying, you will achieve what you were meant to do.
***
Jordana is an avid blogger and writer as well as Schema's Social Media Coordinator. She loves writing about fashion, food, film and culture, but she also loves a good nap - things which sadly often conflict. You can find her online ramblings at @mizzjblog and @schema_magazine.
Related Links:
Planet Yoga
Tags: Film, Film Festival, Jordana Mah, Vancouver International Film Festival, VIFF 2011
Iranian Actress | Sentenced to 90 Lashes
By Justin Ko
There are moments when we can marvel at the massive amounts of progress and advancement that human civilization has made over the centuries, when we can be proud of how far we've come as people in our relatively brief time on this Earth.
But then there are the moments where the darker, more sinister side of human nature comes to the fore. When Iranian actress Marzieh Vafamehr was reportedly sentenced by an Iranian judge to a year in jail in addition to 90 lashes—yes, that's right, they still have lashes as punishments apparently—for the "crime" of appearing in a movie which depicted the restrictions put on artists in the Islamic country, such darkness and violence has once again reared its head.
The movie in question is called My Tehran for Sale, co-produced by Australian Kate Croser. Clearly worried over the horrific treatment that Vafamehr is undergoing as a result of her role in the film, Croser expressed to the Adelaide Times that "there is an appeal which could be lengthy and the family may still believe that public comment will be unhelpful because they are going through all the official channels."
Croser also explained that "We can say the charges were that there was no permit for filming, which is not true, and that in some scenes Marzieh was not wearing a hijab and had a shaved head."
There can be no doubt that, regardless of whether her lawyer's appeal will be successful, Vafamehr is going through a very troubling time right now. The fact that she is even facing such cruel and unusual punishment simply for appearing in a movie which expressed some of the realities of the Iranian regime is a matter of grave concern. One can only hope that the attention that her case is receiving may help change the verdict.
Posted by Justin Ko | October 17, 2011 | Comments (0)
VIFF 2011 | Black Bread
By VIFF Correspondent Amy Chow
DIR: Augstí Villaronga | Cinema of Our Time | Spain | 2010 | 108mins
The images in the first five-minutes of Black Bread are so deeply disturbing that my younger sister refused to watch the rest of the screener with me. I'll hint that the realistic computer, generated-images would still have made People for the Ethical Treatment of Animals squirm.
This dark coming-of-age story follows 11-year-old Andreu (Francesc Colomer) as he first witnesses two murders to his painful discoveries as he uncovers the truth. It's set around 1944 in post-Spanish Civil War Catalonia.
When the Fascist mayor suspects Farrio, Andreu's father and a former Republican rebel of the murder, he goes into hiding. Andreu is left at his grandmother's and he must make-do with weekly visits from his mother, Florencia. Florencia tells her son she "works herself to the bone for everyone else" at a sweat-shop yarn factory.
The only child must quickly adapt to living in an all female household, which also includes his aunt and cousins. He quickly forms a bond with his older cousin Nuria (Marina Comas) who at a young age has already suffered hardships. She's lost her hand due to a grenade and she consequently suffers the mental effects of the war. Nuria also confides to Andreu that she knows her father committed suicide.
It's a disturbing relationship to watch develop. Nuria's cynicism and actions in life contributes to Andreu's loss of childhood innocence. Andreu gradually becomes less trusting and he's become aware of the flaws in the adults around him.
The serious tone of the film is depressing—death, corruption, and danger seem to lurk around every corner. It's not an easy two-hour film to sit through. The effects of the war deeply affect the behaviors of the adults which have serious repercussions for the children. Andreu is left with a heart-breaking decision of how he wants to live his life at the end of the film.
The film is an adaptation of Emil Teixidor's novel. Last February, it swept the Goya Awards which honours the best Spanish films. It won nine awards including Best Film and Best Director.
While the film is very graphic and at times disturbing, the characters in the film successfully show that war is never over.
***
A diverse writer, Amy Chow has covered health and education-related topics, written social commentaries, profiles, travel stories, restaurant and movie reviews. She's written for the Tyee, Xtra West, Westender, Asian Pacific Post, Momentum, Ricepaper, and Schema Magazine.
Related Links:
Black Bread
Official film website
Tags: Film, Film Festival, VIFF 2011
VIFF 2011 | Dragonslayer
By VIFF Correspondent Chantelle Belle
DIR: Tristan Patterson | Nonfiction Features of 2011 | USA | 2011 | 74 mins
Skateboards, swimming pools and love in SoCal. Dragonslayer is a punk-rock-doc about lost youth in a decaying paradise. Winner of the Best Documentary prize at SXSW 2011 and the Best International Documentary at the Hot Docs festival, Dragonslayer will be most appreciated by those who enjoy Best Coast, PBR and recreational drugs.
California living revisited: foreclosures and empty swimming pools, a skateboarding oasis. The opening scene introduces Josh "Skreech" Sandoval, a backyard-pool-skating-punk. A mop of hair interrupted with patches of bleach-stained curls. Skreech skates with careless ease, shirtless in blue jeans.
First time director Tristan Patterson decided to make a film about Skreech after meeting the 23-year-old at a house party in Chino, CA. Skreech had just become a father and was making a return to the competitive skate scene.
"I feel like I captured a moment in his life," said Patterson during an interview after the screening.
It is a time of great change for Skreech, and at the same time, a return to the familiar. The introduction of Leslie sets the stage for an unconventional love story. Lost youth getting wasted and falling in love.
Inspired by films like Out of the Blue and Over the Edge, Patterson captures the essence of Skreech and the people around him with an objective distance.
"I felt like today we're not seeing a lot of authentic portraits of youth," said Patterson. Dragonslayer achieves that authenticity in a well-edited documentary package.
The film is structured into 10 chapters that play chronologically, unfolding like a disjointed punk album. Skate competitions in Sweden, dates at the drive-in, randomness in a Winnebago. This is Skreech's reality.
Shot on a Canon-5D and a flip-cam, the doc feels a bit DIY at times, followed by moments of cinematic beauty. Patterson and his crew blend into the scenes, almost undetected, allowing for natural performances from the main characters and the people they encounter.
In the end, Dragonslayer reminds the audience that punk still lives in SoCal. And perhaps, it is a counterculture better suited for the economic realities of today.
The film is a must-see, well premised with a rental of Lords of Dogtown.
Reminder: keep an eye out for Patterson's work in the future.
***
Chantelle is a producer of words and graduate student at the UBC School of Journalism. When she's not working you can find her eating nachos and drinking sangria or avoiding hills on her bike. You can follow her on Twitter @pieglue.
Related Links:
Dragonslayer
Official film website
Tags: Chantelle Belle, Film, Film Festival, VIFF 2011
VIFF 2011 | Burning Ice
By VIFF Correspondent Sadiya Ansari
DIR: Peter Gilbert | Heaven and Earth | UK | 2011 | 79 mins
Burning Ice transports its audience to the western coast of Greenland, documenting what David Buckland would describe as a "cultural response to climate change." Buckland is the founder of Cape Farewell, the organization that led 45 scientists, musicians and artists to Disko Bay. Director Peter Gilbert gives the audience a seat on this Arctic expedition, joining the likes of Leslie Feist, KT Tunstall, Ryûichi Sakamoto and Robyn Hitchcock.
Disko Bay is known for its breathtaking icebergs and is one of the most visited sites in Greenland. As the crew's journey up the coast is followed, the stretches of grey sky, frigid blue waters and magnificent masses of ice create an impression that is bleak, yet beautiful. The experience of artists and musicians understanding climate change is shown through their workshops with scientists, conversations with one another, and visceral reactions to their environment.
The process of this experience translating into creative works, such as KT Tunstall co-writing a song with Robyn Hitchcock or Lemn Sissay's spoken word performance, is central to the film. Gilbert also weaves in the eventual performance of some of these works at the Latitudes Festival in England. In addition, interactions between the scientists and artists provide insight into the type of research that is being conducted in Greenland. The film also gives the audience a peek into Greenlandic culture through two local guides and a stop in Uummannaq, one of Greenland's most northern settlements.
The most significant moment of the film was when engineer and architect Francesca Galeazzi released 6 kilograms of carbon dioxide on an iceberg. There was a sense of shock by fellow participants who could not understand why she would come on a journey to a pristine land only to spoil it. That, of course, was Galeazzi's point. The amount of carbon dioxide released was comparable to about a car trip of 20 miles (about 32 kilometres). It is these small, yet powerful expressions of how participants understood and reacted to climate change that are the gems that can be found in this documentary.
The film itself achieves what Cape Farewell aimed to create—a cultural response to climate change. Seeing the final products of artistic expression gives the sense that this expression will be widely shared and helps end the film off on an optimistic note. One avenue that was not explored as deeply was the relationship between Greenlandic society, in particular the economy, and climate change. There were hints at the complex story the host nation is part of, unfortunately the focus on Greenlandic society likened more to a touristic overview of cultural activities.
Climate change is a subject many feel is overexposed and that the same polarized narratives are communicated repeatedly. What this film does successfully is remove the distance between the implication of climate change and its affect on people—both Greenlandic and the crew.
***
Related Links:
Burning Ice
Tags: Film, Film Festival, Sadiya Ansari, VIFF 2011
VIFF 2011 | Sauna on Moon
By VIFF Correspondent Malin Dunfors
DIR: Zou Peng | Dragons and Tigers | China | 2011 | 94 mins | Cantonese, Mandarin
Director Zou Peng takes us on route to a different China, behind the shiny, polished-to-perfection skyscrapers to the nitty-gritty world of a sauna-cum-massage parlor in Guangzhou, southern China.
It's the land of broken dreams that never sleeps amidst the hard work towards a less grim future. Within walking distance of the lost alleyways and crumbling shackles, towers Sauna on Moon, a massage parlor with an ocean view and—breeding place for ducks. Chang E Wu (aka Goddess of the Moon) tries to make a honest living but hey, ducks just doesn't cut it. After meeting with a 90-year-old feng shui expert, who instills in him the importance of using his swimming pool to his advantage, Wu gives up duck breeding.
Instead, he begins focusing on his side business, a brothel in the making. From here on, we get to follow three of Wu's employees: struggling Rose, elegant and in-a-league-of-her-own Li Jie and daydreaming Xiao Meng.
Through these three saturated life stories, we experience a world draped in shades of gray, rather than cut in black and white. One day, there's Wu's birthday party with jolly games being played in the ocean break and the next day an innocent, young factory worker is sacrificed to gangster Lin. Her crime? Being a virgin. As Wu's establishment moves upscale, all beats are off. If you haven't escaped Sauna on Moon by now, chances are you're in for the long ride.
Trailer : Sauna On Moon from Albany Films Intl. on Vimeo.
Despite the theme at hand, Peng never misses a beat when it comes to provoking and making you laugh. Wu's new recruits doing a group moaning exercise is a classic on its own merit. Equally, Wu dancing the Viennese waltz with the storeowner of a sex toys shop before investing in new, colorful toys to his top recruits will have you asking for more. Black humor, a bit of realism tossed together with social criticism works in Peng's favor as he asks the "to be or not to be" when it comes to China's financial and humanitarian state of mind. How long can capitalism and communism co-exist? Is this never-ending hamster wheel China's future?
Sauna on Moon doesn't only take the pulse on today's China but is also to a large extent a visual treat. Cinematographer Yu Lik-wai's photography cleverly offsets the seriousness of the movie. The poolside fashion show in particular makes for a spell-bounding finale and is a reason by itself to book into Sauna on Moon.
***
Malin's a Swedish, bilingual journalist, currently doing her MA in Journalism at UBC. When she's not busy hunting down some obscure snowboard movie or Marilyn Monroe biography, you'll most likely find her outdoors at the slope or in the woods. Twitter account: @Dunfors.
Tags: Film, Film Festival, Malin Dunfors, VIFF 2011
This Week in Vancouver | The Rhythm and Rhyme Edition
By Genie MacLeodSo I know the last installment of This Week in Vancouver was all about books and words and the like, but this week's edition has a bit of a twist: metre and a rhyme scheme! Ok ok, so not all poetry has to rhyme, or fit into a metrical rhythm, or have any kind of structure at all, but the "Rhythm and Rhyme Edition" sounds a lot better than the "Sometimes Structured But Mostly Amorphous Groupings of Evocative Words and Phrases Edition," don't you think? This week's events let you experience the poetry of rap and hip hop music, theatre, and, well, poems!
Image credit: Vancouver 125 Poetry Conference
Vancouver 125 Poetry Conference
Wednesday, Oct. 19th - Saturday, Oct. 22nd
Various times and locations
Yesterday it was announced that Vancouver's next poet laureate will be Eveyln Lau, and Ms. Lau is already brewing ideas for her honorary 3-year post. Lau, who has been publishing poems since she was a teenager, first came to prominence for her 1989 novel Runaway: Diary of a Street Kid, which was based on her experiences of homelessness and sex work as a teen. Lau's appointment was timed nicely with Vancouver's first major poetry conference celebrating the younger generation of Canadian poets. Except for the three keynote readers, all of the 70+ poets featured at the four-day conference published their first book of poetry after 1990. Th daily schedule is ambitious and extensive, and is sure to include at least a few wordsmiths who will take your breath away.
