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Minari: What is This Place?

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“What is this place?  Our new home.”

Set in rural America in the 1980’s, Minari tells the story of a young Korean couple forging a new life in a new place.  A new home.  Produced by American companies A24 and Plan B Entertainment, the film reflects award winning director and writer Isaac Chung’s childhood on a small farm in Arkansas. Minari invites us to accompany the film’s protagonists and their children as they move from urban California to a totally new landscape. The new life they encounter is sometimes unsettling, sometimes hilarious, and always bone-tiring. It paints a picture of the life of so many of our fellow travellers as they leave less than perfect situations for what they hope will be life changing situations.  

The journey from urban to rural is often a difficult transition. “What is this place” is a real question and provides the movie with a potent motif.  Will this be a place to provide a living and happiness?  Will it be a place of beauty and grace, or only a temporary stop to an even better living?  Will our children be at home and accepted here?  How will Grandma survive, newly arrived from Korea? Will the farm be close enough to the hospital if young David need surgery?  Jacob and Monica come to different conclusions on many of these questions and their divergent views put a strain on their tiny family.

The divide is not simply between rural and urban, however.  The jobs that were so taxing in the city (chicken sexing) follow them to the country.  The divide between traditional and new also colours their decisions and discussions.  Jacob and Monica had vowed in Korea that they would come to America “and save each other”.  But has this happened?  The gap between aspiration and reality seems only to widen as the movie progresses.  

There is usually a crisis point in most lives, and in most movies too. When this happens in Minari, loyalties must be selected and decisions made.  The choice of family or farm – running or walking – grandma staying or going -must finally be made from the heart.

This film would be simply a sweet and time honoured immigrant story if it were not for the bright humour as well as the genuineness of the script.  In the hands of such skilled actors the words come alive and stay with us.  Kudos too to the exquisite musical score.  At times haunting, at times disjionted, at times lilting; it too reflects the immigrants’ experience.  Minari is visually appealing as well. The countryside is filled with lush beauty.  It acts as a compelling character in the story.  And in the final analysis it provides the ground in which the non-native plant – the Minari – can thrive and grow and bring sustenance to all.

Minari is now available on VOD.

Minari: Hope in the Dry Heat

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Set in rural Arkansas, Minari tells the story of Jacob (Steven Yeun) and Monica (Yeri Han) Yi, a Korean American couple in search of the American Dream. Travelling with their two young children, Jacob purchases a farm with the intent of growing Korean vegetables and selling them to vendors for profit. However, as the realities of starting a new business begin to surface, the Yi’s struggles to make ends meet and they must make some tough decisions about how they intend to survive as a family.

Written and directed by Lee Isaac Chung (Abigail Harm), Minari is a beautiful, honest and often funny film that sheds much needed light on the immigrant experience and the biases that they face along the way. Though the story is fictional, this is a film that feels real. Told with honesty and love, Chung weaves a narrative that tells the story of one family at a specific place and time but also sheds light on the immigrant experiences of many others. As strangers in a strange land, The Yi family are in desperate need of support but remain unable to find what they need. In an effort to depict this struggle visually, Chung effectively bleaches the film with a dry colour palette, bringing to life the barrenness that the Yi family is experiencing both as farmers and as a family. What’s more, without giving any spoilers, Chung continues to use this dryness and heat thematically throughout the course of the film as tensions mount between the family until they finally erupt.

As frustrated father Jacob, Yeun’s stellar performance drives the narrative with his passion and ambition. To counterbalance her husband’s determination, Yeri Han provides much of the emotional grounding of the film as the loving but exhausted Monica. Whether they’re pulling apart or spending intimate moments together, Yeun and Han have incredible onscreen chemistry together, giving the film a feeling of honesty and authenticity. While their relationship may anchor the film, Minari features solid work from its entire cast, including youngsters Noel Cho and Alan S. Kim who bring an innocence and energy that light up the screen.)

In many ways, Minari exposes the fragility of the so-called American Dream. Having moved to Arkansas to build their farm, the Yi family believes that it’s only a matter of time before they find success in this ‘land of opportunity’. However, it soon becomes clear that Jacob’s dreams for his family seem naïve held up against the realities that they face. From unexpected delays in their shipments to blatant racial inequality, Jacob and Monica begin to crumble under the pressures of achieving their goals. For Jacob, his dreams of becoming successful become all consuming. For Monica, they seem a distant pipe dream. Although they have been led to believe that the world would fall at their feet with hard work and determination, they soon come face to face with the toxic realities of poverty and racism that prevent them from realizing their ambitions. 

