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Unhinged: Unleashing Hell

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“All it takes is one bad day to reduce the sanest man to lunacy. That’s how far the world is from where I am. Just one bad day.” (The Joker, The Killing Joke)

When you look into the eyes of madness, you’re never quite sure what you’re going to see. Taken from Alan Moore’s iconic graphic novel The Killing Joke, the above quote by the Joker points to the idea that anyone has the potential to be pushed beyond their limits. While he may not be quite as charismatic as the Clown Prince of Crime, Russell Crowe’s latest role in Unhinged explores the explosiveness of madness when a ‘bad day’ gets out of hand.

And, make no mistake, Unhinged is no joke.

Directed by Derrick Borte, Unhinged follows Rachel (Caren Pistorius), a recently divorced mother who can’t seem to catch a break. One morning, as she’s running late to work (again), she finds herself frustrated as she’s stuck behind a stranger (Crowe) who remains stopped at a green light in the intersection. After honking at the man, she passes him and attempts to move on with her day. Enfuriated by her attitude, the man feels the need to ‘teach her what it means to have a bad day’. As a result, Rachel soon finds herself and everyone she loves have become the target of a man who is willing to stop at nothing to exact his revenge.

As the unnamed beast, Crowe ferociously lumbers around onscreen like a bear on the prowl. Throughout his career, Crowe has always maintained a certain level of seriousness in his various roles and that works to his credit here. While there are admittedly moments within Unhinged that seem ridiculous (Did this really all happen because she honked at him?), Crowe’s commitment to intensity makes him a force of nature within the film. Brutal and remorseless, his relentless rage wreaks havoc throughout the city, with little care as to who may bear witness to his wrath. In this way, sheer wildness is something that Unhinged does very well. Without giving anything away, moments of ‘predictable’ violence are often followed immediately by the unpredictable, allowing the film to mimic Crowe’s character as ‘unhinged’ in its story-telling. 

Nevertheless, the very best horror films usually have something to say about the current state of our culture in addition to the thrills and chills that they offer their audience. Whether it’s superb recent examples such as Get Out or The Invisible Man, horror is often a breeding ground to expose the fears and anxieties of our world. In this way, the great irony about Unhinged is that it feels like it has something to say yet struggles to know how.

With repeated messages about ‘road rage’ in the midst of an irate culture, the film recognizes the unhealthy anger that simmers underneath the surface of society. Tossing aside his wedding ring, there is a deep pain seething underneath Crowe’s nameless man, leading the viewer to believe that he reflects the fury of toxic masculinity unleashed. Unable to process the hurt within him, he lashes out on the first woman that (literally) crosses him. At this level, Unhinged seems to work towards some form of metaphor for the loss of masculine identity within our current culture. Unfortunately, however, the lack of motivation (or empathy) that the film provides for Crowe’s unnamed assailant works against fleshing out this idea in any meaningful way, providing less meaning to the film’s wanton destruction.

Vicious and unrelenting, Unhinged will likely satisfy fans of the genre who are looking for a story enthusiastically told with reckless abandon. Though far from Crowe’s best work, there’s a certain level of charisma that he carries within the role that keeps you interested in the method to his madness. Sadly, the chaos and carnage that the film offer do not entirely make up for the wasted opportunity to tell a story underneath that bears as many fangs as the beast that the film focuses upon.

Unhinged premieres on VOD and in Theatres on August 14th

Boys State: Politicizing Youth

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“I think he’s a fantastic politician… but I don’t think fantastic politician is a compliment either.” – Rene Otero, Boys State

Streaming on AppleTV+, the new documentary Boys State takes the viewer behind the scenes at Boys State, a summer leadership program developed for teenage boys by the The American Auxiliary in Texas. (The film indicates that there is also a Girls State program but the filmmakers opt to only follow the males.) With over a thousand teenagers in attendance, the youth are challenged to build a representative government from the ground up. As the young men nominate and elect candidates, they also must decide what means—and requires—to win at the game of politics.