Image Source: Megaphone
Friday, Oct. 21st - Saturday, Nov. 12th
The Cultch
What drives people to racially profile? To develop prejudices? To ignore the needs or wants of others? In their latest play, Headlines Theatre shows how we make these choices possible every time we separate "us" from "them." Us and Them is the result of a two year project that Headlines began last year. In the project's first year, the theatre company held several public inquiries delving into the average person's experience with Us and Them mentalities. Now they are putting those stories and experiences and research on stage for all to share and learn from.
Image credit: Gossip nightclub
Friday, Oct. 21st, 9:30 pm - 3:00 am
Gossip Nightclub
You know what would make the solo stylings of hip hop artist and occasional OFWGKTA member Frank Ocean better? Were you thinking acoustic guitars too? Well you're in luck! This weekend Gossip Nightclub is holding the first ever Vancouver Urban Showcase, featuring Kristie Yung, who does acoustic covers of popular hip hop songs, Gio Levy, Nick Hope, and local hip hop stars the Boombox Saints, who, incidentally, performed at an awesome bash that Schema threw last summer. Ooh, did you miss it? That's too bad, because it was awesome. All the more reason to catch all this talent at Gossip on Friday!
image credit: Miscellaneous Productions
Raincity Rap: The History of Hip Hop in Vancouver
Moberly Arts and Cultural Centre
Friday Oct. 21st and Saturday, Oct. 22nd
Much to my mother's dismay, when I was a kid one of my favourite musical groups was the Vancouver-based hip hop and rap group Swollen Members. When it comes to major hubs for rap and hip hop music and culture, Vancouver is probably fairly low on the list, nevertheless, we have produced and continue to produce our fair share of well regarded hip hop artists. This weekend you can find out all about the past, present, and future of rap and hip hop in Vancouver at
Tags: Events
VIFF 2011 | Big Blue Lake
By VIFF Correspondent Gian Falcone
DIR: Jessey Tsang Tsui-shan | Dragons and Tigers | Hong Kong | 2011 | 98 mins
This year's fesitval played host to the World Premiere of Jessey Tsang Tsui-shan' Big Blue Lake. The independent film from Hong Kong tells the story of two characters, Cheung Lai Yee and Lin Jin, who return to the village where they grew up, to reconnect with the area and the people in it.
Essentially Big Blue Lake is a love story set in Ho Chung Village, although the film takes a long time to get there.
Cheung Lai Yee left the village ten years ago to study theatre in England, something which her father was against. Her mother helped her leave the country to achieve her dream. A decade later she becomes bored of working as an actress in the same play night after night and wants to make up for time lost with her family.
Our leading lady, played by Leila Kong, quickly discovers the village is not how she left it: her mother is suffering from early signs of Alzheimer's disease and her father is working outside of the country.
Lin Jin on the other hand, has a less complicated tale which brings him back to the village as he is on a mission to find his first love. His narrative of trying to seek out his childhood sweetheart, whom he was supposed to run away with but he failed to show, allows the film to focus on the fantastic backdrop of Ho Chung Village. However, we find out he is protecting his pride by lying, as in fact he was the one who was stood up all those years ago.
After some early friction between the two main characters we discover they share some common ground, such as being in the same class at school and how they are both looking to reconnect with the village.
With her theatre experience, Cheung Lai Yee covers for the leader of a senior citizens group, who is off sick. She organizes a small play for the group to put on about what the village means to them.
Lin Jin reconnects with the village by seeing as many of the local girls as possible.
The movie seems to have two agendas—one is the love story between the main characters and the other is showcasing the village of Ho Chung. The scenic view of the Hong Kong village and the representation of Cheung Lai Yee mother's struggle with Alzheimer's are by far the best points to the film.
Big Blue Lake definitely promotes a "home is where the heart is" feeling and finishes with a feel good ending, building up to the village festival which is mentioned throughout the film. The movie ends with Cheung Lai Yee taking over as the seniors group lead, her parents are reunited and after a passionate kiss with Lin Jin, which is never discussed, it seems he leaves Ho Chung for the big city. But our prince charming ends the film with his arm around Cheung Lai Yee.
***
Gian is a recent UK Journalism graduate who has a passion broadcasting and a nose for news. You can follow him on Twitter @gmfalcone
Related Links:
Big Blue Lake
Tags: Film, Film Festival, Gian Falcone, Vancouver International Film Festival
VIFF 2011 | Wind & Fog
By VIFF Correspondent Amy Chow
DIR: Mohammad-Ali Talebi | Cinema of Our Time | Iran | 2011 | 74 minutes
SHOWTIMES:
Thu, Oct 13th 11:40am | Empire Granville 7 Th 3
Wind & Fog is an Iranian film that subtly addresses the impact of the Iran-Iraq war on two siblings. After losing his mother, eight-year-old Sahand becomes mute and possibly mentally unstable. He's bullied by his fellow classmates at school and after school. His older sister is always by his side and she's not afraid to defend, or fight for her brother. The girl seems wise beyond her years and she never seems to be burdened by this care-taker responsibility.
Their father has left them in the countryside with their kind grandfather, so he can earn money to buy the family a nice house and a herd. They live on a mountain with a nearby lush forest and lake, where they can fish and see majestic geese fly. The siblings attend a one-room classroom until their teacher tells the girl that the boy should be in a special school. She chooses to leave the school until they are both welcomed back.
On a family outing to the lake, Sahand sees an injured goose after being shot from a hunter, it flashes back to the start of the war. Yet the film isn't overtly political, it doesn't bombard the audience with statistics of how many people died, it doesn't show politicians, or explain why the war began. It shows how everyday citizens and children are affected by the war. Sahand's facial expressions and eyes effectively and subtly show how destructive the war is.
While the film's focus is on the children, the audience would have become even more empathic if the role of the mother was larger. She only briefly appears in a couple of scenes.
The film was awarded the Berlin's CINEMA fairbindet Prize for contributing in an "extraordinary way" to the ongoing dialogue on important global issues. The story is short and simple, but it shows how children learn compassion and how they are able to work together towards solving a problem. The film leaves the audience with a warm feeling as they leave the theater.
***
Related Links:
Wind & Fog
Posted by Gayatri Bajpai | October 12, 2011 | Comments (0)
VIFF 2011 | Somewhere Between
By VIFF Correspondent Patricia Lim
DIR: Linda Goldstein Knowlton | Nonfiction Features of 2011 | USA | 2011 | 93 mins |
In Mandarin Chinese, Spanish, English with English subtitles
Growing up as a teenage girl is hard enough—navigating issues of racism, identity, feelings of abandonment, and the possibility of never really knowing the murky story of your origins is a whole other story.
Somewhere Between, which took the People's Choice award at this year's Hot Docs Festival, is a documentary by filmmaker Linda Goldstein Knowlton that looks at the lives of four American teenage girls who were adopted from China.
The film doesn't delve too deeply into political or societal issues, although it mentions the fact that China enacted the "One-Child Policy" in 1979, and that since 1989, 100,000 children from China have been adopted around the world. Neither does it cover the reasons why the families chose to adopt and why they chose to adopt from China.
Instead the film looks at the story of adoption from the adoptees' perspectives and does an admirable job of giving each of the girls—Fang, Jenna, Ann, and Haley—their own unique voices and stories through the use of video diaries and unobtrusive hand-held camera filming.
All the adoption stories are portrayed quite positively, as it's clear that the girls have all grown up in families that love them and also support them in their aspirations—aspirations that they might not have had if they'd grown up in China (Fang, for example, discovers that the Chinese ethnic group that she may belong to doesn't allow girls to learn the written language).
TRAILER: Somewhere Between - A Feature Documentary from Linda Knowlton on Vimeo.
At the same time, the word "abandonment" comes up quite a few times in the film. In one poignant scene, Jenna talks about her adoption experience with an audience of prospective adopter parents in Spain and says that "99% of her believes that [she] was placed, but 1% wishes [she'd] never heard the word 'abandonment.'"
Although all the girls deal with their past in different ways, some traveling to China in an attempt to discover their heritage or find their family, and some forming communities and "support groups" with fellow adoptees. Meanwhile, others express no curiosity in rediscovering their past in China. However, all of the girls are astonishingly mature and articulate about their choices and their self-realizations and the film makes no judgments of how each girl chooses to view their adoption.
In the Q&A after the film, the filmmaker also revealed that she made the deliberate choice not to film the "horror stories" (i.e. adopted children being returned to their home country), feeling like it would be invasive, and that these kinds of stories had already been well-covered; at the same time, she doesn't soft-cushion the difficult experiences and emotions that the girls go through.
As the lights started to come on after the showing of Somewhere Between, I could still hear the faint sounds of sniffling and saw fellow audience members wipe away tears that hadn't yet dried. Somewhere Between is quite an emotional experience but never feels exploitative, and like the best of documentaries, gives a human face to the bare facts.
***
Patricia Lim is managing editor for Ricepaper Magazine and a part-time librarian. She likes to meet weirdly interesting people and attend artsy events to stretch her mind. You can see what she writes on Twitter @ricepapermag.
Related Links:
Somewhere Between
Official film website
Tags: Film, Film Festival, Patricia Lim, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Trespassers
By VIFF Correspondent Genie Macleod
DIR: Jeffrey Jeturian | Dragons and Tigers | Philippines | 2011 | 88 mins | In English and Tagalog with English subtitles
The Christmas season is meant to be a time of love and joy, a time to be with family and to offer peace and goodwill to your fellow humans. But we all know it's easy to crack under the pressure of trying to embody the spirit of the season.
The members of the Aguinaldo family are consumed by their own personal struggles, from gambling debts to closeted homosexuality to an unemployed husband and a nasty sibling rivalry. But when they come home from Midnight Mass on Christmas Eve to find their house ransacked and all their valuables gone, all the secrets they've kept, all their personal demons and the suspicions they've formed about one another are unleashed in a very un-Christmassy flurry.
Trespassers takes its name from a line from the Lord's Prayer—"forgive us our trespasses, as we forgive those who trespass against us"—and the film takes great pains to point out the little transgressions that we make against each other every day of our lives.
Trespassers offers some wonderful glimpses into an unfamiliar (to me) society, culture, and family dynamic. The film opens on a scene of a Catholic nativity ritual: the reenactment of the birth of Christ. On a hot Philippine Christmas Eve townspeople process through the streets holding candles and singing carols. They follow a man and woman dressed as Joseph and Mary and a bevy of little angels as the couple knocks on door after door asking for shelter for the night.
For someone like me who has only experienced quiet family Christmases in cold and rainy Vancouver winters it was a treat to see the vibrant and colourful way that other cultures celebrate that occasion. The togetherness and sense of community of this and later scenes at Catholic Mass also provide an effective counterpoint the antagonism and alienation in the scenes at the Aguinaldos' house.
Every frame is infused with the iconography of Catholicism and the trappings of the season—a nativity scene takes primary place on the Aguinaldos' coffee table, a miniature plastic Christmas tree lights up the police station, a shrine to the Virgin Mary adorns Mrs. Aguinaldo's dresser, and all throughout the night a musical Christmas ornament whines out its high-frequency hymns. But these incessant reminders of the season do nothing to calm the Aguinaldo family's tempers.
Poor lighting and often shaky camera work gives the film an unnecessary documentary-style quality that detracts from the strong dramatic elements, but overall Trespassers is a realistic look at just how high family tensions can run during the season of giving.
***
Genie is an editorial assistant for Schema Magazine and self-appointed seeker-out of Schema-worthy events in Vancouver. She is a certified bookworm with a special fondness for Shakespeare and CanLit. You can follow her on Twitter @geniemak.
Related Links:
Trespassers
Tags: Genie Macleod, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Play
By VIFF Correspondent Genie Macleod
DIR: Ruben Östlund | Cinema of Our Time | Sweden | 2011 | 118 mins | Swedish
It all starts with an innocent question posed by a group of African immigrant kids to three Swedish boys: "Can we look at your phone?"
The Swedish boys are hesitant—they can guess what the other boys are planning to do—but they hand the phone over for inspection, and suddenly the gang have their in. These kids are not the goonish hit-and-run types though, their style is much more subtle. One claims the Swedish boy's phone looks just like his brother's, which was stolen the week before. They tell the Swedish kids that they must come with them to find the brother so he can determine whether it's his phone, and thus begins a torturous afternoon of pursuit, harassment, intimidation and psychological torment.
