Holland at goEast

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Agnieszka Holland was at the goEast Film Festival on April 30 to present her brand new film Spoor(Pokot). Here, Holland mixs genres to a subversive end, with her story concerning a retired engineer Janine Duszejko who is an amateur astrologist, vegetarian, and teacher with a great love of animals.

She regularly confronts the male establishment in the rural setting of the film, and fights their regular disregard of the laws concerning animal welfare. What unfolds is a murder mystery of sorts that resonates on many political, ecological, social, and existential levels. Beautifully shot and conceived w an excellent score from Antoni Komasa- Lazakiewicz, and Matthias Eklund,  with healthy doses of black humour.

Based on a novel by Olga Tokarczuki called : Drive Your Plow Over The Bones Of The Dead. I would highly recommend this flick….

what follows is a brief compendium of notes from the insightful talk by the director and moderators at the Caligari Filmbuhle in Wiesbaden  on April 30

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Spoor (animal)

Footprints of the extinct thylacine
Spoor is any sign of a creature or trace by which the progress of someone or something may be followed. A spoor may include tracks, scents, scat, or broken foliage. Spoor is useful for discovering or surveying what types of animals live in an area, or in animal tracking.

Spoor won the Silver Bear at 2017 Berlinale- she graduated from FAMU in 71 studied w Milos Forman-worked with Wadja in Poland-She became part of the Polish New Wave, Moral Anxiety-81 left in exile-TV work includes: The Wire, Burning Bush, House Of Cards- book film is based on was written 9 years ago, premonition at end of book and film? Holland quoted “wadja-doing movies from the future”-

this is a bizarre mix of genres: anarchist,feminist,ecological,fairytale,thriller-difficult to finance-German  financing was key-shot in Silesia near Wroclaw-Holland just back from Hong Kong FF, big interest in this film in Asia-subversive use of genre w unexpected uses and outcomes

-4 season long process, 2 years, 5 DOP, 2 directors,- who is the killer?,we don’t know until the end-she likes American directors Coen Brothers and Wes Anderson as they speak about issues yet still connect to an audience-

protest by right wing in Poland, criticize it as feminist film,fuck them! Poland, Hungary,Turkey, USA are all turning hard right taking away women’s rights and destroying the environment.-their enemy is ecology and women-they are angry, only Catholic, white, heterosexual men are important in Poland-environmental issues in film are linked to woman’s fight

-Holland is the role model for feminist cinema in Poland-she was accepted in an all male film world in the 70s because she was viewed as a masculine filmmaker w balls, but she took offence as she IS a different gender w a different point of view-

women were never represented at the same level in distribution, exihibition etc-Poland has several good women directors currently-

this film shows the anger in society that is growing, fire is anger both good and bad, freedom has released options-revenge story(django)-hunters are a metaphor to some extent

-good film creates a space for the audience to form their own conclusions from the structure the filmmaker has provided-

William Blake reference adds an existential element and is attached to the area the film is located…

Also see: Spoor-The Guardian

 

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Reading Nordic Noir

Happy New Year and welcome to the first installment of our new monthly series, Oddly-Specific Genres! Last year, we hosted the 2016 Library Challenge, which was pretty intense. This year, we decided to take a more relaxed approach and are instead inviting you to step into a new genre in 2017…or really 12 new genres, […]

via Oddly-Specific Genres: Exploring the Fjord Side — Berryville Book Buzz

Icelandic Noir

Anything to do with Trapped – The Killing Times’ best crime drama series of 2016 – and we’re all over it. That show’s creator, Baltasar Kormakur, has recently opened his own studio, RVK, in Reykjavik and he revealed at the Berlin Film Festival that his next project would be a supernatural thriller based around the […]

via Trapped’s Baltasar Kormakur to make ‘supernatural thriller’ series based around Katla volcano — The Killing Times

Shin Godzilla via Anomalily

With the first cinematic appearance in 1954, the most popular (dai)kaiju celebrated its 31st film in 2016. Brought to life by Hideaki Anno and Shinji Higuchi, Shin Godzilla already managed to become both, a box office sensation, and a face palm galore motivator. Here is, why I enjoyed it.

via NOT ONLY LOVE LEAVES DESTRUCTION IN ITS WAKE: Shin Godzilla — AnomaLilly

Best of 2016 x 32

Ok it is almost time to say goodbye to 2016. I attended a few film festivals: Berlinale,Fantasia, and TIFF.