Boys State

Produced and directed by Jesse Moss and Amanda McBaine, State is a fascinating look at both the inner-workings of the US political system and the poisonous effects of power. While the film may focus on one week of ‘camp’ for teenage boys, it feels like a fly on the wall of the American political sanctum. Featuring all the battles between moral judgments and political power that one would expect within the world of the US government, Boys State is both a terrifying look at the corrupting nature of power and a glimmer of hope that the next generation of leaders will set right the mistakes of the past. 

While the week begins with the teens bringing the expected amount of youthful exuberance into the political process (like, for example, attempting to secede Texas from the US), things eventually begin to take a turn as process progresses. As the race for Governor begins to pick up steam, things become far more serious behind the scenes as candidates begin to move away from youthful chaos into political positioning. As smear campaigns, double speak and blind dedication to ‘whatever the Party agrees on’ begin to arise in backroom conversations, the teens begin to sound less like youth and more like their adult counterparts on Capitol Hill. (In fact, one candidate even goes so far as to mention that his primary impulse for entering into the race is not about serving others but simply to fulfill his own need to ‘win’.) In doing so, State becomes an example of how the drive for power can corrupt at any age when winning turn out to be the primary objective.

At the same time, while some candidates become obsessed with achieving their goals for personal glory, State also shows that there are some candidates who remain committed to victory through honourable means. In the face of political maneuverings, some youth are willing to maintain their character in a healthy manner. But can they win that way? In many ways, the greatest—and most terrifying—question within Boys State is not whether or not the youth will resort to ‘dirty campaign tricks’ but whether or not keeping their integrity will bring victory in the end. 

In this way, State feels like a film that features a battle for the soul of a nation. If the young men selected to participate Boys State see the importance of integrity in their politicians, maybe the next generation will also consider that a high value. If not, it stands to reason that little will change in the future. As a result, Boys State may focus on a week of camp for teenage boys but, in actuality, the film is about much more than that. As these young men fight for power amongst their peers, their decisions may also offers a glimpse into the future, whether its bleak or hopeful.

Boys State premieres on Apple TV+ on July 17th, 2020.

Boys State – Political Gamesmanship

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Can 1,100 high school senior boys form an efficient state government? Each summer, the American Legion sponsors week-long camps known as Boys State (as well as separate Girls State) in every state that bring together a wide mix of high school students to learn what goes into elections and government. In Boys State, filmmakers Jesse Moss and Amanda McBride take us to the 2018 version of Boys State in Texas. As these young men play out the process of party politics, it reveals some interesting things about our political system. The film was awarded the Grand Jury Prize for documentary at Sundance Film Festival this year.

Ben Feinstein

The film opens with a title card with a quotation from George Washington’s Farewell Address: “[Political parties] are likely to become potent engines, by which cunning, ambitious, and unprincipled men will be enabled to subvert the power of the people and to usurp for themselves the reins of government.” Boys State is geared around a two-party system, although not ideologically based, as with Democrats and Republicans. Instead these young men are randomly divided into two parties, Federalist and Nationalist. It is up to each party to determine its platform, issues, and select candidates for an election. In essence, the parties are teams vying to win a political game.

The film focuses on four key characters as the week plays out. Ben Feinstein is a Reagan loving conservative. He’d like to join the armed services, but as a double amputee that’s not possible. Perhaps he’ll try for the CIA or FBI. Steven Garza is a progressive son of immigrants. After the Parkland school shooting he organized a gun control march in Houston. Robert MacDougall is good looking, athletic, outgoing—a typical high school A-lister. His dream is to go to West Point. René Otero is an African-American who has only recently arrived in Texas from Chicago. Ben becomes the Party Chair for the Federalist. René is his counterpart for the Nationalists. Steve and Robert are rivals for the Nationalist gubernatorial nomination.

Steven Garza

As the week plays on, we watch as the political process becomes more and more like real life. There are chaotic party meetings with challenges to leadership, there are smear campaigns, there are rousing speeches, an admission from one candidate that he will say what he thinks others want to hear, even if it is different than his own beliefs, and an example of a would be leader who wants to work cooperatively, but will maintain his integrity.

Because this is Boys State with rooms full of 17 year-olds, there is a lot of testosterone in the room. And because it is Texas, the predominant ideology is conservative, especially in terms of issues relating to guns and abortion. It would be interesting to see what issues would come up and how they would be handled at Girls State and in blue states.