Play presents two very different examples of how kids manoeuver in an adult world fraught with racial tension, xenophobia, and no regard for the needs of children. The immigrant children have got it figured out, but Swedish Sebastian and his friends Alex and John are helpless in every way. Anas, Abdi, Kevin, Yannick and Nana know how to intimidate a grown man into giving up his headphones and singing on a crowded bus to get them back. They know how to make it seem to passersby that the people they are harassing are really harassing them. In short, they know how to manipulate people. And all without issuing any real threats or committing any acts of violence.
The pleas of Sebastian, Alex, and John, however, fall on deaf ears. Sebastian tries to explain to a waitress at a café that a gang of boys is following him, but can't make her grasp the severity of the situation and she does nothing for him. At the end of their ordeal the three boys board a train home only to be reprimanded by the transit police for not having tickets. They just as powerless in seeking help as they are in defending themselves from their pursuers.
The colour palette of Play is appropriately drab and mournful, and the cinematography is simple but calculated: Östlund favours long lingering shots that focus not on action but reaction. A significant portion of the film happens just outside of the frame where we can't see it, or is reflected to us through a window or a glass door. The attention paid to expression and body language highlights the emotional and mental anguish of the child actors, all of whom give achingly real performances.
Östlund is treading the dangerous ground of race relations and immigrant vs. native-born dynamics in Europe with this work. The young racketeers carry out their sting with giddy eagerness and show no remorse whatsoever; it really is just play to them. I felt no compulsion to sympathize with these bullies at first, but a scene near the end changed my mind. When Sebastian and his friends have at last accepted that they are being played, one of the gang tells them: "anybody who is dumb enough to show his phone to five black guys only has himself to blame." These young black African immigrants occupy a marginalized space in Swedish society, and their response is to internalize that racism and capitalize on playing the part that is expected of them.
Play is a bleak story told with bracing honesty, and one that should be told, even if the experience leaves a bitter taste on your mouth.
***
Genie is an editorial assistant for Schema Magazine and self-appointed seeker-out of Schema-worthy events in Vancouver. She is a certified bookworm with a special fondness for Shakespeare and CanLit. You can follow her on Twitter @geniemak.
Related Links:
Play
Tags: Genie Macleod, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Hard Labor
By VIFF Correspondent Illimani Ferreira
DIR: Juliana Rojas, Marco Dutra | Cinema of Our Time | Brazil | 2011 | 99 mins | Portuguese
The ascension of women to head positions in governments and companies is still the exception rather than the rule even in countries where equality between genders was soundly ensured by law decades ago. Corporate and political worlds are not only governed by men, but by (the less palatable aspects of) 'manhood'. The Brazilian movie Hard Labor seems to hint that women, once in positions of power, may incorporate or emulate the worst aspects of 'male' behaviour: ruthlessness, megalomania, and obsessive competitiveness.
The movie starts with Helena, a white middle-class housewife and mother of a single kid, renting a place quickly abandoned by the former tenants. On the same day she discovers that her husband, Otavio, has been fired after several years working at the same company.
At this point both characters start on their personal quests. Otavio, after realising that his personal network won't find him a job, becomes trapped in the web of human resources' "technical" advice and tacky motivational support. He can only find jobs incompatible with his experience.
Helena, in turn, is obsessive about converting the rented space into a grocery store. She is hindered by a series of unfortunate incidents, including clogged pipes, wall seepages, and missing goods. She quickly becomes paranoid and harsh with her employees.
Helena hires a black maid to take care of her daughter and house chores for minimum wage. Paula's situation exposes in a particularly crude way the deep inequality still present in Brazil between blacks and whites, and the veiled racism that characterizes their relations. That issue becomes progressively clear in the way Helena's behaviour becomes progressively less cordial with Paula, getting close to that displayed by her mother when she comes to their house on Christmas.
The movie climaxes when Helena, intrigued by what seems to be seepage in the wall , hammers at it, and finds a monstrous mummified corpse, part-man part-dog inside. With the help of Otavio she brings it to an isolated area, covers it with rock salt (the antidote against bad mojo in Brazilian superstition) and burns it.
However, the transformation of the characters seems to be permanent: Helena becomes a man, and at the end of the movie teaches her daughter how to operate a cash register and follow in her own footsteps. Otavio, in a motivational workshop for unemployed men, is encouraged to release his "animal side", which he does with gusto, howling. His transformation from human to animal not really different from the corpse he and his wife found walled in the grocery shop.
***
Illimani was a bureaucrat at some grey Brazilian government office until he decided to shake the dust off his life and move to Canada. He lives currently in sunny British Columbia where he will attend Vancouver Film School and become a TV and screen writer.
Related Links:
Hard Labor
Official film website
Tags: Illimani Ferreira, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Family Portrait in Black and White
By VIFF Correspondent Chantelle Belle
DIR: Julia Ivanova | Canadian Images | Canada | 2011 | Russian, Ukrainian, Italian with English subtitles | 99 mins
Family Portrait in Black and Whitechronicles the lives of an unconventional, mix-raced family in the small Ukrainian town of Sumy. A motley crew of 17 orphans with a spectrum of skin colour live under the care of one woman.
An opening sequence of skinheads on parade and confessions of racial violence make for an uncomfortable introduction. Cue complications.
Documentary filmmaker Julia Ivanova, a Russian-Canadian, learned about the Nenya household while reading a newspaper in Russia. She carefully navigates through the complexities within the home, uncovering an abundance of tensions between different family members.
The lines between hero and villain are often blurred as the film progresses. Yet Ivanova accomplishes an applaudable neutrality in her work.
At first glance, Olga Nenya is a heroic woman. An authoritative matriarch, dedicated to caring for over a dozen orphans that nobody else will take in. The film later clarifies that Nenya has raised 23 foster children in total, and four of her own. Her generosity coupled with her protective nature defines her parenting style.
Nenya puts bunkbeds and nooks to good use to accommodate all her children under one roof. But there are moments when the family living situation becomes questionable. Notably after a visit from city officials, which reveals that the house lacks some very basic amenities—like an indoor toilet. It is hard to judge whether Nenya has, perhaps, taken in a few too many children.
Given the enormity of the family, Ivanova manages to dive in and out of individual stories with purpose and precision. Family Portrait is a patchwork film that weaves together the common experiences of the children to create a complex image of the family. It also offers some larger insights into Ukrainian life.
It is clear that Ivanova dedicated a number of years to making Family Portrait. The gaps in time sometimes sacrifice intimacy for story development, but in the end it works.
Family Portrait is the winner of the 2011 Hot Docs: Best Canadian Feature. It was screened at Sundance Film Festival earlier this year and has three screenings at the VIFF.
If you would like to support Olga Nenya in her efforts&mdashlor the children specifically—visit the film's website at familyportraitthefilm.com
.
***
Chantelle is a producer of words and graduate student at the UBC School of Journalism. When she's not working you can find her eating nachos and drinking sangria or avoiding hills on her bike. You can follow her on Twitter @pieglue.
Related Links:
Family Portrait in Black and White
Official film website
Tags: Chantelle Belle, Film, Film Festival, Vancouver International Film Festival, VIFF 2011
Defining America's Latino Experiences
By Kait Bolongaro
American TV network giant HBO has recently released The Latino List, a film that explores being Latino in the United States. Director Timothy Greenfield-Sanders' follow up to The Black List; The Latino List follows a similar interview style. The documentary features interviews of 16 prominent Latinos and, according to narrator and interviewer Maria Hinojosa, the film is an "ongoing exploration of who we are, where we come from, and what it means to be Latino in the [US] today."
The 16 Latinos and Latinas profiled include Ugly Betty's America Ferrera, U.S. Supreme Court Justice Sonia Sotomayor, NASA astronaut Jose Moreno Hernandez and Yoruba beliefs scholar and activist Dr. Marta Moreno Vega. Greenfield-Sanders is able to create a personal connection between the audience and the subject by using simple and straightforward staging. The interviewee looks straight into the frame, thus they look into the eyes of the viewer, creating the illusion of a one-on-one conversation.
My two favourite interviews are with America Ferrera and Dr. Marta Moreno Vega. Ferrera, of Honduran descent, talks about growing up in California watching quintessential American shows such as Full House and The Fresh Prince of Bel-Air, and how she was never aware of her ethnic difference "until someone made an effort to point it out." She also shares her experience as a Latina auditioning for movie roles and having to deliver lines even if she was aware the casting agents weren't going to call her back.
Dr. Moreno Vega, an expert on Yoruba spiritual belief systems, discusses her decision to renounce Catholicism because she felt she could no longer worship a white God. "I was born Catholic," she explains, "and my parents claimed to be Catholic, and I understood that if the God and Goddess that I was looking at did not look like me, my mother, my grandmother, my uncle, my father, my children would never feel sacred and we'd never have the power to achieve what we needed to achieve."
While I enjoyed learning more about the lives of these prominent figures, I think there are two major flaws with this documentary. First, while there are many Latino national origins represented, the majority of the 16 are white Hispanics, who are of no different European descent than other non-Latino Americans. This is not surprising, as it is mostly light skinned Latinos who rise to prominence in politics or film. Second, there is not a wide enough spectrum of professions. A high percentage of those interviewed belong to the entertainment industry, and does not provides an accurate perspective of being Latino in the US.
However, The Latino List is an important film. Latinos are the fastest growing ethnic group in the United States, and they are facing ever increasing racist immigration laws in states such as Alabama and Arizona. As a group, they can no longer be ignored by the mainstream American consciousness and it's about time their contributions to society are recognized.
Tags: America, Documentary, Identity, Race
VIFF 2011 | Hara-Kiri: Death of a Samurai
By VIFF Correspondent Chelsea Blazer
Special Presentations | Japan, UK | 2011 | 126 mins | Japanese
The full theatre for Hara-Kiri: Death of a Samurai proved that it's hard to resist a Japanese epic by notoriously gore-obsessed director Takashi Miike. The fan-packed audience sat eagerly clutching their 3-D glasses in anticipation of an action-filled drama to measure up to last year's 13 Assassins. But what comes next is something else altogether: a slow-burning family melodrama where 3-D shows off gardens instead of gore and dialogue outshines action.
The film begins as a samurai named Hanshiro arrives at the House of Li requesting to use their courtyard to commit a bloody act of ritual suicide. One of the leaders of the house recounts the tale of a young man Motome who recently requested the same favor resulting in his unfavorable fate.
Like many desperate village-men, Motone expected he would leave this stunt with a charitable donation. Instead, the warriors caught his "suicide bluff" and forced the reluctant samurai to take his own life. In the most excruciatingly morbid and violent scene of the film, the brave samurai rails a dull bamboo sword repeatedly into his gut after having sold his actual sword to get provisions for his family.
The remainder of the film is gut-wrenching in an entirely different way. The subsequent scenes appear to apologize for Motome's tragic bloody death with a dull and long-lasting flashback that delicately develops the relationship between Motone and Hanshiro. It turns out that Motone was Hanshiro's stepson and son-in-law and his suicide bluff was a selfless act of desperation to provide for his deathly ill family.
Throughout the next two-hours, audiences lose sight of their anticipation for action and are won over by the sincere adoration amid the suffering family and the sacrifice that binds them together. The 3-D glasses and Japanese backdrops further create mesmerizing visuals, which add to the film's attraction.
In the end, Takashi Miike proves himself to be an all-round talented filmmaker. Beyond the usual gore and limbs is a beautifully crafted and stunningly visual story of suffering, sacrifice and revenge. There's something fascinating about being immersed in a feudal existence where honor means everything and something even more enjoyable about taking this journey in 3-D.
***
Chelsea Blazer is a freelance journalist and graduate student at the
UBC School of Journalism. She is also an avid moviegoer and enjoys
writing about film. You can follow her on twitter @chelseablazer.
Related Links:
Hara-Kiri: Death of a Samurai
Official film website
Tags: Chelsea Blazer, Film, Film Festival, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Headshot
By VIFF Correspondent Genie Macleod
DIR: Pen-ek Ratanaruang | Dragons and Tigers | France, Thailand, 2011 | 105 mins | Thai
In the first few minutes of Headshot we don't see a single head. The camera trains on the shoulders and scarred neck of a man hunched over a typewriter in a smoky room, then on the sculpted torso of a different man walking around his apartment. The torso belongs to Tul, a policeman-turned-vigilante-hitman, and the anti-hero of our story, and the shoulders belong to...well, I can't spoil all the surprises.
Set mostly in Bangkok, Headshot slowly unravels the dark and twisted saga of a cop who loses faith in the system and joins with a rogue organization committed to doling out their own version of justice to deserving traffickers, drug dealers, and corrupt politicians.
After a job goes wrong, Tul finds his world quite literally turned upside down. He takes a bullet to the head—hence the title of the movie—and when he wakes up from a 2-month coma his vision is impaired so that he sees everything upside down.