As well I caught as many interesting films as possible at various cinemas. Here is my best of list-in descending order- favouring indie, foreign, and nourish dramas it seems:)

Honorable  mentions to: Swiss Army Man, The Witch, and Sing Street-they all deserve a place in here for sure. Toni Erdmann & Moonlight have yet to be seen; so I can’t  judge.

More details on most of these flicks can be found in the 2016 blogs here on CineRadioWaves. Enjoy!

Evolution– Evolution-France-2015-d. Lucile Emina Hadžihalilović

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DemonDemon-Poland-2015-d. Marcin Wrona

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Train To BusanTrain To Busan-S. Korea 2016-d. Yeon Sang-ho

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AloysAloys-Switzerland 2016-d. Tobias Nölle

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Driftersdrifters-Sweden 2015-d.Peter Grönlund

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AlenaAlena-Sweden 2016-d. Daniel Di Grado

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If Cats Disapeared From The WorldIf Cats…-d. Akira Nagai (Japan-2016)

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American HoneyAmerican Honey-USA 2016-d. Andrea Arnold

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Hunt For The Wilder PeopleWilderPeople-d. Taika Waititi

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Green RoomGreen Room-USA 2016-d. Jeremy Saulnier

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The Phantom DetectivePhantom Detective-d. Jo Sung-He (South Korea-2016)

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The ExileThe Exile-Spain 2016-d.  Arturo Ruiz Serrano

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A Conspiracy Of FaithA Conspiracy Of Faith-(Denmark-2016-Crime Drama) d. Hans Petter Moland.

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The ArdennesThe Ardennes-(Belgium/Netherlands-2015-Crime/Drama) d. Robin Pront

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Neon DemonThe Neon Demon-USA 2016-d. Nicholas Winding-Refn

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SunriseSunrise-India 2016 d.Partho Sen-Gupta.

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Look Who’s BackLook Who’s Back-Germany 2015-d. David Wnendt

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Louder Than BombsLouder Than Bombs-Norway 2015- d. Joachim Triers

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DisorderDisorder– Belgium 2016-d.Alice Winocour

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AmericanaAmericana-d. Zachary Shedd (USA 2016)

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Operation AvalancheOperation Avalanche-Canada 2016-d. Matt Johnson

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The Dark Side Of The MoonDark Side Of The Moon-Germany 2015–d. Stephan Rick

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Karl Marx CityKarl Marx City-Germany 2016-d. Petra Upperlein

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Nocturnal AnimalsNocturnal Animals-d. Tom Ford-USA 2016

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ArrivalArrival– d. Dennis Villenueve-USA 2016

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The UnseenThe Unseen-d. Geoff Redknap-Canada 2016

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EmbersEmbers-d. Claire Carre-USA 2016

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ImageImage-Belgium, 2014,-d. Adil El Arbi, Bilall Fallah

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Inside the CellInside The Cell-France 2015- d. Nicolas Boukhrief

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What We BecomeWhat We Become-Sorgenfri-Denmark/Germany 2015-d. Bo Mikkelsen

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The Little SisterThe Little Sister-Zack Clarke d.USA 2016

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The CrewThe Crew-The Crew-Braquers-France 2015-d. Julien Leclercq

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Fantasia 2016-Swan Song+ TIFF

It’s been a busy summer and I am just getting ready to attend a few film atTIFF 2016.I’m catching 3 features this weekend, including a new Malaysian supernatural noir called: Interchange. I am also going to see a new film from Polish directing legend Andrzej Wajda called: Afterimage, as well as a Icelandic thriller called The Oath.

So thats this weekend and I have another bunch to get to next week as well:) SO more info to come…in the interim here are a few more notable films from the 20th Fanatasia Film Festival 2016.

All three showings had the directors present which was a real treat. Luckily I was able to catch up with two of the filmmakers that week and I have posted those here for you to check out at your leisure. I’ll let the interviews speak for themselves, and otherwise I will give over for this blog the fine reviewers from Fantasia;who did a great job writing about all the films for the on-line and print programme.