Robert MacDougall

One of the things that attracted the filmmakers to Texas Boys State was that the year previous, the Texas Boys State government voted to secede from the US. That issue is brought up again in this film, and it is interesting to see how the student leader dealt with the issue to prevent another such occurrence.

A cynical viewer might watch the film and be discouraged that the political gamesmanship puts so much emphasis on winning per se over ideas and character. But there are also signs of hope. Steve, in one of his wonderfully crafted and impassioned speeches, asks his listeners to be united and show the adults how things can be done. Perhaps he seems a bit idealistic, but as we head into the current political season, Boys State might make a good primer for us to use in considering the way we see real politicians acting. Will we see them with cynical eyes, or have idealistic hope in what could be?

René Otero

After a virtual theatrical opening, Boys State will be streamed on Apple TV+.

Photos courtesy of Apple Originals.

The Power of Hope: Inspiration by Influence

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Dear Michelle Obama,

Admittedly, you and I don’t talk much (read: never). Even so, I’m a big fan of your work and I hope you’re doing well. I don’t expect you to reply to this post but I did have one question for you: Did you know that you recently starred in a film?

You really should. 

Because you’d be proud of it.

Written and directed by 13-year-old Kalia Love Jones, The Power of Hope is an animated short that tells the story of a young woman who has big dreams of becoming an architect. When her mother becomes ill, she feels overwhelmed and helpless. However, after hearing a powerful speech by former First Lady Michelle Obama, she is inspired to find the strength to persevere and bring her dreams to life.

Beautifully written and animated, Jones’ short is both charming and challenging. Though brief in length, her desire to empower young girls to overcome the trials that they face shines through, providing encouragement to everyone who watches. Considering her young age, there’s a maturity within the story-telling and visuals that makes this short film an impressive debut for Jones. Gradually moving from shadow to light, the film’s images emphasize the importance of looking for hope in the midst of life’s moments of deepest darkness. From having to care for a sick parent to struggling financially, Jones’ short is willing to stare down the most difficult of circumstances and prove that they need not define or defeat you. For Jones, the message is clear.

No matter what you’re going through, you can do it.

What’s most interesting about the film though is how Jones uses Obama’s (your?) speech within the film. Sitting broken in her living room, the young girl overhears the former First Lady’s voice on the television and is instantly transfixed by it. Then, as her hero’s words of hope sink in, she decides to fight for her future. From there, the voiceover takes over the remainder of the film, walking with her through each stage of life. Though leading the narrative component, its true importance lies in the way that it gives the young girl something to cling to and points to the impact that people of influence can have on a generation. Never once does Jones’ character meet Obama or receive any direct help from her yet she owes a great deal to her words. For this young girl, Obama’s message of confidence gives her courage in the face of the overwhelming odds against her. 

This sentiment is also echoed throughout the film’s closing credits, as Jones chooses to highlight other women who have inspired her in her young life. From Ava DuVernay to Ellen DeGeneres to Awkwafina, Jones highlights women of different ethnicities who have become trailblazers in their diverse fields yet have also provided an example of succeeding in the face of adversity to young women everywhere. Although Jones may have never met or spoken to any of these particular women, it’s clear that she holds them in high esteem and views them as people who matter. 

Their example has provided an example for her to follow.

So Mrs. Obama, I hope that you get a chance to see Kalia’s film. Not only because it’s enjoyable and effective but because I believe that it’s a testament to the voice that you have given to the next generation. 

And, like Jones herself, that voice has proven incredibly powerful.

For audio of our interview with Kalia Love Jones, click here.

The Power of Hope premieres at the Shorts by the Sea Festival in September.

Unraveling Athena: The Champions of Women’s Tennis

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Unraveling Athena review – a frank serving of women's lives in tennis | Film | The Guardian

Directed by Francis Amat, Unraveling Athena: The Champions of Women’s Tennis chronicles the lifelong journey that female tennis champions experience. Filled with interview footage of the world’s most successful tennis stars, Unraveling Athena gives us a glimpse into the lives of such players as Pam Shriver, Victoria Azarenka, Jalena Jankovic, and Billie Jean King, among many others.

