ScreenFish

where faith and film are intertwined

Steve Norton

TIFF ’22: MURU

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Written and directed by Tearepa Kahi, MURU tells the story of ‘Taffy’ Tawharau (Cliff Curtis), a Maori police sergeant who spends his time in relative quiet. Caring for his ailing father and driving a school bus, Taffy is a respected voice in the community. Though, unbeknownst to Taffy, trouble is brewing as the government has their area under surveillance for potential terrorist threats. The current focus of their investigation is Tame Iti, a Maori rights activist who yearns to help his people reclaim their identity. Meeting around the campfire to inspire those who will listen, Iti is believed to be the leader of a home-grown terrorist cell and the tensions bubbling under the surface soon begin to boil over. 

Based on the true story of the raids against New Zealand’s indigenous population, MURU is an intense thriller that demands attention and response. From start to finish, Kahi unleashes his story with passion and heat. This is a film with a heart for justice that’s packaged in the form of a gripping action piece. Although the film plays with some of the historical nature of the events, MURU reveals the damage caused by an oppressive government over the past century that have left irreparable scars on the Moari people.

Leading the way are some wonderful performances by its cast, especially that of Curtis and Jay Ryan. As Taffy, Curtis reveals the humility and humanity of his character as he attempts to reconcile his own emotional conflict. At the same time, Ryan brings a conflicted strength to military leader, Gallagher. Gallagher is a man whose responsibility is to the job yet, as the film progresses, he, too, must decide with the ramifications what he is willing to do when the mission no longer makes any sense. As things begin to escalate, the chemistry between the two actors helps draw out the brokenness of the situation by exposing the unfair 

In a lot of ways, MURU is a rallying cry for an indigenous population that continues to fight for their voice to be heard. Misunderstood by the military and the government, they are viewed as criminals through the lens of toxicity and racial bias. This is a world where carrying a broom to clean up your mess can be considered a concealed weapon and family disputes are viewed with ire by a government that does not understand. Interestingly, MURU is wise to be told in both English and their native language, as this is very much a film about the damage created by a lack of communication. Armed by their own flawed perceptions, the New Zealand government had created their own narrative about live amongst the Indigenous population long before the raids began. Although they espoused the desire to ‘keep the peace’, their selfish interests and false beliefs shaded their judgment and prevented any opportunity for them to build bridges between the two cultures. MURU catches this tension beautifully by highlighting misunderstandings that escalated into violence instead of creating spaces for conversation. 

What ensues is a tension that causes issues between both worlds and several of its main characters appear torn between two sides. The best example of this within the film remains Taffy, the indigenous police officer whose life is torn between his culture and his badge. Although he believes in justice, what he witnesses forces him to make a choice. Caught between his demands as an officer of the law and his commitment to his people who are being oppressed, Taffy wants to live with integrity yet struggles to know what that means. As MURU blurs the lines between right and wrong, so too does it acknowledge the need for police protection while also showing the horrific reality of police brutality. 

In this way, MURU wears its heart on its sleeve, crying out for justice in a place where there is none. 

To hear our conversation with Tearepa Kahi, Cliff Curtis and Jay Ryan, click here.

MURU premiered at TIFF ’22. For more information, click here.

TIFF ’22: My Policeman

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Directed by Michael Grandage, My Policeman is a love story that wants to demonstrate the height of passion yet leaves the viewer disappointed. Despite its willingness to show graphic scenes of sexuality, the film feels less like a breakthrough for the LGBTQ community and more of a failed opportunity to process the pain of the past.

Set in the 1990s, married couple Tom and Marion (Linus Roache and Gina McKee) live a contented and quiet life. However, their tranquility is threatened with their friend Patrick (Rupert Everett) suffers a severe stroke that requires Marion to invite him into their home to care for him. When she tells him of her decision, Tom is furious at his wife and refuses to speak with their old friend. Sitting in their grief and anger, Tom, Marion and Patrick reflect upon their youth (played by Harry Styles, Emma Corrin and David Dawson) and the complex and complicated relationships that set their world into motion.

