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Broker: Broken but Not Irreparable

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Set in Busan, Broker begins as a young mother So-young (Lee Ji-eun) climbs the steps to a small church and approaches its ‘baby box’. Intending to abandon her infant child in anonymity, So-young places the child on the ground and leaves, promising to return some day. But two men, Sang-hyun (Song Kang-ho) and Dong-soo (Gang Dong-won) witness this and, after making sure that no one is around, steal the baby with the intent of selling him. However, after So-young returns the following day, the men must partner with her in order to figure out the best possible life for her infant while making a profit in the process.

Directed by Hirokazu Kore-eda, Broker is a delightful mix of seriousness and humour in the midst of a darkened world. Focussing on the issue of baby boxes, Kore-eda establishes early the tragedies of the criminal underworld that take place in plain sight. Telling the story of two baby brokers who attempt to make their living by selling infants, the film highlights such cultural tragedies as child trafficking, prostitution, sexual abuse and abortion. In any other film, the mere mention of one or two of these issues would position its story under a black cloud of brokenness. However, without taking any of these heartbreaking topics too lightly, Kore-eda infuses the film with such heart and joy that the narrative never feels too bogged down by the darkness. In Broker, all of these issues are simply part of reality. As such, Kore-eda chooses instead to focus on the lives of those who are trying to survive in an unforgiving world.

In one of the riskier narrative choices, it’s fascinating to see Kore-eda choose to explore the controversial tension regarding abortion and adoption. With grace and respect for both arguments, it’s somewhat striking that Kore-eda manages to balance support for both honouring a woman’s right to choose and encouraging the practice of adoption, even in the case of unwanted pregnancy. This is a very difficult line to tread but, remarkably, Kore-eda does so without ever demonizing either other side.

With this in mind, Broker is very much a film that wants to celebrate life rather than revel in the shadows of death. Despite the overwhelming darkness around them, each of these characters refuses to be consumed by it. Instead, they continue to fight for a glimmer of hope and, more specifically, a sense of belonging. By bringing together two child traffickers, a wayward mother, or and an orphan child, Kore-eda creates an unexpected family that seems genuinely excited to be together.

In this community, no one seems to fit and yet the pieces all come together. 

As they do so, healing and change begins to take place. All of a sudden, these broken souls begin to find hope and healing with one another and, potentially, a fresh start at life. In Broker, there is a very real recognition that everyone deserves to feel safe and find a home. This is a world that will eat you alive but, somehow, also contains the ingredients to make something new.

This is the magic of Broker. Rather than portray the world as a place of futility and bleakness and shadows, Kore-eda creates an environment that reminds the viewer that life can still be sparked within it. Because, despite the tragedies embedded within the culture, in Broker, not everything that’s broken is unfixable.

Broker is now playing in theatres. 

Women Talking: Monsters and Mennonites

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In Women Talking, eight women who have suffered abuse within their Mennonite community gather to discuss whether to fight back, leave, or to stay and do nothing. The film is based on the book of the same name by Miriam Toews, who herself grew up in a Mennonite community, and was adapted for the screen by Sarah Polley.

Personally, I found the film to be beautiful, nuanced and graciously sensitive in a way that I think a lot of our general conversations—especially online—are not. All the women have each suffered some form of abuse and have different responses to it, opening the floor to a debate of sorts. However, the end objective for all parties is the same and the sisters gather round each other for support. I love that the story doesn’t just acknowledge that terrible things are happening but asks how it can be made better.

Women Talking sheds light on several things: how difficult it can be for people in abusive relationships to leave, especially those dependent on their abusers; what allyship looks like (shoutout to August Epp); pacifism vs revenge; if abusers are products of their environments and therefore themselves victims; forgiveness + what it looks like; and, in this case, the fear of eternal damnation if the victim is not as quick enough to forgive the abuser as God would like.

The story of these women is more heart-breaking because it is based on a situation in a Mennonite colony that actually took place. Sadly, we’re no strangers to seeing people who profess to be people of God commit horrible acts- sometimes in His name. A lot of us who grew up in/belong to the church have had a hard time freeing ourselves from the crushing weight of guilt that we feel when we’re finding it hard to be as perfect as we think the all-powerful being who can see every single one of our thoughts needs us to be. We’ve seen people endure repeated heartbreak, pain, and abuse because they think ‘this is what God expects of me’ prompting others to ask, “Why do the victims have to be the bigger people?” I know, being a black woman who’s good at ignoring hurt and just doing what she’s told, how annoying it can be to hear “Wow! You’re so strong.”

