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West Side Story: Spielberg’s Update Dances into our Hearts

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When I heard that a new West Side Story was due to premiere, I was sceptical. Did I really want to see a remake of one of my favourite movies? When I heard that Steven Spielberg was directing, and that he had wanted to make this movie for over 30 years, I was intrigued. When 91 year old Stephen Sondheim died in late November, seeing this new iteration became a necessity. When I heard that a new role had been written into the movie for 89-year-old Rita Moreno, seeing the movie became a happy obligation.

I was not disappointed. 

Sixty years after the original movie walked away with 10 Oscars, Spielberg’s new version soars to even greater heights – singing and dancing its way into our hearts. All of the songs are there; sung by new magnificent voices. The star-crossed lovers still pine for each other. The Jets and the Sharks still battle for their piece of the American dream. Everything beloved from 1961 is intact. 

What West Side Story 2021 adds is context, depth and a magnificent New York city backdrop. The movie starts in black and slowly expands to light, showing derelict, crumbling buildings. “Dump”. “Slum Clearance”. It’s the late 50’s and what has been the fought over home turf to both the Irish and Polish Jets and the Puerto Rican Sharks (now played by Latinx actors) will become the beautiful Lincoln Centre and the home for the gentrified rich. It’s an old story that continues to the present. The gang boys and girls aren’t just fighting each other; they’re fighting for a future that has no place for them. 

If we ever wondered why Tony no longer fights with the Jets, now we know. He has spent time in prison for almost killing a boy and he does not want to become that hate-filled person again.  The neighbourhood store owner, Doc is now replaced by his widow, Valentina. She is played by the magnificent Rita Moreno. She is the one steady adult in the film – linking both gangs and acting as their conscience. And she can still sing. I thought I would get through this movie without a tear but her rendition of a WSS favourite song (always sung by another character) defeated me. Is it possible for an actor to get the same Oscar for another role in the same movie – 60 years later?

West Side Story is known for its amazing songs and fabulous dancing. This movie does not disappoint. Here, however, New York City and its streets and stores are highlighted, along with the colourful explosion of the dancers’ movements and costumes. 

All the actors should also be congratulated. Tony (Ansel Elgort) and Maria (newcomer Rachel Zegler) are perfect for the Romeo and Juliet leads. They’re both beautiful, have wonderful singing voices, and are able to bring both gravitas and lightness to the roles. Canadian David Alvarez is tough and focused as Bernardo (Shark leader) and is also a wondrous singer and dancer. My favourite character, surprisingly, was Riff (Mike Faist), the leader of the Jets. Faist brings a quirky vulnerability to the role – the kid with no family, whose future can only be assured if he enacts the toughness that will eventually kill him.

So head to the theatre this week. West Side Story 2021 will not disappoint you. If you don’t know the story, it will be a joyous, heart-rending experience. And if you do know the story, it will be a joyous, heart-rending experience. 

West Side Story opens in theatres on Friday, December 10th, 2021.  

Candified: Home for the Holidays – It’s a Marshmallow World in the Winter…

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Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! Jackie Sorkin, shown. (Photo by: Cory Osborne/Hulu)

The song may say it’s a ‘marshmallow world in the winter’… but I bet you’ve never considered how much work it is to create it…

Now streaming on Hulu, Candified: Home for the Holidays follows Candy Queen Jackie Sorkin as she and her crew undertake an impossible task: create a life-size house made of candy! With only 6 weeks to complete their assignment, Sorkin and her team of candy artists work tirelessly to design, melt, build and shape a home with all the trimmings. Using hundreds of thousands of individual pieces of candy in innumerable styles and shapes, this group battles the clock in an effort to reach their goal as a gift to the children of Boys and Girls Club of America. 

Anchored by the charm of Sorkin, Candified: Home for the Holidays is a light-hearted and tasty diversion for people looking for something sweet this season. With flashy fun, Sorkin and her crew dream and design some truly unbelievable designs in remarkably short time. Like other reality shows, the series is fueled by its characters. Whether it’s ambitious “#3” D. Micah or the ‘new girl’ Mandy, this team provides enough light-hearted drama that feels important… but not-earth shattering. (However, that’s not to take away from the incredible difficulty of their accomplishments. Seriously, it’s incredibly stressful building a penguin and fridge with such limited time and resources.) 

