ScreenFish

where faith and film are intertwined

Featured

Hope – The Possibility of Light in the Darkness

by Leave a Comment

“You don’t have to love me just because I’m dying. But I need to know that you’ll help me.”

A diagnosis of terminal cancer inevitably brings upheaval and stress into any family. Hope, Norway’s official Oscar Submission for Best International Feature Film (it made the shortlist, but wasn’t nominated), is an intimate and intense look at the dynamics within a family, and especially between spouses in such a troubling time.

Anja (Andrea Bræin Hovig) and Tomas (Stellan Skarsgård) have been together for many years. They have three children together as well as three from Tomas’s first marriage. They have built very separate lives through the years, but have managed to stay together (although not married). A few days before Christmas, Anja learns that she has a brain tumor, likely a metastasis from her earlier lung cancer. Such tumors are invariably fatal.

The film follows Anja and her family through a very difficult eleven day period. They try to keep the diagnosis secret through the holiday, but with Anja’s reaction to the steroids she’s been put on, it becomes necessary to reveal the truth. She is struggling with thoughts of mortality, but also with concern for her children, especially her teenage daughter. Tomas and Anja also must deal with questions within their relationship and how their lives have evolved over the years. All the while they must deal with holidays with friends and with various medical appointments to determine any steps to be taken if there is to be any hope of survival.

At the very beginning of the film is a note that says. “This is my story as I remember it.” The film is based on director Maria Sødahl’s experience of getting such a diagnosis. (Obviously, she recovered.) That is what makes the film such an intimate portrayal of a very trying time in her life. As Anja struggles through such tumultuous times, trying to deal with holidays, family, drugs side effects, and the frustrations of even a good medical system, we can see something of the reality Sødahl lived.

The setting of the Christmas/New Year holidays is interesting because those are days we associate with hope—whether it involves Christmas presents or the dawning of a new year. But for Anja and Tomas, much of what they are seeing is hopelessness. Doctor after doctor tells them there is no hope—only short-term remedies.

That makes the film’s title stand out. This is a film in which hope, while it seems so elusive, is central to the characters’ lives. Hope, as it plays out in the film, is not just about a possible medical outcome. It applies to the future of Tomas’s and Anja’s children. But the real focus of hope that we see here is on healing the rift in the relationship between Tomas and Anja that has grown through years of distraction and routine. If they have only a little time left together, will it be a time of love or only struggle?

The film leaves all its questions unresolved, and in so doing it challenges us to consider our own level of hope.

Hope is available in theaters and through virtual cinema.

Photos courtesy of KimStim Films.

7.17 Culture and Carnage in GODZILLA VS. KONG

by Leave a Comment

Welcome to tonight’s main event! After many delays and teases, Godzilla vs. Kong FINALLY pits these massive titans against one another in an epic onscreen battle of monster mayhem. For most of a century, these characters have lived on as cultural icons that are simply too big to ignore. But why do these particular creatures hold such a special place in our hearts? This week, Dave Voigt (InTheSeats.ca, host of In The Seats With…) and monster maven Ben Dower drop by to chat about what defines these cultural icons and how they’ve changed over the year.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.17 Godzilla vs. KongDownload

O Canada! Telefilm Canada launches new site devoted to Canadian film

by Leave a Comment

Telefilm’s CANADA NOW (CNW Group/Telefilm Canada)

Whether you’re aware of it or not, Canadian film is alive and well.

The truth is that, while Canadian film continues to leave an impact on the industry, it is not very well known outside of our own borders. (Sometimes, not even within them!)

In order to help spread the word about some of Canada’s more notable projects, Telefilm Canada has launched CANADA NOW, a new site devoted to providing information about and stream Canadian content. Including films ranging from recent hits like My Salinger Year and Antigone to Oscar noms like the Barbarian Invasions or Monsieur Lahzar, CANADA NOW promises to continuously add new content each month to help spread the word about what’s happening in the industry north of the border.