Embers-d. Claire Carre (USA-2016)

Two individuals wake up on a mattress in a shady room, clueless as to how they got there or why they suddenly find themselves in the company of a perfect stranger. To be honest, they don’t remember much of anything, not even their own names. Since the apocalypse, a strange affliction has deprived humanity of its memory. The last survivors wander aimlessly, gripped by a form of amnesia so strong as to make it impossible for them to remember what they did the previous day. There is some indication, however, that the two strangers are somehow connected. They’re both wearing identical blue ribbons on their arm, a hypothetical sign of a common past. Meanwhile, far away, a child trekking across the wastelands meets a curious scientist. Spared the rest of the world’s memory loss, a woman is getting ready to leave her protective bunker and ultimately lose what she holds dearest in the world.

Newcomer Claire Carré’s EMBERS is a rare treat. With a spare and appealing style, it uses science fiction to explore the foundations of human nature. With a precision worthy of José Saramago, Charles Spano and Carré’s script creates unnatural situations which one can quickly relate to, due to their uncanny sense of credibility. EMBERS manages to summon up laughs while maintaining a mysterious tone that will continue to grip you long after viewing. Carré’s true talent lies in her sensitive ability to create larger-than-life characters whose every word and gesture seem to carry a secret meaning. Having already presented her first feature at Slamdance, it’s seems like a safe bet to say that she will soon be recognized as one of the most promising new voices of American independent cinema. The magnificent EMBERS is a miraculous feat that is simply impossible to forget.
— Simon Laperrière

Interview w-Claire Carre from Embers

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The Unseen-d. Geoff Redknap (Canada 2016)

Everyone knows the tale of the Invisible Man, but have you heard the one about the slowly-turning-invisible-man? That’s just one twist making THE UNSEEN an unforgettable entry in this year’s Fantasia lineup. Aden Young, star of TV’s RECTIFY, plays Bob Langmore, a struggling mill worker in a small northern town. But barely making ends meet isn’t his biggest problem, as he’s also hiding the fact that he’s gradually going invisible. And Bob’s not simply fading away but disappearing in chunks, which makes him look like the victim of a hideous flesh-eating disease. When his ex-wife, Darlene (Camille Sullivan of THE MAN IN THE HIGH CASTLE) asks him to visit his rebellious daughter Eva, he takes a driving job for a local drug dealer and returns to the city. Shortly after his arrival, Eva (Julia Sarah Stone, THE KILLING), goes missing and he suspects the teen has been taken because she shares his affliction. With the drug dealers threatening him and his condition worsening, Bob must find his daughter before they’re both gone for good.

A gritty thriller grounded in family drama with a streak of horror, THE UNSEEN is a future cult classic. It may be Geoff Redknap’s feature debut as writer-director, but his years of experience working in the makeup and special effects departments of features such as DEADPOOL, WATCHMEN, THE CABIN IN THE WOODS and both the FINAL DESTINATION and X-MEN series, plus TV shows including THE X-FILES, FEAR THE WALKING DEAD and MASTERS OF HORROR — shines through in this, ahem — must-see premiere.

— Dave Alexander

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Shelly-d. Ali Abbasi (Denmark/Sweden 2016)

Elena is a broke single mother on the verge of a burnout, looking for a break from her daily obligations. A change of scenery would be welcomed, especially one involving a small country house far from the city. When she learns of a couple looking for a maid to take care of their forest dwelling, she jumps on this seemingly fortuitous opportunity. Upon arrival, Elena realizes that her employers have a somewhat unusual lifestyle. They don’t eat meat or use electricity, and they keep contact with the outside world to a minimum. With an unbreakable three-year contract, the young woman complies without complaint. At least she found the peace and quiet she’s been looking for. But her bosses have one more favour to ask of her. Unable to conceive, they want Elena to be their surrogate birth mother — for a handsome sum, of course. Flattered by her employers’ kindness and generosity, she accepts, unaware that her life has just capsized into unspeakable horror. Elena starts to notice signs suggesting that whatever it is she may be carrying inside her, it’s far from human.

What begins as an intimate, Bergmanesque drama slowly transforms into a modern gothic tale in SHELLEY, the brilliant atmospheric tour de force by Ali Abbasi. Reminiscent of ROSEMARY’S BABY, Abbasi’s film has a realism so convincing that the creeping transition into fantasy causes overwhelming anxiety. As the leading lady, Cosmina Stratan, winner of the Cannes best actress award for BEYOND THE HILLS, gives a gripping performance as a troubled woman succumbing to her darkest fears. It’s easily one of the most powerful productions of the 2016 lot.
— Simon Laperrière

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Anthropoid+ Closet Monster+Hunt For The Wilder People

Anthropoid-d. Sean Ellis-I took the commuter train into Toronto on the weekend ,and checked out a brand new Euro co-production,t hat just had its world premiere at the Karlovy Vary International Film Festival on 1 July 2016.

