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TIFF ’21: To Kill the Beast

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Set in a small town in the jungles of Argentina, To Kill the Beast follows the journey of Emilia (Tamara Rocca), a young woman from Buenos Aires who is searching relentlessly for her lost brother. After her mother’s death, Emilia’s great hope is to ease the broken relationships with her family and so she sets out on a quest to find him. As she takes up a room at the aunt’s hostel, Emilia meets another young border who challenges her to open her eyes to the nature of love and what it means to be free from oppression.

The first feature written and directed by Augustina San Martin, To Kill the Beast is a film that wrestles with the monsters that haunt us. San Martin uses her setting to create a world of mystery and fear. Set against the steamy darkness of the jungle, the proverbial beast casts an ominous shadow that no one can find but everyone knows exists. Targeting women in the night yet leaving no evidence, the beast is an ever-present terror that hovers over the area. In choosing to use the beast with such ambiguity, San Martin creates an aura of oppression within this small town but refuses to isolate it’s meaning to one particular issue. 

To be clear, San Martin has flatly denied any chance to provide specific information as to what she intends the beast to represent. Having said this though, she does leave clues as to what she may view as the true demons that come in the night. For example, San Martin repeatedly highlights the masculine power that infests all aspects of the community. In this small town, men make the decisions. They lead the search in the woods. They control the church and government. Theirs is a patriarchy of tradition and toxic masculine dominance. 

At the same time, Beast also seeks to tell the story one woman who is discovering her sexuality as well. As Emilia attempts to reconcile her family, so too is she coming of age. When a young woman moves into her border home, something within her comes alive yet the traditions that she has been taught keep her trapped emotionally. Set against the backdrop of masculine control, her desire to be free from sexual oppression becomes a key aspect of her individual freedom as well. In one particularly fascinating moment, Emilia, her lover and their aunt turn on the radio and hear a recording of Ave Maria. However, while the tune remains the same, the traditional Catholic worship song has been remixed into a club track. As the women begin to dance, this joyful innocence feels like an act of rebellion. In this brief respite from the culture that surrounds them, the women come alive as they break through the oppression of the male-dominated church and celebrate their lives in a moment of freedom.

Although San Martin refuses to specify what she believes the beast to be, what is certain is that To Kill the Beast wants to identify those sociological toxins that have oppressed women for far too long. Whether its masculine dominance, the church or some other unknown force, San Martin simply wants her female characters to be free and live without fear in the darkness that surrounds them.

To hear our interview with Augustina San Martin, click here (audio) or here (YouTube).

To Kill the Beast premiered at TIFF ’21 on Saturday, September 11th, 2021

TIFF ’21: The Eyes of Tammy Faye

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Andrew Garfield as “Jim Bakker” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Beginning in the late 1950s, The Eyes of Tammy Faye follows the rise and fall of Tammy Faye Bakker and her husband Jim. Though their lives began in humble beginnings, they gradually rose through the ranks to create the largest religious broadcasting network in the world. Marked by their smiling faces and charming demeanour, the couple’s ministry sprawled around the globe and touched the lives of many. However, as their financial improprieties caught up with them, their ministry crashed with a mighty force, leaving their family scarred by scandal for years to come.

Tightly written and anchored by a stellar cast, The Eyes of Tammy Faye is a soulful and scathing look at the destructive allure of power in the world of faith. Directed by Michael Showalter, the film emphasizes the disconnect between authentic religious zeal and the systems that exist to monopolize upon it. With each potential stepping stone in their career, Showalter always manages to emphasize the potential for ‘more’. More money. More power. More… everything. Whether it’s the bright lights of television or massive mansions to which they’re invited, Showalter dwarfs Jim and Tammy by the lucrative aspects of success that surround and call them. Despite their initial passion, the lure of success’ proverbial apple becomes too great and they are ensnared by their decisions.

Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

As Jim Bakker, Garfield manages to balance a heart of corruption and one of passion. Instead of fully demonizing him, Garfield’s initial desire and double-speak reveal the charisma of a man that fooled millions. In many ways, he is the villain of the piece, yet there is a sympathetic aspect to this performance that somehow makes him likeable. However, the true star of the film is Chastain herself. Here, Chastain is utterly transformative in the role of Tammy Faye, portraying her as never complicit in Jim’s crimes yet never fully innocent either. With humility and love, Chastain never demonizes her character, despite giving her an eye that is ever-seeking approval, be it from her family or her audience. Together, the couple have wonderful chemistry as a pairing who begin with genuine care for their spiritual mission yet gradually compromise themselves into evil. 