The following is from the press release:

“This spring, Telefilm Canada is excited to embark on a brand new initiative promoting the discoverability of Canadian content to audiences across the United States. Through a new website – www.canadanow.us – audiences can easily find where to watch their favorite Canadian films and some series as well as explore new ones along the way. This site also connects users to virtual cinema and in-theater experiences. It builds upon the CANADA NOW network in the U.S. with a curated, customizable user-experience to discover the diversity of Canadian film and television series year-round. At the core of the initiative is the CANADA NOW microsite, developed in collaboration with Telescope, that features close to 5,000 available productions across over 150 VOD platforms. CANADA NOW, powered by Telefilm, is also in partnership with the Consulate General of Canada in New York and the National Film Board of Canada. 

“Beyond Arthouse cinemas and film festivals, it is often a challenge to locate and watch Canadian film and television projects here in the US. This difficulty was the catalyst for CANADA NOW to build something new and we couldn’t be more thrilled to support it and share!”
-Khawar Nasim, Acting Consul General, Consulate General of Canada in New York   

As evidenced most recently by the outpouring of love for Schitt’s Creek, there is clearly an enthusiastic audience for Canadian content in the US. We are delighted to collaborate with Telefilm Canada and the Consulate General of Canada in New York to raise the profile of Canadian films and series even further. – Justine Barda, Founder and CEO, Telescope 

For monthly updates on new content please sign up for the CANADA NOW newsletter here. 

To check out CANADA NOW’s microsite on Telescope and its vast database of the incredible content that can be viewed in the US, click here!” 

7.16 Freeing and FRAMING BRITNEY SPEARS

by Leave a Comment

They’ve called her Crazy and said that her life is a Circus. Now, the new documentary Framing Britney Spears attempts to unravel the mystery behind Spears’ mental health and the controversial conservatorship surrounding her estate. Is she being Overprotected because she’s Not a Girl, Not yet a Woman? Or is she Stronger than they say and stuck in a Toxic environment? This week, Judith McCartney and Kate Parkes (Elevation Pictures) drop by to chat about what we feel we’re owed by celebrities, the perils of trust and the separation of the image and the soul.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.16 Framing Britney SpearsDownload

WeWork: Fake it Until You Make it

by Leave a Comment

Everybody wants to believe in unicorns. 

These fabled creatures are majestic to see on paper. With every image, they inspire dreams and hopes of the Fantastic. But, no matter how hard you look, it’s clear to see that they never existed in the first place.

Based on this description, unicorns also exist in the business world—although the end result is the same. Directed by Jed Rothstein, WeWork: or the Making and Breaking of a $47 Billion Unicorn follows the unbelievable rise and fall of one of the largest corporate flameouts in recent memory. Led by their magnetic hippie leader Adam Neumann, WeWork began with a simple vision: to give young businesses a place where they could work together and support one another as they launch. Growing at an explosive rate, their community-centric ideal sent waves through Wall Street, amassing global interest. However, if something looks too good to be true, it probably is and, eventually, dreams must face the hard truth of reality.

Compelling from start to finish, WeWork is an amazing cautionary tale that speaks to the power of vision but the toxicity of arrogance. In WeWork, Rothstein has a fascinating subject that highlights the unique state of the business world. Coming at a time where YouTube millionaires have become commonplace, Neumann’s story almost sounds familiar. Loaded with a dream of creating space to support small businesses, this young man and his team built a business that seems worth admiring. (Does it get any more mythic than the tale of a dreamer empowering other dreamers?) However, at the same time, it quickly becomes clear that WeWork is not going ToWork financially, until ‘creative bookkeeping’ keeps them in the game. Filled with interviews from those who participated in (and bought into) Neumann’s ideal world, Rothstein does an excellent job of presenting a well-rounded portrait of WeWork’s culture from the inside. While never endorsing Neumann, neither does he fully demonize him either, allowing the viewer to decide the true value of his vision.

With this in mind, the most polarizing aspect of WeWork is Neumann himself. Part guru, part Zuckerberg, there’s a lot to admire about the young dreamer. His charisma and charm are infectious, especially at WeWork’s initial launch. However,WeWork also recognizes that these attributes, while attractive to follow, do not necessarily make a quality leader. With a mantra and expectations dependant on employees buying into their corporate culture, Neumann’s personality seems to border on cult leader at times. Preaching the benefits of community and, at times, world domination, he speaks as a spiritual guru and works (seemingly) with little accountability. (As one person says, ‘If you tell a 30-something male that he’s Jesus Christ, he’s inclined to believe you.’) Then, as things begin to spiral out of control, Neumann’s commitment to the vision makes him both sympathetic and terrifying as he attempts to scramble to preserve what’s left of his dream. 