Anthropoid stars:Cillian Murphy, Jamie Dornan, Toby Jones, and Charlotte Le Bon . It tells the story of Operation Anthropoid, the World War II assassination of Reinhard Heydrich by Exile Czechoslovak soldiers on 27 May 1942.

It’s an interesting story-line that I was somewhat  familiar with,as it it has been the subject of previous feature film endeavours; including the 1943 Fritz Lang film: Hangmen Also Die!  This featured the only Hollywood script by Bertolt Brecht, and I caught an archive screening of it at the 2013 Berlinale.

However, that version filmed during the war years couldn’t reveal the true details of the secret mission at the heart of the story, as it was still mostly classified. This modern re-telling doesn’t suffer from the same limitations however.

It does suffer however from a clear lack of a consistent directorial and visual vision, relying too extensively on basic,routine,and uninspired coverage shots + editing, especially in the early stages. The movie was shot on film, and I found the digital conversion I viewed in Toronto unusually grainy,and lacking in clarity at times.

The choice of English dialogue was unfortunate. I’m a bit of a purist,and prefer films in their native language. It lends much more authenticity. It was also strange when the Nazi characters were allowed to speak German.Then the German was translated into English, in certain scenes, so the Czech people could understand it? It was awkward and took away from the film.

Otherwise the sets and locations and lighting all top notch, and I really liked the supporting casts performances of Toby Jones and Anna Geislerová.

And the story is great, it just might have been better realized with a more authentic grounding in the Czech language and a more consistent visual style.

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Hunt For The Wilder People-d.Taika Waititi-Closer to home,I dusted off the bicycle and headed to the homey confines of the Westdale Theatre, in Hamilton.There was a film screening that I had just missed at the Fantasia Film Festival, and I knew the director from his recent vampire-comedy: What We Do In The Shadows.

That film was released to critical acclaim in 2014.Director Waititi had been noticed even before this for his TV work , and was also nominated for an Academy Award for his 2004 short film Two Cars, One Night. His first feature films: Boy became the top grossing New Zealand film before the release of Hunt for the Wilder People.

Based on the book Wild Pork and Watercress by Barry Crump,this film stars Sam Neill and Julian Dennison as a father figure and son who become caught in a manhunt.The film premiered In Competition at the 2016 Sundance Film Festival on 22 January 2016.

I knew little about this movie before viewing, and went mainly on my love of Waititi’s previous film.

What a nice film this is. Inventive,funny,quirky,poignant, and inappropriate.

All at the right times and in the right measures. With great performances and a wonderful cinematic view of the wilds of New Zealand; I would definitely recommend this flick.

Even if you have to just around to find it:)

 

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Closet Monster-d.Stephen Dunn-Well it turned into a double-bill at The Westdale Theatre, as they had a brand new Canadian feature screening that had some buzz around it.

Closet Monster is drama written and directed by Stephen Dunn , and its Dunn’s debut feature.

It stars Connor Jessup as Oscar Madly, a creative and sexually confused teenager who retreats into a fantasy world to deal with his sense of isolation.The movie premiered at the Toronto International Film Festival, where it won the award for Best Canadian Feature.

The film was shot on location and set in St. John’s, Newfoundland. This is a great feature to come out of the East Coast of Canada, dealing with topics of sexual identity, teenage angst, domestic violence, and artistic expression.

Those are is a lot of topics for any seasoned veteran to attempt; so it is even more impressive to see a 24 yr old filmmaker take on the challenge in his first feature.

I liked style of the film and it was helped along greatly by solid performances, good visual style, and a great 80’s inspired synth soundtrack from Todor Kobakov & Maya Postepski.

Actually the score may have been my favourite element of the film especially in the very cool and pivotal party scene.

Overall , this is a very ambitious and interesting film,although a few things didn’t add up for me.

The portrayal of the Father in the film seemed very uneven, and the use of artistic metaphor and symbolism was heavy handed at times. And I understood the use of  the pet hamster as a escape for Madly from the harsher realities of his youth, but still…a talking hamster? Quibbles perhaps:)

Closet Monster is in limited release this summer in Canada ,but do  try and catch this new  flick from a rising star in Canadian indie film.

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