As an honest depiction of the immigrant experience, Minari is a film about what it takes to [literally] plant roots for the future, even when the soil is hard to manage. Taking its title from the resiliency of minari seeds, the film explores what it truly means to find success when financial windfall seems impossible. For the Yi family, hard work and sacrifice may be embedded in who they are yet to what end? Faced with circumstances stacked against them, Jacob and Monica’s struggle forces them to re-examine their priorities. In doing so, the couple has the opportunity to discover what it means to experience hope in a dry season of life.

However, even though the film focuses on the struggles they face, there’s a sense of joy embedded within the film, even in the darkest of moments. Moving and heartwarming, Minari recognizes that true success lies not what we value but in who we value (and who values us). Just as families can fight to survive, they too also experience moments of levity in the midst of their struggle. What’s more, these brief glimpses of joy can often reignite the sparks that seem to have been extinguished by life’s burdens so long ago. As a result, while the Yi family may have moved away from the place where they once lived, moments like these become the foundation for their true home wherever they may be. 

Though the story of the Yi family may be fictional, Minari serves as a reminder that the struggles inherent to the immigrant experience are real. Set in the scorching Arkansas heat, Chung’s story speaks to immense challenges faced by those who wish to begin a new chapter of their lives, especially when they cling to a Dream that never really existed. Even so, despite the tensions that may erupt, Chung imbues his film with an endearing sense of hope. Sparked by joy in one another, Minari never forgets that home begins and ends with those we love.

Minari is available in theatres and on PVOD in the US on Friday, February 12th, 2021

Judas and the Black Messiah: The Struggle is Real

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“You can murder a freedom fighter but you can’t murder freedom.” – Fred Hammond (Daniel Kaluuya, Judas and the Black Messiah)

Set in the midst of the civil rights movement of the late 1960s, Judas and the Black Messiah tells the true story of William O’Neal (Lakeith Stanfield), a young thief arrested for stealing a car. Facing serious prison time, O’Neal is offered a plea deal by the FBI on the condition that he would be willing to operate as an informant in the Illinois chapter of the Black Panther party. Reluctantly accepting the role, O’Neal enlists with the Panthers where he meets their magnetic Chairman Fred Hampton (Daniel Kaluuya). As he moves higher up in the party’s ranks, O’Neal becomes increasingly torn between supporting a leader for whom he has gained respect and the FBI who continues to press him for information so they can bring Hampton down.

Though over fifty years ago, it goes without saying that the film has never felt more current. Coming at a time where police brutality and racial injustice are daily topics of conversation, the story of Fred Hampton resonates loudly within our current cultural climate. As the first major film from director Shaka King, Black Messiah tells the story of Hampton and O’Neal with focus and heat. Compelling from start to finish, King weaves a story that manages to portray the urgency of an era without being afraid to draw comparisons to today’s struggles for equality as well.

Featuring incredible performances from its entire cast, the film is anchored by its two primary stars. As the nervous outsider O’Neal, Stanfield brings the character to life as a man conflicted by his decisions. Though O’Neal’s actions are questionable at best, Stanfield shows grace to in his performance by portraying him as a man crushed under the weight of his own burdens. However, while Stanfield’s work is particularly solid, the film is stolen by Kaluuya who continues to display his talent and maturity as an actor. As the charismatic Hampton, Kaluuya fully invests his energy and charm into every scene. Whether he’s motivating the crowds or speaking softly to his loved ones, Kaluuya brings an intensity and fire to the role that is positively mesmerizing to watch onscreen and should be recognized as Oscar season draws nearer.

In many ways, it is appropriate that the film uses the title Judas and the Black Messiah. While the film never uses these nicknames throughout the film, Black Messiah absolutely takes on the structure of the Biblical narrative of Jesus and his betrayal at the hands of one of his disciples. Though history has often emphasized the violence of the era, this film portrays Hampton as a loving revolutionary who fights for the rights of all of the oppressed. Though absolutely prepared to engage in the fight where necessary, Black Messiah makes sure to point out that Hampton’s battle against the powers that be stems from a place of love. To him, the struggle for freedom is far larger than himself and he is willing to sacrifice whatever is necessary, even if he must put himself harm’s way in the process. (For example, when his followers attempt to hide him from danger, Hampton defiantly asks “Is the party about me or is it about the people?”)