Headshot is driven by anger, revenge, hatred, but when the characters are most frightening is when they are most casual and ambivalent. When Tul, still a cop at this point, brings in a major drug case that went down in a Bangkok factory, the factory's wealthy owner strides into his office and offers Tul a choice between a hefty cash bribe to keep quiet about the whole affair. When an investigator comes to inspect the supposed death-by-overdose of Tul's lover, he shuts the case down quickly, saying, "the whore died from an overdose—it's very common." When Tul decides to leave the assassination business he says by way of explanation, "my heart isn't in it anymore." These nonchalant attitudes towards crime, violence, and injustice reveal just how broken Tul's society is.
The film is dark, thematically and literally. The producer told us in his introduction that at the Toronto screening there were some technical difficulties and the image was so dark you couldn't see what was happening at times.
The damaged version might have been an improvement though, because I felt the filmmakers played it a too safe in terms of visual effects. The film is beautifully shot, especially the scenes of Tul's Buddhist hideout in Choomporn. But the author handed the filmmakers Tul's truly bizarre visual impairment, which has such potential for a big-screen adaptation, on a silver platter and they do very little with it. We get a few glimpses of Tul's warped perspective, but at some parts I found myself forgetting he had any impairment at all. I suppose the story is disorienting enough, what with its multiple timelines and complex networks of deceit and conspiracy, but I think the audience could have handled being a little more lost.
Headshot may not turn your ideas of right and wrong upside down, but its danger and mystery will keep thrill-seekers on their toes.
***
Genie is an editorial assistant for Schema Magazine and self-appointed seeker-out of Schema-worthy events in Vancouver. She is a certified bookworm with a special fondness for Shakespeare and CanLit. You can follow her on Twitter @geniemak
Related Links:
Headshot
Tags: Film, Film Festival, Genie Macleod, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Fatigue
By By VIFF Correspondent Patricia Lim
DIR: Kim Dongmyung | Dragons and Tigers | South Korea | 2011 | 81 mins | Korean
Kim Dongmyung's film Fatigue, aptly named, examines the deadened marriage between an unnamed woman and her husband. Suffice it to say, this was quite a challenging film to sit through. Through still, static shots we watch the woman stare out the window of her apartment, breastfeed her baby, take a shower (with the door open), and smoke on the balcony.
Her husband arrives and takes a shower (also with the door open) and then enters the bedroom. In the first half of the film, these actions are repeated, with small variations. We hardly leave the apartment, and it's an actual relief when the woman decides to take a job at a laundromat nearby, providing some excitement, although, ultimately, it doesn't result in a permanent change in her life. Meanwhile, the husband travels to work on a landscaping project (which I later discovered in the Q&A session afterward, was filmed at the actual construction site of President Lee Myungbak's Four Major Rivers Project).
The actors make studied efforts not to show emotion on their faces—whether they're staring at the TV, smoking on the balcony, or gazing outside at the depressingly-concrete surroundings. Through most of the scenes, the man and the woman do their own thing separate from each other.
However, during the times that the woman does interact with her family, whether breastfeeding the baby or having stilted conversations, engaging in sexual intercourse with, or (in several perturbing scenes) breastfeeding her husband, she continues to have the same, bored, resigned expression on her face.
The dimly lit sex scenes are especially disturbing, as presumably sex should result in intimacy or pleasure, and at the very least some form of emotion; however, they goes about it in the same way that they they go about their daily routines—detached, stilted, and without feeling. In one scene, after the deed is done (silently, expressionlessly, and, on the woman's part, not consensually), the two sprawl on the bed, stiff-limbed, looking more like marionettes than human beings.
In the Q&A session afterwards, Kim Dongmyung stated that this film was about miscommunication, as well as the frustration over the corruption in the current South Korean administration, the president's re-landscaping project and the resultant destruction of the environment. Although I can understand the miscommunication (or lack of communication) between the couple as a theme, the theme as related to politics and the environment isn't immediately perceptible; the only hint of this social commentary is the man driving to work at at the construction project with similarly emotionless coworkers. However, the filmmaker does do a good job of immersing the viewer in a claustrophobic atmosphere of ennui, frustration, and underlying dread.
***
Patricia Lim is managing editor for Ricepaper magazine and a part-time librarian. She likes to meet weirdly interesting people and attend artsy events to stretch her mind. You can see what she writes on Twitter @ricepapermag.
Related Links:
Fatigue
Tags: Patricia Lim, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Tatsumi
By VIFF Correspondent Illimani Ferreira
DIR: Eric Khoo | Dragons and Tigers | Japan, Singapore | 2011 | 96 mins |In Japanese with English subtitles
The paradigms that govern its production and the artists who bring it to life form the bedrock of art. Historically, a mainstream paradigm always overwhelms alternative styles. But some men and women dare to create alternative aesthetic experiences. What motivates artists to take this bold step despite the humiliating lack of appreciation and the financial problems that can result? Tatsumi is a movie that hints at an answer to this question.
Tatsumi is an animation feature which alternates between an episodic artistic biography of Japanese graphic novelist Yoshihiro Tatsumi, and short adaptations of the his poignant and impudent comics, both using Tatsumi's astonishing visual identity.
Japanese comics are commonly known as manga and are surely the only pillar of modern mass culture that is not rooted firmly in American soil. Manga is popular (and profitable) worldwide in a great variety of genres and styles.
However, the core (and mainstream) of its present success is still tied to its original target consumers: male children and teenagers. Tatsumi got an early start, when he was still a boy living with his dysfunctional family during the 50's, and loved mainstream culture; 'mainstream', then, was Osamu Tezuka (author of well-known comics such as Astro Boy).
When he was able to have his talent recognized, make a small profit and even meet Tezuka, Tatsumi's life quickly became directed towards the manga industry. What could have culminated in a successful and stable artistic career, however, collapsed when Tatsumi's works, too dark and dense for the boyish consumers of mainstream manga, were no longer profitable and he was dumped by his publisher. That happened despite Tatsumi's effort to fit in with what the mainstream wanted. And this effort was devouring him.
When he developed his own paradigm of comics—gekiga (mature drama)—Tatsumi was pushed less by intent to innovate than by the urges of his own sensibility and condition.
He was a man who didn't feel included in the fast economic progress of his country, which was based on industries whose artistic manifestation was manga in the Tezuka paradigm.
Tezuka himself is quickly and politely displayed in the movie as a man who abandoned manga as an art in favour of manga as a craft, moving from the relaxed Osaka to the salient Tokyo to drown himself in a workaholic routine that consumed his health.
Tatsumi is his antipode: instead of obliterating himself producing the alienating entertainment that an industrious work centered new generation needed to succeed in, he decided to give voice and space to sexual, economic and historic taboos. Without fear, he sought to expose social trauma and denounce the horrors of a system that could oppress individuals in the name of efficiency.
***
Illimani was a bureaucrat at some grey Brazilian government office until he decided to shake the dust off his life and move to Canada. He lives currently in sunny British Columbia where he will soon attend Vancouver Film School and become a TV and screen writer.
Related Links:
Tatsumi
Official film website
Tags: Film, Film Festival, Illimani Ferreira, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Here There
By VIFF Correspondent Malin Dunfors
DIR: Lu Sheng | Dragons and Tigers | China | 2011 | 93 mins
VIFF couldn't be more fortunate than getting the world premiere of Here There. Lu Sheng's directorial debut is poignant and absolutely wonderful. Sheng's background as a cinematographer comes in handy; he's previously worked with Wang Bing. His first feature is evocative, featuring stunning, almost unearthly, photography, each location shot differently.
Three distinct narratives, set in Shanghai, in Paris and on China's northern border, are interwoven in a captivating story about the fundamentals of life: who we are at any set point in time. Sheng plays with the idea that places and locations define us, and perhaps that it's when we're far away from home, in unfamiliar territory, that our true inner core is revealed. It's not when we're content and happy but when we're fumbling to find our ground that we really have the opportunity to get to know ourselves—for better and for worse.
The short Ten Years From Now (2011) screened alongside Here There. Also shot in China, it's a thought-provoking story in the midst of Shanghai's alleyway homes. A dinner-theatre performer (Huang Lu) seduces her colleague (Lu Yulai) as he struggles with his own sexuality. Present at the screening, director Jordan Schiele spoke of the western versus eastern view on happiness. Growing up in the New York, where he described "self-fulfillment" as the ideal, Schiele encountered a total different sentiment in China while working there for seven years. In this gentle but strong story, Schiele tries to catch this elusive sense of self-sacrifice, of putting another person's happiness ahead of one's own. Two of China's most promising indie actors, Huang Lu and Lu Yulai, tackle the material with a delicate maturity, well beyond their screening years.
It's a nice spin-off that Lu and Yulai also appear in Here There, playing somewhat similar characters. Lu Yulai plays the young waiter Guoguang, working away at a Shanghai working-class noodle restaurant. One night, a beautiful young insurance woman stops by for a late-night meal. As Yulai realizes that this creature of the night isn't a stranger, maybe the two of them were lovers once, they embark on a new relationship but defined by a whole new set of circumstances.
A world apart, in Parisian Chinatown, a gang of French hoodlums robs poor photography student Lu Hao (Qin Wei) of his passport and camera. To the unlikely rescue comes his elderly Chinese landlord Old Liu (Wang Deshun). Despite the generation gap and differences in class and upbringing, they form a close relationship.
From the French capital, Sheng returns us to China once more. In the snowcapped, forested mountains of Inner Mongolia, a forest ranger (Bai Yanbo) protects his reindeers from poachers. The connection he shares with these animals is beyond words, and Sheng captures its beautifully in one of the most stunning scenes in the whole movie. Yanbo's son and wife come for a visit, and while he's exuberant to have them with him, he's faced with the future of his family. Belonging to the Ewenki people, an ethnic minority who lives in China's northern regions, Yanbo is torn between the livelihood of his predecessors and the callings of modern life.
***
Malin's a Swedish, bilingual journalist, currently doing her MA in Journalism at UBC. When she's not busy hunting down some obscure snowboard movie or Marilyn Monroe biography, you'll most likely find her outdoors at the slope or in the woods. Twitter account: @Dunfors.
Related Links:
Here There
Tags: Film, Film Festival, Malin Dunfors, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | White
By VIFF Correspondent Gian Falcone
DIRS: Kim Sun, Kim Gok | Dragons and Tigers | South Korea | 2011 | 106 mins | In Korean with English subtitles
SHOWTIMES:
Sat, Oct 8th 4:00pm | Empire Granville 7 Th 7
The South Korean film White mixes a girl band growing pains story with elements of the box office horror genre. Directed by Kim Gok and Kim Sun, White is packed with more laughs than terrifying moments. The film certainly has an interesting way of portraying the cutthroat business of the music industry ... and what happens if you rip off a ghost's getup.
The Pink Dolls is a four-piece manufactured girl group that finds its dated squeaky-clean image not hitting the right notes with modern audiences.
The band is humiliated in the opening scenes when it loses a reality show competition. The audience prefers a more Pussycat Dolls style of act of overnight achievement and the high life.
With The Pink Dolls looking like music industry dummies, their mysterious sponsor buys the group a new home equipped with recording and dance studios, everything the young professionals could want.
Suspicions grows about how the chartless band got this luxury home until its members later discover that the last tenants died in a fire.
The lead character Eun-joo finds a stack of old video tapes whilst cleaning the dance studio. As fate would have it, she picks up the VHS labelled "White". Many eyes rolled in the cinema at this point, as the resemblance to The Ring (2002) was clear, however there is no curse involved in watching the video as the story goes in The Ring.
"White" is the ghost of a woman who was killed by her own band mates in the house now occupied The Pink Dolls. White has an instant hatred for leads singers especially those who try to copy her image. Apparently she is still subject to earthly passions, despite being of the spirit world...
And copying her image is exactly what the desperate band members proceed to do, while reaping the rewards of fame and success.
However, there is a catch. Each of the girls, apart from Eun-joo, that wears the white wig and takes centre stage, suffers horrible consequences. Even then, the movie doesn't kill them off. Just when you think you've seen them all for the last time, they recover in time for the end scenes.
Eun-joo has the false hope that if she solves the mystery of White, she can stop the 'killings', and in the meantime, she continues to perform.
The final scenes in the film see Eun-joo win South Korea's biggest music prize on a live TV event as a solo artist. Suspense is built up as Eun-joo's friends, her vocal coach and record producer discover White is an evil ghost and Eun-joo is her next target. Talk about timing...
The action is camp, cheesy and predictable but the directors seem fully aware of this, purposely constructing an unrealistic chain of events. Its value lies as much in the comedy as in the horror.
Who knows? This movie could be a concept open to Hollywood in a Glee meets The Ring combination The High School Musical Project. Any takers... anyone...?
***
Gian is a recent UK Journalism graduate who has a passion broadcasting and a nose for news. You can follow him on Twitter @gmfalcone
Related Links:
White
Tags: Film, Film Festival, Gian Falcone, VIFF 2011
Vietnamerica | A Graphic Memoir of a Family's Survival
By Vinnie Yuen
Although stories about the Vietnam War have been told before, this graphic memoir is anything but redundant. Graphic artist Gia-Bao Tran's graphic memoir Vietamerica is anything but dull. Tran tells the story of his family's escape and survival during the Vietnam War.
