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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.

Beans: Torn Between Peace and Protest

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It’s not necessarily a good sign to refer to a film as ‘timely’.

It’s not that the term is a description of a film’s poor quality. (Often, it’s the opposite, in fact.) However, the use of ‘timely’ usually refers to the fact that the issues of injustice raised within the film are still relevant in today’s culture, rightly or wrongly. In this way, the film at hand usually takes an additional meaning as a cry for help for a group who needs to be heard in a time of suffering.

Beans is one of these films.

Set against the drama of the Oka Crisis of 1990, Beans (Kiawentiio Tarbell) is a young girl who lives on the Mohawk reserve of Kahnawa:ke, Quebec. 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.

Coming at a time when injustices against the Indigenous population lie at the forefront of Canadian conversations, Beansis a stunning and thought-provoking examination of history from an alternate perspective. While the coverage surrounding the Oka Crisis frequently portrayed the Mohawk people as villains, Beans tells the story through the eyes of the oppressed. (Incidentally, Deer highlights this false narrative by the media by using actual news coverage from the time.) In doing so, writer/director Tracey Deer offers an intimate story from the perspective of someone who lived through it herself as a youth. Though the characters are fictional, the story takes pages out of her experiences and reframes the incident through the eyes of innocence. 

Caught between her family and the terrifying events that swirl around her, Beans’ world is shaken by the unjust hatred thrust upon them. By choosing to tell the story through the eyes of young Beans, the events within the film become even more horrifying for the viewer at times. (This is especially true in one particular moment where her family is being harassed within their car, a scene which may be one of the most harrowing onscreen moments of the year.) 

A film this intense requires a lot from its young star but Deer has found an incredible talent in young Kiawentiio. As Beans, Kiawentiio absolutely shines. Despite being featured in almost every scene, she shows a maturity in her performance that grounds the film. Balancing both youthful innocence and justifiable rage behind her eyes, the actress feels present throughout the film which leans into its authenticity.

As she navigates the painful events that unravel before her, Beans’ journey is very much a battle for her soul. After bearing witness to the racist attacks at the hands of local citizens, Beans is left without answers. Though she has lived a relatively quiet life on the reserve, her experiences of the horrors of injustice force her to re-evaluate the way she sees the world. When she falls in with a group of young rebels who refuse to accept the behaviour that they’ve seen, they teach her how to hate her oppressors and take action against them. At the same time though, Beans is also told by her mother that she needs to be ‘better than they say she is’ by taking a more peaceful approach to insurrection. For her mother, the best response to these racist attacks is to demonstrate her integrity by the strength of her character as opposed to violence. 

In this way, Deer takes an interesting approach to the conversation surrounding the proper responses to injustice. Instead of advocating for either method as the correct one, Deer recognizes the need for both non-violence and force. Through Beans’ journey, she points out that, while the non-violent approach may be best, there are also times when other methods may be necessary in order to bring about change. As a result, Deer manages to hold both responses in tension with one another with grace and understanding.

Sharply written and executed, Beans is easily one of the best (and most important) Canadian films of the year. By sharing her experiences through the eyes of young Beans, writer/director Deer has created a story that’s both personal and poignant. Most importantly though, her emphasis on racial injustice against Canada’s  Indigenous population provides an added layer for a country seeking to chart a new path of healing for a nation torn apart by the pain of the past. 

In short, Beans provides a voice that is timely.

To hear our conversation with writer/director Tracey Deer, click here (YouTube) or here (audio).

Beans is available in theatres on Friday, July 23rd, 2021.

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.

Death of a Ladies Man: Love Letter to the Ladies Man

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Written and directed by Matthew Bissonette, Death of a Ladies Man tells the story of Samuel O’Shea (Gabriel Byrne), an alcoholic professor who has seen better days. With his second marriage about to fail, his children moving on with their lives and his ex-wife (Suzanne Clement) remarrying, he also learns that he has a brain tumour that will likely lead to his death. As he copes with these emotional burdens, Samuel begins to experience vivid delusions that are reshaping his reality. 

Inspired by the music of Leonard Cohen, Ladies Man is a rhythmical love letter to fathers who yearn for a chance to make things right. Eccentric and whimsical, Ladies Man frequently walks the line between fantasy and reality in its storytelling. What’s more, as Samuel succumbs increasingly to his hallucinations, that line blurs as his visions begin to take on an almost religious significance. (For instance, in one particularly poignant scene, a character’s [supposed] death takes on the role of baptism for a new chapter in their life.) Though there are some who may find Bissonnette’s story disjointed, some incredible work here by Byrne anchors the pieces as he imbues the film with a charm and charisma that keeps the viewer engaged throughout. A veteran of the screen, Byrne gives Samuel a soul and hope for his redemption that makes him captivating to watch.

