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Triple Threat: Three Times the Love

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Broadway doesn’t always work onscreen.

Even though there can be something magical about live theatre, that doesn’t necessarily translate (Cats) into big screen success. Nevertheless, when it’s done well, there’s a certain charm that can burst forth, no matter its medium. Thankfully, the new musical Triple Threat is closer to the latter than the former. While it doesn’t quite reach the bright lights of Broadway, Triple Threat has a charm and energy that remains infectious.

In Triple Threat, the dream of creating the next Broadway smash firmly in view for artists Chloe (Stacey Maltin), Maggie (Margarita Zhitnikova) and Gus (Jay DeYonker), who have together tirelessly for a decade. After years of grinding away, their original production ‘Firefly’ finally seems ready for the big time. Now, as things are beginning to come together, Jay decides that he wants to father a child with his friends. With Chloe donating an egg and Maggie willing to serve as surrogate, the three begin a journey to make Gus a father. Nevertheless, as the challenges of bringing ‘Firefly’ to Broadway continue to grow, the three must navigate the ongoing changes in their lives with the never-ending pressures of success.

Directed (and co-written) by Stacey Maltin, Triple Threat is a a love letter to Broadway. While its young stars do a wonderful job in their respective roles, the story here truly is the music. Featuring some truly wonderful musical numbers, the film has a joyful pop to it that stays with the viewer after the credits of rolled. (The film’s signature tune, ‘Fireflies’, alone is worth searching on Spotify.) In some ways, the film feels like Rent for the modern age with its celebration of the bohemian lifestyle of New York’s theatre district and an acknowledgement that everyone needs to follow their dreams. Although the film admittedly has a few rough moments story-wise, the passion and heart of the film help cover over any major issues to offer the viewer a unique and fun experience that’s worth checking out.

However, Triple’s best aspects is its willingness to flip tropes on the viewer. The story of a woman forced to choose between career and child rearing is a story that we’ve heard many times before in Hollywood. By flipping genders though, the film feels fresh, especially considering the fact that this is between three people, as opposed to the traditional couple. As a result, this non-traditional family feels more current in our constantly changing and growing culture. 

As each member of the ‘throuple’ attempts to navigate the complexities of their situation, the film seems to become about what it means to give up one’s ‘baby’. As Gus attempts to prepare for the child on his own, so too must the other women in the relationship figure out their place in this unique relationship. Whereas Maggie wishes to help with the babies naming, Chloe is unsure about her position in the relationship either. To Chloe, she has her own ‘baby’ to worry about in the form of her play. Similar to Gus’ desire to create something (well… ‘someone’) for himself, so too does Chloe’s play represent her life’s work. Nevertheless, that dream continues to be infringed upon by its producers who want to change it from her original vision. As the two storylines unfurl together, their similarities create a surprisingly wonderful tension that often works well within the film. 

As such, the deepest salvation in the film comes in the form of grace and community. What does it mean to raise a family together when the world is constantly in flux? This question lies at the heart of Triple Threat and shows the humility and trust that is required to make love work. Interestingly, one of the film’s most resonating lines comes in the form of what it means to find their inner light. Everyone wants to find the thing that sparks their soul, whether it’s love, work, creativity or simply being who you are. However, at the same time, Triplereminds us that there’s a balance involved. While all of us need to tap into the pieces of our soul that gives us life, so too must we work together to create loving community with those around us.

Fueled by fun, some enjoyable character stories and, of course, the music, Triple Threat is a joy worth experiencing. This is a film about taking risks in life and love but, most importantly, leaning into the light that wants so badly to spark within us.

Triple Threat premieres in New York City on Tuesday, June 22nd, 2022 and the soundtrack is available now on Spotify.

Inside Out ’22: Out in the Ring

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Directed by Ry Levey, Out in the Ring is a fascinating exploration of the relationship between professional wrestling and the LGBTQ+ community. Delving into the stories of iconic figures of the past and young faces of the future, Ring uses interviews and archival footage to examine the damage created by homophobia and racism both onscreen and off.