However, rather than merely deify Hampton and his work, this is a narrative that wants the audience to feel the weight of the story from the perspective of its ‘Judas’, William O’Neal. Caught between the FBI and the Panthers, O’Neal is a man torn between his own well-being and the good of the many. In this way, Black Messiah recognizes the importance of Hampton’s message yet also remains sympathetic to O’Neal’s struggle along the way. Whereas following Hampton may have made the story about one man’s struggle, Black Messiah’s focus on O’Neal’s journey allows for the story to emphasize the struggle itself. In other words, the shift in perspective allows the film to become less about the life of a single person and more about deciding who you will follow in the midst of an ongoing war for justice. 

In light of this, it’s interesting to note that the film ends with footage of the real-life O’Neal who states that he ‘chose a side’. Though clearly worn down by the weight of his decisions, his self-justification instead focuses on the fact that he took a position in the fight rather than simply sitting on the sidelines. In this way, O’Neal’s choice mirrors the message of Black Messiah by calling viewers to understand that they must still make decisions today about where they stand on issues of racial injustice. (After all, a person who chooses to stand with no particular ‘side’ is still making a choice.) While it may be sympathetic towards O’Neal, King’s script contains an urgency that reminds the viewer of the importance of choosing justice in the face of a culture that fights to hold on to the status quo.

With its eyes firmly focused on freedom for all, Judas and the Black Messiah is a film that stays with you long after the credits roll. Featuring stellar work from its cast, the true power of Black Messiah though lies not the story of one man’s sacrifices for the sake of others but by the reality that the same fight still rages on to this day.

Judas and the Black Messiah is available in theaters, on PVOD and on HBOMax on Friday, February 12th, 2021

The Mystery of D.B. Cooper: Mythologizing Our Villains

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There really is something fascinating about true crime stories. W

From Unsolved Mysteries to Tiger King, there is something truly engaging about listening to stories that seem too wild to be true. However, in the history of mysteries, one man stands out as the biggest question mark of all. Known for his daring robbery from 10 000 feet, D.B. Cooper remains the only unsolved airplane hijacking in FBI history. 

Now, almost 50 years later, Emmy-nominated filmmaker John Dower (Thrilla in Manilla, My Scientology Movie) revives the epic enigma in his latest documentary, The Mystery of D.B. Cooper. Focusing on four primary suspects, Dower gives voice to family and friends who believe passionately that their friend or relative is the same man who hijacked a 727 flying out of Portland, OR, stole $200, 000 and four parachutes, daringly jumped out of the plan and disappeared forever.

Wisely, Dower steps back and allows the stories of his witnesses to take centre stage. With each parallel revelation and conflicting confession, the mystery grows as each testimony claims to know the truth behind the FBI’s most famous wanted man. Rather than attempt to conjure up some conclusion or lean towards any one particular voice, Dower allows each potential suspect the possibility that they are (or were) the infamous Cooper. Like the most captivating mystery stories, this one intentionally leaves more questions than answers as it leans into the many unknowns about this particular case. In D.B. Cooper, truth is relative and highly subjective to the point that it’s impossible to separate fact from fiction.

Though, perhaps the most fascinating aspect of the documentary does not even stem from the testimonials themselves but from the fact that every one of them (and many others) want to be known as the escaped criminal. Like Robin Hood or Butch and Sundance, Dower points out that the legend of DB Cooper has been mythologized within our culture as some form of folk hero. Despite the fact that he  broke the law and terrified his victims, Cooper has become celebrated for his ability to get away with his crime. (Interestingly, Dower likens this alternate view to the fact that so many struggle financially and therefore view him as one who broke free from ‘the Man’.)

In many ways, it also seems strange. After all, let’s not forget that people were actually in danger during the heist. Yet, at the same time, there seems to be something culturally cathartic about pulling off ‘the big heist’ which creates a sense of wonder around their wrongdoings. As the legend of these ‘heroes’ continues to grow, it’s fascinating to watch public opinion surrounding men like Cooper shift from angst to awe and villainy becomes heroism.

In the end, like the shadowy man himself, there’s something enthralling about The Mystery of DB Cooper. While the film offers no answers regarding his identity, those unanswered questions are entirely the point of the film. Though the crime may have taken place almost 50 years ago, John Dower prudently allows the conflicting voices that claim to know the whole story to take centre stage and, in doing so, gives even greater weight to the enigma that is D.B. Cooper.

The Mystery of DB Cooper is now playing on HBO Max. 