In many ways, the film seems to serve a dual purpose. One the one hand, it’s an exploration of the dynamics of father-child relationships, complete with all of its struggles and victories. At the same time, Ladies Man also serves as an ode to Cohen himself, featuring his quirky sense of humour and darker sensibilities. A lyrical blend of music and poetry, the film leans into the fantastical element of Samuel’s condition and carries an endless stream of Cohen references throughout the film, ranging from drinks with Frankenstein to substituting the national anthem for ‘Bird on a Wire’. Though this sort of commitment to one artist could feel repetitive or overdone, Bissonnette weaves Cohen’s influence into the narrative with such love that one can’t help but be taken in by the film. (Incidentally, the inevitable use of Cohen’s ‘Hallelujah’ works particularly well by creating a dream-like atmosphere where reality melts away.)

At its core, Ladies Man explores what it takes to heal a broken life. Plagued by addiction, Samuel has seen his relationships with his family disseminate over the years. Though he meets with his children and his ex-wife for occasional meals, he still remains on the outside of their lives. When he discovers that he is near death, his hallucinations continue to disturb him yet never fully separate him from reality. Frightened and frustrated, his first impulse is to retreat to the hills of Ireland in search of rebirth. 

As a man from a bygone era, Samuel continues to cling to the past. From his hard-drinking lifestyle to the fact that he never uses a computer, he holds his feelings inside. Somewhat surprisingly though, he finds begins to find healing through the creation of his book. As he expounds upon his own ghostly meetings with his father and his relationships with his family, he slowly begins to understand (and own) his story in a way that brings healing to his soul. In other words, through his exposition and self-exploration, Samuel is able to more clearly recognize what he must do in order to fix the things in his life that are broken. (Interestingly, this spiritual growth through expression is juxtaposed beautifully against the story of his new lover who seems confined by her secrets.) At a time when his world feels as though it’s spinning out of control, his writing helps bring everything into view.

With each page written about his past, Samuel has greater clarity as to what he must do to heal his future.

Funny and engaging, Death of a Ladies Man is much more than a fever dream of Cohen references. Instead, Bissonnette has created a piece about what it means to see beyond the scars we carry from our lives and bring healing to the wreckages we’ve left along the way.

To hear our conversation with writer/director Matthew Bissonnette, click here.

Death of a Ladies Man is available on VOD as of March 12th, 2021.

I Care a Lot: Two Wrongs Make it Right?

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Vicious and brutal, I Care a Lot is a relentless exploration of what happens when greed is allowed to run rampant at the expense of the vulnerable sector.

It’s also a tonne of fun.

I Care a Lot follows Marla Grayson (Rosamund Pike), a highly successful legal guardian who takes responsibility for the elderly and then exploits them for their vast fortunes. Sensing a huge potential windfall, she takes on a seemingly innocent new client named Jennifer Peterson (Dianne Wiest), immediately placing her in a nursing facility and strips her of her financial assets. However, when Jennifer’s ruthless benefactor Roman (Peter Dinklage) hears of her plight, Marla and her partner (Eiza Gonzalez) must go to war to protect their investments and potentially, save their lives.

Written and directed by J Blakeson (The Disappearance of Alice Creed), I Care a Lot is an energetic dark comedy that commits to its wicked machinations and never looks back. Bursting with fire and entertaining from start to finish, Blakeson’s script pops with devilish glee as it highlights the malicious nature of corporate greed at the expense of the poor and oppressed. Though we have seen Dinklage in villainous roles before, he is in top form here as Wiest’s mysterious and vicious backer, Roman. Even so, the greatest surprise here is Pike who positively relishes her role as the morally bankrupt Marla. Bouncing with energy onscreen, Pike wheels and deals with a maniacal grin that is both enticing and intense. (In fact, even the usually docile Wiest underscores her performance with a sinister darkness.)