I really believe—and this should go without saying, but I find myself having to repeat it a lot—that people who have any form of authority/power in a situation are obligated to care for those with less. I think that’s a responsibility that comes with in any position of power but especially for those who claim to be people of faith.

In Women Talking, the women (and Toews and Polley) challenge that misuse of power, that notion of God and that idea of forgiveness. The film demands that we decide what we want the world and ourselves to be, and that we set ourselves on that course, hopefully alongside a community of people who want the same thing.

Women Talking is playing in theatres on Friday, December 23rd, 2022.

The Whale: Sinking Ships and Saving Souls

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Directed by Darren Aronofsky, The Whale tells the story of Charlie (Brendan Fraser), an online writing instructor who struggles with obesity. Weighing 600 lbs, Charlie feels embarrassed by his appearance and hides away from the world in his apartment. However, when heart problems threaten his life, Charlie refuses medical attention other than the care of his friend Liz (Hong Chau). Knowing that his life is coming to an end, Charlie reaches out to his estranged daughter, Ellie (Sadie Sink) in the hopes of finding some connection to her. At the same time, Charlie receives visits from a Thomas (Ty Simpkins), a door-to-door evangelist from New Life Church who begs Charlie to repent of his sin so that his soul might be saved before the end.

Having leaned into obscure metaphors with his previous films like mother! and Noah, The Whale takes a far more grounded approach for Aronofsky. Set entirely within the confining space of Charlie’s tiny apartment, Aronofsky uses no flashy camera tricks or special effects. Instead, chooses to focus on the film’s stellar performances and its solid script as opposed to any grand, sweeping stylistic devices. In doing so, Aronofsky shows remarkable restraint and prevents his Whale from ever getting lost at sea.

Although the film features strong work from Sink, Chau and Simpkins, one cannot deny that the true star of the film is Fraser himself. Although he is buried under 600 pounds of makeup, Fraser bares his soul in virtually every moment of the film. From laughing with optimism to screaming in agony, Fraser‘s performance has already received accolades and deserves every single one of them. Despite being covered in makeup and prosthesis, his charm, humility and grace bleed onto the screen in one of the more remarkable performances in the past few years. (However, it’s also worth noting that one should not discount the stellar work provided by Hong Chau. As Charlie‘s caregiver, Chau brings a fire and fury often expresses Charlie’s deepest hurts for him. Together, the two have incredible chemistry and somehow manage to serve as each other’s conscience.)

Based on the play written by Samuel D. Hunter (who also wrote the screenplay), The Whale is a piece that delves into the psychology of hurt while pleading for forgiveness and peace. Living in his home, Charlie is a man who is imprisoned by his pain and suffering. In fact, even if he were willing, why would he ever want to go outside anyway? This is a world that is constantly raining and filled and sun never shines. 

In Whale, Aronofsky clings to the metaphors within Herman Melville’s Moby Dick. As Charlie reflects on the famed tale of obsession, one cannot help but appreciate the various ways in which the story seems to come to life within the film. Although the film is called The Whale, Charlie seems to embody each of the characters in different ways. From the sexuality of Ahab to the obsession of Ishmael, different moments within the script appear to shed light on different facets of Charlie’s personality that connect deeply with the story. (In fact, the constant rain further emphasizes Moby Dick by portraying this ‘whale’ as drowning in his sinking ship with the water rising around him.) What’s more, as he clings to an essay Melville’s narrative written by an unnamed author, Charlie recites its brief words with such a passion that they almost take on the role of ritual. To him, these are the last words that he wants to hear as they reveal the author’s soul, inspiring him to believe that honesty still exists within the world. 

And one cannot deny that this is a film looking for honesty. 

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With each passing scene, Charlie cries out with increasing frustration for the world to speak with authenticity. Whether it’s his daughter attempting to speak truthfully through her writing or the heart, his students’ writing or Thomas’ beliefs, Charlie’s demand is that everyone must look into their soul and speak what they believe is true. To him, honesty is the highest virtue and to say ‘one true thing’ is better than any written flourish.