Inside Out 2020: Cowboys

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Written and directed by Anna Kerrigan, Cowboys tells the story of Troy (Steve Zahn), a mid-Western father who lives in an environment defined by masculinity. When his young daughter, Joe (Sasha Knight) reveals that she believes herself to be a boy, Troy’s initial apprehension quickly turns to acceptance of his son. However, his mother Sally (Jillian Bell) is not so understanding. Unable to accept this new reality, Sally attempts to reinforce traditional gender stereotypes in an effect to ‘help’ Joe. Frustrated by his wife’s response, Troy takes Joe into the Montana wilderness in an attempt to cross the border to freedom.

Known best for their comedic work, Zahn and Bell deliver incredible performances here as Joe’s conflicted and frustrated parents. Rather than focus primarily on Joe’s journey, this is a film about the fears and insecurities of the adults that surround him and, frankly, both stars are simply astonishing to watch onscreen. (Zahn, in particular offers some of the best work of his career here, imbuing Troy with a mixture of frustrated anger and genuine humility.) 

Due to the strength of their performances, there’s a surprising level of nuance to Cowboys. While his temper can get him into trouble, Troy’s motives behind his blow-ups primarily stem out of a heart of protection for his young son. At the same time, Sally’s antagonistic mother is not without redemption either. Whereas many films of this type will portray their ‘villain’ as the inveterate monster, Sally’s anger stems more from her denial than a heart of bigotry.

While Bell and Zahn may be the focus of the film, Cowboys is about far more than their family. Pulling back the lens, Kerrigan’s work is also a call for grace and understanding from a culture that is still coming to grips with the modern sexual revolution and its nuances. Though Cowboys may be the story of one youth’s journey, it is also a reminder of the humility required to help all people discover who they were created to be.

Cowboys is currently streaming at the Inside Out Fest.

Unhinged: Unleashing Hell

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

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

And, make no mistake, Unhinged is no joke.

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

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

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

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

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

Unhinged premieres on VOD and in Theatres on August 14th

Run This Town: A Question of Character and Consequences

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Written and directed by Ricky Tollman, Run This Town takes the viewer behind the scenes of Toronto’s political system under the leadership of Rob Ford (Damian Lewis). When Ashley (Nina Dobrev) begins her time on Ford’s staff, she is quickly taken under the wing of Kamal (Mena Massoud), right hand to the mayor and his chief spin doctor. However, as a scandal involving Ford’s private life begins to unfold at the hands of aspiring journalist, Bram Shriver (Ben Platt), Kamal, Ashley and the rest of their team must wrestle with the implications of allowing someone morally questionable to remain in leadership.

Popping off the screen with energy and style, Run This Town feels like a 70s political thriller had it been written by Aaron Sorkin. Opting to use muted colours, spliced editing and fast-paced dialogue, Tollman does a solid job of creating intrigue in a murky political battle for truth. Wisely, Tollman focuses his script on how Ford affected those around him, as opposed to Ford himself. In doing so, Town allows his young talents to show their own range as they wade through difficult social issues such as sexual assault, racism and the overall qualifications of leadership. As mayoral spin doctors, Massoud and Dobrev show great confidence in their roles while Platt plays his inexperienced journalist with courage and pluck. (Massoud, in particular, stands out as he continues to build his career after the success of the $1B success of Disney’s Aladdin.) Ironically, however, if there’s a limitation to the film’s cast, it may lie in Lewis’ performance as Rob Ford, which loses some of the nuance that made him such a complex character in the public eye.

Bound to be as divisive as Ford himself, Run This Town is an entertaining ride that feels more of a moral cousin to Reitman’s The Front Runner than Spielberg’s The Post in its willingness to blur the lines of morality when it comes to allowing people to govern. Interestingly, for much of the film, Kamal’s ability to spin Ford’s public image almost seems defensible in the face of Shriver’s inexperience. By pointing out the fact that Ford is able to ‘get things done’ around the city, Kamal—and many of the people of the city—justifies his after-hours discrepancies by arguing that everyone has the right to relax after a hard day. (After all, isn’t Ford the ‘man of the people’?) 

However, as Ford’s recklessness leads to the lines of sexual appropriateness becoming crossed, Town also points out the dangers of maintaining a culture of toxic masculinity and white privilege. With the subtlety of a wrecking ball, Ford charges through his administration with an air of superiority, failing to recognize boundaries with women on his team or the ethnicities of his own team members. In doing so, Ford’s lack of character calls into question the effectiveness of leadership when they remain out of touch with healthy diversity and the reality of the world around them. While he would have us believe that his actions for the people outweigh his mistakes, Town points out that there is a point when someone goes too far and must be held accountable for their actions. 