With that in mind, one of the more fascinating aspects of I Care is that it really has no hero (or heroine). Whereas most films would emphasize the honourable lawyer fighting to protect their client or the unjust system that takes advantage of the underserved, I Care has no such interests. In this world, corruption is rampant on both sides of the battle and victory seems to stem from the person who ‘wants it more’. By unleashing its inner darkness, I Care allows greed to become the soul of Darwinian business practices. Ferociously attacking each other’s livelihood, both Marla and Roman exemplify the very nature of ‘survival of the fittest’. While Marla views her elderly clients merely as numbers within her check book, Roman is equally merciless, refusing to lose what he feels belongs to him out of sheer tenacity and pride. (For this reason, the title I Care a Lot carries a sense of irony as ‘caring’ takes on an entirely different meaning in this world.)

Having said this, it goes without saying that the characters of I Care seems to care little about what is ‘right’ objectively within this world. At a time when large corporations continue to value profit margins ahead of people lives, I Care becomes a cautionary parable to the all-consuming nature of greed. As the two titans collide in a battle for dominance, both Roman and Marla seem blissfully unaware of the lives who are impacted by their recklessness. For both characters, acquiring wealth and power are the greatest good, regardless of who stands in their way. (Wall Street’s Gordon Gecko would be pleased.) Though families are torn apart and destruction rampant, they continue to remain focused on themselves. While the film eventually does acknowledge the suffering that their actions cause, Marla and Roman seem largely content to create chaos for their own sake.

Though the heart of I Care a Lot may sound bleak, the film’s style and enthusiasm are hard to resist. Featuring solid performances across the board and a brutally fun script, Blakeson’s film breathes satirical fire that demands attention. As the stakes continue to rise and the inner darkness of his characters is unleashed in all its fury, Blakeson never loses sight of the damages caused by their carelessness.

Even if they seem completely unaware.

I Care a Lot is currently streaming on Amazon Prime in Canada.

Nomadland: Home Isn’t Where the House Is

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Set against the vast expanse of the American West, Nomadland tells the story of Fern (Frances McDormand), a middle-aged woman who finds herself at a personal crossroads. Having recently lost her husband and her job, Fern decides that it’s time for her to start fresh by heading out onto the open road in her RV. However, as she explores the vast landscapes set before her, she quickly discovers that she’s not alone. Though she may move aimlessly through the seasons and seasonal jobs, she finds a new form of community amongst the like-minded nomads that welcome her home. As her soul is replenished, Fern also develops a relationship with David (David Strathairn), a man who may wish to play a greater role in her life than she’d initially expected.

Written and directed by Chloe Zhao (Songs My Brothers Taught Me), Nomadland is a stunning piece that honours the souls of those who go unnoticed by a society too busy to notice them. Filled with quiet and intimate moments, Zhao weaves a story of humility and grace that doesn’t merely attempt to entertain. 

Instead, Zhao’s fictional tale wants to show reality.

With an open style of filmmaking that ebs and flows with the surrounding landscapes, Zhao has created a story that moves like a traditional narrative yet feels true. By casting real-life nomads in key roles, she has clearly done her very best to tell a story that lives and breathes authenticity onscreen. (In fact, in order to help them gain a better understanding for the world they were bringing to life onscreen, Zhao even asked her cast and crew to live out of vans during the course of production.) Painting the lives of its ‘houseless’ characters with a loving brush, Zhao celebrates their pioneering spirit but also shows the challenges they face throughout their journey. 

In many ways, Nomadland manages to highlight the overwhelming power of its surroundings yet never loses the value of every individual. Through his magnificent use of cinematography, Joshua James Richards reminds the viewer just how small they truly are when held up against the immensity of the American West. However, at the same time, when Fern encounters individuals along that way, they fill the screen in such a way as to acknowledge their importance. 

Similarly the film’s central character, McDormand may be the biggest name within the film yet she plays Fern with such humility that she actually elevates those around her. Whereas many stars may look at this much screen time as an opportunity to put their talent on display, McDormand instead chooses to step back and allow these real people and their stories to shine.

Because, in Nomadland, every soul matters.

While acknowledging the struggles such as maintaining work and food, the most beautiful aspect of the film is the way that it celebrates those that have found sanctuary and salvation in a nomadic lifestyle. While many have bound their lives to mortgages and static jobs, Nomadland shows the refreshment of the soul that can take place when one untethers themselves from these sorts of demands. For example, as Fern ventures into the American West, she does so not to conquer new worlds but to reconnect with the deepest core of her identity. With the death of her husband and loss of her job, Fern’s old life suddenly feels motionless. Though she may have been left adrift, her heart now yearns for movement and independence. 

However, Nomadland understands the old adage that ‘not all that wander are lost’.