At no point in the film is faith judged in and of itself. Instead, the film highlights the dangers and toxicity of those who control it. Whether it’s the self-approval sought by Jim Bakker or the toxic nature of power that we see in someone like the ever-menacing Jerry Falwell Sr. (Vincent D’Onofrio), the genuine face of its leadership is what’s on trial. These are broken people who refuse to accept their brokenness. To Falwell and the other white men in control, the Evangelical system is one of order and power. [Even Pat Robertson is viewed as a man who is willing to slit your throat if it helps his career.] All are willing to twist scripture to fit their own agendas, arguably except Tammy Faye. 

Jessica Chastain as “Tammy Faye Bakker” and Andrew Garfield as “Jim Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

As such, the most fascinating aspect of this film is that it’s scathing conversation about faith feel feels so honest. Led by Falwell, the organized Christian church is portrayed as an exclusive club where those that do not fit into the box are unwelcome unless they conform. Tammy Faye is one who did not fit into those boxes, and she is reminded of this constantly. From the very beginning of the film, Tammy Faye is seen as kept on the outside looking in. As a child, she is shown as staring from outside the window due to the shame thrown upon her mother. As an adult, she is left out in the cold based on the shame that her husband threw upon her (and himself). 

Held up against the toxic masculinity of the Evangelical leadership, Tammy Faye is seen as a (mostly) genuine person within the film, despite her flaws. For her, the purpose of the ministry is to show the love of Jesus to as many people as possible. She is consistently and constantly opening the doors to the disenfranchised, especially the LGBTQ+ community. She views people as deserving of God‘s love as opposed to focusing on an overall agenda. However, this same openness is what makes her a threat to that system. Because of her willingness to embrace those that the organized church was unwilling to reach, Tammy Faye is kept at a distance (or worse, ostracized). 

Randy Havens as “Steve Pieters” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Similarly (or perhaps because of this), Tammy Faye is also a woman who wants to experience love. She views the camera as a person, which also ties into the theme of her eye. Tammy Faye understands that she has a unique connection with her audience (parishioners?) because they give her a chance to speak and feel loved themselves. To her, this is a genuine relationship that it worth taking seriously. On the other hand, Jim abuses the power of the camera’s eye. Although he claims to have vision, his soul is weak and he views his ‘partners’ as means to support his fame and lifestyle. Their great value lies in their wallets and he gradually begins to lose sight of what he has been called to do. (One can almost hear the serpent whispering in the background, ‘Did God really say that you should build a Christian waterpark?’) 

Backed by an Oscar-worthy performance by Chastain (yes, I’m calling the shot), The Eyes of Tammy Faye is poignant, potent and one of the best films of the year. Dissecting the poisonous nature of power and its relationship to fame and faith, the film holds its leads accountable yet also offers them grace when needed. This is a story that focuses on the consequences of allowing one’s eyes to wander from the mission to the money and the destructiveness that one’s fall from grace can have on others. At the same time however, it also recognizes the humanity of its subjects and, potentially, offering them a road to redemption as well.

Jessica Chastain as “Tammy Faye Bakker” and Andrew Garfield as “Jim Bakker” in the film THE EYES OF TAMMY FAYE. Photo by Daniel McFadden. © 2021 20th Century Studios All Rights Reserved

The Eyes of Tammy Faye premiered at the Toronto International Film Festival and is currently in theatres.

The Eyes of Tammy Faye – Complex Simplicity

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For many people, Tammy Faye Bakker is probably best known for being the butt of jokes and SNL skits. Her outlandish makeup was a trademark that was easy to satirize, as was her singing and onscreen demeanor. But what of the person behind all that? The Eyes of Tammy Faye, directed by Michael Showalter, gives us a very sympathetic look at this woman who was an icon to televangelism, and who also became a champion of LGBTQ rights. The film is based on an excellent documentary by the same name from 2000 directed by Fenton Bailey and Randy Barbato. Screenwriter Abe Sylvia has done a masterful job of expanding and transforming that documentary into a narrative film. (Although, there are some small bits of dramatic license, but nothing that really does harm to the story.)

The film follows Tammy Faye’s life from a child in International Falls, Minnesota, where she was somewhat discouraged from going to church because her mother had divorced and remarried. But Tammy Faye (Jessica Chastain) was so attracted to the church that she went anyway, and when she spoke in tongues, she was readily accepted. When at Bible college, she met and fell in love with Jim Bakker (Andrew Garfield), who even then was proclaiming the prosperity gospel. They soon married and set out on the road as traveling evangelists.