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

However, while the cast may be likeable, it’s Sorkin who keeps the show moving. Bounding around the screen with Wonka-esque enthusiasm, Sorkin is clearly thrilled to see her ability to ‘candify’ the world come to fruition. Professional and playful, Sorkin takes her candy seriously, especially since this event provides the opportunity to both help kids and grow her business in the process.

Unlike other bake shows that base their competition on taste, Candified takes a slightly different approach. Instead of devouring the final product, Sorkin’s team creates a sort of interactive playland with candy as its cover. While kids may not be able to taste the product, she absolutely encourages them to engage what they’ve built. 

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

And the results are extraordinary.

Whether it’s woven sour strips blankets or gummy chandeliers, Sorkin and her team seem to make jewels out of jawbreakers. With each bonbon and licorice string, they create some truly remarkable pieces that are good enough to eat. And, quite frankly, I believe that’s the point. Although the task to build out of candy may seem odd at first, Sorkin understands the childlike wonder in seeing her vision brought to life. There’s something inherently playful about moving through a house made of treats and truffles. Marshmallow pools, gummy-laced fridges and so much more absolutely sparkle with joy. 

Without question, Hansel and Gretel would be proud.

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

However, the true soul of the show belongs to the team’s ability to come together. As the series begins, squabbles over leadership structure and the sheer size of their challenge begin to weigh on them. As a result, cracks begin to appear in Sorkin’s squad. Even so, as the clock ticks onwards, they increasingly manage to pull things together as they focus on their common goal. Broken pieces, shattered statutes and improper implementation all may cause delays but they still push through. To them, this project is about far more than candy decorations or simply building their brand. This is an opportunity to support children in need. That collective vision fuels their enthusiasm and they are able to put aside the things that were dividing them. In this way, the series highlights that the importance of supporting others far outweighs their petty disputes and can truly bring people together in the process.

In the end, Candified: Home for the Holidays is truly a treat for the family. As Sorkin continues to ‘candify the world’ with her Midas touch, so too does she also spark joy in the hearts of those around her. With every gummi bear and sour candy, she and her crew have concocted something truly special that speaks to the power of working together but also lights up the senses.

Candified: Home for the Holidays — Candy Queen Jackie Sorkin and her team of exceptional candy artists design, manipulate, cut, glue, melt and shape 100s of thousands of pieces of candy as they attempt to build a fully-furnished, life size holiday candy house in time for the holidays! (Photo by: Cory Osborne/Hulu)

Candified: Home for the Holidays is now playing on Hulu+.

Reel Asian ’21: A Trip to Heaven

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Set on the road to Mekong Delta, A Trip to Heaven follows 50-year-old Madame Tam as she boards a mysterious tour bus. After she settles in, she is shocked to see her former high school sweetheart sitting in the back row. Enamoured and excited, Madame Tam battles her nerves and must decide whether or not she’s going to attempt to reconcile with her long-lost love.

Directed by Ling Duong, A Trip to Heaven is a beautifully poetic piece about death that also maintains its sense of humour. Through slow, steady camera work, Duong’s short creates an atmosphere of inevitability. While we don’t fully understand where this bus tour leads, Duong never lets us forget that it leads somewhere. Although kept moving with humour, the film maintains a slow burn as it builds towards the final scene at the ‘Stairway to Heaven’.

What’s more, Heaven also emphasizes the emotional burden that we can put upon ourselves for missed opportunities. For example, as Madame Tam yearns to reconcile with her lost love, she expresses her desire to relive a piece of her past that she regrets. Approaching the end of her life, she still holds out hope that—maybe—there might still be an opportunity for long lost love. To her, this is a moment has left a hole in her soul. As a result, the chance to change her past is embedded with possibility and hope. 

However, at the same time, Heaven serves as a reminder that you cannot always fix what has been done either. Sometimes, moments from our past cannot be repaired, no matter how much we yearn for them to be changed. In this way, this Trip to Heaven wants us to believe in hope for change… but also points out that it may not always be possible.

A Trip to Heaven premiered at Reel Asian Film Fest ‘21.

Reel Asian ’21: Taipei Suicide Story

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Set in a society vastly different from our experience, Taipei Suicide Story takes place in a hotel that willingly assists its guests with ending their lives. By providing a number of methods by which they may commit suicide, this place runs efficiently and effectively. However, when a hotel guest who is unsure about her life and death decision is discovered to have ‘overstayed her welcome’, a receptionist begins to break the rules of engagement and the two strike up an unusual friendship.