Interestingly, this passion for honesty also drives the film’s conversations surrounding faith. Throughout his career, Aronofsky has always shown a profound interest within Biblical allegory and that conversation continues within The Whale. Having been devastated by his experience with the church, Charlie refuses to buy Thomas’ message of hope for the afterlife. Charlie knows the Scriptures and has a faith. However, while New Life Church preaches the pervasive sinfulness of man and fear of the End Times, he is far more optimistic. To him, people are inherently good, despite their brokenness. It’s this belief that gives him greater hope than anything that New Life Church seems to be able to provide and challenges him to see the good in every situation. For Charlie, his home will not be one of judgment so one need not fear being honest about who they are.

Beautiful and moving, The Whale Is one of those pieces that could potentially transform the way one sees the world. Instead of dousing the film in metaphor, Aronofsky makes a plea for hope, love and, above all else, grace.

The Whale is available in theatres on Wednesday, December 21st, 2022.

Empire of Light: Dark Room, Light Stories

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Sometimes, in the midst of the trials around you, you need to hear a new story in order to remember what could be.

Set in an English coastal town in the early 1980s, Empire of Light tells the story of Hillary (Olivia Colman), the cinema manager of the Empire Theatre. Despite struggling with mental health issues and engaged in an affair with her boss, Hilary still loves her job and the rest of her team. Things begin to change for her though when Stephen (Michael Ward) joins the staff. As the two begin to work together, there is an instant connection between them. Eventually, they both find a sense of belonging with one another and Hilary discovers a new sense of confidence within her. But can they continue their relationship in the midst of the challenges around them?

Colin Firth and Olivia Colman in EMPIRE OF LIGHT. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

Directed by Sam Mendes, Light is an endearing film that wears its heart on its sleeve. Although the film takes place over forty years ago, Mendes chooses to use the film to explore the tension between nostalgia and modern day struggles such as mental health, racial tensions and toxic masculinity. In other words, this is a film that seems to yearns for the ‘good ole days’ yet also reminds us that they weren’t necessarily that ‘good’ in the first place. 

What’s more, given the pedigree of its cast, it should be no surprise that performances are fairly solid across the board. Toby Jones and Colin Firth bring their own unique likeable qualities to the role (which Firth, in particular, balances out with a sense of villainy). Given her character’s personal issues, Colman’s performance goes dark in moments yet she also brings a youthful bounce to the role. (Honestly, I can’t think of the last time I’ve seen her play a character with such ease.) Even so, the standout of the film is relative newcomer Ward who plays his character with strength and charisma. As Stephen, Ward becomes an example of courage as he stands up against racial discrimination but also fuels the role with a sense of play that makes him memorable.

Colin Firth and Micheal Ward in the film EMPIRE OF LIGHT. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

Central to the film though lies the cinema itself. 

In some ways, it’s interesting that Empire was released so closely on the heels of Spielberg’s The Fabelmansas both projects speak about the primal need to share stories on the big screen. Simply due to the release schedule, it’s unavoidable that the films will be held up against one another. However, whereas Spielberg’s film focuses on his passion to tell stories, Mendes’ film emphasizes the power that those stories have on others. (Although, it’s also worth noting that both films also come out at time when the theatrical experience has been threatened by at-home streaming as well.) 

To the staff of the theatre, the Empire is a place of great importance, even if attendance has dwindled. In the midst of the chaos, the theatre (mostly) becomes a refuge for those that the larger culture chooses to cast aside. For its patrons and staff, the Empire is a place of almost religious significance. To them, the Empire stands tall as the last great cathedral where stories of hope are shared. (Note the films that Mendes highlights on the marquee, as they often foreshadow themes and events to come in the next segment.) Through its sharing of stories, it becomes both a place of escape and a place of new life for those who attend. 

In short, it’s meant to be a place of safety.

Toby Jones and Micheal Ward in the film EMPIRE OF LIGHT. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

Now, without giving anything away, the Empire isn’t always such a bastion of purity. Toxicity and violence threaten its quiet sanctuary as much as any other cultural icon, whether religious or otherwise. Nevertheless, the staff of the Empire still believe that this remains a place worth preserving. Personal struggles are dealt with and messes are cleaned up in the interest of maintaining their walls as a place of refuge. It isn’t perfect… but it remains worth fighting for. 

They need it. And they believe others need it as well.

With this in mind, although not Mendes’ best work, Empire of Light remains a heartwarming and optimistic piece that’s worth the price of admission. This is a film that wants the viewer to appreciate the magic of the big screen, not only for it’s fun and entertainment, but also for its ability to share stories of hope during dark times. Empire recognizes that, when people find themselves confronted with evil, they need to be reminded of something better.