Andrew Garfield as “Jim Bakker” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

When their travels took them to the area of the fledgling televangelist Pat Robertson, Jim and Tammy Faye started doing a kid’s show for him, which Jim leveraged into “The 700 Club”, the first Christian talk show. Soon, Robertson wanted that show for himself, so Jim and Tammy Faye started their own televangelist network (PTL) which grew rapidly. The vision was always far ahead of resources, and debt was a constant problem, especially after building a theme park that rivaled Disneyland. Through it all the couple lived a luxurious life. In time, Jim Bakker was eventually charged with and convicted of fraud and sent to prison.

While the documentary covered all this history with archival footage, this film takes us behind the curtain to see all this taking place through Tammy Faye’s perspective. And that allows us to see a multi-faceted person who has more to her than we may suspect.

The film opens with a scene (reenacted from the doc) of Tammy Faye at a TV studio having her makeup removed so that more camera-friendly makeup can be put on. While the makeup comes off, she talks about all her makeup. We then discover that some of it is permanent. Tammy Faye concludes, “Yeah, this is who I am.” We are struck by how the real and the persona are blended in such a way that it’s hard to separate one from the other. As the film progresses, we see Tammy Faye as someone who is blended in many ways.

Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

One of those ways is how she seems to be in a constant tension between her stolid Midwestern upbringing (personified in her mother, played by Cherry Jones) and the lavish lifestyle that surrounds her. Certainly, Jim’s messages of prosperity as a sign of faith gives some spiritual cover for that (even if a dubious theology). Even though she’s very comfortable with all the luxury, there is always her mother’s disapproval of it.

The film also makes a point that Tammy Faye was more than just Jim’s wife. (That is truer here than in the documentary.) To be sure, much of her life, its rises and falls, were caused by Jim and his dreams (and lack of solid morals), but there were ways that Tammy Faye had her own sense of power and her own desires. A key illustration is a scene in which Jim, Robertson, and Jerry Falwell are all sitting down at a barbecue to talk business. The women are all left on the periphery. That is, until Tammy Faye, baby in arms, pulls her own chair up to the table to insert herself into the discussion.

Jessica Chastain as “Tammy Faye Bakker” and Andrew Garfield as “Jim Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

It should be noted that Chastain is one of the producers of the film as well as the star. When she first saw the documentary, she was moved to make it into a film and bought the rights. There is a certain “Time’s Up” feeling to that place-at-the-table scene. This view of Tammy Faye as one pushing for women’s rights adds another layer to her persona in the film.

Later, Tammy Faye became the first leader among Evangelicals to show great compassion to AIDS sufferers, which led her to be compassionate toward LGBTQ people in general. She understood them to be beloved of God. She may or may not have approved of their lives, but she saw them first and foremost as God’s children. This at a time when many of the other televangelist were referring to AIDS as a plague sent from God to punish gays.

Randy Havens as “Steve Pieters” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

After watching this film, I watched the documentary for comparison. While there are some differences in how the stories are told, the films together serve to give a fuller picture of the events and of Tammy Faye. The impression I had of Tammy Faye after watching both films was that the best description of her is “simple”. (By that I mean uncomplicated, not mentally deficient.) The picture this film gives us of Tammy Faye is a woman who is guileless. In spite of her garish makeup, with Tammy Faye, what you see is what you get.

Jessica Chastain as “Tammy Faye Bakker” and Andrew Garfield as “Jim Bakker” in the film THE EYES OF TAMMY FAYE. Photo by Daniel McFadden. © 2021 20th Century Studios All Rights Reserved

That simplicity applies to her gospel message as well. The “Gospel according to Tammy Faye” is “God loves you. He really does.” As one trained in theology, I know that there are volumes written to describe the Gospel and the many nuances that grow out of God’s relationship to the world. Back when the Bakkers were riding the wave of televangelism, I would have likely belittled them for many valid reasons. But I also can say that that simple statement of God’s love is truly a full statement of the Gospel.

The Eyes of Tammy Faye opens in theaters September 17.

TIFF ’21: Scarborough

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Adapted from the novel by Catherine Hernandez, Scarborough details the lives of three families of various backgrounds who live in poverty in Scarborough, Ontario. Meeting up at an after-school program at a local community center, the children’s stories begin to intertwine. 