Directed by KEFF, Taipei Suicide Story is a surprisingly sweet and strangely funny look at the tension between life and death. Keeping his camera movements simple and his dialogue quiet, KEFF offers a sense of reverence for the lives lost, even if their passing takes place in a facility where it’s expected. In many ways, this hotel is a morgue, inviting guests to join in the gentle release of death. However, by using a warm colour palette, KEFF keeps this place feeling both welcoming and safe within its walls. Though the end result may be sad, this hotel feels just the opposite.

Anchored by heart-warming (and heart-rendering) performances by Vivian Sung and Tender Huang, Suicide Story speaks to the human need for intimacy and connection in a space where hope feels lost. After remaining in the hotel for an unexpected length of time, Sung’s character is looking for something. Whether it’s a reason to live or die is unclear, yet what is apparent is that she is sensing a deep loneliness. Her openness and emptiness connects deeply with Huang’s receptionist. To him, this place has always been about respecting the rules while others suffer. However, in this guest, something sparks. As the two grow closer, so too does KEFF use this story to speak to our human need for intimacy and the emotional void that is left without it.  

Taipei Suicide Story premiered at Reel Asian Film Fest ‘21.

Reel Asian ’21: Beyond the Infinite Two Minutes

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Set above a simple Japanese café, Beyond the Infinite Two Minutes follows Kato as he returns home from a hard day at work. As he looks around his tiny apartment for his guitar pick, an image of him appears on his computer monitor, claiming to be him but two minutes into the future. Soon, Kato and his friends begin to enjoy the phenomenon, using the ‘Time TV’ to improve their lives. However, in doing so, they also quickly realize that there are consequences to their reckless behaviour as the future strikes back with a vengeance.

Directed by Junta Yamaguchi, Beyond the Infinite Two Minutes is an absolute joy from start to finish. Hilarious and energetic, this well-written mind-trip through time fully commits to its premise yet feels fully grounded in reality. Adding to the fun is the fact that Yamaguchi and his team shoot the film to feel as one continuous shot, moving the camera with gentle urgency. In doing so, he keeps the viewer in the moment (and continues to add to the illusion) as time unfurls in front of them in real time.

At the film’s heart though lies questions about what establishes our future. As Kato and his friends look further into the beyond, so too do they lean into the ‘plan’ that has been set before them. Their decisions are affected and they become bound to the will of the digital story unfolding in front of them. However, are they bound by the rules of the future? Or do they in fact have free will to make their own decisions and what would the effects of that be? As it explores the boundaries of choice, so too does Beyond the Infinite Two Minutes lean into the relationship between hope and freedom as we create our own futures.

Beyond the Infinite Two Minutes is now playing at Reel Asian Film Fest ‘21.

Reel Asian ’21: Inbetween Girl

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Inbetween Girl tells the story of Angie Chen, an American teenage girl dealing with the typical dramas of popularity, boys, sex, and plans after high school. What sets Inbetween Girl apart from your typical coming-of-age drama though is that the story greatly centres around the aftermath of her parents’ divorce and ties deeply into the relationship between her ethnicity and her identity. 

Angie’s mother is a white American and her father is Chinese. After the divorce, her father moves on to a Chinese woman whose daughter, Fang, is the stereotypical model student and model minority character. Perfect grades, Stanford student, “pratical” career aspirations are her markers (and everything Angie is seemingly not). Coupled with the fact that she grew up in a household that never spoke Chinese or acknowledged her Asian roots, Angie is stuck in-between cultures and trying to identify which (if either) define her. The film also explores Angie’s experience growing up biracial in an all white school, where the standards of beauty set by her peers show off their racist tendencies. (In fact, she’s even compared to a panda and treated like a dog that was bred for its ‘cute features’.)

Overall, I enjoyed the direction that Inbetween went as well. Angie is in a typical love triangle you see in many coming of age films, yet she has no desire for popularity. Instead, Angie simply wants to just live a good life and find her own identity. By showcasing it through her art, the film shows her personal growth effectively as she finds a way to express what she can’t through dialogue. 

Inbetween Girl is now playing at Reel Asian Film Fest ’21

Holy Emy: Coming-of-Age Amidst Spiritual Realities

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As we grow into adulthood, we all face choices which decide who we are going to be. In Holy Emy though, the decisions aren’t as important as the end result.