Most of these women started playing tennis at a very young age. They discuss their families and schooling but one thing that seems to be a common element is the unwavering support of their parents.  

Amazon Prime Video to air women's tennis doc, Unraveling Athena - Broadcast Sport

Although tennis was their passion, they acknowledge the sacrifices made as children in order to seriously pursue a career as a professional athlete.

Interestingly, we hear from Dr. Russell Hamer, a Neuroscientist who discusses the psychological aspect of the sport. He essentially speaks on the brain activity of a champion. We see that with sheer drive and motivation, also comes self-doubt and struggles with their “inner game”. Just as a professional athlete must practice the physical elements of their sport and keep their bodies in shape, they must also practice mentally. Tennis is a very individual sport and can perhaps seem lonely at times. There’s no one to blame but yourself if you fail. Even so, behind the individual is a support system of family, coaches, etc. There’s great mentorship in tennis.

Unraveling Athena': Women's Tennis Doc Acquired By Shout! Studios – Deadline

We also see the struggles women specifically face in professional sports. For example, a woman is often told that she is “so competitive” in a negative way, whereas if that were said to a man, it would be a compliment. Billie Jean King specifically discusses her attempts to bring men and women together, as well as her struggles with sexism in the tennis world. She discusses her match with Bobby Riggs (also portrayed in the film, Battle of the Sexes) and how she felt that a loss would have set women back another 50 years. She also advocated for equal prize money at the US open. She really has been instrumental in equality in tennis (and beyond).

With the quick cuts between numerous interviews, consistent background music, and what seems like stock footage of young women playing tennis, Unraveling Athena almost felt like a long YouTube video. Despite the intriguing content, the structure of the documentary as a whole didn’t draw me in.

Perhaps I wanted to dive deep into some of these women’s stories. The documentary mentions how expensive tennis is, from paying for academies, coaches, and gear to traveling all over the world for competitions. Tennis is a global sport. While many of the women discussed how their parents couldn’t afford it, their communities rallied behind them.  Personally, I would have loved to have heard more about this.

We hear women talking about coming out in the sport, or even being outed.  One woman briefly mentioned that she had been stabbed. I was begging for more on these events, but they were only briefly mentioned. Although perhaps Unraveling Athena is more of an overarching view of female tennis as a whole, as opposed to individual stories. 

Unraveling Athena launches on digital platforms on August 11, 2020.

Valley of the Gods: At the Feet of Power

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It can be easy for us to think so highly of ourselves that we ought.

In this latest film from acclaimed director Lech Majewski, Valley of the Gods explores the nature of power vs. poverty through three separate yet intrinsically-linked narratives. Grappling with his recent divorce, John Ecas (Josh Hartnett) is a struggling writer who is searching for peace. After meeting a homeless man on the street, Ecas is unaware that the man is actually Wes Taurus (John Malkovich), the wealthiest man in the world. Taurus has been posing as a homeless man in order to feel connected to the world around and invites Ecas to write his biography. As the world only trillionaire Taurus is a recluse from society yet is determined to mine on the sacred lands of the Navajo for uranium, upsetting the people of the community.

Beautifully shot by Majewski and Pawel Tybora, Gods is often an overwhelming visual treat. Featuring vast desert landscapes and daunting palacial rooms, the film’s images force the viewer to feel small, as if they are pawns to some otherworldly game of chess. Intentionally linking Taurus’ mansion to Citizen Kane’s Xanadu, there is a cinematic opulence to this trillionaire’s estate unlike anything we’ve seen onscreen in ages. From tennis courts that resemble the Sistine Chapel to operas performed standing in an enormous fountain, every shot within its walls speaks to the incredible power (and loneliness) of vast wealth and creates a gut-wrenching fear towards its enigmatic owner.

Meanwhile, this life of remarkable luxury is held in direct contrast to the awe-inspiring natural world of the Navajo community. Although just as daunting as cool isolation of Taurus’ world, the dry heat of the desert carries an intensely spiritual warmth to the landscapes and carry a deep connection to those that hold them in reverence. As a result, the nervousness that one feels in these scenes is not for a man who lives in a castle but rather for the mysterious power of nature that is rarely taken seriously by outsiders.