In the 288-page full color book, Tran describes his family's journey back to Vietnam to attend his grandparents' funerals. The images are not simply pictures of what happened, but powerful and emotional interpretations of his journey.
The images outline the desperation and isolation people felt during and after the war:
Two Souls | Korean-Japanese Athletes
By Justin Ko
Official relations between South Korea and Japan have traditionally been testy and uneasy. Even today there is still an extraordinary amount of discrimination and racism between the two cultures which would confuse anyone who is not familiar with the long history of conflict and conquest between the two Asian countries.
Still, a unique group of people have for better or worse been caught in the crossfire of this animosity; namely, the Korean-Japanese people, often third or fourth generation ethnic Koreans who were born in Japan and have acclimatized to the Japanese culture and language.
When it comes to Korean-Japanese athletes, who can only play for one country, these historical tensions tend to become inflamed once more. Such was the case for Japanese footballer Lee Chung-Sung, known in Japanese as Tadanari Lee. When Japan won the Asian Cup in January of this year against Australia, Lee scored the winning goal.
As a result, the circumstances which led to Lee officially renouncing his Korean citizenship and committing to the Japanese team were again being brought up in the Asian media. In 2007, before Lee was a professional player, he was called a discriminatory racial slur—essentially meaning "Half-Japanese"—while playing on the U-19 Korean junior team. He was so upset by this incident that he abandoned his ties to Korea and its football team.
To further discuss the issues of Korean-Japanese athletes, the Korea Joong-Ang Daily newspaper interviewed another Korean-Japanese sports star, the K-1 UFC fighter Yoshihiro Akiyama, known in Korean as Choo Sung-Hoon. Akiyama had a lot of insight on the issue as another ethnic Korean who officially competes for Japan in sporting competitions.
He expressed hope in the interview that along with other prominent Korean-Japanese figures, they could function as a bridge across the gap between the two countries. Akiyama sympathized with Lee Chung-Sung's situation and remarked that racism indeed still exists in the Korean sporting community against the Japanese-born Koreans, even today. He also talked about his biography, entitled Two Souls, which expresses his love and respect for both Korea and Japan.
You can check out the interview in full at koreajoongangdaily.joinsmsn.com.
Posted by Justin Ko | October 12, 2011 | Comments (0)
VIFF 2011 | Mr. Tree
By VIFF Correspondent Malin Dunfors
DIR: Han Jie | Dragons and Tigers | China | 88 mins | Mandarin
SHOWTIMES:
Wed, Oct 12th 3:00pm | Empire Granville 7 Th 3
Eccentric, edgy and extraordinary, Mr. Tree is unlike any other Chinese ever movie I've ever seen. Director Han Jie puts a whole new twist on the word quirky. It almost feels like a cinematic adaptation of Norwegian symbolist artist Edward Munch's painting Scream.
Jie's idiosyncratic and gentle tale of a grown-up man lost between reality and fantasy showcases not just the sprawling storytelling of Chinese feature films but also the direction that these movies are taking as art.
Set in a snowcapped, run-down village, in China's northeastern Jilin province, that is under the growing ownership of a mining company, the movie is as much about a man torn between sanity and insanity as of the old China versus the new.
Wang Baoqiang (who did supporting roles in Bland Shaft (2003) and World Without Thieves (2004)) brings Jie's second feature to life with his highly sensitive yet humoristic portrayal of Shu (which means "tree" in Chinese).
On the surface, Shu may come across as a no-good oddball still living with his mum, who can't hold down a job and spends his days drinking with friends. While his brothers lead successful lives in the provincial capital of Changchun, Shu rummages the street of his desolate village.
But under that carefree surface hides a flawed and creative character, deeply scarred by the murder of his beloved brother, committed by his very own father. The reigns of a Greek tragedy don't seem far away.
Baoqiang is like an aerialist when he explores Shu's inner turmoil, with one foot on solid ground and the other one dangling into thin air. He captures Shu's anguish, and short-lived happiness falling in love with the beautifully but deaf Xiao Mei, with the same heart-wrenching candor and intensity as that of Jessica Lange when she portrayed Frances Farmer in Frances (1982). Baoqiang's brings it all - the bemused smile, the glassy stare, the klutzy movements and the intelligent, yet-out-of-context remarks.
In Jie's second feature film, through Hong Kong cinematographer Lai Yiu-fai's steady and relentless lens, Shu is sent on an odyssey from his hometown to the big capital in search of better life. When, for a second, you think that Shu actually is having a breakthrough for the better, his demons sends him back into a twisted no man's land with even greater force.
Does Mr. Tree lose it? Perhaps. Will we ever know? Probably not. Does it matter? Not at all, Jie's wonderful saga of this beautiful, yet imperfect man will make you laugh and cry while leaving an everlasting cinematic imprint.
***
Malin's a Swedish, bilingual journalist, currently doing her MA in Journalism at UBC. When she's not busy hunting down some obscure snowboard movie or Marilyn Monroe biography, you'll most likely find her outdoors at the slope or in the woods. Twitter account: @Dunfors
Related Links:
Mr. Tree
Tags: Film Festival, Malin Dunfors, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Waking the Green Tiger
By VIFF Correspondent Laura Kane
DIR: Gary Marcuse | Heaven and Earth | Canada | 2011 | 78 mins | In English and Chinese with English subtitles
SHOWTIMES:
Fri, Oct 7th 9:30pm | Empire Granville 7 Th 4
Tue, Oct 11th 12:20pm | Empire Granville 7 Th 1
China is growing at an astounding rate. The nation's economy has expanded tenfold over the last 30 years, and it is now the world's largest energy consumer and carbon emitter. Meanwhile, forests have been razed and species have been pushed to the brink of extinction.
Now, a new generation is fighting back. Waking the Green Tiger charts a grassroots environmental movement in China, led by activists who opposed a massive hydroelectric dam project on the Upper Yangtze River.
Director Gary Marcuse traces the origins of the country's environmental catastrophe to the late 1950s, when Chairman Mao launched his Great Leap Forward campaign to rapidly industrialize the country. "Man must conquer nature," Mao declared.
Marcuse digs up incredible archival footage—some never before seen in the Western world—to show how ordinary people were mobilized by Mao's promise of a better future.
Citizens took to eagerly chopping down massive swaths of forest to help fuel the country's burgeoning steel industry. However, the wood did not burn at a high enough temperature and thus the steel they manufactured was useless.
Next, the masses were mobilized to destroy the sparrow population. The birds were declared a pest and a threat to grain production. Farmers banged pots and pans, beat drums and played loud music, forcing the sparrows to fly continuously until they dropped from the sky due to exhaustion.
Waking the Green Tiger - Trailer from Sequence on Vimeo.
The government realized too late that sparrows eat locusts—a far more formidable pest. The insects all but destroyed Chinese grain crops, causing a famine that lasted over a decade and killed tens of millions of people.
Despite this tragic history, the film is far from depressing. Instead, Waking the Green Tiger strikes a highly optimistic note about China's future. It focuses on the incredible tenacity of activists, journalists and farmers calling for environmental reform.
Documentary filmmaker Shi Lihong is the central character in the fight against the Leaping Tiger Gorge dam. The project, if allowed to go through as planned, would destroy the delicate ecosystem of the Upper Yangtze River and displace hundreds of villagers.
She attempts to educate the villagers with a film about people who have already been uprooted by dam projects. Her heartbreaking footage shows families, displaced from their homes without compensation or arable land, scavenging in garbage for food.
Lihong's passion and courage—in the face of seemingly insurmountable opposition—are truly inspiring. She gains the trust of the villagers and eventually enlists them in one of the biggest battles against Chinese environmental policy to date.
Waking the Green Tiger impressively connects the story of the Leaping Tiger Gorge dam to larger narratives of industrialization and oppression in China. Remarkably, in a country known for its lack of democratic freedoms, a citizen-led green movement is growing.
***
Laura Kane is a freelance writer and graduate student at the UBC School of Journalism. She is an avid consumer of movies, comic books, rap songs and bubble tea. Tweet at her @ellekane.
Related Links:
Waking the Green Tiger
Tags: Film, Film Festival, Laura Kane, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Corpo Celeste
By VIFF Correspondent Gian Falcone
DIR: Alice Rohrwacher | Cinema of Our Time| France, Italy, Switzerland | 2011 | 98 mins
Corpo Celeste or "Celestial Body" in its native Italian, depicts the story of a single mother with her two daughters moving across the border from Switzerland, Calabria into a rural and working class part of Southern Italy.
The film, directed by Alice Rohrwacher, deals with the youngest member of the family Marta, a 13 year old girl faced with a few problems. She arrives in a new country after ten years in Switzerland, ridden with pre-teen angst of keeping up with the older females around her that she emulates, among which are her 18-year-old sister and the full-figured ladies on Italian television.
She is the youngest in a class preparing to take the sacrament of Confirmation, a Catholic practice. She seeks out her mother's attention whenever she has time off from her full-time job.
Marta is at the heart of the film, and is played by the very talented Yle Vianello. She does not have an awful lot to say, but—as the old saying goes—her actions speak louder.
Marta is on a quest to break away from her childhood and be seen as more mature. Some issue are natural such as encountering her first period and others are stunts to be noticed, such as stealing a bra off her older sister.
Corpo Celeste does not only focus on Marta being unsettled in a new country. The audience is immediately immersed in the community they are entering and the role the Church plays. A festival to celebrate the day of Saint Domenica in the opening minutes of the film set the tone for the remainder of the film. The characters from the Church are vital in breaking up the movie with elements of humour but, like Marta, they also bring their own baggage to the screen.
The character of Father Mario is a strong, no nonsense priest who acts as the leader of the community. He has very little time for his flock in between his duties of collecting the rent from the Churches low income housing, (which ironically has Marta's mother working all the hours God sends) and telling the community who they will be voting for.
Father Mario, played by Salvatore Cantaloupo (movie-goers may recognize him from the 2008 gritty crime drama Gomorra), personal mission is to impress the Archbishop at the next Confirmation in order to be transferred to a bigger Parish.
Although Marta finds things difficult in her new home, it seems Santa, who acts as the Parish housekeeper and event organizer, has the biggest obstacle to overcome, trying to get a group of teenagers ready for their up and coming Confirmation.
Santa has a constant uphill struggle with her group of youngsters who are more interested in talking-back and checking their cell phones. These scenes lighten the mood of the art house film creating some genuinely comical moments. In a fantastic natural performance by Pasqualina Scuncia, Santa, becomes very upset to learn Father Mario wants to leave.
There seems to be no real explanations given to the meaning of the storyline or the resulting actions the characters take—we don't find out if Marta gets Confirmed. However that should not deter you from watching this film. Corpo Celeste is a thoughtful movie underlined with religious symbolism and current modern day struggles to be interpreted at the viewer's pleasure.
***
Gian is a recent UK Journalism graduate who has a passion broadcasting and a nose for news. You can follow him on Twitter @gmfalcone
Related Links:
Corpo Celeste
Posted by Gayatri Bajpai | October 12, 2011 | Comments (0)
Tags: Film, Film Festival, Gian Falcone, VIFF 2011
VIFF 2011 | Kill List
By VIFF Correspondent Gian Falcone
DIR: Ben Wheatley | Cinema of Our Time | UK | 2011 | English | 95 mins
Kill List was touted as the one of the must-see films of the Vancouver International Festival. And this reviewer was not left disappointed.
Set in Northern England Kill List is not only a great piece of cinema in the way it's scripted and shot, but its ability to switch genre keeps viewers on the edges of their seats. Director Ben Wheatley creates a clever and gripping British thriller/horror.
Many reviews refer to the movie's unnecessary use of violence but I felt the killing scenes in the film were by no means a gore-fest but, rather, crucial to the story.
Kill List is about two ex-army-servicemen and best mates Jay and Gal, who in the midst of the current recession take on a job working as hit men. Jay, played by Neil Maskell, is talked into private work after returning from a job in Kiev, which we assume ended badly as Jay does not want to talk about it and is an unstable character.
In the opening scenes we are introduced to the main characters at a dinner party hosted by Jay and Shel with Gal and his new girlfriend Fiona as their guests. It displays perfectly the state of mind the main characters are in.
The audience is taken on a rollercoaster ride of emotions by the evening's events.
Jay's return from the Ukraine has put a strain on his relationship with his wife Shel; back on British soil, Jay has been out of work for 8 months. This sparks arguments about their finances leaving Shel unable to fly to Sweden to see her dying father and we witness a full on row in the opening minutes of the film.
The niceties of playing hosts, the arguments between Jay and Shel, and the effects large amounts of alcohol can have, eventually spill over into laughter and everyone having a good time.
Let's just say we find out the least about Gal's new girlfriend from the evening although her actions will stay with you throughout the film.