Set in Athens, Holy Emy tells the story of Teresa (Hasmine Kilip) and her younger sister Emy (Abigail Loma), two sisters who are left alone when their mother returns to the Philippines. When Teresa suddenly becomes pregnant with the child of a Greek sailor, she remains accepted and loved by the Filipino Charismatic Catholic church where she attends. Feeling like she doesn’t belong there, Emy explores the home of Mrs. Christina, an elderly woman who runs alternative healing practice. As she explores her spiritual options, Emy’s openness to Mrs. Christina creates tension within the home amongst those who remain concerned about the mysterious forces that she could be awakening within her.

Directed by Ariceli Lemos, Holy Emy is a fascinating coming-of-age story that spirals into an exploration of the relationship between the Divine and humanit. With simplicity in her visuals, Lemos somehow manages to create an aura of both terror and wonder regarding the spiritual impact on the everyday lives of her characters. In other words, this is not a film which wants to offer the viewer wild special effects but instead chooses to give the spiritual world a far more realistic look. Admittedly, the film takes a while to truly get going. However, solid performances from leads Loma and Hasmine Kilip keep the film moving.

On the surface, Holy Emy is very much the story of two sisters as their relationship begins to take a new path. Having grown up together, both Emy and Teresa’s lives have always followed the same trajectory. However, as these young women approach adulthood, their paths begin to diverge, leading to an identity crisis within Emy. As Teresa’s pregnancy and on-again, off-again relationship with the father lead her to independence, Emy finds herself feeling somewhat lost and alone. When the effects of Emy’s spiritual journey begin to settle in though, Lemos’ film takes a decidedly more dramatic turn.

As a result, the film becomes a quite literal spiritual tug-of-war for Emy’s soul. Caught between the world of the Catholic church and the alternative healers, Emy is simply asking what it means to connect with the divine. However, at the same time, both Mrs. Christina and Teresa’s church cry out for her to commit to their practices. Whereas Mrs. Christina wants commitment to her teaching, Teresa’s church cries out in fear for her involvement with supernatural forces outside the church’s comfort levels. What’s more, both spiritual options also come with their own potential problems. Although Teresa’s church seems like a supportive place, so too do they also demand that you fit into their more restrictive ‘theological box’. At the same time, Mrs. Christina’s home may seem to fit Emy’s personality better yet she too is also demanding of her young protégé.

As a result, while the film opens to the door to the impact of the supernatural, it does not necessarily settle on a particular ‘side’ of the spiritual debate. As her spiritual influence begins to grow, Emy is portrayed as one who both heals and hurts. In other words, although she shows remarkable abilities to give life to others, so too does she possess the power to do damage to others. In this way, Lemos’ film refuses to either justify or demonize Emy’s choices. For Lemos, the most important aspect of Emy’s decision seems to be the discovery of what’s best for her in her own spiritual journey. In this way, the film offers no particular ‘agenda’ other than to suggest that perspective shapes one’s spiritual understanding and self-actualization.

In Holy Emy, the spiritual inquest is more important than the spiritual answers.

As a result, Holy Emy is an intriguing piece that revels in the in-between. While eventually Emy chooses her path (no spoilers), Lemos offers no definitive decision as to whether or not she agrees with her decision. Instead of focusing on her spiritual abilities, the aspect most celebrated within the film becomes the end result of Emy’s growth into her own person.

For Lemos, the destination becomes more important than the journey.

To hear our interview with director Araceli Lemos and star Abigail Loma, click here (YouTube) and here (podcast).

Holy Emy is now playing at AFI Fest ‘21 in Los Angeles.

Young Plato: An Oasis in Northern Ireland

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In a culture broken by its own history of pain, everyone needs a place of safety

The new documentary Young Plato tells the story of Elvis-loving school headmaster Kevin McArevey. As the headmaster of Holy Cross in Northern Belfast, McArevey has seen how anger and rage can destroy the hearts and minds of children. As a result, he and his staff have become determined to see the lives of their students changed in the midst of a community plagued by sectarian aggression and poverty. Backed by the principals of history’s greatest philosophers, Holy Cross seeks to challenge their children to think differently than their parents and use their minds to reshape their actions and future.