By juxtaposing these two diametrically opposed spaces, Majewski puts his emphasis on the emptiness of wealth. In Gods, Majewski understands that that which is deeply spiritual trumps financial fortune, not only in importance but also in power (an idea which comes to literal fruition at the film’s finale). However, what’s most interesting about the film is Malkovich’s Taurus (Isn’t Malkovich almost always the most interesting part of anything he’s in?), who seems to recognize that he’s missing something and looks to feel alive. 

Unlike the Navajo who may live in poverty yet maintain their souls, Taurus’ life remains empty. As the world’s richest man, he literally controls everyone and everything at his disposal yet he remains spiritually poor. Disguised as a homeless man, Taurus honours the poor and the impoverished and moves around the city below in plain sight, yearning for the simplicity of life that has been lost. Though he lives his life like a secluded god in the heavens, he literally descends from on high in order to feel connected to the world around him. Despite his vast fortune, his wealth has become a prison for him and he longs to be set free. 

By recognizing the power of the healthy soul and the value of the impoverished in the face of corporate wealth, there are times when Majewski’s film borders on the profound. Though the story can be difficult to follow because of his staggered and non-traditional use of narrative devices, Valley of the Gods does come together through its thematic and visual beauty. Engulfing the viewer with the sheer magnitude of their surroundings, Majewski shifts their perspective away from themselves and towards something greater.

Because, to him, recognizing that there is something greater helps remind us that we are something less.

Valley of the Gods premieres on Blu-Ray and VOD on August 11th, 2020.

The Grizzlies: Hope is Not Cancelled

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The opening of the recent film The Grizzlies silently follows a boy on a walk with his dog amidst a desolate landscape. He sits down amidst the rocky crags, calls his dog over, and pets him. Then the boy shoots himself, leaving the dog to run free.  It’s an extremely jarring beginning to a film.

The boy is a member of the Nunavaut tribe in Northern Canada. Life for the people is categorized by standing around, drinking, smoking, and trying to survive a brutal climate.  It’s no wonder the town has the highest suicide rate in the country.

Entering into this is Russ Sheppard (Ben Schnetzer), a young guy whose life has taken a northern detour to Nunavaut in order to teach high school students. He’s a bit arrogant and thinks he can simply come in sight unseen and make things happen, but soon experiences culture shock when what he thinks is a basic run to the grocery store ends up costing him hundreds of dollars. Sheppard’s first class in the town of Kugluktuk doesn’t fare much better. There are a handful of kids and only one (Miranda, played by Emerald MacDonald) has any interest in academics. Sheppard tries to go “by the books,” gets into a heated discussion with another student, then blocks the door and tells the student they’ll have to get past him first. The student punches Sheppard directly in the face and walks out.

Sheppard wants to get through to the kids and get them out of their situations, but their lives are mired in hopelessness he doesn’t fully understand. He attempts to push students to get better but to no avail. He protects one of his students from domestic abuse. He sees another student who is struggling and counsels him with basic platitudes. This backfires when Sheppard discovers the boy killed himself after their talk. Sheppard struggles with the ramifications and begins to wonder whether he can make any positive difference at all.

However, a breakout occurs when Sheppard realizes he already has the key to the tribe in his hands—a lacrosse stick. In Canada, the sport is nearly on par with ice hockey (it’s their national summer sport), but the students are reluctant to trust him when he begins to introduce the concept of a team. Only when he earns the trust of Adam (Ricky Marty-Pahtaykan) does the town begin to show interest—even allowing a mini-tournament to be held in the local gym. That success leads Sheppard to enter a team from Kugluktuk into the national tournament.  This drives a rift between the younger and older generation that threatens to rip the tribe apart.  

The Grizzlies appears on the scene in a very unique time in history – it was scheduled to be released in the US in late February (I had the opportunity to screen it at that time), but The Virus Which Must Not Be Named pushed the release to this month. My first take on the film: there are some nice aspects (particularly the cinematography and acting of the teenage characters), but the desperation and darkness at the beginning is simply too heavy for the rest of the film to overcome. I still believe this six months later, but I think we need the ending more than ever right now.