As she builds new relationships amongst those whom she meets, Fern is struck by the deep sense of community that exists within the nomadic culture. Embedded with a profound sense of supporting one another, those that Fern encounter along her journey share a sense of camaraderie and love that is utterly remarkable. Characters such as Swankie and David provide relationship lifelines that feed Fern’s soul and show her the meaning of love yet they never ‘tie her down’.  Though they may not be present with each other for long, their desire for freedom creates a loving connection that endures and uplifts. As a result, though she may not have a house to call her own, Fern absolutely believes that she has found a home amongst her newfound family. 

Featuring what may be the most honest and open performance of McDormand’s career and some absolutely magnificent storytelling, it should come as no surprise if you hear Nomadland’s name called out when Oscar night (finally) arrives. In short, this is a very special film. Coming at a time when we all exist in isolation, Zhao highlights the importance of connecting with one another, especially when we find ourselves so alone.

Nomadland is now available on Hulu in the US and will be available in Canadian theatres on March 19th.

To hear our conversation on Nomadland, click here.

Synchronic: Time Is On My Side

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It never feels like we have enough time.

Set in the shadows of New Orleans, the new action-drama Synchronic follows paramedics and long-time friends Steve Denube (Anthony Mackie) and Dennis Dannelly (Jamie Dornan). Though both men seem to have their lives together, they soon find themselves in over their heads when they are called to a number of increasingly strange and grisly deaths which appear to be linked to a new drug called ‘Synchronic’. If that weren’t enough to deal with, Denube is soon after diagnosed with brain cancer, causing him to fall into a deep depression that opens the door for him to use the drug himself. However, in doing so, he soon discovers an unexpected side effect of Synchronic that seems to provide hope for the future, even if it lies in the past.

Written and directed by Justin Benson, Synchronic is a surprisingly engaging film that brings a new twist to the time-travel genre. Less Back to the Future and more The Butterfly Effect in its tone, Synchronic is a darker entry into the genre that leans more heavily into the trauma of loss than it does the fun of quantum leaping. Despite the fact that there are some items that move between eras, Benson opts to ignore most of the potential ramifications of time travel. (There’s no ‘Grey’s Sports Almanac’ or ‘Infinity Stone’ ripple effects in this film.) In doing so, Synchronic gives itself the freedom to use the device to reinforce the overall story’s themes and ideas without being bogged down by silliness that often comes with these stories. Instead, Benson uses the premise to focus on the present, as opposed to the past. 

As the film’s heart, Mackie’s charm and charisma give an affability to Denube that comes through despite the pain that his character is experiencing. At the same time, Dornan excels in roles that have an aura of inner darkness and Dannelly’s heavy emotional burden provides ample opportunity for him to show his talent.

Somewhat surprisingly, Benson makes an interesting choice by linking time travel with drug use. Similar to the way in which addicts will use their respective vices to escape from the pain of reality, so too does Synchronic give users the option to return to a ‘simpler time’. 

The problem is that the past offers no comfort either.

Though they may wish to flee their problems, Synchronic users usually find themselves in the most difficult eras of the past. Whether its fighting conquistadors, evading alligators or running from the KKK, those that take the drug seem to discover that the struggles of the past are no less traumatic than the present. In this way, the drug offers no solace for those who are running from the pain of their lives as it transports them to places in time that are no safer than what they were enduring already.

And that’s entirely the point.

By choosing to use time travel in this way, Syncronic is well aware of the fact that we can often become so wrapped up in the troubles of today that we think we are living in the worst period of human history. Instead, the film reminds us that each day has  troubles of its own. This is probably best exemplified through the journey of Denube who becomes more aware of his relationship to the present the more he learns about how Synchronic works. Told that his brain cancer is likely terminal, Denube suffers from depression and an increasing inner rage. Crushed under the ticking clock of his condition, Denube realizes that time is not on his side.

However, as he spends more time in the past, he recognizes the importance of living for today. Though he understands that his life is coming to an end, he also comes to realize the value of the moments that he has right now, whether it’s celebrating the people that he loves or simply being grateful for his time on Earth. While the film fully acknowledges the pain of the present, Synchronic actually finds joy in the midst of trauma that many other films fail to recognize. 

In other words, although the times we live in are not easy, there still remains things worth celebrating in the darkest of moments.

While the film is a bit of a slow starter, there’s a lot to like about Synchronic. Bolstered by engaging performances from its cast, the film’s creativity and commitment to the premise work well to be worth your time. Though the use of time travel is hardly original, Benson uses it in such a unique manner that it feels fresh in a lot of ways. Ultimately however, the most noteworthy aspect of the film lies is not just its ability to explore the past. It’s that it reminds us to find things worth rejoicing in the present.