Jay and Gal agree to work together as hit men or going back into "sales" as they are referred to in front of Fiona, as they assume Gal's new flame has no idea, or does she ... ?
The remainder of Kill List sees the two main protagonists carry out a number of killings as requested from the client played by respected actor Struan Rodger. The duo's early assignments go as planned, the way you would expect from the scenes that preceded, showing two guys who know each other inside out, are good at what they do and can get the job done.
But everything is not as it seems: Kill List keeps the audience unsure and questioning where the story will end up. By no means is this your classic hit man tale. Many layers are added to the plot that have no central meaning but others weave it nicely together towards an ending that is thrilling and emotional.
***
Gian is a recent UK Journalism graduate who has a passion broadcasting and a nose for news. You can follow him on Twitter @gmfalcone
Related Links:
Kill List
Tags: Film, Film Festival, Gian Falcone, Vancouver International Film Festival, VIFF 2011
Film a day giveaway! | VIFF 2011
By Schema Magazine
Unless you've been living under a rock, you'll have heard by now that there's a little thing called the Vancouver International Film Festival happening right now. Our band of hard-working writers have been sitting their asses off watching films for you (check out the reviews here!) but isn't it time for you to get in on the action?
Avoid all those pesky lineups because Schema wants to give YOU free passes to VIFF! From now until Tuesday, we'll be giving away 2 passes to 5 different VIFF films in our "Film a day giveaway!" So how do you win?
Every morning at 10am PST, check our Twitter and Facebook page for the giveaway alert telling you what film is being featured that day. Then you'll have exactly 10 hours to get your entry in. Then check back everyday for a new set of passes!
The first film will be announced tomorrow 10 am sharp! Good luck!
Posted by Jordana Mah | October 4, 2011 | Comments (0)Tags:
VIFF 2011 | Belkibolang
By VIFF Correspondent Illimani Ferreira
DIRS: Agung Sentausa, Ifa Isfansyah, Tumpal Tampubolon, Rico Marpaung, Rico Marpaung, Anggun Priambodo, Azhar Lubis, Wisnu Surya Pratama, Edwin, Sidi Saleh | Dragons and Tigers | Indonesia | 2010 | Indonesian | 87 mins
Like Ellen Sandler, writer of Everybody Loves Raymond, says, a good TV show episode is one that explores the comedic or dramatic potential in the apparently banal. Situations that can appear ordinary or everyday are turned into great fiction.
Sandler compares the demarché she proposes to a question that must be posed during a Jewish ceremony of remembrance: "Why is this night different from all other nights?" This question seems to capture what is special about Belkibolang, a composition of short movies linked by their common backdrop: nighttime in Jakarta.
Characters as different as young adults in love, commuters, and sexual workers set in a variety of locations (downtown streets, slums lanes, the intimacy of a bedroom), come together through the composite that is Belkibolang in a beautiful and apparently unintentional affinity between the narratives of its parts: short films that all tell tales of individuals who, lost in the physical and symbolic night, happen to bump into other individuals in chance encounters.
These encounters may happen between complete strangers: in Umbrella a depressed man develops a silent complicity with a stray kid that follow him in the rain; in Mamalia a motorcyclist gives a lift to a mysterious woman that seduces him; in Peron a boy who finds in his iPod refuge from the noisy crowd while waiting for a train, spots a girl that seems to use the same kind of subterfuge but without the help of a device.
These encounters happen too between acquaintances, or individuals close to each other, who find in the night an opportunity to acknowledge features of their shared lives that were not perceptible in the dazzle of daylight: in Chit Chat neighbours talk of their daily lives, their conversation taking on the ebb and flow of the level of engagement they have with each other; in Planet Elephant two young adults whose friendship is founded on a game they both play try to cope with the possibility of deepening their relationship; in Gecko a TV addict realizes that he is lost in his own apartment where all he has for company are his sleeping wife and the sounds of their neighbours; in Ella a sex worker who hides her profession from her family develops a loose friendship with a street food kiosk owner during the Islamic fast celebration; in Roller Coaster two close friends decide that the time is ripe to have intercourse with each other and must deal with the awkwardness this entails for the change in their relationship; in Full Moon a taxi driver takes his wife along on his New Year's Eve shift and realizes that she is a burden to him.
The poetic result that is Belkibolang, which is worth being appreciated by itself, and also as an opportunity to have a glimpse of Indonesian society that is different by far from the Indonesia of Balinese tourist ads.
***
llimani was a bureaucrat at some grey Brazilian government office until he decided to shake the dust off his life and move to Canada. He lives currently in sunny British Columbia where he is soon to attend Vancouver Film School and become a TV and screen writer.
Related Links:
Belkibolang
Tags: Film, Film Festival, Illimani Ferreira, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Nainsukh
By VIFF Correspondent Patricia Lim
DIR: Amit Dutta | Cinema of Our Time | India , Switzerland | 2010 | 96 mins | In Kangri and Dogri with English subtitles
SHOWTIMES:
Thu, Oct 6th 11:00am | Empire Granville 7 Th 2
Sun, Oct 9th 9:15pm | Vancity Theatre
If I had to use literary terms, I would describe this movie as more of a poem than a novel. The director, Amit Dutta, is spare with dialogue, plot, and character development in this film about Nainsukh, a Northern Indian artist living in the 1700s who was commissioned by an Indian prince during the Mughal era as a sort of court painter.
Dutta doesn't focus on Nainsukh's life. He only briefly touches upon the artist's family (all painters) and mentions in passing that his style was more "realistic" than was common at the time.
Instead, he chooses to focus on restaging Nainsukh's work in poetic snapshots, creating a sort of tableau vivant of various scenes involving the everyday life of the prince—looking out the window from his palace; smoking a hookah and watching a woman play an instrument; taking part in a tiger hunt.
A large portion of the film also includes lingering scenes of Nainsukh or the prince traveling the Indian countryside, or of the prince at the palace staring pensively into the distance, or of various courtiers walking up and down the stairs and serving and entertaining the prince.
However, a majority of the scenes are very structured re-creations of Nainsukh's paintings set in the ruins of the Jasrota palace as well as throughout the Indian countryside. Throughout the film, Dutta cuts away from these immaculate reconstructions to the real thing—Nainsukh's own delicately-wrought and finely-detailed paintings.
The set design and costume are particular down to the the last detail—even the prince's facial hair and accoutrements are identical to those in the paintings. Dutta also expands beyond the boundaries of the visual, giving special attention to capturing the sounds of fire crackling, cows mooing, and the sharp metallic clomp from a pair of heavy shears; through the medium of film creating a living, breathing painting.
Parts of Nainsukh felt more like a very conceptual video that would be shown in art history class than a film, and I must admit I almost dozed off in the beginning while I waited for the film to complete the staging of the 'setting' and get started on the plot—before realizing that the whole point of the film was the 'setting.'
There isn't much character development either, except for a few scenes near the end that subtly indicate that there was some measure of care between the prince and the painter. However, like I said, this film is more poetry than fiction; after I got a handle on the its purpose, I was able to relax and enjoy the work for its own particular sensibilities. Much like poetry, it is distilled to its most aesthetic and evocative essence.
***
Patricia Lim is Managing Editor for Ricepaper Magazine and a part-time librarian. She likes to meet weirdly interesting people and attend artsy events to stretch her mind. You can see what she writes on Twitter @ricepapermag.
Related Links:
Nainsukh
Tags: Film Festival, Patricia Lim, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Circumstance
By VIFF Correspondent Chantelle Belle
DIR: Maryam Keshavarz | Cinema of Our Time |
France , Iran , USA | 2011 | 106 mins | Persian
Circumstance is a sexy drama about pushing boundaries in modern day Iran. The much-anticipated arrival at the VIFF premiered at the Sundance Film Festival earlier this year, picking up an Audience Choice Award—and many others along its festival trail.
Teenage girls Atefeh (Nikohl Boosheri) and Shireen (Sarah Kazemy) are trying to find themselves in a place where opportunities for self-expression are severely limited. While navigating the underground world of Tehran—visiting illegal nightclubs and discreet parties—the young pair falls deeply in love.
They explore their sexuality with caution, dreaming of a place where they can be free. Newcomers Boosheri and Kazemy perform wonderfully as the young lovers and friends.
The stakes of their relationship are high, made evident by the consequences of the film—both on screen and off. It is unlikely the film will be screened in Iran in the near future. According to a statement made by Boosheri after the screening, the cast has given up the opportunity to return to Iran with the release of the film.
While the romantic relationship between the girls is the main focus of the film, writer-director Maryam Keshavarz pulls back and offers an intimate portrait of strained family dynamics.
The film explores universal family themes with a twist of cultural repression. The family at the centre of the drama: an upper class, close-knit foursome with a love for classical music and the outdoors.
Atefeh is the youngest child, just beginning to push the limits of her moderate parents. At the same time, her brother Mehran (Reza Sixo Safai) is desperate to pull away from the underground scene and his drug addiction. His shame and hopelessness lead him to embrace religion with a rabid hunger, leading him to work for the notorious morality police.
Atefeh's parents appear to toe the line, just enough to appease the repressive government. There are subtle references of rebellions past; the future appears uncertain.
A cinematic beauty, thanks to cinematographer Brian Rigney Hubbard, Circumstance's images shift between reality, fantasy and obsession. The scenes of omnipresent surveillance foreshadow Mehran's descent into strangeness and constantly remind the audience that the authorities have eyes throughout the city.
Writer-director Keshavarz keeps the film running at a fast-pace from start to finish, interrupting the drama with some much needed comic relief along the way.
Circumstance is a memorable film that will be well-received as a commercial release. It is scheduled to hit big screens across Canada on November 7.
***
Chantelle is a producer of words and graduate student at the UBC School of Journalism. When she's not working you can find her eating nachos and drinking sangria or avoiding hills on her bike. You can follow her on Twitter @pieglue.
Related Links:
Circumstance
Official film website
Tags: Chantelle Belle, Film, Film Festival, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Once Upon a Time in Anatolia
By VIFF Correspondent Chelsea Blazer
DIR: Nuri Bilge Ceylan | Cinema of Our Time | Bosnia and Herzegovina, Turkey | 2011 | 157 mins | Turkish
SHOWTIMES:
Wed, Oct 5th 9:00pm | Empire Granville 7 Th 3
Thu, Oct 6th 9:00pm | Empire Granville 7 Th 3
Nuri Bilge Ceylan's Once Upon A Time in Anatolia is a daring three-hour masterpiece showcasing the tedious rhythms of a slow-burn criminal case procedure. And not in a CSI: Las Vegas sense.
The film begins with a search for a dead body in the vast, isolated Anatolian steppes. A unit of cars coasts through the darkness carrying a group of men: cops, prosecutors, doctors and murderers. As the searchers drive along the deserted roads, they pause continuously at a series of nearly identical locations hoping to complete their assignment. Meanwhile, frustration and tension escalates as they fail time and time again to locate the body.
Unlike classic Hollywood, it is neither crime nor killer that drives the plot or elicits reactions to the film. Rather, it is the search-group itself—the routine conversations of the men gathered together in the car that has been sent on the hunt for a body, the long stretches of silences accompanied by camera close-ups, and the surreal landscape of remote, rural Anatolia, that define the mood of the film.
While each destination may be as dreary and unpromising as the last, beyond each windy hill something new is revealed about the intricate group.
In one perplexing conversation between a prosecutor and a doctor, the former shares a story about a woman who perfectly predicted the exact date of her own death. This story is brought up again later in the film when the doctor questions how anyone can drop dead without reason. It is not until the end that we learn this was the prosecutor's wife and he never investigated this so-called mysterious death.
These types of scenes, both puzzling and mysterious, serve as an entry-point into an exploration of the characters themselves. The film quietly asks larger question about police bureaucracy, rural life and the human condition. Did this woman in really just drop dead? What is the motif behind the murder? What is the relationship between these characters?
There are few answers or major revelations that will soothe your uncertainty. Clocking at nearly three hours, Once Upon A Time in Anatolia is an uphill battle. It tests the audience's endurance with its slow pace but is rewarding for those who make it to the end with its stunning visual exploration of humanity. Stay with it and Once Upon a Time In Anatolia will leave you deep in thought long after the curtains come up.
***
Chelsea Blazer is a freelance journalist and graduate student at the
UBC School of Journalism. She is also an avid moviegoer and enjoys
writing about film. You can follow her on twitter @chelseablazer.
Related Links:
Once Upon a Time in Anatolia
Official film website
Tags: Chelsea Blazer, Film, Film Festival, Vancouver International Film Festival, VIFF 2011
Living Life on the Silver Screen | Maulik Pancholi
By Olga PazukhaWe turn to the silver screen to entertain us, to show us different aspects of our lives, and to re-introduce us to the world according to Hollywood. It's always interesting to observe how pop culture depicts ethnicity and how an actor's ethnicity often determines the roles they play.