Hope is on the way . . . be ready for it!

With the world deep in the throes of a pandemic, the months of staying at home and limited contact with others (outside of a computer screen) have had a profound effect on people. A sense of hopelessness has developed as the days drag on. Frustration mounts as news reports provide pictures and videos providing conflicting information. Fear has arisen due to the unknowns and changes from what was once normal behavior. Yet hope isn’t cancelled. The sun rises each morning as a gentle reminder that today has the potential to be better than yesterday. As the Bible puts it, “[H]ope that is seen is not hope; for who hopes for what he already sees? But if we hope for what we do not see, with perseverance we wait eagerly for it” (Romans 8:24-25 NASB).  We long for the days when handshakes and hugs become commonplace, when phrases such as social distancing disappear from use.  We might not see things change immediately, but we keep praying and doing our part to help end the pandemic, remaining hopeful in the eventual outcome.

At the end of The Grizzlies, the team plays its qualification matches at the national tournament, but the stresses of life, the expectations of a community, and Sheppard’s decision to leave the tribe rain hopelessness on everyone. Goal after goal after goal is scored on them—and they have no comeback. But hope is waiting and enters the stage at the perfect time, performing a transformational work.

The Grizzlies is available on demand now.

FLASH GIVEAWAY! (Toronto Area Only): The Premiere of FATIMA!

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In partnership with Elevation Pictures, TARO PR and Travel Portugal, ScreenFish is thrilled to be giving away an exclusive reserved spot (up to 4 people) for the premiere of Fatima on Wednesday, August 12th, 2020 at the newly opened Ontario Place Drive-In!

Fatima tells the story of a 10-year old shepherd and her two young cousins in Fátima, Portugal, who report seeing visions of the Virgin Mary. Their revelations inspire believers but anger officials of both the Church and the secular government, who try to force them to recant their story. As word of their prophecy spreads, tens of thousands of religious pilgrims flock to the site in hopes of witnessing a miracle. What they experience will change their lives forever.

In order to enter, simply like/share this post!

Fatima will be released in select theatres on August 28th, 2020.

All entries must be received by 12:00pm on Tuesday, August 11th, 2020.

Special thanks to Elevation Pictures, TARO PR and Travel Portugal!

Silencing Stereotypes and Celebrating Singleness: 1on1 with Andrea Dorfman (SPINSTER)

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When the world insists that satisfaction only lies in romance, something is broken.

While it’s true that romantic relationships can be exciting and life-giving, there’s little doubt that the pressure to ‘find love’ is everywhere. But is that really necessary to live a full and meaningful life? In her latest comedy Spinster, director Andrea Dorfman explores and celebrates what it means to be single when those around you think you’re missing out. 

Starring Cheslea Peretti (Brooklyn Nine-Nine), Spinster tells the story of Gaby (Peretti), a woman on the brink of forty who is looking for love and struggling to find it. As all her friends seem focused on their marriages and children, Gaby’s greatest fear is that she’ll end up alone. After a string of bad dating experiences leaves her exhausted, Gaby realizes that something needs to change and she decides to focus on building a life of meaning and connectedness without focusing on romance. 

Involved in the project from the outset, Dorfman believes that the idea stemmed from her own life experiences and revelations about life. Having struggled within that moment where it felt like everyone else was getting married, she wanted to tell a story that pointed out that there’s more to life than settling down. 

“Every film is such a journey. It takes a long time to make,” she begins. “Spinster is my fourth feature film and it’s the second film I made with my creative collaborator, Jennifer Deyell, who wrote the film… We started working on it in 2014, and it’s been through many iterations of story and screen. Ultimately, at its heart, we wanted to tell the story of a woman who gets to a place where romance isn’t the solution to all of her problems and creates meaning in her life on her own terms. That is certainly based on my own experience in my 30s and people who Jennifer and I both knew who were single at a time when friends were all getting married and having kids and were really made to feel that maybe that life was not viable or lesser than. Then, getting to a point where it’s like, ‘No, actually what if this is the only life I have?’ So, I think the kernel or seed came from that time of life.” 