With an emphasis on flamboyance and performance, professional wrestling has always had a certain theatrics about it. From wild dress to storytelling devices, there has always been a close relationship between sexuality and professional wrestling.As Ring explores these aspects of sports entertainment, so too does it highlight how many of them connect to the gay community. (In particular, costumes by WWE icons The Road Warriors and Shawn Michaels are shown to their close ties to 1970s gay culture.)

However, despite the obvious connections with the LGBTQ community, Ring points out the great irony within the world of pro-wrestling. Whereas this is a space of flamboyance and self-expression, the hyper-masculine environment of sports entertainment has always demanded that members of the LGBTQ community remain in the shadows. For example, Ring spends a great deal of time with wrestling icon Pat Patterson. As one of the true legends of wrestling, Patterson had been in the business for over 50 years before his death in 2020. However, despite his prominence and the respect that he carries, Patterson was forced to keep his sexuality quiet.

And Patterson is not alone.

Whether it’s pressure from sponsors or fear from within the wrestling world, many have been forced to remain in the closet. In fact, Ring also claims that, when LGBTQ storylines are used, they fall prey to stereotyping and misused gender roles. Often portrayed as the ‘heel’, these characters have usually been used to expose our cultural fears and presuppositions. Storylines such as the relationship between Lana and Liv Morgan or the villainous Goldust character have portrayed the LGBTQ community negatively, reinforcing them as villains. (Of course, there’s also the controversial wedding between Chuck and Billy which began as progressive but became a farce.)

With an eye for justice, Levey’s film calls for more celebration and less stereotyping. As the tide of culture continues to change, Out of the Ring demonstrates the ways that LGBTQ communities can be represented in healthier ways. By giving rise to characters such as Sonny Kiss, Shayna Bayzler and many more, it’s Levey’s hope that representation can move further Out into the open with pride.

Out in the Ring is now playing at Inside Out ’22. For screening information, click here.

Inside Out ’22: Compulsus

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If ‘fierce’ is a film, it might be Compulsus.

Compulsus tells the story of Wally (Lesley Smith), a woman who is increasingly infuriated by stories of violence at the hands of men. Although she has never experienced it firsthand, the pain and suffering that her friends share with her set fire to her soul. When a random meeting with a known abuser leads to Wally taking matters into her own hands, she is invigorated by the experience and begins to hunt down abusive men. As her actions gain notoriety, her life becomes more complicated when she falls in love with Lou (Kathleen Dorian), a court reporter who believes in the law.

Fueled by fire and fury, Compulsus is a passionate exploration of feminine strength at a time of masculine dominance. Directed by Tara Thorne, the film takes the familiar revenge film trope and imbues it with the beating heart of justice. Part Thelma and Louise and part Bonnie and Clyde, Compulsus is not only a film that wants to start a conversation about sexual assault.

It wants to turn the tables on it.

As each of the characters extols their stories of male abuse, the rage within them begins to bubble up to the surface. And rage is an appropriate term to use here. There is a deep-seeded anger at the root of Compulsusthat drives the film. The frustration and hurt of pervasive stories of sexual assault by arrogant men gives it an edge that feels authentic. This isn’t a story for one woman but a story for all women. 

One of the more interesting cinematic choices made by Thorne is the fact that none of the male characters show their faces within the film. (In fact, they’re all played by the same actor.) In doing so, Compulsus wants us to realize that it’s focused beyond one or two stories but rather the damage created by all men. To give them a face would be to set these characters apart… but that’s not the film’s intent. 

It’s also fascinating to note that Compulsus tries to walk a very delicate line between justification of violence and actual justice. For example, there is a constant reminder throughout the film that this sort of uprising of violence may not only be inevitable, but also necessary. As Wally’s rampage continues, there’s a satisfaction that she gets from being the one in power. She believes in what she’s doing and is willing to exact vengeance wherever she’s needed. What’s more, she’s increasingly celebrated by her peers for her actions as well. (After all, these are men who have deserved to have their lives taken from them after they’ve taken it from women.) 