In many ways, the most divisive aspect of Policeman will remain its cast. Led by Styles and Everett, the film has a certain sense of chemistry within the two groupings that helps their performances on screen. However, at the same time, there’s also seems to be something missing. 

Written by Ron Nyswaner, Policeman has an excellent opportunity to explore the injustice of oppression against the homosexual community. Set primarily during a time when homosexuals were thrown into prison for their behaviour, the film highlights their desire to express their love without fear or persecution. At this time, to be known as a homosexual meant imprisonment or worse and they are left to find one another amongst the shadows. Even so, within Nyswaner’s script, this potentially compelling conversation settles for bland romance and leaves its cast adrift in the process.

So, unfortunately for this viewer, the verdict is still out.

My Policeman premiered at TIFF ’22. For more information, click here. 

TIFF ’22: Corsage

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Set in Vienna in 1877, Corsage tells the story of Empress Elisabeth of Austria (Vicky Krieps) as she celebrates her 40th birthday with her husband Emperor Franz Joseph (Florian Teichtmeister). Elisabeth lives a life of luxury, yet there is an ache in her soul. Feeling imprisoned in an loveless relationship, she goes largely ignored by her husband. What’s more, as rumours and whispers emerge, her reputation becomes sullied by quiet accusations of infidelity. As she moves to Bavaria to find a new beginning, she quickly discovers that, even in a new location, she will never be free.

Written and directed by Vicky Kreutzer, Corsage is the true story of one woman’s fight for strength at a time of oppression. At the hands of toxic, masculine power, Elisabeth’s life was one of tragedy as she was forced to take on a role that was far beneath her. As the wife of Emperor Franz Joseph, her place was meant to be one dominated by male power. In the same way that her bodice around her is gradually tightened, so too is Elisabeth become increasingly strangled within her own home. 

With a deep frustration and an inner rage, Krieps portrays Elisabeth as a woman on the edge. Krieps imbues the Queen with a claustrophic strength that is waiting for the opportunity to explode at any moment. Through her performance, the viewer understands that Elisabeth was a woman of strength who is willing to do whatever it takes to experience life yet remains without room to breathe. Questions of sexuality, indiscretion and speaking out of turn hang over her head, leaving her in the crosshairs of others in the regime.

Yet she continues to kick at the darkness.

Corsage premiered at TIFF ’22. For more information, click here.

TIFF ’22: How to Blow Up a Pipeline

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Written and directed by Daniel Goldhaber, How to Blow Up a Pipeline begins with Xochitl (Ariela Barer) slashing the tires of a nearby SUV in order to send a message. Committed to environmental protection, she believes that it is her responsibility to punish those who care little about the planet, especially if the law ignores them. Frustrated and hurt by the damage left by the climate crisis, Xochitl begins to recruit a team of like-minded people who are willing to take matters into their own hands by targeting a West Texas pipeline in an effort to garner some justice.

Set amidst the dry heat of Texas, How to Blow Up a Pipeline is an absolutely gripping thriller about a team of young environmentalists who set out on a mission to save the planet. Brilliantly executed by Goldhaber, Pipeline throws you into the action from the outside and never lets go. Following its characters with a broken narrative style, Goldhaber keeps the emphasis on the moment while also never forgetting the individual journeys that brought them together. As a result, he is able to reveal the motivations of his characters in ways that actually add to the overall storytelling and augmenting the heist itself. 

With fire and fury, Goldhaber demonstrates both the personal and environmental urgency of their convictions. Having all been broken by the recklessness of environmental destruction, the emphasis on their stories helps us to empathize with the convictions of each character, giving us the opportunity to support their acts of violence. Their interest lies solely in making the corporate world suffer for their actions without the cost of any human life in the process. In doing so, Goldhaber acknowledges that illegality of their actions yet justifies it as an act of rebellion for the greater good. 