For the character of Gaby, Dorfman wanted a known actress and was thrilled when Brooklyn Nine-Nine’s Chelsea Peretti joined the cast. Though the actress’ age was important to Dorfman for this particular role, she knew that Peretti was perfect for the role because of her ability to balance deadpan humour and heartfelt delivery.

“The character in the film is 39 and we wanted her to be [that age] because it’s sort of an ominous [time] for people who [care] about age, I guess,” she explains. “It’s sort of the brink of middle age. If you want to have kids and you’re a woman, that biological window is closing so 39 was an important age. It just so happens that, at 39, for women actors (especially known women in Hollywood), there are a lot of them who are not working. So, we decided that we wanted to have a known actor to help sell the film and, when we were working with the casting agent, it turned out that there were a lot of women actors at [the age of] 39 who were available. That’s just the sad reality of Hollywood and women actors and film.“

“Aside from that, I had seen Chelsea’s stand-up special on Netflix, even before I saw Brooklyn Nine-Nine. I just loved it. I loved her writing, her delivery, and how deadpan and understated she was, and yet had something to say and a lot of gravitas. So, I think I just liked her as a human. I hadn’t seen her in much. When we were coming up with actors of that age, I was really interested in her. She was one of the few that we were thinking of. Then, she read the script and loved it and was game to come all the way across the continent from LA to Halifax to be in the film, which was wonderful… I think it’ll be interesting to see what she does as an actor, because she really does have this ability to tap into exactly who she is. That’s a huge asset because when she’s in front of the camera, you really believe her.” 

By following Gaby’s journey through relationships, Spinster seeks to expose stale stereotypes about settling down. For example, in one particularly interesting moment, her married friend insists that the problem is that Gaby needs to ‘choose [her mate], not be chosen’. Dorfman points out that, while Gaby’s friend may mean well, her comments expose flawed cultural ideas about the need for love.

“In some ways, it’s a little bit tongue in cheek because it’s a different way to put herself out on the market but to maybe have some perceived control,” Dorfman claims. “But I think where that’s coming from is this idea that women should be a certain something. You should do something. That you should actually be active out on the market at all. Why? Does it mean that life won’t be lived unless you’re in a relationship? No, of course not. Life doesn’t stop and start depending on your circumstances. So, that was coming from a place of her friend, just desperately wanting her to reflect the life that she’s already living in a way. Its disruptive when somebody does something completely different than us, and yet has found just as much meaning, love, life and inspiration than those others who’ve done the more sort of mainstream popularized ways of living life.” 

“You can decide to choose somebody and not be chosen, but we don’t have any control over what somebody else wants. Really all we can do is make choices in our own life and go from there and be active in how we want to live, imagine a new path that makes the most sense for us.” 

With that in mind, Dorfman also sees that the broader culture struggles to celebrate singleness as a valid (and important) life choice. Though she remains completely sympathetic towards those who struggle with loneliness, she believes that much of our culture’s emphasis on relationships stems from a larger system designed to make us feel insecure about being alone.

Says Dorfman, “I think that if you do anything that disrupts the capitalist channels of trying to sell us things to make ourselves happy, then you’re going to get pushback for it. One of those things is to be happy and single. If you’re women, to be happy and older. To be happy and not buy a lot of things to beautify ourselves. So, I think it actually is disruptive. There’s a lot at stake in making people believe that they need to be in relationships in order to be happy. We’re always telling people that you can attain happiness if you buy these things. (Usually, it’s about buying things, let’s be frank.) If you’re actually saying to people, there’s another way you can actually generate meaning in your life all on your own, I think that there’s something to lose. There are structures in place that will lose out on that.” 

“That being said, of course, loneliness is a huge issue in our society and something to be taken seriously,” she continues. “But I think there are ways to fight loneliness and to not actually have to be in a relationship. Probably the [loneliest that] I’ve ever been is in a dysfunctional relationship. We’ve all been there. For me, in my 30s, when I was going through this time, I think one of the things that I realized is that, if I can generate my own meaning in life [and] my own happiness, all the different supports and kinds of love that exists outside of romance [give me] a lot more control than trying to get somebody to fall in love with me or a version of me that, at the end of the day, probably has more to do with that person than who I actually am. I think that anytime somebody presents something counter-cultural, it is disruptive and creates pushback. It’s another way to be.” 