Set in the urban centre of the Greater Toronto Area, Scarborough shows how one of the wealthiest cities on the planet can create a massive divide in wealth and resources between families. In many ways, the film offers a glimpse into the lives of true poverty and the struggles that these families face every day, like raising a child with limited finances and the mental burden that it places on the parents. Scarborough boldly shows how these limited resources can perpetuate the cycle of poverty, stunting the children’s potential and opportunities for a better future.

Personally, what I loved most about Scarborough is that it never shy’s away from the challenges of poverty yet it also makes it extremely difficult to watch. The film depicts a community of children that has been abandoned by its city, leaving them to endure child abuse and other traumas. One of the most difficult stories to watch is that of Laura, one of the three main children within the film. Abandoned by her mother and left to live with an abusive and racist father (who’s also mentally unstable), Laura lives in constant fear of others and has developed insufficient communication and social skills as a result of his violent outbursts. Under pressure to perform perfectly and called horrendous names by her father, Laura is struggling to survive in a toxic environment. Warped by her father’s bigotry, Laura’s worldview has been tainted. (She even genuinely asks her Muslim teacher if she ‘eats babies’.) 

In addition, Scarborough pulls no punches on the difficulties that occur with limited finances. Things we don’t consider are viewed as luxuries to families struggling daily, such as breakfast and lunches, school supplies and even toilet paper. These communities are hampered by their loss of funds and require help to make it through the day. Interestingly, the community center that provides the children breakfast becomes the centre point of the film and Ms. Hina, the Muslim daycare teacher, is the angel that these children need. However, despite Toronto being one of the most diverse cities on the planet, Ms. Hina faces constant bigotry by parents who confuse her racial background and her supervisors who reprimand her for not going above and beyond her duties. At a place in which the goal is to educate these kids and guide them into the future, its somewhat ironic that Ms. Hina is consistently undermined due to her race.

Overall, Scarborough is a must-see film and the truest depiction of First World poverty that I’ve ever seen. Never shying away from the abuse and neglect that these children endure, the film is raw and points out that the glaring cycle of poverty has not been addressed properly. As such, Scarborough is as informative as it is hard to watch. Though the story is fictional, it has never felt more real. 

TIFF ’21: MiddleMan

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In The Middleman, Frank, a man who has suffered from long term unemployment, must take on the role as of “middleman” in the town of Karmack, USA. Broken by their own pain, Karmack is a town that is so depressed that they require a professional middleman to give any bad news to people. This responsibility falls to Frank, who is given the extreme burden of a job nobody wants. (After all, this would be one of the most emotionally draining roles that one could do for a living.)

Initially, it seems as though Frank has been thrust into this role without choice. But, as the film unravels, it becomes clearer that Frank has actually chosen the role and did so out of guilt. Dealing with the shame of a tragic event from his childhood, Frank has lived in regret and guilt his whole life. As such, this job is his way of making amends for his guilt. He has to be the one to deliver bad news to people, to be the middleman and take in all the anger, grief, and frustration to those that he must deliver the bad news. It’s his way of getting what he thinks he deserves. This self-destruction only further worsens his mental health. Anytime that Frank is in a position of good fortune, he’s unable to bear it and does something destructive to his life in order to off-set the blessing.

If you think about it, Frank really is the villain of the story. No matter how guilty he feels, how much he tries to redeem himself, Frank continues to make the lives of those around him—and himself—worse. Because of his actions, Frank’s continues to harm those around him, despite his intent. As people, we want to improve on ourselves and be better yet sometimes we fail. In this way, Frank is the ultimate failure. The wild moments that unravel around him help Middleman to become a great dark comedy that entertains.

Overall, Middleman takes the viewer on a journey with Frank, a middleman for bad news. With some solid dialogue and brutal moments, the film is really a journey of a man with one of the most emotionally crushing jobs possible who is simply  trying to rectify his guilt and overcome his past.

The Middleman is currently playing at the Toronto International Film Festival.

TIFF ’21: The Humans

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Based on the play of the same name, Stephan Karam’s film The Humans is an American drama set within an apartment around Thanksgiving. At a season which is supposed to be about  celebration, three generations gather under one roof to discuss their lives, from the positives and negatives to even the most obscure conversations. Starring Amy Schumer, Steven Yeun, Beanie Feldstein, Jayne Houdyshell, and Richard Jenkins, The Humans give an outsiders view into what this random family is going through. 