At the same time, Compulsus also questions its vigilanteeism. Unlike other revenge fantasies like John Wick or The Batman, Compulsus seems wisely self-aware of its brutality. With each attack, Wally feels increasingly empowered… yet Lou is unsure. To her, revenge may feel good—but it doesn’t excuse the actions entirely. After all, by attacking the attackers, is Wally any better than they are? (Incidentally, it’s also worth asking whether or not we would question this form of revenge if a man in a cape were the one exacting it upon evildoers.) 

Admittedly, Thorne isn’t entirely certain of the answer of this question. Yet, answers and procedures are not really the goal of Compulsus. Instead, this is a film which wants to express the hurt of many, spoken and unspoken, who are suffering as a result of toxic men. This is a film that feels.

Because, in Compulsus, the time for silence has ended and justice has arrived.

Compulsus is now playing at Inside Out 2022. For screening information, click here.

Inside Out ’22: Tramps!

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Directed by Kevin Hegge, the new documentary Tramps! focuses on the rise of flamboyant fashionistas during the late 1970s. With a nihilistic edge, this generation of icons in East London became known as the New Romantics. With fresh ideas and a desire for free expression, these young bloods would spark with an energy that would influence the fashion world—and the LGBTQ community—for years to come.

With enthusiasm and energy, Tramps! is a visceral experience that highlights the desire for community during a time of social revolution. Opening during the punk era of 1970s Britain, Tramps! portrays the era as one of creativity and courage. There was a vibrancy in this place and time that connected deeply with the heart of the LGBTQ+ community. Through his use of brightly coloured footage and visuals, Hegge taps into this liveliness to fuel his storytelling and it works well.

With an openness and acceptance of all voices, this moment in time helped foster a new era of fashion and self-expression. Fueled by passion and fury, it became a petri dish of experimentation that invigorated the culture and gave a voice to those who felt they had none. 

However, this vitality was inspired by a feeling of safe community.

In every instance, Tramps! points to the fact that the members of the LGBTQ+ community were looking for an opportunity to feel like they have a home. At a time when transience was commonplace, the gay community was able to thrive as they banded together. For instance, Hegge highlights the power of the club scene and the opportunities for freedom that they created. By examining gathering places such as Taboo to Blitz, Tramps! focuses its lens on the places that created spaces for the wild expression of these New Romantics. 

Although the dominant culture was generally one of judgment, the underground brought freedom and life. In fact, it’s also worth noting the crossover that these locations would create as well. As the punk community mixed with the LGBTQ community, the club scene became a place where everyone could be united in the power of music. (Who knew that the Sex Pistols could be such a bridge between worlds?) As such, Tramps!points out that these rambunctious arenas of equality provided the chance to be themselves while finding sanctuary and acceptance.

Tramps! is now playing at Inside Out ’22. For screening Information, click here.

Inside Out ’22: Stupid for You

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Written and directed by Jude Klassen, Stupid for You tells the story of Dani Destroyer (Klassen), an ex-punk rocker who hasn’t stood on stage since her band imploded years ago. Although she loves her teenage daughter, Dani struggles to maintain any relationships with men. Following in her mother’s footsteps, Dani’s daughter Kat (Mikhael Klassen-Kay) is a young musician who started a band with her best friend, Stevie (Mia Rodne) but has never played live due to their insecurities and shyness. When Kat falls in love with punk rock fan girl Eden (Caylin Turner), she becomes determined to reunite her mother’s band in an attempt to gain her affection. However, digging up the past can always bring new troubles…

While there are moments where performances can let the film down, what keeps the heartbeat of Stupid for You alive is its music. Although the film is not a musical, the soundtrack plays a central role in its storytelling. Featuring multiple tracks that feel like throwbacks to the late 80s and early 90s, Stupid tells its story best when it’s through song. This is a film which acknowledges that emotion is best expressed through the arts and helps unleash the film’s punk sensibilities. 