In addition to this, Dorfman also argues that this ‘system of wanting’ taps into an innate drive to fill the void in our lives. Asked what she thinks we are ultimately searching for in life, she says that the real question may be how to become satisfied with what we already have.

“I think it’s probably built into our DNA to want,” Dorfman posits. “I always go back to the hunter/gatherers [where] wanting is always survival, you know? We want the berries and the animals to hunt. I think that we’re always going to want something and maybe that’s the problem. [The goal is] to try to let go of the wanting. I think until we do that, we’re going to hitch ourselves and our happiness will hinge on things that we largely don’t have control of and that will probably lead to unhappiness. So, instead of the question being ‘why do we want things?’, maybe we need to frame it differently and start to focus on the not-wanting. I’m getting a little bit Buddhist there I think, but it’s something that I actually do think a lot about. That things that we want often just don’t make us happy and it’s that expectation that they will that gives us incredible disappointment.”

For full audio of our interview with director Andrea Dorfman, click here.

Spinster is available on VOD now.

The Secret Garden: The Magic of Life

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Like Little Women or Peter Pan, The Secret Garden is one of those stories that is regularly reinvented as each generation discovers it anew. The great thing about stories like these is that there is a richness and relevance that is open to new expressions and possibilities, especially in film. Adapted from Frances Hodgson Burnett’s novel by Jack Thorne (Wonder) and directed by Marc Munden, this newest version starring Colin Firth, Julie Walters, and Dixie Egerickx is without a doubt the most enchanting version of The Secret Garden I have ever watched. There is a tangible magic woven throughout the film that is a perfect blend of mystical and realistic – as if it truly is possible for such a garden to exist. 

Before we begin to see such magic spring to life, we travel with Mary Lennox: a young, spoiled girl who has spent most of her life in India with her father and ailing mother. Often shut out of her mother’s life, Mary spends her days telling stories and pining for her mother’s attention and love. When cholera and violence devastate her home, she is sent to live with her uncle, Lord Archibald Craven (Colin Firth). Still grieving the death of his wife (Mary’s aunt) years before, Lord Craven takes Mary in while his son Colin (Edan Hayhurst) is bedridden and locked away deep within the halls of the estate. 

As Mary uncovers more of the mystery surrounding the Craven family and her own, she ventures into uncharted territory both outdoors and in her own heart. Having arrived with an air of superiority and downright meanness, Mary explores what it means to speak and live with kindness…starting with a stray dog. From there she discovers an abandoned yet thriving garden and new friend Dickon (Amir Wilson). Together they begin to care for the garden and as Mary learns to open her heart, she works to teach her cousin Colin the same. 

Much like Mary in disposition, Colin is spoiled and rude. Having spent most of his life confined to his bed under the impression that he inherited his father’s hunchback, Colin is resigned to the belief that he will die soon, so what does it all matter. Mary is able to explain to him that he isn’t nearly as sick as supposed, and that there is a place where he can heal and learn to live. She and Dickon sneak Colin out into a world of color and sunshine, and we immediately see improvement in both Colin’s health and demeanor. Both Mary and Colin feel an ownership to the place that hosted visits and happy memories for their mothers, and it is in this place that Mary restores Lord Craven to his healthy son. 

I worry this review will feel flat because it’s hard to describe something that is so vibrant and living. The sub plots within the larger narrative are just as rich as what lives in the forefront. The garden is its own character as opposed to simply a place, and it’s done in such a way that it doesn’t feel either cheesy or fake. There wasn’t a moment that I felt bored or disconnected. As I watched all of the characters (including the garden) journey from surviving to truly living, I felt my own heart beat just a little faster at the prospect of stepping into a new day with as many promises for me as the secret garden held for Mary, Colin, Dickon, and their families. And when I reflect back on The Secret Garden, it will be this version in my mind’s eye.

The Secret Garden is available on VOD on Friday, August 7th, 2020.