When we can find a way to do that, time is always on our side.

Synchronic is now available on VOD, DVD and Blu-Ray.

Falling: Loving the Unlovely

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When the pain of a relationship overrides the positives, can love still exist?

In Falling, John (Viggo Mortensen) is a husband and father whose life is thrown asunder when his father, Willis (Lance Henrikson) requires his care. With his mind beginning to decline, the time has come for to Willis to explore other options in his living arrangements. Hoping that moving closer to his family in California will help his father, John and his sister Sarah (Laura Linney) bring Willis for a visit to look at homes in their area. However, their best intentions ultimately run counter to Willis’ plan, unleashing his stubbornness and inner rage upon the family.

Quite simply, Falling is a very difficult film to watch. Written and directed with ferocity by Viggo Mortensen, the film (intentionally) has very little levity or charm. That is not to say it’s not very well done. As a first-time filmmaker, Mortensen also shows some skill. Having learned from some of the best over the years, Mortensen has always chosen intriguing stories to tell and Falling is no different. His frequent (but brief) use of flashbacks point to a childhood that remains in view yet also feels strained to find positive moments. In this way, he shows a great deal of promise as a director. What’s more, Falling features some excellent performances, especially from Henrikson and Linney.

However, the difficulty of Falling lies not in its filmmaking or cast. The truth is that this story is difficult to watch simply because it’s thoroughly uncomfortable. In virtually every scene, Henrikson’s Willis shows himself to be one of the most abusive and reviling characters in recent memory. Despite the best efforts of those around him to make him comfortable, Willis spews such venom that the viewer is never allowed to feel safe with him onscreen. An excellent example of this comes from the dinner scene where Linney’s Sarah comes to visit with her family. Although Sarah attempts to bring some joy to their family gathering, Willis is relentless in his cruelty, eventually driving almost all from the table. As such, like Willis’ failing mental health, Falling feels like an endless freefall into darkness.

The most difficult aspect of Falling is the fact that Willis refuses all opportunities for any form of redemption. As he increasingly loses his mind, one would expect the film to offer some sympathy for the devil yet none comes. Instead, with his mental faculties failing, Willis has become an angry beast, spewing racist and hateful verbal daggers at whomever lies in his path. While some films grapple with this topic by attempting to hold up ‘the man he was’ against ‘the man he has become’, even John’s flashbacks depict Willis as a hard man who gives his son few positive memories.

Which begs the question: What does it mean to love someone who is unlovable?

Clearly, John struggles to maintain civility with his father’s toxicity out of respect for him. At the same time, John is only human and time with his father continues to weigh on his soul. With each racist remark that comes from Willis’ mouth, the viewer can see John be pushed slightly further to the edge, even if he is doing everything in his power to contain himself. Even so, despite the complicated nature of their relationship, John clings by his fingernails to his love for his father. Although his childhood was a struggle at times, John attempts to show grace to the man who raised him, especially since he has clearly lost control of his faculties. 

To John, Willis’ lack of repentance does not diminish his value.

That question of value quietly becomes the key to unlocking a film like this. Despite the overwhelming reasons for John and his family to simply walk away from Willis, they recognize that he still matters. Despite his own lack of repentance, Willis is shown to have value simply for who he is. John fights tirelessly for his father, not because Willis ‘deserves’ it but because he is in need. Even with his flaws, John refuses to treat his father as ‘less’ than others. For John, Willis’ need for help supersedes his own hurt and frustrations over his behaviour. That’s a powerful depiction of love and grace onscreen.

While it is a painful watch, Falling certainly has a great deal of merit. Featuring quality performances and solid filmmaking, the film’s uncomfortable atmosphere is intentional. (In fact, it’s entirely the point of the film.) For his first venture behind the camera, Mortensen delivers an aptly named slide into darkness that is well-told, even if it is a difficult viewing.

Though, admittedly, it may not be one that you want to revisit after the credits roll.

Falling is available on VOD, DVD and Blu-Ray on February 5th, 2021.

Speaking Your Story: 1on1 with Matthew Teague (OUR FRIEND)

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It’s always difficult to share your own story of pain. But if that story can encourage another who’s struggling, it may be worth the challenge. 