In many ways, Humans feels like a look into the ‘typical’ American life, especially during the holidays. Opposing viewpoints, perspectives, and generational differences are all things that often surface during these times and make the season challenging for many. One very important conversation to the film that was addressed during the directors Q&A is the impact of work and how much finances interplay with family connection and life. A struggling family dealing with job loss, unemployment, and medical bills seems standard for the typical American family as finances of older generations fail. As a result, it seems that there’s a higher dependence on the younger generation to take care of parents. In fact, having three generations under one roof has become more common, simply out of necessity. 

One thing that I loved about The Humans was how raw and human it felt. Throughout their time together, the viewer is left as a bystander, forced to listen to the lives of these people. In many ways, these people are an average family. They could be you or your loved ones, including the sorrows and anxieties which bubble to the surface and how they try to cope with them by coming together. The film is beautiful yet, at the same time, it’s also sad seeing the human experience play out so casually in this little apartment. There’s something so fascinating about hearing “private” conversations that aren’t meant for our ears. It’s like we’re eavesdropping on the gossip.

Overall, The Humans is a great movie that provides a look into the typical American household and the fears, dreams, and regrets that haunt us all. As a family, they do their best to endure their struggles and support one another. Backed by stellar performances and a solid script, the film highlights the challenges of doing life together.

The Humans is now playing at the TIFF ’21.

Nine Days: What Makes Life Worth Living?

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Life is hard every day. But Nine Days suggests that the work beforehand can be just as challenging.

Set in the world before this one, Nine Days follows Will (Winston Duke), an arbiter who judges which souls shall have the opportunity to inhabit the bodies of the living. Whenever a position opens up, Will meets with potential applicants who are interested in making the journey to Earth. However, when one of his previous hires is killed in a car accident, Will is left shaken by her death. Suddenly, his world feels emptier and yet he must still interview for who takes her place. As the new applicants arrive for their nine day vetting process, Will askes them questions about life and makes notes on their responses to determine their ‘worthiness’ for the job. Of all of the candidates though, he is most intrigued by Emma (Zazie Beetz), a soul to displays a level of empathy and curiosity that is both fascinating to Will yet also feels potentially dangerous to him as well.

Written and directed by Edson Oda, Nine Days is a beautiful piece that engages some of the deepest philosophical questions of life and existence. For a film that takes place pre-life, Oda has created a story that very much deals with our everyday world. In some ways, the film almost carries the same mundane spirit as modern workplace series. Even though he exists outside of time, Will’s work is sometimes as tedious and repetitive as a regular office drone, even if the stakes for choosing the proper applicant remain so much greater. In other words, despite nature of Will’s menial job, Oda’s stunning writing emphasizes the importance of every soul and the impact that their life may have on the world.

However, Days never forgets the struggles that it takes to get through the day either. Emphasizing the effects of pain and suffering on the soul, Nine Days shows a world where those who oversee creation are also burdened by its brokenness. What’s more, while the film takes its time with its pacing, it never feels too slow or overly padded. This is a film which allows its characters the space and time to grow and mature, despite the fact that it happens before their own birth.

While the entire cast is solid within the film, it’s truly the performances by Duke and Beetz that are most noteworthy. (Although, Tony Hale’s work is always welcome within any project.) As Will, Duke brings a surprising level of stoicism and rage to the role. Whereas one might assume that offering the gift of life could be a blessing, Will bears the weight and responsibility of the position on his shoulders. Frustrated and fearful, Duke lumbers around onscreen in a fascinating performance as a man broken and burdened. 

Sitting opposite Will’s gruff antagonism though is Beetz’ Emma. Playing the character with eagerness and delight, Beetz absolutely sparkles onscreen. There’s a youthful impetuousness embedded within this character which makes her instantly likeable. At the same time though, Beetz never allows her innocence to stray into the realm of naivety. Despite her youthful enthusiasm, there’s an insight to Emma’s questions that shows wisdom. Instead of pushing Will out of rebelliousness, Emma seeks to understand. Held up against one another, Beetz and Duke provide some incredible chemistry as they push one another to see the world in entirely different ways.

While the idea of life before birth isn’t necessarily new (see Pixar’s Soul), Oda takes the concept and inverts it with a competitive edge. Like the world’s longest job interview, only one slot is available for new life to begin and each one of these souls wants the opportunity to experience it. Tasked with seeking out the best possible candidate, Will must weed through his applicants and choose who deserves the chance to live. However, part of the beauty of the film is that these individuals still matter, even if they don’t receive the ‘position’. Each one of these pre-individuals has their own innate desires and dreams already firmly implanted and Will sees the value in this. In an act that demonstrates value and grace, Will offers those who are not selected the chance to experience simulated moments of life. As a result, although there’s sadness embedded within these times, there is also joy. 