Underneath the music though, Stupid for You is very much a coming-of-age story. This is a film which shows that, no matter how old you may be, everyone is trying to figure things out. For example, while Kat attempts to find herself in high school, so too is her mother attempting to find herself in adulthood. Moving from man-to-man, Dani is struggling to be at peace with her life. Once a (marginally) famous rock star, now Dani has lost her sense of identity. At the same time, Kat is also beginning to discovery her own sense of who she is as well. In love with the popular girl, Eden, Kat feels like she will never be cool enough to deserve getting noticed. But when Eden begins showing interest, Kat becomes concerned that their relationship may be based on Eden’s interest in her mother’s band. Although she yearns to be loved for who she is, Kat struggles to understand what that means.

In this way, Stupid speaks to the importance of coming together in the midst of trouble and the hope that is found in in loving community. Toxic relationships based on lies crumble to pieces whereas the people that truly know us are able to stand behind us in the hardest moments. With a loving heart, Stupid recognizes that it’s within these safe spaces that we can both discover who we are and be truly known.

After all, if you don’t feel comfortable to be Stupid with those people, where can you be?

Stupid for You is now playing at Inside Out ’22. For screening information, click here.

HotDocs ’22: The Smell of Money

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Alas, somethings rotten in the state of North Carolina. And it’s not just the pig waste.

Directed by Shawn Bannon, The Smell of Money takes the viewer into the depths of the American pork industry. Processing tens of thousands of pigs per day, Smithfield Foods remains the lead powerhouse in the North American pork industry. However, through their willingness to ignore the waste created by their own farmers, they have also become a toxic influence on the local communities. From the unbearable smell to health risks such as pfiesteria, Smithfield’s negligence has resulted in massive environmental damage that threatens the viability of its community and reveals their willingness to sacrifice the living conditions of the average person for their own gain. 

Powerful and moving, The Smell of Money is a shocking look at the neglect of big business and the lengths that they will take to secure their investment. (Not to mention the fact that Bannon’s journey into the world of the pork industry is far more harrowing than one might expect.) Through brutal corporate tactics, Smithfield Foods continues to show a total disregard for the health and well-being of those around them. While they’re more than willing to hire those to create their product, the pig waste they produce is not their problem. With an eye on their financial returns, Smithfield Foods does everything they can to maintain business-as-usual while absolving themselves of responsibility for those in the local community.

In other words, profit outweighs people. 

Interestingly, however, what sets Money apart is the way that it moves beyond mere corporate neglect to explore its undercurrents of race and abject poverty. With a neighbourhood consisting mostly of people from the Black community, Smithfield’s recklessness shows little care for the people of the area as most of them too poor to stand up against them. (In fact, one judge even suggests that, ‘if these conditions affected areas of affluence, they would’ve been dealt with much more quickly than they have been.’)

Remarkably though, the community bands together to fight back. With every legal battle and victory, residents such as Elsie Herring and her fellow activists send a message that their lives matter. Despite the terrifying pressure that Smithfield applies, this community refuses to submit to their corporate bullying. Powerful and empowering, Money serves as an encouragement to the oppressed and challenges them to fight for their rights, even if the odds remain stacked against them.

The Smell of Money is now playing at HotDocs ’22. For screening information, click here.

HotDocs ’22: Images of a Nordic Drama

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Directed by Nils Gaup, Images of a Nordic Drama introduces the world to Hakkon Mehren, an art collector who stumbles across the undiscovered works of Norwegian artist Akesl Waldemar Johannesen. Hidden away in a barn for over 70 years, Mehren is ecstatic of his discovery and proudly presents the vast collection of paintings to the National Museum. However, Joahannessen’s unorthodox style threaten the accepted norms of Norway’s artistic elite and they refuse to acknowledge the importance of his work.

As it follows Mehren’s journey to have the art recognized, Images of a Nordic Drama becomes a wild look at the prejudices of the artistic industry and the challenges that arise when those biases are challenged. Despite the confirmed authenticity of Johannessen’s work (and even the apparent support of famed contemporary Edvard Munch), the pieces still send waves of denial throughout the artistic world. 