How to Blow Up a Pipeline premiered at TIFF ’22. For more information, click here.

TIFF ’22: North of Normal

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Based on the memoir written by Cea Sunrise Person, North of Normal unravels the author’s challenging and eccentric childhood. Living with her grandparents, Cea and her young mother Michelle (Sarah Gadon) retreat into the wilderness of Alberta in order to find a new life. However, when Michelle decides that it’s time to leave their unconventional home and trek on her own, she brings her daughter on a nomadic journey that will shape the way she views the world.

Directed by Carly Stone, North of Normal is an engaging coming-of-age story that comes alive as a result of its performances. Although the script is fairly solid, it’s the cast that is able to make it shine. Although it may have been based on a true story, these sorts of films don’t always feel honest. Even so, Normal wears its heart on its sleeve and charms the viewer. Featuring some wonderful work from Amanda Fix, Robert Carlyle and the rest of the cast, Normal feels authentic.

In many ways, one of the more interesting aspects of Normal are the lines that it draws between ‘running towards’ and ‘running away’. In Normal, every character seems to feel that the best way to face their problems is to avoid them. From cancer diagnoses to legal issues, this is a family that flees into the wilderness when they need a place to start over. However, Normal never judges its central family too harshly. In a fascinating mix, Normal paints its characters with a lens of grace, allowing them to live with their failings but also be loved in the process. Here, everyone’s scars can be seen but that doesn’t mean they don’t matter.

To hear our interview with Carly Stone and Amanda Fix, click here.

North of Normal premiered at TIFF ’22. For more information, click here.

TIFF ’22: 752 is Not A Number

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Directed by Babak Payami, the new documentary 752 is Not A Number begins on January 8th, 2020 after Ukraine International Airlines Flight 752 is destroyed leaving Iranian air space, immediately killing all 176 passengers. Although Iranian authorities denied responsibility, there were many who believed otherwise. However, the answers that he was given was not satisfying to Hamed Esmaeilion, a dentist in Newmarket, Ontario. The husband and father to two of the victims, Esmaeilion becomes determined to retrieve their remains and begin a quest for justice for all of those who were killed in this atrocity.

Telling the unbelievable true story of one man’s desire to uncover to dig up the truth surrounding the death of his family, 752 is a relentless story of hurt and corruption. While the story is fueled by tragedy and pain, there’s also little doubt that Payami has found a tale that contains all the elements of the very best of thrillers. Determined to unravel the mystery of the death of his wife and daughter, Esmaeilion undertakes incredible risk to his own life as he challenges governments to take responsibility. Although he may be a simple Canadian dentist, his pursuit leads him into situations that feel as though they were taken from spy novels. With each piece of the puzzle that he discovers, he realizes that corruption is deeply embedded within government but he is not deterred from his quest. 

There is a fury to 752 that is utterly palpable. Driven by passion, Esmaeilion’s quest reveals the lengths that some will go to in order to cover up one’s sins. As the Iranian government attempts to brush aside the truth of their actions, Esmaeilion’s hurt and anger grows yet, at the same time, so too does his resolve. Despite threats to his life, he pursues with fervor in his pursuit of justice. 

752 is Not a Number premiered at TIFF ’22. For more information, click here.

TIFF ’22: Blueback

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Blueback tells the story of Abby (Mia Wasikowski), a marine biologist who returns home upon the news that her mother, Dora (Radha Mitchell) has suffered a terrible stroke. As she cares for her ailing mom, Abby takes the time to think about the incredible influence that Dora has had upon her life. Passionate about preserving the coral reefs, Dora challenges young Abby (Ilsa Fogg) to fight for what’s right and protect the natural world. As they explore the reef together, Abby befriends a large groper fish that they name Blueback who reminds them of the beauty of the ocean floor.