What’s amazing is that WeWork’s premise that start-ups could work together in an open space actually appears to have merit. Neumann’s vision to bring people together to achieve their dreams is a surprisingly powerful model for businesses moving forward, especially for young Millennials who truly believe that they can change the world. (What’s more, the fact that this took place immediately before a global pandemic is not lost on WeWork, as former employees yearn for the type of community that was pitched to them when they first hopped on board.) Led by a simple vision, WeWork gave young people the opportunity to work in a Facebook or Google-esque environment while still creating their own vision. This was an environment where people could feel supported by one another as they attempt to carve out their niche together… and it was working. While there will be some that question their expansion into the world of housing and education, there is much to be said about the value of their intent. To Neumann and his wife, the true value of WeWork as a company began not out of financial value but in its (supposedly) spiritual emphasis on connectivity.

The one thing lacking from this film is the voice of the enigmatic creator, himself. Though its completely understandable why he would not want to participate, one wishes that Neumann would have agreed to appear in the doc so that we could hear his perspective. His belief that the workplace—and the world—could be transformed by collaborating and celebrating the achievements of others is a noble goal and seems achieveable. To change the face of Wall Street while doing it though truly does seem too good to be true.

Most unicorns do.

WeWork is available on Hulu on Friday, April 2nd, 2021.

Shiva Baby: The Lies We Live

by Leave a Comment

Life is complicated.

That may seem like the understatement of the year, but hey, when it’s true, it’s true. And we don’t exactly live in a world that embraces us for all the flaws and struggles we have. So we create alternative narratives. We dance around questions like job and relationship status (whether or not they are all appropriate to be asked in the first place is another conversation). We dodge the questioning looks and find a distraction to keep ourselves from having to remember which story goes with which person. We plan escape routes – both mentally and physically – for a variety of situations. And it’s exhausting.

For Danielle (Rachel Sennot) in Shiva Baby, this dance finally gets the best of her during the post-funeral shiva, where she is surrounded and interrogated by nosey distant relatives, and pushed into action by her determined mother Debbie (Polly Draper) and flighty father Joel (Fred Melamed). The stories of her life swirl around: she’s a babysitter working to pay the bills (not so, as she is getting paid for sex). She’s studying for finals (she’s not, as her college status is questionable), she’s preparing for multiple job interviews (she’s not, as she has little idea about her future).

So when ex-love Maya (Molly Gordon, whom I love) walks in, followed by the very (unbeknownst to her) married man she was just with that morning, Max (Danny Deferrari), Danielle is forced to keep up a charade that has been eating away her sense of self and value. The endlessly crying baby that is brought by Max’s wife Kim (Dianna Agron) rings in her ears, pushing her even further into a breakdown.

It is a somewhat overwhelming film that takes place in the span of this one event, with its nonstop conversation and tense atmosphere. The constant angst and raised voices wore at me, but perhaps that was the point. For a film that explores the internal and external battles we face in our families, our jobs, our sexuality, and our past and present relationships, it now makes sense that I felt just as worked up as Danielle. Even the relief we see on her face at the very end was something I shared.

If you’re looking for a film that takes an authentic look into the many ways we strive to meet everyone’s expectations, even to the point of faking it, then Shiva Baby will do just that.

Shiva Baby is available Friday, April 2nd on VOD and Virtual Cinema across Canada.

Is THE TEN COMMANDMENTS an Easter Movie?

by Leave a Comment

Director Cecil B. DeMille’s ultimate masterpiece and final film The Ten Commandments, which received a beautiful new 4K UHD Blu-ray release this week, has long been considered an Easter favorite. Since the 1970s, the film has been a television staple for the season. That tradition continues to this day, as the film airs tonight on ABC (check local listings).