They need to be invited to see the Light once again.

Empire of Light is now available in theatres.

The Fabelmans: Telling Your Own Story

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At the age of 77, Steven Spielberg shows no signs of slowing down. 

However, as he progressives into the later years of his life, his latest film, The Fabelmans is no doubt the filmmakers attempt to tell his own story while he has the opportunity to do so. And, frankly, one cannot be more grateful that he has taken the chance to do so. Spielberg has a way of telling stories with such joy and humility that one cannot help but fall in love with them. 

And The Fabelmans is no different.

Written and directed by Spielberg, The Fabelmans tells the story of Sammy Fabelman (Gabriel LaBelle), a young man in the 1950s who’s life is changed after his first experience in a cinema. Living with his parents (Michelle Williams and Paul Dano) and two sisters, Sammy pours his life into making movies of his own, becoming more intricate and elaborate as he grows up. However, after his family moves due to his father’s work, Sammy’s life slowly begins to unravel. Stresses from outside and within the home put pressure on the young man, leaving him to process his life through the lens of his camera.

Funny, heartfelt and powerful, The Fabelmans is the infectious tale of one man’s love of the arts and the passion he has to impact others through it. In a lot of ways, the film feels as close to an independent film as the director has ever made. Small in scale, Fabelmans has few special effects and doesn’t focus on any world-shattering events. Even so, as the personal tale of his own journey into filmmaking, the film is yet another stunning piece of wonder from the master himself. Like all of his work, the film is fueled by innocence but also willing to dig into the dark corners when needed. Tackling themes of anti-Semitism, marital infidelity and constant bullying, Spielberg does not shy away from the more painful details of his family history.

While LaBelle carries the film with a truly joyful performance as Sam, the entire cast is noteworthy. As his struggling mother, Williams brings an unpredictable wildness and strength to the role. At the same time, Dano also holds his own as his passionate father, as Spielberg portrays him with a sense of grace and responsibility. (Growing up, Spielberg‘s estranged relationship with his own father was challenging to say the least so it is interesting to see how positively he is portrayed within this film.) However, without question, the best performance lies with Judd Hirsch as Sam’s Uncle Boris. Despite the brevity of his appearance, Hirsch quickly becomes the most talked about piece of the film as he pushes young Sam to follow his dreams, even if it means stepping on some people along the way. Despite the limited screen time, Hirsch is such a joy that one cannot imagine him to receive some recognition come Oscar season.

(from left) Reggie Fabelman (Julia Butters) and Sammy Fabelman (Gabriel LaBelle) in The Fabelmans, co-written, produced and directed by Steven Spielberg.

It’s worth noting that the change in family name is significant. (The film isn’t called The Spielbergs for a reason.) By renaming his family the Fabelmans, Spielberg allows himself the freedom to play with history in a way that mythologizes is his own personal journey. Although there are undoubtedly portions of his life that are shared with the utmost of honesty, so too are there aspects of it that have been adapted for storytelling purposes (or Spielberg’s own personal interests). 

This fable is Spielberg’s life but, at the same time, it’s not. 

As a result, Spielberg is allowed to view the events of his past with a certain sense of nostalgia. In this way, The Fabelmans is a film that very much understands the power of storytelling. Young Sam is a man with dreams in his eyes who simply wants to tell stories and live his life with integrity along the way. To him, making short films is as essential as it is to breathe and he takes every opportunity to do so. With grace and conviction, he believes that the camera has the ability to change the way that people see the world. Whether it’s confronting a bully or exposing the secrets of his family, he recognizes that cinema both reveals and shapes the truth. Though his father writes off his love of filmmaking as a hobby, Sam understands that storytelling has a responsibility to communicate the truth about what matters. His passion for filmmaking drives him to see the best in humanity, even amidst their failings and flaws. (In fact, it even helps him view his own family with eyes of affection, even in their most difficult moments.) 

For Spielbe… um… Sam, storytelling allows him to show our scars but still believe that there is good in the world.

Fueled by love, The Fabelmans is a different type of story for Spielberg. There’s no doubt that this project is a labor of for the Hollywood icon, allowing him to share pieces of his own journey while still playing with history. Spielberg clearly understands the impact that he’s had on the industry, yet there also remains a humility about the film that shows that the real power is in the stories themselves. 