The question is why?

As it turns out, in a culture that prides itself on clear representations of beauty, the emotional and erratic nature of Johannessen’s portraits disturb the status quo. Fueled by depictions of prostitutes, rage and poverty, these pieces wear their emotions on their sleeve as they explore the darker side of Norwegian culture. However, this passionate style challenges the established artistic norms that have been established in the National Museum and remain on the fringe. 

More importantly though, the discovery of Johannessen’s work sparks a debate about the nature of art and who defines our cultural stories. In a form of erasure, the denial of these paintings also allows the National Museum to steal an unique aberration in Norwegian artistic history. As a result, by ignoring the value of these pieces, so too does the artistic community accept a fractured view of history. In this way, Drama uses Johannessen’s paintings as a launchpad for conversation surrounding the importance of accepting everyone’s perspective in order to build a more thorough understanding of the historical narrative. Because of their unique vision of the world, Johannessen’s work offers an alternate view to the Nordic experience at the time. 

But those sorts of changes require humility from the powers that be. 

With each denial, so too does the Natural Museum refuse to acknowledge that their understanding of the world is incomplete. Their insistence that Norwegian art should only be viewed with certain lenses limits the opportunity to gain a more thorough understanding of culture and keeps their vision firmly in power. But in this Nordic Drama, Gaup reminds us that, by muting the voices of the past, we never have more than a fractured Image.

Images of a Nordic Drama is now playing at HotDocs ’22. For screening information, click here.

HotDocs ’22: The Quiet Epidemic

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It’s all in your head. Everything is going to be fine.

These sorts of belittling comments lie at the heart of The Quiet Epidemic, a searing documentary that explores the widespread suffering associated with Chronic Lyme Disease. Directed by Lindsay Keys and Winslow Crane-Murdoch, Epidemic follows young Julia Bruzzese and her father as they fight for answers to her mysterious symptoms. When they discover that she suffers from Lyme Disease, Julia and her father quickly realize that they are not alone in their battle to be taken seriously by doctors and insurance companies who seem determined to keep this epidemic quiet.

Terrifying and honest, The Quiet Epidemic is an unsettling examination of the effects of Chronic Lyme Disease and the attempts by those in power to sweep it under the rug. As patients continue to suffer, so too are they largely ignored by the medical industry. Following Julia and her father as they look for answers, Epidemic unravels the stories of countless others who are suffering the same fate. Discounted by doctors who believe that their disease is ‘in their mind’, these patients find themselves pushed to the side by those who refuse to believe their claims.

The question is why? 

With cases abounding, why would the medical community deliberately neglect such widespread trauma? Although Epidemic does explore potential explanations through its examination of the cost of treatment or vicious insurance companies, so too does it also seem to struggle to find a definitive response. In this way, the film recognizes the insanity of an industry that appears willing to do whatever it can to dissuade people of their disease. (For instance, in one particularly alarming scene, Julia’s father passionately asks for help while the CDC attempts to assure him that there is nothing more that can be done.)

What’s more, the relevancy of Epidemic increases when one considers the rapid response to the current global pandemic. Whereas COVID-19 was immediately addressed as a serious cultural issue due to its widespread symptoms, Chronic Lyme Disease continues to be something that is left on the margins by the medical community. While it could be argued that the effects of COVID were more immediately visible on a global scale, the filmmakers behind Epidemic still argue that the facts surrounding Chronic Lyme Disease deserves a response as well.

To them, it’s time that patients afflicted by this Quiet Epidemic to finally make some noise.

The Quiet Epidemic is now playing at HotDocs ’22. For screening information, click here.

To join the conversation surrounding Lyme Disease, click here.

HotDocs ’22: Make People Better

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Directed by Cody Sheehy, Make People Better tells the story of Dr. He Jiankui, a Chinese geneticist who made waves by producing the world’s first genetically-edited babies in 2018. Although Dr. He’s work was feted at first by the Chinese government, the ensuing pandemonium over the ethical implications of his work quickly led to his disappearance. As the scientific community grapples with his boundary-breaking work, so too must they ask themselves whether or not there is a cost to their desire to make people better.