Further, Will’s experience also highlights the most soul-crushing aspect of life on Earth: its unpredictability. As he grieves the loss of Amanda, he begins to wonder what the point of his job may be if people are going to simply going to lose the same precious lives that he offers them. However, through his time with Emma, Will senses something different. Though she will undoubtedly experience the same trials as everyone else, her insatiable desire to enjoy life is unusually jarring to Will. Whereas other candidates attempt to navigate the evaluation process professionally, there’s a passion and curiosity within Emma that is so infectious that it almost feels like a threat to the whole process. For Will, his job is to find those who can deal with difficult situations and struggles. However, for Emma, her soul simply wants to embrace life, including all of its pain and ambiguity.

Though quiet and reflective in its tone, there’s a beauty within Nine Days that’s almost poetic. With patience and care, Oda has created a world that both honours the spiritual sacredness of every soul but also respects the realities of hurt that we all experience. Even in the midst of this juxtaposition of opposites, the most important aspect of Days is that it also serves as a reminder that life—wherever it takes place—is worth living.

To hear our interview with writer/director Edson Oda, click here.

Nine Days is available in theatres on Friday, July 30th, 2021.

Rewriting the History Books: 1on1 with Tracey Deer (BEANS)

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I remember the Oka Crisis. Or, at least, I thought I did.

As a pre-teen, I vaguely remember hearing the stories of the Mohawk people who protested the building of a golf course. I remember seeing it on the news and hearing the testimonies of those who were worried that things would escalate. Because I was so young though, I didn’t understand what was really going on or issues such as media bias. Maybe none of us outside the situation really did.

Thankfully, in her stunning new film Beans, writer/director Tracey Deer offers some much-needed perspective on the events that took place that summer. Set against the drama that took place in 1990s Quebec, Beans (Kiawentiio Tarbell) is a young girl who lives on the Mohawk reserve of Kahnawa:ke. Staying with her loving parents (Rainbow Dickerson and Joel Montgrand) and her little sister (Violah Beauvais), Beans lives a life of innocence and safety on the reserve. However, when a proposed expansion to a golf course threatens their burial ground, an armed stand-off develops between the Canadian government and Mohawk population, exposing the racist undercurrents of the local population against the Indigenous population. Unprepared for the hatred that she experiences, Beans must re-examine who she is and transform herself into her own kind of warrior.

Although Beans itself is a fictional story, the film showcases many true events that took place during the events of the Oka Crisis. Having grown up during that time herself, Deer used her personal experiences to shape the characters and story.

“’The film is inspired by true events’ is how we phrase it because all of the events depicted of the Oka Crisis in the film did happen,” she explains. “But my family in the movie is a fictional family. Beans, my protagonist, played by the incredible Kiawentiio is the emotional through line. The coming-of-age journey that she goes on is very much my coming-of-age journey. But I have placed the character in these various historical events [and] I wasn’t at all of them myself. Some of the things that she does and her experiences are not identical to my own, but the emotional through line, the feelings and the growth and the shattering of innocence, all of that, is pulled directly from my own coming-of-age summer.”

While Oka was a massively important event in Canadian culture, Deer notes that history has only ever told it from one side. However, Beans allowed her the opportunity to tell a more complete picture of what really took place and the damage that it caused her family.

“[Voice] is so important. It’s one of the big reasons it was so important to me to make this film,” says Deer. “The way the media [covered] that event 30 years ago did not at all jive with the experience I was having of it. The way they would talk about the Mohawk protesters. These were my neighbors, my cousins, my uncles, my aunties, and to call them terrorists and send the army in against them, it didn’t make any sense. So, it was important to me to show the other side of it—the inside out view of it—so that people could see what it was really like… For so long, the policy of the powers that be [in] the government is to squash us, divide and conquer and take. Oka was really that watershed moment where Indigenous people stood up and said ‘no more’. I’m so proud that we did that. I learned so much about our strength and our resiliency from that summer. I learned so much about the importance of voice and to have my voice heard.”

“I learned a lot of negative things [and] devastating, destructive things that almost destroyed me. I was suicidal at 15 because of all of that rage and all of that hatred was just living inside me. That was that sense of innocence. That sense of safety, the ability to dream, all of that was stolen from me that summer. And I don’t want that stolen from any more indigenous children. So, it’s important that we tell the story like it is and Canadians step up to right the wrongs of history and make sure that history doesn’t repeat itself.