And, make no mistake, Fabelmans is very much a fable worth telling.

The Fabelmans is available in theatres on Friday, November 23rd, 2022.

Devotion: No Greater Love

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Based on the book, Devotion: An Epic Story of Heroism, Friendship, and Sacrifice by Adam Makos, Devotion is a true story about fighter pilots Jesse Brown (Johnathan Majors) and Tom Hudner (Glen Powell) on their missions during the Korean War. The film highlights the camaraderie between the pilots (one of whom includes Joe Jonas!), and we see how much more meaningful their friendship is when we’re made aware what Jesse Brown, the first African-American aviator to complete the U.S. Navy’s basic flight training program, went through to be able to fly with them. The friendship between Brown and Hudner is an especially deep one, as although Hudner takes some time to understand how Brown must navigate the world, he rides with him till the end, putting his own life on the line in an attempt to save Brown’s. The film is beautiful, in its story, but also to look at. Like it really shows some of the beauty of the earth.

I’ll say this and get it out of the way. As a 15 year long Jonas Brothers fan, I was proud to see our Jo Jo on the big screen! He’s so talented, and I’ll be waiting for more.

Okay, to the film.

I would call myself a pacifist, so watching movies about war is always an interesting experience for me. One thing that I will say about films like this, and stories about war, is that they highlight integrity and character in a way that other stories don’t, just by virtue of the fact that they deal with actual life and death. Risking your life for someone else? It’s been said that “Greater love has no one than this: to lay down your life for one’s friends.” At some point in the film, one of the characters says to another that the real battle is being someone that people can count on. And no matter what you think about war stories, that’s someone that a lot of us try to be, and not easy to become. In the case of Hudner, to become this type of person involved not only doing what he thought was right for Brown, but listening to what Brown needed him to be.

I think it’s also interesting that Hudner is a stickler for the rules while Brown has learned not to trust them because of the threats that he has faced. When something tragic happens in the film, Brown confronts Hudner about going straight to what should have been done right instead of just grieving. I bring this up because this is the hill your girl has decided to live on: empathy. A lot of what has happened in our culture recently has had me calling for more of it. When when people lose their lives, the first thing that we hear is what they could have done to prevent it instead of being saddened by the fact that a person died. Something I learned, and say a lot as well, is that really getting to know people makes us have more empathy for them and their situations and will allow us speak more carefully and effectively into what’s going on in their lives, as opposed to just saying what we think about them from behind our keyboards.

Greater love has no one than this.

Devotion is available in theatres on Wednesday, November 23rd, 2022.

SF Radio 9.05: Screaming at THE BANSHEES OF INISHERIN

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In THE BANSHEES OF INISHERIN, Padraic (Colin Farrell) is thrown when his dear friend Colm (Brendan Gleeson) suddenly announces that they’re no longer friends. As Padraic attempts to make amends, the situation spins wildly out of control, exposing the underlying hurt and rage that bubbles within this quaint Irish town. This week, Dave Voigt (InTheSeats.ca) and Deb Whalen stop by for a pint to talk about the pain of escalation and poisonous power.

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

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

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My Policeman: The Jury is Out

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I have a few charges against My Policeman.

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

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

In many ways, the most divisive aspect of Policeman will remain its cast. Led by Styles and Everett, the film has a certain sense of chemistry within the two groupings that helps their performances on screen. However, at the same time, there’s also seems to be something missing. Of course, many are pointing the figure at Styles who, despite his fame, remains a relative newcomer to the film industry. Though, frankly, this seems largely unfair and a response to his mega-stardom. In fact, while Style, Dawson and Corrin don’t exactly heat up the screen together, they offer some solid performances that show promise for all of their careers. No, if there’s a criticism to be made about this Policeman, it seems to lie within the writing. While fairly well executed, the script itself often leaves its cast with little to do. (This is especially noticeable within the performances of the older cast members who simply spend much of their time brooding about the past.) 

My Policeman – Teaser Trailer | Prime Video

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

However, beyond the questions of injustice, My Policeman is very much a film about accepting who you are and living that out in with pride. Even in his old age, Tom struggles to come to terms with his sexuality. Having grown up during an era of oppression, Tom still clings to the shame that was put upon them because of their relationship and it has broken his spirit. Despite his marriage to Marion, Tom’s heart still belongs to his former flame yet he also blames him for the pain within his soul. In this way, the film grapples with the scars of psychological damage that have been left from a history of cultural abuse and points to the power of coming to terms with the truth about one’s self.