Anchored by testimonies from a whistleblower, multiple scientists and even Dr. He himself, Make People Betteris a gripping exploration of the boundaries of scientific achievements and the ethical questions that they create in the process. Under a veil of intrigue, Sheehy uses the conspiracy surrounding Dr. He’s disappearance to drive the narrative. In doing so, Better maintains the drama of a suspense thriller without ever sacrificing the most essential information. As geneticists unlock the secrets of the human genome, so too do they discover the seemingly limitless possibilities of preventing disease before it strikes. 

Even so, the most challenging questions within the film remains one of moral responsibility. Faced with the opportunity to eliminate disease and improve the human experience, Better asks whether or not we have truly considered the ethical questions involved in doing so. 

Are we leaning towards the next level of human evolution? Or are we simply playing God by altering the natural world? 

In this film, both arguments seem to be true. Delving into the murky moral waters, Better frequently takes a more balanced approach by acknowledging the challenges of leaning into the future. Without scientific advancement through genetic research, the human race may be passing up opportunities to bring much needed help to the global population. For example, because of their willingness to weather the storms of controversy, scientific developments through genetic research such as IVF now find themselves widely accepted. (As the film argues, ‘just because something is controversial, it doesn’t mean that it’s bad.’) 

At the same time, adapting the genome in this way almost feels as though we are playing with nature. Though the scientific community remains committed to achieving their scientific dreams, there is almost a sense of recklessness in their endeavors. In the same way that Dr. He pushed forward with his own research, many in the community work tirelessly to achieve without considering whether or not they should move forward. For every scientific victory, so too can that work be used for more nefarious purposes.

Exciting and sharply executed, Make People Better is a gripping thriller of one man’s achievement and the forces that work against him out of fear. Conversely, Sheehy’s film also holds a humility towards human life that counterbalances the drive for scientific and technological advancement.

After all, just because we can make people better, it doesn’t always mean we should.

Make People Better is now playing at HotDocs ’22. For screening information, click here.

HotDocs ’22: Don’t Come Searching

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Directed by Andrew Moir, Don’t Come Searching is an unflinching look at what it means to struggle with the oncoming view of death and the strength it takes to keep going. Committed to caring for his family in Jamaica, Delroy Dunkley’s financial situation demands that he leave them for six months each year for seasonal work in Canada. Excited to ask his partner Sophia to marry him upon his return, Delroy’s situation takes a dramatic turn when he’s diagnosed with terminal cancer. Sending shockwaves through his family and calling Sophia to take on the role of caregiver for her ailing love and children.

Although at first Searching tappears as though it’s going to focus on issues of economic uncertainty for migrant workers, the film quickly changes course with news of Delroy‘s condition. All of a sudden, the film takes on a deeper sense of urgency and credit must be given to Moir for his ability to handle each scene with grace and sensitivity. Delroy’s openness provides an honest and intimate portrait of a man whose primary concern remains his family. 

However, as the cancer begins to spread, the story gradually shifts from Delroy‘s illness to Sophia’s strength. With each passing day, Sophia is tasked to take up the burden of being a parent, doctor and caregiver. Even though she herself is struggling deal with her family’s situation, she must become the emotional bedrock of her family. Wrestling with questions of faith and financial stability, Sophia does her best to keep things stable within the home. In many ways, the film is a powerful portrait of love as Sophia never gives up on her partner, even as things continue to worsen. The weight of mortality weighs heavily on her shoulders as she must navigate the challenges of moving forward, even as her children have difficulty fully understanding the moment. 

Don’t Come Searching could have become a film about healthcare in the face of abject poverty, faith and loss or several other topics. However, ultimately, this is a film that struggles with the strength that it takes to support The one you love in the midst of the worst of circumstances.

To hear our interview with Andrew Moir, producer Michelle Serieux and Sophia Malahoo-Dunkley, click here.

Don’t Come Searching is now playing at HotDocs ’22. For screening information, click here.