This has sometimes proven a head-scratcher for viewers puzzled by why this particular movie gets that honor. After all, Easter is the celebration of Christ’s resurrection, and there are a number of excellent films which more directly ruminate on the Passion of Jesus. One need look no further than 1959’s wonderful Ben-Hur, which also stars Charlton Heston and is very similar in style and tone to The Ten Commandments, while more directly reflecting on Christ’s ministry, crucifixion, and resurrection. Not to mention its staggering 11 Academy Awards remains tied for the all-time record.

So what gives?

Perhaps most obviously, the celebration of The Passover, which serves as the setting for Jesus’ final days, speaks to the entire Judeo-Christian sphere, a much larger audience than exclusively Christians. Moses and his writings (The Torah, or Pentateuch, which comprise the first five books of the Bible) are also highly revered in Islam, where he is one of the most important figures of the Qur’ān.

Appeasing ecumenicalism might seem a cynical or unsatisfying answer for Christians whose entire worldview hinges on the meaning of Easter, but we’d be remiss to fail to acknowledge the theological importance of both the Passover (the first of which is strikingly depicted in The Ten Commandments), and the story of Moses, as a direct reflection and representation of the Gospel.

Among the most critical tenets of the Christian faith is man’s fallen nature and need for salvation, summed up biblically in the statement, “for all have sinned and fall short of the glory of God” (Romans 3:23) and answered in simplicity a few chapters later, “If you declare with your mouth, “Jesus is Lord,” and believe in your heart that God raised him from the dead, you will be saved.” (10:9)

If we understand the Bible as a work of both history and prophecy, then in the plight of the Israelites we can see both: a parallel for the human condition. Enslaved by Egypt and in need of a Deliverer, just as humankind is in bondage to sin, and in need of a Savior.

This thematic cycle also plays out in the form of the Passover itself, as depicted in one of the film’s key sequences. As the final Plague sweeps throughout the land threatening death, those believers who followed the instruction to post lamb’s blood on their doorway are saved from God’s wrath. Even the threat to firstborn sons, a theme which plays out twice in Moses’ history as seen in the film, serves as a direct reference to God’s “only begotten”.

Central to the Passover is the concept of a blood sacrifice. Later scriptures will return to the analogy of a lamb as representative of Christ, most notably in the messianic prophecy of Isaiah 53.

The Ten Commandments takes some careful liberties with the story of Moses by adding extrabiblical content in areas where the matter-of-fact scriptures don’t provide much detail (particularly in Moses’ youth and personal life), a fact which DeMille himself acknowledges in the film’s introduction. But it does a pretty terrific job of keeping the scriptural themes intact. And as the history of Moses and the first Passover hold up a mirror to Christ, so too does the film.

The film culminates (more or less) with the depiction of its title: God gives Moses the Ten Commandments on Mt Sinai.

Through Moses, we were provided with both prophecy and the Law. Through Christ, the fulfillment of that prophecy and redemption from the condemnation of that Law.

Is The Ten Commandments an Easter film?

Absolutely.

The Ten Commandments is now available on 4K UHD Blu-ray. You can read this author’s review of the new edition here, courtesy of our friends at Cinapse. You can purchase it here – the author may receive a commission for sales made using this referral link.

French Exit: For Love or Luxury

by Leave a Comment

FRENCH EXIT Michelle Pfeiffer as Frances Price, Lucas Hedges as Malcolm Price

Someone once asked what it profits a person if they gain the whole world but lose their soul. 

Directed by Azazel Jacobs, French Exit attempts to explore this question by following the exploits of Frances Price (Michelle Pfeiffer), an aging Manhattan socialite who has just been informed that her husband’s massive financial resources have finally been exhausted. Depressed and contemplating her death, she opts to sell her possessions and burn through her remaining money in Paris with her son, Malcolm (Lucas Hedges). Despite having plans to marry his girlfriend, Susan (Imogen Poots), Malcolm can never stand up to his mother and acquiesces to her request. Feeling lost and alone, the two attempt to start over in their unfamiliar surroundings.