Directed by Robert Connolly, Blueback is a charming and passionate piece that calls for greater responsibility of taking care of our underwater world. Shot amidst the wonders of the Australian barrier reefs, the film features some stunning underwater footage that captures the vibrancy of aquatic life in all its glory. (In fact, the reef is depicted with such vibrancy the one almost wishes the film would have spent more time there.)

While Connolly is hardly subtle in his approach, Blueback wisely decides to embed its messages within the relationship between Abby and Dora and, thankfully, performances within the film are relatively solid. Together, Mitchell and Fogg have some delightful chemistry and give the film a sweetness and charm above that makes it enjoyable. (Strangely though, the best performance may be from Blueback the groper fish himself. For an underwater puppet—yes, sorry to disappoint his fans—Blueback has remarkable personality and its entirely realistic in its depiction.)

Charming and heart-warming, Blueback is an enjoyable piece that reminds the viewer of the connection between life on land and the wonder of the oceans. Simple and sweet, there’s a joy embedded within the film that makes one want to take their own journey under the sea.

To hear our interview with director Robert Connolly, Radha Mitchell and Ilsa Fogg, click here.

Blueback premiered at TIFF ’22. For more information, click here.

Blank: Hope Beyond the Front Doors

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It’s always nice to getaway… until you can’t get away.

Now available on VOD/Digital, Blank tells the story of Claire (Rachel Shelley), a desperate writer who rents an A.I. operated getaway for some alone time as she finishes her book. Welcomed by her digital host Henry (Wayne Brady), Claire is to be cared for by Rita (Heida Reed), her robotic assistant who has been programmed to meet her every need. Although, after some unexpected malware infiltrates their programming, Rita and Henry put the entire site on lockdown, preventing Rita from leaving until she ‘finishes her book’. As the situation deteriorates and time drags on, Claire becomes increasingly willing to do anything possible to break free from her forced confinement.

Directed by Natalie Kennedy, Blank is an interesting but ultimately misguided exploration of the toll that isolation takes on the soul. Using the style recently re-popularized by shows like Black Mirror, Blank is meant to be a psychological exploration of our over-reliance on technology. What’s more, with an intriguing premise and some good character work, there’s a lot to like about the film, even if it suffers from glitches with its hardware. 

As Claire’s android hostess Rita, Reed walks a line between terror and comfort. With a dead-eyed stare, there is a soullessness about her character that leaves the viewer unsure of her next action or motivation. At the same time, Wayne Brady provides a calming presence as Henry, the home’s digital host. While his comedic timing is left off grid here, Brady has a natural charisma that makes Henry feel safe, even if there’s no way to guarantee such a thing. 

Nevertheless, if there’s a fault to the film, it (somewhat ironically) lies with the writing. Although the film clocks in at under two hours, Blank simply doesn’t have enough meat to the script justify its runtime. Repetitive dialogue and scene development is meant to feel terrifying and endless yet comes across as frustrating to the viewer. (Frankly, there are only so many times that one can hear Rita tell Claire that she looks distress and offer her the chance to lie down.) In fact, in many ways, the film would’ve worked far more effectively as an episode of Mirror, which usually clocks in between 45 minutes to an hour. 

Now, having said this, Blank is clearly using this style of writing intentionally. Although the film appears to be an examination of our reliance on technology, it’s actually an exploration of pandemic life. Trapped inside this delicate ‘retreat’, Claire had initially prepared herself for some time away from others. As days bleed into months, her place of rest becomes a prison. Each day seems exactly like the previous ten, with no particular end in sight. In this way, the repetitive nature of its writing achieves its goal by highlighting the mental health struggles that have been caused by the global pandemic. 

Interestingly, unlike other ‘pandemic films’ that we’ve seen in recent months, Blank isn’t a story about people looking for connections or relationships. (Quite happy in her solitude, Claire seems to have no such reliance on others.) Instead, it’s a film about freedom. Just like the writer’s block that plagues here, Claire is a woman who is desperately looking for freedom of choice. To her, the highest value is to make her own decisions in the face of oppression and terror, both from her digital prison and her past.  In Blank, hope lies in the ability to choose for yourself how you will live, despite the circumstances.