After enduring tremendous suffering throughout his wife Nicole’s battle with cancer, journalist Matthew Teague opted to pour his soul into writing about his experience. After Nicole’s passing, Teague’s piece would eventually become his celebrated Esquire article, The Friend, which highlights the amazing impact that their beloved family friend Dane had on them during this painful season of life. While the process of exploring his grief in this way was an incredibly difficult process, he also admits that it was somewhat cathartic as well.

“I would say [it was] both [difficult and cathartic],” Teague recalls. “It wasn’t easy. It’s very emotional and sometimes a physical thing, but very cathartic at the same time. I mean, that’s sort of the way with all grief. It’s not fun. It’s not easy but you’ve got to work your way through it.” 
When he first began sharing his heart through his writing, Teague had initially intended to speak about his journey with his wife. However, as the title suggests, eventually the article took a pivot to focus more on the incredible love shown to him by his dear friend during his time of struggle. Asked when he knew his story was really about Dane, Teague contends that the idea originally stemmed from his editor.

“I was talking with my editor at Esquire who knew Nicole had died and he’d heard me talk about my friend Dane before,” he remembers. “I’d never put all those together in my mind as a story but I was telling him how ill prepared I had [been] to care for someone right up to facing death, because we so rarely talk about it as a culture. When we do talk about it, we [often] do it euphemistically. We don’t necessarily talk about it in a very direct and honest way. And he said, ‘Why don’t you do that?’ And I said, ‘Because I’m a mess’. I feel like I was just flailing [as I] struggled throughout the whole process. Every story needs a hero and he said, ‘Well, why don’t you write about your friend, Dane?’ And that all sort of clicked into place that it was a story about three people and that’s when I knew I’d be writing about him.” 

Now, with the release of the new film Our Friend, Teague has the opportunity to share his story onscreen. Directed by Gabriela Cowperthwaite, Our Friend recounts Teague’s real-life journey during the death of his wife. After his wife, Nicole (Dakota Johnson) has been diagnosed with cancer, Matthew (played by Casey Affleck) struggles to balance meeting her needs and raising their daughters. Seeking to help, close friend to the family Dane (Jason Segel) offers to move in for a short stay to help Matthew get back on his feet. However, as time marches forward, his temporary gesture extends into an indefinite living arrangement at great personal cost to Dane. 

With this in mind, if there’s one particular thing that he wants people to know about his dear friend, Teague points to Dane as a model of self-sacrifice.

“I think Dane tends to sacrifice,” he enlightens. “Faith is a big part of my life and I would say that the center of that faith is sacrificial love. I think that’s exemplified by what Dane did and continues today to be a true friend to someone—to be a true neighbor to someone—is to be sacrificially loving.”

Although there are many who have walked away from their spiritual beliefs during times of suffering, Teague argues that his faith helped provided a bedrock of hope for him in the most difficult of circumstances.

“[Nicole’s passing] didn’t throw [my faith] on the rocks,” he expounds. “It was sort of the lifeline that held on to, more than anything. Faith gives us a hope for something on the other side of that veil of mortality. It gives my daughters a hope that they’ll see their mom again, and that she’s in a place of great joy now. Without that, facing oblivion would be a lot harder, I would think.” 

When the opportunity came to bring his story to life, Teague was thrilled to know that Casey Affleck had signed on to portray him within the film. While he has incredible respect for Affleck’s ability to immerse himself into any character, he also appreciated the fact that the actor did not try to ‘become’ him onscreen.

“Casey is just a fantastic actor,” Teague beams. “He could represent anyone. It’s deliberate on his part—and I’m happy for it to be—that he didn’t try to imitate me [by] talking like me or walking like me or any of that. I’m not Winston Churchill, right? ‘Oh, Matt holds his teacup just that way or whatever.’ Nobody’s going to know that sort of thing. What he focused on was exactly what I hoped he would which is to deliver the spirit of the [story] more than to try to pretend to be me.” 

This ‘spirit of the story’ is what truly sets Our Friend apart from other modern ‘love stories’. At a time when the term ‘friend’ is used almost carelessly, this film takes the time to truly explore the depth of the word’s meaning. Whereas most narratives tend to lean on romantic relationships as the emotional core of the story, Our Friend demonstrates the power of what it means to truly love one another.

“As a culture, we focus so much on a primary romantic relationship,” Teague suggests. “This film is one of few that I can think of that focuses the way it does on friendship. Usually the gossip magazines are not full of tabloid information about who’s best friends with who [or things] like that. But I feel like friendship deserves a bit more about attention. I think it was Tim Keller who said that ‘Friendship is our only really deep relationship that’s not [based] in some way on biological imperative.’ You know, it’s not the love of a parent for a child, a child for a parent or mates for each other. All of which are part of the DNA stream. Friendship is just a choice where you’re going along in life and you see someone and you say, ‘Hey, I like you. Let’s go together’. That’s an extraordinary thing. So, hopefully people will think a little bit more about it in the future.”