Adapted by Peter DeWitt from his own novel, French Exit feels like a mix between Wes Anderson and the work of the Coen Brothers. Sharply written, the dialogue has the bite of an off-Broadway play, filled with double-meanings and existential arguments. Featuring quirky characters and unusual situations, the film also keeps its characters at an emotional distance from its audience. However, unlike even the Coen’s darkest works, Exit somehow carries very little joy within it. Though moments of dark humour are present, the film’s pacing and performances keep the film from fully sparking with the viewer. While the film’s eccentric humour often works, the characters often remain at such an emotional distance that they become difficult to connect with as a viewer. (Even the always engaging Lucas Hedges seems muted in this particular role.)

Though the film doesn’t always pop, the one aspect of it that works throughout is Pfeiffer. As the dissatisfied widow, Pfeiffer is absolutely captivating to watch. Though many other actresses would play Frances as a hateful beast, there remains a compassionate core to her performance that somehow makes her character likeable. While she never loses her ‘edge’, we also see behind the façade to the hurts that lie underneath. In other words, though her character maintains an exterior of stone, Pfeiffer allows Frances to reveal a certain sense of brokenness that makes her relatable. (And, I must confess, there’s a certain sense of meta-irony about the former Batman Returns star struggling in her relationship with a black cat.)

At the core of French Exit lies the gap between luxury and love. Having suffered in a loveless marriage, Frances has been drained of her soul. Kept afloat physically because of her wealth, her empty heart makes her almost anxious to see it all disappear. Having the world at her feet (for now) but haunted by her past, she struggles to allow anyone into her life. As a result, outside of the domineering relationship with her son, she isolates herself emotionally. To Frances, her waning finances symbolize her deflating, loveless life and she yearns for it to end.

This sort of existential malaise is pervasive amongst the cast of the film as they float through their meaningless existence. Sex has little emotional impact, nor does commitment. Money is merely a means to an end. Although they all have some experience with relationships, one could argue that none of the character have any concept of what it means to experience or offer love. (In fact, the character who arguably seems closest is Susan’s fiancé Tom, who states that he once thought he knew what love was but was wrong until they began their relationship.)

Yet what’s interesting about this group is that they also yearn for community. Despite the fact that they’re almost all ‘loners’, they seem to come alive as they move into the apartment one-by-one. As this group begins to solidify, their hearts begin to open, allowing for intimacy between them to bloom. Though these characters seem soulless, they eventually begin to come alive when they are together. Suddenly, the meaninglessness of their world begins to crumble. Loneliness gives way to safety and security. Isolation leans into unity. Although there is still a pervasive sense of privileged malaise surrounding them, somehow their lives become more bearable (even hopeful). For this motley crew, supportive love melts their frozen hearts and (almost) brings a new beginning to their relationships.

Anchored by a stunning performance by Michelle Pfeiffer, French Exit provides enough witty banter and outrageous characters to qualify for a recommendation. While the film lacks the energy of Anderson’s films, there’s a certain amount of charm within its story that makes it enjoyable. However, it’s also likely that this is one Exit you will only want to travel through once.

French Exit is available in theatres on Friday, April 2nd, 2021.

A Look at Oscar® Nominated Short Documentaries

by Leave a Comment

When it is time to award the best in films each year, the Academy of Motion Pictures Arts and Sciences include three categories of short films in their Oscar® presentations. Most people don’t get to see many shorts. They play at festivals, and occasionally in front of a feature film. But short films are an art form worth attention. Many (probably most) feature filmmakers started out making short films. To tell a story in such a brief format takes skill. All the Oscar®-nominated short films will be playing in theaters and on virtual cinema in special programs.

Let’s take a look at the Oscar®-nominated short documentaries

Colette (25 minutes, directed by Anthony Giacchino). At 90 years old, Colette is one of the last remaining veterans of the French Resistance. She has never, in the years since the war, stepped foot in Germany. Now, with a young researcher, she is going to the Concentration Camp where her brother died. It is an emotional trip for both women. It makes the story of the Resistance and of her brother very personal.

A Concerto Is a Conversation (13 minutes, directed by Kris Bowers and Ben Proudfoot). Kris Bowers is a rising star among Hollywood composers. But he sometimes wonders, as an African American if he is “supposed to be in the spaces that I’m in.” As he talks with his grandfather, he hears of growing up in the Jim Crow south, and finding a way to a better life in Los Angeles, which shaped the family Bowers was born into. This is a bit of a celebration of family, and especially the bond between Bowers and his grandfather.