And it’s always out of reach.

It’s conversations about issues such as this that make Blank an intriguing project. What does freedom look like a world of lockdowns? How do we cope when those choices are taken from us? Unfortunately, when it comes to answers about these sorts of things, the film draws a Blank. Instead, we’re left with an endless cycle of repetitiveness onscreen that leaves us distressed. Even if that is the point of the film, unfortunately it just made me want to lie down.

Blank is available on VOD/Digital on Friday, September 22nd, 2022.

TIFF ’22: Things We Learned

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As always, TIFF ’22 was 10 days of madness! Between endless films, meeting new people and interview ops, the ScreenFish Staff (Steve Norton, Seun Olowo-Ake and Jason Thai) had an amazing experience once again enjoying the Fest! While reviews are still coming in, our team sits down in a special episode of the podcast to discuss the things we learned from TIFF this year + hear from some special guests as well!

To hear our interviews during TIFF ’22, check wherever your favourite podcasts are available or click here.

Eternal Spring: Hope, Truth and Television Hijacking

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Combining 3D animation and interview footage, the new documentary Eternal Spring transports the viewer back to Communist China in 2006. Retracing the life of comic book illustrator Daxiong and a team of Chinese activists, the film follows the events leading up to a daring plan to hack into the state’s television broadcast in order to help speak out against their propaganda. 

Directed by Jason Loftus, Eternal Spring is a fascinating documentary that bridges the gap between thriller and spiritual inquest. As he delves into the story of China’s television hijacking, Loftus tells his story with such enthusiasm that one cannot help but be caught up in the heist. Based upon Daxiong’s stunning graphic novels, the animation is often eye-popping and entertaining, infusing the film with the energy and style that defines the very best of heist thrillers. 

Interestingly, extensive use of animation within documentaries can often allow for a certain level disconnect from the storytelling as a viewer. (For example, last year’s Oscar-nominated doc Flee is an excellent example of a film that uses its colourful animation to create a safe distance from the personal nature of the storytelling.) However, Spring never allows the viewer to feel too disconnected from reality. By introducing us to some of the players involved and showing photos of those who are no longer with us, Loftus keeps the story very much on the ground. By balancing animated recreations with a dose of reality, the viewer is never allowed to lose sight of the fact that the story is true and continues to impact culture today. 

As a result, Eternal Springs works on the number of levels. For example, through his exploration of the heist narrative, Loftus explores the nature of heroism. Whereas a Daxiong initially views his heroes of his past with a certain admiration, the film highlights the importance of social action today. Through the risks taken by these men and women, Springs recognizes the heroic acts of those who fight for the rights of others in our current culture, as opposed to hundreds of years ago. This argument bends the film towards its social justice roots, a theme that one doesn’t usually find within heist thrillers. Our investment in these men and women is not simply because they’re the protagonists. 

We cheer for them because they’re fighting for the people. 

At the same time though, Springs is also a fascinating exploration on the impact of spiritual health in an environment of control. Although the ancient Buddhist practice of Falon Gong is one that preaches peace and nonviolence, its popularity and roots within tradition seem to be a threat to communist ideologies. As a result, the Communist Party attempts to eradicate it from the hearts and minds of the people. However, as these militant and women recognize, there’s also hope that lies within the practice that brings healing to its participants. In this way, the film also notes the value of spirituality in times of oppression by providing hope for those that have none.

Sharply executed, Eternal Spring is absolute thrill from start to finish. Through his enthusiastic story-telling, Loftus unravels a gripping story of truth and justice. More than this though, Springs also points to the importance of spiritual healing, especially at the hands of persecution. 

Eternal Spring is available in theatres on Friday, September 23rd, 2022.