Embedded within Beans lies a powerful question about the nature of resistance. Torn between her father’s more aggressive stance and her mother’s insistence on integrity, Beans must wrestle with what it means to stand up against injustice. By showing this tension, Deer wanted to highlight the value of both perspectives but also show the damage that hatred can do to the soul.

“It’s really the tight rope that I have walked my entire life,” she considers. “I would say certainly as an Indigenous filmmaker, I firmly believe that violence is like a disease. Hatred is a disease. When we put it on to others, it then grows in others and then it’s put in and then it continues. I say that because I know that that was my experience. I learned to hate that day when those rocks were thrown at us, when the back window was burst open and my sister got cut with glass. That is the moment that I learned to hate. Unlike Beans, who lashes out quite a bit in the movie, I wanted to show what that hate looks like. But, for me personally, that hate lived inside me and it started tearing me up.”

“We have to have a line that says violence is never the answer. We need to stand up for ourselves and we do need to be strong. As her mother says, you need to be able to stand up for what’s important to you. And I believe, for me, that is the line that there is a way to stand up and not feed the cycle. And I feel you see that in the scene where the women deescalate the violence. There are ways to do that and we have to get much better at doing that. I think we’re a society that turns to violence and turns to retribution and vengeance way too easily.”

Through Beans’ childlike lens, Deer remembers how these events affected her own childhood and reshaped her understanding of the world.

“That’s exactly what my adolescence felt like. It was a really carefree, fun childhood up until that summer,” she remembers. “That summer really, really shattered that when I realized that who I am is not welcome in the wider world. There’s no place for me. When those people threw those rocks at me, they told me I was worthless. They considered me and my family worthless. So, how as a child, how do you process that? How do you understand that? Okay, I am so worthless that they are allowed to throw rocks at me and the cops stand by and let that happen.”

“This film takes place during the backdrop of the Oka crisis, but incidents like this are happening across the country to this day, right?,” she continues. “Our children are being told by our society, by our country that they are not welcome. And we are told every day that it is not safe for us in the wider world. That is really what I wanted to get across, because I think that sense of entitlement and sense of safety is something that the majority of Canadians take for granted. It is a given that with the right motivation and the will, you can pursue your dreams. You have a tonne of examples of people just like you, who were doing every single thing in the world. So, if they can, why can’t you? You can do it. I want people to understand that that’s not the country that they present to us. If your child was Beans, and this is what she was going through, how would you feel about that? I believe we all have the ability to make a difference. We all have our personal sphere of power, so we can all do something about this. I want people to see this devastating journey that Beans goes on and leave the theater wanting to do what they can to prevent it from happening to any other young indigenous child.

Having said this, the obvious question remains whether or not things have changed in Canada since then. Considering the horrors of abuse that have taken place against the Indigenous children continue to lead the headlines, there remains a great deal of work to be done to heal the pain that has been caused. Even so, Deer also says that she believes some progress has been made.

“The film is a historical movie, you know. It took place 30 years ago but, as you said, the themes are all incredibly current,” she contends. “That makes me really sad and it makes me really angry because, on many levels, I don’t think we’ve come very far as a country in the way that the country handles Indigenous issues. I don’t think the country and the leadership are very good at listening to Indigenous people. I think that’s one of the big things that has to happen for change to happen is [that] Canadians need to become much better listeners and not be so quick to judgment or so quick to think that they know what the solution is. I think it’s just about listening and then doing, based on what you’ve heard.”

“Now, on the other hand, the thing is [that] I don’t want to be all just doom and gloom and dire. I do think there has been progress on some levels. I see it right now. I see that there’s an openness in this country to be hearing from us. There’s a willingness to take down those walls. It’s hard to take down those walls because those walls protect you from feeling implicated[and] responsible, but you are. This is your country, and these things are still happening across the country. The coming of age story for our indigenous kids is still incredibly similar to the story that you see in Beans. So, more work needs to be done. I do think that I am encouraged. I am an optimist, and I always look for ways to be helpful. And I am hopeful. I want to believe in this country and believe in Canadians because I need to. I need you all to do the work. It’s not on us to make things better for things that we didn’t because it’s up to Canadians to do that. So, my answer is twofold. We have not come far enough, but things are happening that are giving me hope.”

Beans is now available in theatres.