During a recent university visit 30 Rock star Maulik Pancholi talked to students about his experience as an actor of South Asian decent. The classically trained actor spent his Yale Theatre School years trying to escape his South Asian roots. However once graduated, Pancholi moved to Los Angeles and was immediately subjected to stereotypical roles from casting directors.
Paradoxically, it seems that to 'make it' as an actor one has to 'embrace' their ethnicity to the point of reducing it to common stereotypes. Refusing to do so can often backfire, as the actors would not get any work at all. In our day and age it is definitely time to move away from ethnic stereotypes and make TV shows and movies that accurately show the world we live in. That said, it seems stereotypes, ethnic or otherwise, will always exist, and there will always need to be actors who depict these.
Tags: Race, South Asian
This Week in Vancouver | The VIFF Edition
By Genie MacLeodAs you may have noticed, we here at Schema are movie mad this week. The Vancouver International Film Festival is here again, and while lil ol' Vancouver might not draw the big name movies and their big name stars like TIFF does, we still get a whole host of excellent cinema to take in. And as usual, if experimental foreign films aren't your thing, there are plenty of other unique events happening this week in Vancouver.
Image credit: The Vancouver International Film Festival
Vancouver International Film Festival
September 29 - October 14
Various times
Various locations
With films screening in three theatres morning, noon, and night for two weeks, there is definitely something for everyone at VIFF 2011. Having trouble deciding what films to watch? Schema's got you (and VIFF) covered. Just check out our VIFF 2011 Coverage page and peruse the reviews as they roll in. And don't forget to check out our amazing VIFF giveaways — free passes to a movie a day, anyone?
Image credit: Guntis Grikis
October 5th - October 15th
Various times
CBC Studio 700, Vancouver
In this unique theatre creation Vancouver gets the Paris, je t'aime treatment, as five homegrown playwrights bring their visions of Vancouver to the stage. Dennis Foon, Kevin Loring, Michele Riml, Michael St. John Smith, and Adrienne Wong have each written a short play telling a different tale of the city.
Image credit: Ruby Films
Somewhere Between VIFF Screening + After-party!!!
Thursday, October 6th
Screening at 6:30 pm, Guest List at Jo' Rich until 10:30 pm
Vancity Theatre, Joseph Richard Nightclub
This year Schema has the enormous pleasure of sponsoring one very special VIFF film. Somewhere Between is the story of China-born children adopted into American families, and what life lis like for them now that they're all grown up. Very Schema, no? We're so jazzed about this movie that we decided to throw a party to celebrate it, so after the screening, come on down to Jo' Rich and dance the night away with us!
Image credit: Art Beatus Consultancy Ltd.
River of Spirit Opening Reception
October 7th
3:00 pm - 6:00 pm
Arts Beatus Consultancy Ltd.
Japanese artist Taiga Chiba will be showcasing his culturally vibrant, fluid, and masterful work at Art Beatus Consultancy Ltd. His work ranges from drawings to ink wash to collages on wooden panels and video installations. This is Chiba's 5th showcase at the Art Beatus and he will be present on opening day, October 7. River Spirit will be on until December 2.
Posted by Genie MacLeod | October 5, 2011 | Comments (0)Tags: Events
Speaking in Pictures
By Olga Pazukha
What's the best way to learn about a country and its current state? From the people of course!
iSpeak China, a photo essay that explores the country through the thoughts of its youth, is an educational and eye-opening experience. The project is simple: young people living in China are given a blank piece of paper and asked to write anything that is on their mind, they are then photographed holding their message.
Many of the messages are glimpses into what it really is like to live in China. Tradition in relation to family is a prevalent theme with numerous messages wondering about the reason for marriage and expressing disinterest in having children. Taking care of parents as well as gaining their approval is also a theme.
Money and the definition of success seem to be the biggest concerns, with many people from a range of economic backgrounds lamenting the lack of jobs and the power that money has in dictating everything from living conditions to relationships based on materialism. One young man worries that "China's girls are becoming materialistic. Without a house, my girlfriend won't marry me. My parents aren't able to help me either, so I want a high-income job."
Another thing that struck me was language. Many of the entries were written in English, but there were a few photos of people holding blank posters. The captions indicated that they were illiterate and had given their message verbally. But whether blank or filled with writing, all the posters are powerful and moving messages from a nation so often censored from any expression.
Posted by Genie MacLeod | October 13, 2011 | Comments (0)
Romantic Stargazing in the Arctic Circle
By Kait BolongaroHigh above the Arctic Circle, stargazing has been taken to a new romantic level. Imagine watching the Aurora Borealis dance across the sky from the comfort of your toasty glass igloo in the middle of December. It's now possible, thanks to the Igloo Village at the Kakslauttanen Hotel in Lapland, northern Finland, which has built a resort of 20 luxury igloos.
Each igloo is equipped with a glass dome that not only insulates the room but also allows visitors to marvel at the beautiful night sky. This modern igloo is a new creation that is built from a thermal glass that prevents the view from fogging even in temperatures below -30°C. Every room is fully furnished and has its own washroom. However, I would be wary of using these washrooms with a glass roof—especially with voyeuristic neighbours. One night in a glass igloo costs 300 euros per couple, making for an expensive view.
If a glass igloo (or the price) doesn't sound appealing, the resort also features traditional snow igloos as well as 40 rustic log cabins. There are also plenty of amenities available, such as a snow restaurant, an ice chapel and the world's largest smoke sauna for the cool winter nights. Guests can also visit Santa Claus and his elves at the Santa Resort, a new addition to the hotel that is fun for families or anyone feeling nostalgic for a childhood Christmas. The Kakslauttanen Hotel is open year round, with the igloo village open from mid December to late April.
Tags: Travel
Wangari Maathai | Planting Seeds of Wisdom for Future Generations
By Kayo Homma-Komori
Wangari Maathai, founder of the Green Belt Movement, has passed away at the age of 71. You may be asking yourself, "just exactly who is Wangari Maathai?" I asked myself this very same question. Now, after reading her long list of notable achievements, I believe the correct question to ask is: who isn't Wangari Maathai? An environmentalist, social and political activist, author and first African female recipient of the Nobel Peace Prize, Maathai dedicated her life to uplifting her Kenyan people.
"The planting of trees is the planting of ideas" Maathai once said. She believed that the simple act of planting a tree is the first step to establishing self-sufficiency and thereby overcoming the cycle of poverty for future generations. The Green Belt Movement was founded on this principle in 1977.
In Kenya, as in many other regions of Africa, environmental movements and social justice movements are practically one in the same. The degradation of land in Kenya prohibits people from accessing basic resources that can significantly improve their lives, such as clean water, clean air and food. Maathai noted that many of the country's resources are controlled by a few powerful people at the top. Instead of waiting for those resources to trickle down to the people who need them most, Maathai organized grassroots movements to create the opposite effect. She mobilized communities to participate in tree-planting, and equipped them with the necessary tools to make their resources multiply.
Through the Green Belt Movement, over 30 million trees have been planted. And while Wangari Maathai may have passed on, her legacy has been planted in these 30 million trees and will continue to affect generations of Kenyans to come.
To learn more about her movement, check out the video below:
Posted by Kayo Homma-Komori | October 3, 2011 | Comments (0)Tags: Activism, Environment
More Victims Speak Up | Sexual Abuse at a Sweatshop Making American Clothing
By Brandon Woo
Anowara (name changed) emigrated from Bangladesh to Jordan in 2005 for a job at the Classic Factory. Three years later, in June 2008, a manager, Faruk sir, raped her.
The Classic Factory is a sweatshop that serves anchor stores such as Target, Macy's, and Sears. It's hard to believe that these household names are so closely related to human rights abuse, labour violations, and sexual assault, but it's true.
After he [raped me], I wanted to tell the company. But he didn't let me tell, he didn't let me report it. He said if you report it, I'll send you back to Bangladesh, I'll send you to jail here. I was so scared, I didn't say anything.
Anowara became sick soon after. Under the impression of taking her to a doctor, Faruk sir had Anowara sign some forms before taking her to the airport. The rapist had his victim deported.
Anowara has decided to come forward because she wants her former manager to go to jail "so he can't do this to another woman again," she told the Institute of Global Labour and Human Rights.
Anowara and the Institute of Global Labour and Human Rights are now asking Hanes, Target, Macy's, Walmart, and Sears, among other companies who have partnerships with the Classic Factory, to help the factory's workers. According to the institute, however, these companies have refused to involve themselves with this situation until the Jordanian government confirms that sexual abuse is taking place at the factory.
The problem is that "[i]nvestigators have failed to secure basic documentation related to the rape accusations, have refused to allow victims to be interviewed in safe circumstances by women's advocates, and have kept independent human rights groups out of the investigation," said Charles Kernaghan, the institute's director. "This is not a serious investigation, but a whitewash."
Anowara's rapist is still working at the Classic Factory today. Women like Anowara who have few other places to turn to are still working at the Classic Factory today. A factory that produces clothing that you might be wearing right now.
Check out the comments on this expired petition to get Walmart to take action against sexual abuse in the sweatshops it employs.
Posted by Brandon Woo | October 14, 2011 | Comments (0)Tags:
VIFF 2011 | Dendera
By VIFF Correspondent Adrian Bailon
DIR: Tengan Daisuke | Dragons and Tigers | Japan | 2011 | 119 mins | Japanese
SHOWTIMES:
Tue, Oct 4th 4:00pm | Empire Granville 7 Th 7
Wed, Oct 12th 6:20pm | Empire Granville 7 Th 3
In the 1983 film directed by Shohei Imamura, The Ballad of Narayama, moviegoers were witness to Shichiro Fukazawa's story of a village in northern Japan where the people were forced to die atop a mountain when they reach the age of 70. The village wanted to avoid the burden of having to take care of its elderly.
Imamura's son, Daisuke Tengan, directs a spinoff, Dendera, in which a group of women refuses to be sentenced to death by abandonment.
Instead, they created their own self-sustaining village on the other side of the mountain top.
The story opens with Kayu, played magnificently by Ruriko Asaoka, who at first seems to have made peace with the fact that her eldest son is carrying her to the top of the mountain and leaving her to die alone.
She is, however, rescued by a group of other survivors who are now residents of their newly formed village, called Dendera. As the movie progresses, we see Kayu's character go through a full range of emotions and outlooks. She transforms from a helpless old woman to the strong heroine of the story.
The story premise is dark but thought-provoking, almost reminding me of Lord of the Flies or Battle Royale—both of which were great novels that adapted well into movies. All three tell stories of primitive survival. Who would have guessed that a group of 50 old women could be so resourceful, athletic, and—at times—merciless?
Dendera had a few sub-plots: the women's conflict with a giant bear who hunts their village, their with the villagers who cast them away, the conflict internal to their group, and, of course, their strife with nature itself. Each of these conflicts could have been a story in and of itself, so I did feel at times a little overwhelmed with all the obstacles these poor women had to endure in the span of a 2 hour movie.
However, big props must go out to all of the actresses—including Mitsuko Kusabue as Mei, and Mitsuko Baisho (who also starred in the original The Ballad of Narayama) as Masari—for always being up to the challenge of the sheer physicality that the story demanded.
Dendera, at its root, is about defying expectations and the importance of having the will and determination to overcome what life hands to you. The story and its characters were touching, funny, violent, ruthless, and hopeful. It's probably the different facets that pulls the story through and engages us in what would otherwise be a story of pretty dire circumstances.
***
Adrian Bailon lives, breathes, eats pop culture and new media technologies. He works in the web design field by day, and devotes his time to catching up on blogs and his Twitter feed by night. Follow him on Twitter (@adurian) or visit his blog at www.tigerxtiger.com.
Related Links:
Dendera
Tags: Adrian Bailon, Film, Film Festival, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | The Boy Mir
By VIFF Correspondent Jordana Mah
DIR: Phil Grabsky | Non-fiction features of 2011 | UK | 2010 | 95 mins. | Dari | Rated G
SHOWTIMES:
Thu, Oct 13th 1:15pm | Empire Granville 7 Th 2
Set in an utterly alien land, filmmaker Phil Grabsky's documentary takes viewers on a journey to one of the most battered and beautiful places on Earth: Afghanistan.
Grabsky is a rare creature among his peers; not only was he willing to travel to a war-torn country for his craft, he dedicated 10 years of his life to it! The subject of his life's work was a young Afghani boy and his family as they struggled to survive and piece together their lives in post-Taliban Afghanistan.
Young Mir, the subject of the film, is 8 years old when the film begins, and living in a dusty cave with his extended family. The film documents the day-to-day struggles that Mir and his impoverished family have to live with, and is a fascinating glimpse into rural Afghani life.
Everyday events, such as Mir's introduction to school, purchasing his first motorbike and becoming a man, parallel events in the war. Grabsky could not have chosen a better subject for his film.