My Policeman – Teaser Trailer | Prime Video

In the end, while My Policeman never commits any grand offense, neither is it particularly worth thanking for its service. As a result, ladies and gentlemen of the jury, I encourage you to make your deliberation regarding this Policeman with great care. 

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

My Policeman premieres on Amazon Prime on Friday, November 4th, 2022.

All Quiet on the Western Front: Horrors of War; Peace of the Moment

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By Daniel Eng

All Quiet on the Western Front follows the barely grown Paul (Felix Kammerer) as he joins the German army with his high school friends in the middle of WWI. This 2 1/2 hour war epic follows Paul as he finds himself on a horrific adventure where he witnesses the damaging violence that kills his fellow soldiers. His orders command him to continue to commit escalating acts of hatred. Paul lives but the guilt and pain erodes at this soul. His story is intercut with the German and Allied Leaders deal with the pettiest of grievances to end the war, showing the failure of power in the wrong hands.

In his opening sequence, director Edward Berger displays his intentions to display the innocence that is dismantled by the war on a vast environmental and deeply intimate level. In the very first shot of the film, we witness the beauty of nature through grand establishing shots which are later contrasted by shots overlooking the destruction and horror of the battlefield scattered with the dead. Then, the film follows a young soldier named Hans who introduces the viewer to the cruel, subjective experience of trench warfare and the brutality of hand-to-hand combat before cutting to the title card.

As Paul continually tries to recover from the trauma and grief of his friends who die early in the war, he starts to find camaraderie with his new company. Together, they indulge in the small, guilty pleasures of war, stealing a goose for Christmas, reading a letter from a spouse and smelling a woman’s stolen scarf. The amount of joy that they experience from consuming the delights of battle creates an effective shared empathy with the audience. Berger then uses these moments of quiet and joy to shatter any sense of contentment as Paul is continually thrusts us back into the chaos of battle where only yards are gained yet thousands die.

As Paul and his comrades kill in order to survive, the scarring nature of death reveals itself. In these conditions they have become subhuman. Rats crawl around their trenches and they walk sit in muddy water for days. The film’s score foreshadows this before they even reach the war zone with its memorable 3-beat synth. The theme contains a deep rock bass that invokes a youthful energy, a youthfulness that’s about to be fractured forever. These come in contrast to its traditional orchestral arrangements which bring both a sense of grief and peace over the audience. The opposing music genres create a more inconsistent tone throughout the film. The quiet moments become filled with these peaceful themes, leaving me to wonder if complete silence in contrast to the synth heavy theme would have a greater effect.

As the German Ambassador (Daniel Bruhl) signs the treaty to end the war, it seems the movie should follow suit, yet it doesn’t. The film’s de-escalation of obstacles puts the characters in a place of stasis. The writing then gives Paul and his friend Kat unconvincing desires that lead to risky decisions that I cannot empathize with. Then, we’re thrust right back into the war as Berger depicts an egotistical abuse of power by a German general to end his loss with a victory. What transpires creates a melancholic–though not at all unexpected–ending as Berger finishes his escapade on indicting the violence, cruelty, pride, and waste that was WW I.

All Quiet on the Western Front is a searing anti-war epic which finds its power in its most personal and grand moments. Solemn shots of Paul beside his fallen enemy and standing in a forest are reminders of the beautiful and tragic power of silence. While we may not be fighting a war, we often find ourselves rushing to finish work, enjoying life and still making room for those who matter the most to us. I hope that, as you witness Berger emphasize the beauty of silence, you may use those moments of solace to think about times you may need it in your own life.

All of us need quiet, it’s just a matter of when.

All Quiet on the Western Front is available on Netflix now.

SF Radio 9.03: Romancing the BROS

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Directed by Nicolas Stoller, BROS tells the story of Bobby (Billy Eichner), a podcaster who is content to live his life on an endless string of online hookups instead of investing in a long-term relationship. But that may change when he meets Aaron (Luke McFarlane), a handsome lawyer to whom he’s instantly attracted. The more that they see each other, the more they can’t deny their feelings and the two may even commit to one another. This week, Adam Howard and Allen Chabot join Steve to talk about authentic representation of the LGBTQ community, deciphering Bros’ target audience and whether or not ‘love is love’.

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

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

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