To see our complete conversation with Tracey Deer on YouTube, click here.

To hear our conversation with Tracey Deer, click here.

Lift Like a Girl: The Power of Lifting Up

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In a world dominated by men, it’s powerful to see young people lift like a girl.

Directed by Mayye Zayed, the new documentary Lift Like a Girl follows a female weightlifting community in Egypt. As one of the nation’s most renown trainers, Captain Ramadan spends his days training young women on the streets of Alexandria. One of his prize students is Zebiba, a 14-year-old girl with the potential to make the Olympic team. Over the course of four years, Zebiba is shaped by her relationship with the Captain as he walks with her through multiple victories and defeats.

There’s a fire within Lift Like a Girl that makes it riveting to watch. As we peer into lives of these young girls, we do not see young people with limitations of gender or social status. We see potential titleholders with an eye on the Olympics.  Without glossing over their flaws, Zayed depicts these youth as untapped potential who are often ignored. Led by Captain Ramadan, these ‘Champions of the Street’ work, lift and fight to win, regardless of the labels placed on them by a culture that may see them as lesser.

By following Zebiba over her four years of training, we not only see a young girl grow and mature. We also witness the positive effects of the Captain’s role in her life. As a result, although Zebiba may be the film’s primary subject, much of its soul belongs to Captain Ramadan. Having coached the nation’s most famous weightlifters, the Captain is relentless in his pursuit of success. Each day, he challenges his students to do better and focus on their goal. While the way he speaks to the youth isn’t always positive (especially after a loss), he always remains determined to see them succeed. To many of these girls, the Captain has become their father figure. He offers love, challenges them to do better and sees them as more than the culture.

But this is where Captain Ramadan becomes even more important.

In a male-dominant culture, the Captain also has exceptional views regarding gender equality. For the Captain, gender is no restriction from greatness. Fighting for his girls with a progressive voice, he refuses to let them view themselves as any less than their male counterparts. What’s more, he even argues with passersby who verbally cut down his students simply because of they are girls. Whereas many view gender or social status as a barrier, all that matters to the Captain is whether or not his students can achieve greatness and he empowers them to do so. 

In this way, there’s a beauty within Lift that beats with a heart of justice. For the Captain, the only barrier to winning comes from our own perceptions and he passes that wisdom on to his students, no matter who they are or where they come from. With an eye focused on their training, Zayed highlights the emotional journey that these young women take as they fight through various wins and losses. However, at the same time, it also highlights the fact that lifting someone up is ultimately even more powerful than lifting the weights themselves.

Lift Like a Girl is available in select theatres across Canada now and will be available on VOD as part of the Impact Series on July 20th, 2021.

The Best of AFI Docs 2021

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Now that AFI Docs has wrapped up, it’s time to see the winners and to make note of my favorites.

Here are the award winners from the festival:

AUDIENCE AWARD: FEATURE

STORM LAKE

DIRS: Jerry Risius and Beth Levision. For 30 years, in Storm Lake, Iowa, Art Cullen and his family have been publishing a Pulitzer Prize-winning local newspaper. But, with newspapers everywhere going extinct, how long can they keep it up?

AUDIENCE AWARD: SHORT

SHELTER

DIR: Smriti Mundhra. A verité documentary that follows three young children and their families as they grapple with housing insecurity in Los Angeles.

SHORT FILM GRAND JURY PRIZE

RED TAXI

DIR: Anonymous. As protests in Hong Kong escalate, taxi drivers experience a city in upheaval driving the streets day and night. Anonymously filmed by locals.

SHORT FILM SPECIAL JURY PRIZE

THE COMMUNION OF MY COUSIN ANDREA

DIR: Brandán Cerviño Abeledo. Andrea’s First Communion ceremony lacks glamour. For Andrea, things without sparkles are meaningless.

SHORT FILM SPECIAL JURY PRIZE

S P A C E S (M E Z E R Y)

DIR: Nora Štrbová. A multi-textured animated exploration of memory as a container of identity, based on the personal story of the filmmaker and her brother who was diagnosed with a brain tumor.

I have my own personal favorites. Storm Lake was among my favorites, along with My Name Is Pauli Murrayand the episodes that were shown of 9/11: One Day in America (that one was a surprise to me).

Among the Shorts, my favorites were When We Were Bullies, and two that I think need to be paired together: Under the Lemon Tree and Mission:Hebron.

It was a very good set of films throughout the festival. My thanks to AFI and to all the sponsors for allowing me to cover the festival.