Since the events take place over many years, the film’s narrative naturally takes several jumps in time. Although, in one of the film’s more unique story-telling devices, Our Friend moves forward and backward in their journey, allowing the script to offer more moments of levity throughout its runtime. In doing so, Teague suggests that the film better encapsulates their experience of Nicole’s cancer battle.

“[The film] stretches all the way from when Dane and Nicole met in college, probably 20 years ago through the end of the cancer…,” he clarifies. “That’s the reason that it jumps around so much [chronologically]. To have just told [it] in a linear fashion from a woman who’s diagnosed with cancer through to death would just be a straight downward march and would not be interesting to anyone to ride along with. Brad Inglesby, our screenwriter, made the call to have it leap in time around in our lives. That actually more accurately represented our experience [in that] two years of illness, because there are moments of levity and there are moments of reminiscence of the old days and things like that. So, that’s why we structured it for evidence.” 

Friends for two decades, Dane had been considered a part of the Teague family for many years. However, as Nicole’s condition worsened and the everyday tasks became increasingly overwhelming, Dane stepped in to help keep the household running smoothly. For Teague, these small acts of kindness were the moments that reminded him how important his friend had become to the family.

“Long before the illness, we had been close for years and years and years,” he describes. “When [Dane] was in college, he would stay at our house, and sort of moved in half the time with us just because it was a shorter distance to get to school for him to get to class. So, I knew how brotherly our feelings were for a long time before that. But it became clear how much I needed him immediately during Nicole’s illness, when it was just those mundane, simple things. We had the absolute inability to do all the medical stuff and do things like washing dishes, run a load of laundry, get my girls to school on time, [et cetera]. I was falling behind and I just couldn’t keep up. You see some of that in the movie. So, he came in and did that.”

Despite the challenges of adapting one’s own journey for the big screen, Teague believes that the story hits on the right moments with the proper emotional beats.  

“The original story was more graphic and the ability to describe the physical insult of cancer and, maybe really any illness, but it also addressed the psychological and emotional impact,” he says. “Because it is a visual medium… we really couldn’t put some of the physical stuff [onscreen] or people would be throwing up in their popcorn. But we tried to lay out and deliver the emotional and psychological quality as best we could. So, I feel good about it. I feel like it’s a story that says everything that I could want to say and an hour and a half.” 

Though their family’s journey took the form of Nicole’s cancer, Teague recognizes that pain looks different for everyone. Especially given the social fallout of the current global pandemic, it is his hope that those who see the film will be encouraged to see that there is light on the other side of suffering.

Says Teague, “My great hope is that people who are going through the hard times—[and there] are many, many, many magnitudes more now than when we started making this movie. There are so many people experiencing loss and I don’t [only] mean cancer. I mean the loss of employment, the loss of dear loved ones. My hope is that as people who have experienced that will watch this and, at least for a couple of hours, they’ll feel like [they’re] not the only one. In a world flooded with Instagram perfect images, my hope is that this will be a solace to people to realize that [life can be] hard and, if you can just hold on, there’s some joy coming on the other side.” 

Our Friend is available on VOD now.

To hear our conversation with Matthew Teague, click here.

The Spirit of the Story: 1on1 with Casey Affleck (OUR FRIEND)

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It’s fair to say that Casey Affleck understands that the soul of a story can say more than the sum of its parts.

Known for strong performances in such films as A Ghost Story, Ain’t Them Bodies Saints and Manchester By The Sea (for which he won Best Actor at the Academy Awards), Affleck frequently adds an emotional depth to his characters that helps their fictional stories feel authentic. However, with his latest film Our Friend, star Affleck had the opportunity to explore the real-life journey of writer Matthew Teague, a man whose life is turned upside-down due to a family tragedy. As thrilled as he was to work with the rest of the team behind the film, he recalls that he was also very excited about the soul of the story itself.

“Two things really appealed to me about this project,” he begins. “One was the people who were involved. I liked Gabriela [Cowperthwaite] as a director. I didn’t know Jason [Segel] or Dakota [Johnson] but I was interested in working with them and it turned out to be great. The other was just the spirit of the story, which has to do with sort of selflessness and being of service to others, showing up for people in our lives, even when it’s hardest. Somebody said that a great friend is somebody who shows up when you need them, even when being there is the last place in a world that they want to be. This is a story about me and Dakota, our family finding ourselves in a crisis and Jason Segal’s character showing up in just that way.”