In this way, Run This Town speaks effectively into a culture grappling with arrogance at the hands of leadership. While willing to suggest that everyone in the public sector is broken, there still remains a certain level of accountability of character that must be maintained. While the film curiously opts to conclude with a speech about the challenges of Millennials in the job market that threatens the overall tone of the film, it is at its most effective when it wrestles with the moral murkiness of the political system. This is a film that shows well the tension between the brokenness of those who have become obsessed with maintaining the status quo and the passionate heart of justice of Millennials. In the midst of this conversation, there springs up a measure of hope that expunging the poison the past may birth something healthier in the future.

For full audio of our interview with writer/director Ricky Tollman, click here.

Run This Town tells the truth on VOD on Tuesday, April 21st, 2020.

The Way Back: The Road to Redemption

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Written and directed by Gavin O’Connor (The Accountant), The Way Back is the very human story of addiction, depression and redemption for Jack Cunningham (Ben Affleck). Once a former high school basketball star with a bright ahead of him, Jack is now washed-up, struggling with alcohol addiction. However, things start to turn around when he gets an opportunity coaching a basketball at his old high school. Unfortunately, like Jack himself, the team is a failure, struggling to get anywhere. Suddenly, it’s up to Jack do what he can to fix this team and, at the same time, fix himself so he can be on the way back to redemption.

Throughout his life, Jack has experienced nothing but failure, having turned down a basketball scholarship to spite his father, ruining his marriage, and enduring the death of his son. As a result of his broken past, Jack is severely depressed and, instead of confronting his problems, has become heavily addicted to alcohol, But, when he gets a chance to coach again at his old school, something sparks hope within Jack. In many ways, Jack sees the team as a reflection of himself and recognizes that they need to put in a lot of work if they want to move forward. As Jack trains the team and leads them on their way to the playoffs, he repeats the message that little bits of effort add up and eventually make a big difference. Just like the team he hopes to inspire, Jack doesn’t give up and puts in the necessary effort to get clean, even seeking help and getting therapy. Interestingly, this journey also parallels Affleck’s own struggle with addiction. Before the movie was finished, Affleck, who has famously struggled over the years, relapsed and caused problems for the film’s production. Mirroring the character that he was playing onscreen, Affleck sought help, moved forward for his addiction and failures and set back on the road to redemption.  no matter how many times it takes, they will try to move forward.

Overall, The Way Back was a heartwarming story of one man’s battle with addiction and his struggle on the way back to redemption. Able to draw from his own personal experiences with alcoholism, Ben Affleck does an amazing job in the role of Jack. What’s more, the film does an excellent job of recognizing the pain inherent to the road of recovery. For example, at one crucial in the film, Jack’s team wins an important game against a formidable opponent. Feeling like a conclusion, the film fades to black, allowing the audience to believe that everything works out well. However, as the film continues, the script takes a more realistic approach to the topic, highlighting the fact that recovery is never that easy. In doing so, The Way Back reminds the viewer that relapse and struggle are normal in these cases, revealing a perspective off addiction that many people don’t see. Alcoholism is not a challenge that offers a simple solution to beat it and be cured. Instead, the road to recovery is a constant battle that requires little steps of victory every day that, in the end, make big difference.

The Way Back fights its way into theatres on Friday, March 6th, 2020

Space & Time: Prone to Wander

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Directed by Shawn Gerrard, Space & Time follows academic physicist Siobhan (Victoria Kucher) and her photographer boyfriend Sean (Steven Yaffee) who realize they failed to answer key questions about themselves and their relationship. Their devotion to each other is further tested when Siobhan decides to pursue a career opportunity in Geneva that would cause them to uproot their lives and move into the unknown.

Set in Toronto, Space & Time makes good use of its location by showcasing the city as both charming and daunting. (Incidentally, I always find it somewhat refreshing when Toronto is allowed to play itself onscreen, as opposed to other major cities.) While the relationship between the two leads remains the focus of the film, Toronto itself becomes a character within the film, revealing the contradiction within the urban centre by giving it the feeling of ‘home’ and alienation at the same time. Through his interesting use of lighting and locations, Gerrard gives Toronto an atmosphere of loneliness that makes their story feel very small in a very big world. 