Do Not Split (35 minutes, directed by Anders Hammer). In the spring of 2019, when the Chinese government proposed extraditing Hong Kong people to China, protests began. By September (when the documentary joins the protests) these protests had gotten very large and filled with violence, by both protesters and police. This film takes us into those protests. It shows us the passion of the young people involved. But we really don’t get a lot of context to fully understand all the issues that come into play.

Hunger Ward (40 Minutes, directed by Skye Fitzgerald). In Yemen, war and famine have resulted in large numbers of children starving. This is a look into two clinics and the doctors who are trying to save the lives of these children. The film is a brutal experience—not because of violence, but because of the near hopelessness of the situation. Viewers should know they have to steal themselves for some of these scenes, which include children dying. It’s also important to note that the US is a key supporter and supplier of the Saudis who have blocked aid from reaching Yemen.

A Love Song for Latasha (19 minutes, directed by Sophia Nahli Allison). “Say her name” has become an important phrase in our culture as we remember the deaths of African Americans needlessly killed. Fifteen year old Latasha Harlins, was killed trying to buy Orange Juice. That event became a focal point in the 1992 Los Angeles uprising. This film, related by a cousin and a friend of Latasha does more than say her name. It tells of a life. It is not about a victim, but about what has been lost.

My favorite among these is A Concerto Is a Conversation. It points to the struggle people have endured, but also shows a bit of hope that we can do better. I hesitated to call Hunger Ward a “favorite”, because it is very difficult to watch. But it is a powerful and important story that much of the world is overlooking.

To see trailers or to find where you can see these shorts, go to https://shorts.tv/theoscarshorts/

The Marksman: Honour at the Border

by Leave a Comment

Liam Neeson has made a career (maybe even a second career) out of pursuing justice, with his distinct set of skills: a gravelly voice, a well-timed punch, and a knowledge of various firearms. In The Marksman, he’s Jim Hanson, Vietnam veteran and United States Marine Scout Sniper. He knows what violence costs in terms of soul and mental anguish, having fought a war and having lost his wife to cancer. But when Migel (Joe Perez) ends up in his care on the northern side of the border between Mexico and the United States, he finds himself fighting a new war: against the drug cartel.

The story doesn’t care much about the details surrounding the cartel, or how exactly Migel’s saintly mother got tied up with the drug dealers who pursue the odd couple that Hanson and Migel make. Yes, there’s Hanson’s amicable stepdaughter (Kathryn Winnick) and a lovable dog as periodic side effects to the road trip Hanson takes Mauricio on (aimed at uniting him with some extended family in Chicago). But this is ultimately about the bigger picture about the cartel’s easy access to the U.S. and even more so, about how Hanson impacts a young impressionable boy.

Neeson is always road weary it seems, a bit behind the eight ball but having sufficient energy to knock heads and shoot the lights out from distance. Here though, there is a bit more of a social commentary: corrupt border officials allow the cartel agents into the U.S. knowingly; other Americans are paid off to look the other way. Add in Migel’s mother’s efforts to afford her son a better life, and the way that Neeson’s Hanson takes ownership of the now orphaned boy. There’s some duty and honor at stake here, and an acknowledgment that the world isn’t right. (Hansen might not be religious, but he’s okay with a proper Catholic send off for Miguel’s mama.) We’ve seen Neeson’s characters fight personal wars, but here, he’s battling as the protector of a kid who is not even his own.

In reality, The Marksman is a western, a bang-up of Gran Torino and Hell or High Water (yes, there’s even a bit about the bank having no mercy). It’s crisper, straighter, and more character driven than some of the other pieces – without necessarily veering as drastically into the offbeat as Honest Thief did. All of this might be attributed – and honestly, I didn’t know until afterward, but the film is written, directed, and produced by longtime Clint Eastwood producer (with credits on Gran Turino, Mystic River, Million Dollar Baby, Flags of Our Fathers, etc.)

Maybe that’s the next arc of Neeson’s career: closeup, character-driven stories that Eastwood doesn’t take. It’s refreshing to see him get less explosive, but dig a bit deeper.

The Marksman is in theatres and on VOD on Friday, April 2nd, 2021.