After his wife, Nicole (Dakota Johnson) has been diagnosed with terminal cancer, Matthew Teague (Casey Affleck) struggles to balance meeting her needs and raising their daughters. Seeking to help, close friend to the family Dane (Jason Segal) offers to move in for a short stay to help Matthew get back on his feet. However, as time marches forward, the lines between friendship and family begin to blur as Dane’s temporary gesture extends into an indefinite living arrangement at great personal cost. 

Though the trio had never worked together before, the chemistry between Affleck, Johnson and Segel is something to behold. In virtually every scene, each of the film’s leads feels emotionally present, creating something truly special onscreen. 

“I had gotten close to working with Jason once on movie but [we] didn’t end up doing it,” Affleck recalls. “I really think he’s a great, great big talent and a sweet guy. Dakota has been sort of on my radar for a while because she’d been just doing really interesting choices that seemed unpredictable. She’ll be in 50 Shades of Gray, Peanut Butter Falcon and Suspiria. She’ll be popping up in places and just seemed like there’s an interesting person there.”

Often times, bringing an actual person to life onscreen can create an added pressure to ensure that you represent their life story and mannerisms authentically. Asked if there’s anything in particular that he wanted people to know about Matthew Teague, Affleck felt that his most important job was not to try to ‘impersonate’ him but instead to honour the power of his story onscreen.

“I don’t really have an agenda about what people know about Matt Teague,” says Affleck. “Matt’s a writer and a nice guy and he brought this story to the public. He wrote an article, brought that article to a screenwriter and he shepherded the whole project all the way through. I was there to just to play a role as an actor. I told Matt on the very first day that I met him that he should not expect to see the movie and feel like he was looking in a mirror or something. It would be different than he remembered. The events in the movie might some way not be exactly like he remembered, but we would all try very hard to make sure that the spirit of the story was communicated. So, I want people not necessarily to know something about Matt, but to know something about what this story says about all of us.” 

Furthermore, in any biographical project, Affleck also understands that the person onscreen is never a full realization of their actual character. 

“In the telling of a story, people are changed,” he explains. “You’re not doing an impersonation. You’re not trying to say this is exactly as someone else is. I believe that the person you see onscreen is a combination of the imagination of the writer, the director, the actor, and the editor, et cetera.” 

In an interesting way, the fact that the film is based on friendship seems almost countercultural. At a time when the term ‘friend’ is most often associated with Facebook connections, Our Friend highlights the meaning of the word in all its fullness. Even so, instead of changing his views on the expression, Affleck’s experience on the film has reinforced what he already believed a friend should be.

“I don’t think that it has new meaning for me,” he explains. “I think that being a part of this movie was a way to contribute to something that expressed what I already felt about friendship. So, it’s more that I got to bring something that I was already sort of carrying to the movie and share that. I think it’s a funny sounding word ‘friend’ but it’s such a beautiful idea. I’d love to have a longer conversation about how and why human beings form relationships and what purpose they serve and how we can serve that purpose. That’s interesting to me and I really do feel like I love the spirit of what this movie is, especially around that topic.” 

Having become increasingly selective in his projects over the course of his career, Affleck found a healthy spirit within this story that was hard to resist. With its emphasis on healing after suffering, he feels that Our Friend is particularly special in the way that it offers a sense of hope to the audience.

“I used to think that, after [working on] a movie, I would walk away and just leave it behind completely,” Affleck points out. “Sometimes it feels like that, but I think that when you put a lot of yourself into a movie, sometimes the movie puts a lot back in you. For that reason, I’ve become a lot more careful about the kinds of projects that I choose to be a part of. When I was younger, almost out of necessity, I just took whatever. Whoever would hire me, I would take that job because that’s how I made a living. It is still how I make my living and I have to work, but I try to be as careful as I can about the spirit of the movie and the spirit of the part. Something like this, I feel like I can live with. I liked the message of this. Even though that the movie is will break your heart, it will also it’ll repair your heart too and sort of fill you back up. I think then when people watch the movie, that’s the experience that they have. They leave feeling sort of emptied and refilled and I’m okay with that.” 

Our Friend is available on VOD on Friday, January 22, 2021.

To hear our conversation with Casey Affleck, click here.