While the driving force of the narrative remains the relationship between Siobhan and Sean, the film seems most interested in the emotional journey of a generation that is searching for a better understanding of who they are. Solid chemistry between Kucher and Yaffee help anchor the emotional core of the film as two young adults on a journey to find themselves but fear being stuck. Gerrard’s direction wisely encourages his leads to stay more grounded in their performances, resisting the urge to push them for over-the-top melodrama. As a result, the film maintains a realism that works well in a film that wants to feel like a window into the world of modern millennials as they look to establish themselves.

As they approach their 30th birthdays, both Siobhan and Sean have reached an age where they wonder what it will mean for them to stretch themselves and take steps into the unknown. Battling questions regarding their future together, neither seems fully content in the direction that their lives have taken and they begin to question both their relationship and their own sense of self. Caught in between their love for one another and an uncertain future, Siobhan and Sean fantasize about alternate versions of themselves in other dimensions, wondering how their lives would turn out had they made different decisions. Despite the fact that their lives seem ‘settled’, their spirits continue to wander, looking for something that truly gives life to their souls. In doing so, Space & Time gives voice to those that want to feel as though their lives matter but struggle to understand what that means. Does true success mean landing the big career opportunity? Is life about finding love? Or does real purpose and value lie within one’s understanding of who they are? Space & Time doesn’t always have the answers to these questions but it is an engaging journey that isn’t afraid to ask them.

While only in limited release, there’s a charm to Space & Time that makes the piece worth a look. Strong performances by Kucher and Yaffee give the film a genuine feel that emphasize the importance of a small story in a very large city.

For audio of our interview with Victoria Kucher, click here.

Space and Time opens at the Carlton Cinema in Toronto, ON on February 21st, 2020 and continues to add theatres in subsequent weeks.

Sacred Lies: Digging Up the Past

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In the race to produce online content, Facebook was the service that I least expected to offer anything of quality. However, after solid online web series such as Limetown and Sorry for Your Loss, Facebook is beginning to fully develop their streaming content (while offering it for free, no less).  With the release of the second season of Sacred Lies, they continue their streak of intriguing material that is worth watching.

The second season of Sacred Lies continues the anthology format with a new story and new characters. Drawing inspiration from both the Brothers’ Grimm narrative, The Singing Bones, and real life murder-cases, the limited series follows Elsie (Jordan Alexander), as she attempts to unravel the mystery of her family after having been abandoned as a child. When she discovers that her estranged father, Peter (Ryan Kwanten) is alive and in prison, her visit soon leads to more questions about her early childhood and, potentially, the nature of her father’s crimes. At the same time, Elsie’s journey also brings her into the path of Harper (Juliette Lewis), a free-lance detective who has an obsessive hobby for bringing justice to unsolved murder victims

Produced by Blumhouse Television, Sacred Lies is yet another example of how they continue to grow in their storytelling. Over the last few years, Blumhouse has quickly become one of the premiere distributors for the horror genre. While their films can be hit-and-miss (Fantasy Island being an example of a missed opportunity), thankfully Sacred Lies showcases some of the better aspects of the company’s work. While the writing isn’t always as engaging as the story itself, Sacred Lies is a good example of Blumhouse’s ability to build intense atmospheric worlds with narratives that are frequently willing to venture into darker themes. What’s more, Sacred Lies features relatively solid performances from its leads, especially Alexander’s Elsie who portrays her character with both brokenness and rage. 

Without giving away any spoilers, one of the key narratives of the story involves whether or not our lives are determined by the sins of our fathers. Both Peter and Elsie’s journeys into their past forces them to engage who they are in the present. Despite her traumatic childhood, the unraveling of the mystery of Elsie’s youth forces her to work through whether her family’s secrets determine who she is today. The heaviness that has consumed her for her entire life was not her choice. However, she is left to pick up the pieces of the traumatic experiences left upon her. Similarly, Peter too is grappling with his own traumatic experiences that may or may not have influenced his own actions. As a result, both Peter and Elsie must decide what truly defines their lives—and if there truly is hope for them along the way.

In the end, Sacred Lies: The Singing Bones is neither a game-changing series nor a missed opportunity. While it struggles at times in its writing, the series itself is strong enough to recommend another trip into the darker realm of the Blumhouse. 

Sacred Lies: The Singing Bones releases its first three episodes on Facebook Watch on Thursday, February 20th, 2020 with new episodes released every Thursday.