Mir is immediately charming, growing from a cute child into an attractive young man. However, his life is full of harsh realities—due to his father's weakening health, Mir is forced to put aside his dreams of becoming educated and work on the family's farm.
'Only those with food can go to school', he muses at one point. As the film progresses, his desire for education falters. Yet despite the lack of opportunity, and harsh living conditions, Mir is unexpectedly upbeat, often breaking out into infectious laughter. His face is prematurely lined and weathered, but his smile is bright.
Surprisingly, the family is little affected by war, at least on a daily basis. Glimpses of battles are seen only on TV screens, and in the opinions of visiting Afghan soldiers who remark, "we are using them" when referring to American troops.
It's an opinion Mir himself seems to share as well, when he scoffs at the gift of notebooks that passing American soldiers leave the village school, leaving the audience with the uncomfortable feeling of being the guest who doesn't know when to leave.
Insightful and full of experiences familiar and strange, The Boy Mir is an excellent education on a people that has affected the world, while being isolated from it.
***
Jordana is an avid blogger and writer as well as Schema's Social Media Coordinator. She loves writing about fashion, food, film and culture, but she also loves a good nap - things which sadly often conflict. You can find her online ramblings at @mizzjblog and @schema_magazine.
Related Links
Official film website
The Boy Mir
Tags: Film, Film Festival, Jordana Mah, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Cairo 678
By VIFF Correspondent Jordana Mah
DIR: Mohamed Diab | Cinema of our Time | Egypt | 2010 | 100 mins | Arabic
SHOWTIMES:
Mon, Oct 3rd 4:20pm | Empire Granville 7 Th 2
Wed, Oct 5th 9:15pm | Empire Granville 7 Th 4
A complex story of intertwined characters, screenwriter/director Mohamed Diab's tale of sexual harassment in Egypt is immediately absorbing.
The film begins with the story of Fayza, a working class wife and mother who endures daily gropings on the Cairo bus en-route to her government office. Inspired by a self-defence instructor, Fayza suddenly decides enough is enough and takes matters into her own hands, starting a series of events that changes her life forever and she turns to her instructor, Seba, for solace.
Seba however, has her own problems. Wife to a successful doctor and upper class family, Seba's perfect existence is ruined one fateful night when she is attacked by a group of men during a football celebration. Seba is changed forever and becomes an advocate for women's rights. Her televised proclamations of empowerment inspire women like Nelly, the third protagonist, who is one of Egypt's only female comedians. Struggling for laughs, while enduring days of harassment from clients, Nelly fights back in an extraordinary way—by filing Egypt's first sexual harassment lawsuit.
Inspired by real events, in a culture where sexual crimes are often considered acts of shame, Diab handles this controversial topic with delicacy and skill. Though the topic is serious, the film has moments of lightness, which offset the sense of outrage felt by watching how the women are continually put down by a society with little female power.
In a pivotal moment between the three women, an argument brings up the question for just who is to blame for harassment: society's reluctance to prosecute crimes? Ill-behaved men? Or the immodesty of upper class and Western-influenced women?
What's also refreshing about the film is that it creates empathy for the men who are the perpetrators of these crimes. These men are not outcasts lurking on the edges of society, but are brothers, fathers, and husbands. Without placing blame, Diab questions the audience's perceptions while also showing a way for hope.
***
Jordana is an avid blogger and writer as well as Schema's Social Media Coordinator. She loves writing about fashion, food, film and culture, but she also loves a good nap - things which sadly often conflict. You can find her online ramblings at @mizzjblog and @schema_magazine.
Related Links
Posted by Gayatri Bajpai | October 3, 2011 | Comments (0)Tags: Jordana Mah, VIFF 2011
VIFF 2011 | Blood in the Mobile
By VIFF Correspondent Chantelle Belle
DIR: Frank Piasecki Poulsen. | Heaven and Earth | Denmark, Germany | 2010 | 82 mins | French (English subtitles)
SHOWTIMES:
Sat. Oct. 8 | 9:00 pm | Empire Granville 7 Th 4
Thu. Oct. 13 | 11: 00 am | Empire Granville 7 Th 2
When thinking about the politics of cell phones, a few things might come to mind: hands free driving legislation, telecommunications regulation, the smartphone patent battle.
Things that do not come to mind: civil war and deadly mining operations.
Blood in the Mobile will radically shift perceptions of mobile manufacturing by shedding an interrogative spotlight on one of the fastest growing industries of our time.
Millions of people have died in the ongoing armed conflict in the Democratic Republic of Congo. The violence and corruption in the country are no secret to the global community. Still, director Frank Poulsen manages to take the audience on a shocking journey, starting with an almost-sincere concern about his Nokia phone: is my cell phone supporting armed conflict in the Congo?
The film establishes itself as an exploration of the supply chain of one of our most beloved possessions, with an undercurrent of social responsibility and promotion of public awareness. The hostility of corporate communications is contrasted against chaos in the Congo.
The connection between electronics and the Congo boils down to natural resources, in the form of rare earth metals. It is unclear why they are an integral component of electronic devices. The film also fails to mention other places that produce these minerals.
Nitpicking aside, Poulsen directs his focus on an illegal mine that is producing rare earth metals in an area where conflict and corruption run rampant. There is no mistaking that the stakes of the filmmaker's journey to the isolated town of Bisie are high.
Access is the greatest journalistic feat of this film. Poulsen pursues access to the Bisie mine with courageous fervor, encountering a number of memorable characters along the way.
Blood in the Mobile splits its time between questions about corporate social responsibility and mining operations in the Congo. It is a carefully crafted juxtaposition that gives the film real impact and duality.
While the resource curse has been addressed in many formats—most people are familiar with the term 'blood diamonds'—the impact of dirty business in the mobile industry implicates a far greater number of people. A significant portion of its length devoted to adding context, the film will be greatly appreciated by NGOs and human rights activists.
Blood in the Mobile will undoubtedly raise awareness and influence the public relations of electronic companies in years to come. It is clear that Poulsen alone will not inspire real answers from the headquarters of Nokia—despite his best efforts.
Perhaps we will see 'conflict-free' labels on electronic devices in the not-so-distance future. Credited, in part, to this film.
***
Chantelle is a producer of words and graduate student at the UBC School of Journalism. When she's not working you can find her eating nachos and drinking sangria or avoiding hills on her bike. You can follow her on Twitter @pieglue.
Related Links
Official film website
Blood in the Mobile
Tags: Chantelle Belle, Film, Film Festival, Vancouver International Film Festival, VIFF 2011
VIFF 2011 | Miss Representation
By VIFF Correspondent Kate Adach
DIR: Jennifer Siebel Newsom | Nonfiction Features of 2011 USA | 2011 | 90 mins
English | PG
SHOWTIMES:
Sun, Oct 9th 6:40pm Empire Granville 7
Fri, Oct 14th 1:15pm Empire Granville 7
As Vancouver will soon profit from a team of underwear-clad and unpaid women running around for spectacle under the guise of "sport" in the expanding Lingerie Football League, the message of the VIFF documentary Miss Representation couldn't be any more urgent for our city and our world.
Actress, activist, and documentary filmmaker Jennifer Siebel Newsom makes a compelling case in Miss Representation: the future of our global governance is doomed if we continue to sit back and let commercial media continue stripping women of their power and their clothes. Siebel Newsom argues that women need more substantial role models to look up to.
The film opens on a personal note, as Siebel Newsom shares her fears as an expectant mother of a baby girl. She worries about the world her daughter's generation will be born into.
As a teenage athlete, Siebel Newsom suffered sexual assault, an eating disorder and intense pressure to be beautiful. She excelled at Stanford University, but when she later turned to acting her agents told her to remove her hard-earned MBA credentials from her resume. She wouldn't get hired if she appeared too smart, they said.
Through her acting career, Siebel Newsom saw firsthand how few characters are written for women, and the pressures actresses are under to conform in order to get cast in the few cookie cutter roles.
A rapid-fire montage of media messages hit the screen. The film juxtaposes images of big-breasted and bouncing music video dancers, action figures and - of all sad things - newscasters, with those of political conference rooms dominated by men and misogynistic press coverage slamming ambitious women in politics.
Trailer
Newest Miss Representation Trailer (2011 Sundance Film Festival Official Selection) from Miss Representation on Vimeo.
The argument is clear: girls can't base their self-worth on winning beauty pageants.
That, and people will not vote for someone they'd rather shag or—as one politician was told—hire as a babysitter.
Siebel Newsom's voice isn't alone in this message. The film is packed with powerful women who share their stories and reflections from the frontlines in the battle for equal representation: Condoleeza Rice, Katie Couric, Nancy Pelosi, Geena Davis, Lisa Ling, Jane Fonda, Margaret Cho, Rosario Dawson, Rachel Maddow, Jean Kilbourne, Gloria Steinem and others.
Daphne Zuniga, former Melrose Place actress talks about ditching television acting after being required to undergo painful Botox injections in order to land her next role. While Jane Fonda says that in order to get her first film she was instructed to pull out her back teeth.
Comedienne Margaret Cho laughs while telling her story, though it's no less disturbing. She recalls how her television show was cancelled when producers deemed her average-sized body too fat to remain on air, and replaced her sitcom with The Drew Carey Show. "You know, because he's so thin!" Cho quips.
These celebrity voices are balanced with interviews of unknown high school students, both boys and girls, who react candidly about the pressures they're under. And note: Siebel Newsom's film is motivated by her concern not just for her daughter, but for her "daughter's generation." That includes the boys.
The film doesn't miss the negative effects this is all having on boys. Men are taught to be "emotionally constipated" and burdened with an expectation that they should seek high-paying jobs.
"We can't turn a blind eye to how the media harms our daughters and our sons," Siebel Newsom says.
You might be thinking: Don't we already know the media's harmful? Hasn't this all been said before? (In fact, you're probably thinking: "Of course I know mainstream media's biased! That's exactly why I'm reading Schema Magazine!")
But this isn't old news. This is our world today. And Miss Representation succeeds in keeping fresh and current.
Mainstream television news discussion about Hillary Clinton and Sarah Palin are two recent examples of the media's unbalanced portrayal of women, especially those in high profile positions. Many of the rape and sexual assault reports are dated February 2011. The stats tell us that depression among young women is higher than it's ever been. So is sexual assault. And teens now consume 10 hours and 45 minutes of mass media every day.
North America is scrutinized in the film in a way we've never seen before. This isn't about the fact that women in Saudi Arabia still cannot vote, or that the Congo is still the rape capital of the world. The film doesn't go global. It fixes its lens tightly on American politics and media, exposing the "patriarchy within the American Dream" and on the airwaves.
And it resonates for us up here in Canada too.
The film's motto is: "You can't be what you can't see."
So if we look around and see our men in boardrooms and our women in lingerie, what can our kids expect to see in themselves?
At least there's one thing we can see right now. And that's this film.
***
Kate Adach is a freelance journalist, radio producer and videographer. She wants people to think critically about the media. And be good to each other. That's all.
Stalk follow her on Twitter @katemedia.
Related Links
Official film website
Miss Representation on VIFF
Tags: Film Festival, Kate Adach, VIFF 2011
Seoul, Korea | The 6 Best Tapas
By Justin Ko
The ubiquitous style of small plate cuisine that is Spanish tapas has certainly taken over vast portions of the globe, and Vancouver is no exception. Indeed, it seems that whenever a group of friends decides to get together and grab a bite to eat, tapas is the most diplomatic solution. But of course tapas is far from an exclusively North American or European phenomenon. In fact, some of the world's best tapas may be found in Seoul, Korea, according to CNN's international blog.
Number one on their list of Seoul Tapas is the Banyan Tree, which features Tapas Thursdays: "6 p.m.-11 p.m. every Thursday, gets you four tapas, plus two bottles of Peroni Nastro Azzuro beer for 40,000 won."
Next up is Mi Casa, founded by Spanish-raised expatriate Korean "gyopo" Mark Cho Wendel. "I wanted to bring back something of the culture I grew up with to share with friends," says Cho, who spent 20 years of his life growing up on the eastern coast of Spain.
Number three on CNN's list is El Olivo, owned by Harry Kim. Although it's located way out in Gwancheon, the trip should be worth your while as the restaurant is run by renowned Spanish chef Bernardo Novas.
Number four is Albaizyn, perhaps the oldest Spanish restaurant in Korea. Owner Simon Jung and gyopo chef Rose Lee promise a special treat for those who crave rustic Iberian cuisine.
Next is El Plato, led by Chan Kim, now located in Garosugil. No longer serving an exclusive crowd of university students, the restaurant now serves more "gourmet" tapas such as "montaditos de jamon y huevo," an open-faced sandwich.
Last on CNN's list is Bodega, with new chef straight from Barcelona Manual Manzano, who humbly recommends the crispy croquetas.
So if you somehow find yourself in Seoul, Korea, feel free to try out the tapas of the local Korean gyopo chefs, and you might just have stumbled on a tapas best-kept secret.
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