Directed by Neasa Ni Chianain and Declan McGrath, Young Plato is a remarkable story of hope and healing in an area marked by pain. With their naturalist approach to filmmaking, Ni Chianain and McGrath feel like the proverbial fly on the wall, observing the incredible lessons taking place within the walls of Holy Cross. Even without direct interviews with subjects, Plato still deeply connects the viewer with the hearts and passions of McArevey and his staff. Without interference, we can see the frustration on McArevey’s brow when he needs to speak to the same cousins multiple times about their friction and fighting. Then, when one student acts out against one of his staff, the sadness within his soul is almost palpable onscreen. With compassion in their eyes and patience in their hearts, McArevey and his group work tirelessly to create a place of peace within an area of turmoil and struggle.

In many ways, the connection to the larger area is one of the most powerful aspects of the film. By highlighting the relationship between the school and the surrounding area, Ni Chianain and McGrath are able to explore the vast ideological differences that exist between them. Located in Northern Belfast, the anger and tension that exists within the city and, more specifically, the homes of the students themselves bubbles underneath the surface in ways that could boil over at any moment. As a result, it becomes apparent very quickly that these kids are coming to school infected by the same internal rage that their family circumstances have brought into their homes. Whether it’s struggling to pay bills or simply cultural biases, the boys of Holy Cross arrive with something irking them underneath. However, through their emphasis on philosophical inquest, McArevey and his team are helping give their students the tools necessary to process their inner turmoil and frustrations. They are literally being changed by the renewing of their minds.

By emphasizing the power of expression and reflection, Holy Cross is giving these kids a chance for a new beginning.

What’s more, the impact that Holy Cross is having on the neighbourhood extends beyond the children themselves. Featuring footage of evening classes and home visits with the family, the film demonstrates McArevey’s desire for the parents to learn the tools that their children have adopted from their school environment. In a place where hearts are heavy, Holy Cross has become an oasis for the entire family. (Incidentally, Ni Chianain and McGrath further emphasize this point with their final shot of the film when, as the camera rises into the air, the school becomes the centerpiece of the neighbourhood.) With their commitment to students and parents, McArevey and his staff have created an environment of compassion and peace in the midst of their personal (and cultural) storms. For these families, Holy Cross means more than just a good education for their children.

For them, Holy Cross means hope.

With compassion and love, Young Plato truly is an experience to behold. Sitting silently behind her lens, Ni Chianain and McGrath shine a light on a place that is truly making a difference in the lives of its people. Whether it’s the students they see on a daily basis or the parents who care for them, Holy Cross’ emphasis on conversation and compassion are making providing a place of healing and inspiration for those in desperate need of restoration.

Because that’s simply what an oasis does.

To hear our interview with co-director Neasa Ni Chianain, click here (YouTube) or here (audio).

Young Plato is now playing at DOC NYC ‘21.

Reel Asian ’21: I Was a Simple Man

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“Time moves differently here.”

Set on the North Short of Oahu, Hawaii, I Was a Simple Man tells the story of Masao, an elderly man who’s life is nearing its end. As his health continues to decline, Masao reflects on the moments of his life that have shaped him, both positively and negatively. While he looks back on his life, past and present begin to collide and the ghosts of his life haunt his memories, offering him a chance to mourn and make peace with his pain.

Directed by Christopher Makoto Yoki, I Was a Simple Man is a beautifully reflective piece that speaks to the summation of a life. With three generations of life depicted onscreen (at times, simultaneously), Simple Man is a testament to the moments we cherish and regret as the end of life approaches. Although he says little (if anything) throughout the film, Steve Iwamoto’s performance as Masao carries the emotional weight of a man who is both grateful for the people in his life and remorseful for the damage that he has caused along the way. Shattered by his own losses, Masao’s life is filled with regrets, even though he has also found great love as well.

At the same time, the brokenness of his life also affects the reactions of his family to his decreasing health. While her history with her father remains conflicted, so too does his daughter do what she can to stand by. At the same time, with his grandson, his understanding of his grandparent is lacking experience and thus feels somewhat disconnected. While Masao’s life may be ending, their lives endure and the echoes of his story have left marks on them as well as they move forward. 

In this way, I Was a Simple Man serves as a reminder of the impact that one’s life can have throughout the echoes of time. Quiet and powerful, Masao’s story speaks to the fact that, while the events of our lives may shape us, so too do they shape those around us as well.

I Was a Simple Man is now playing at Reel Asian Film Fest ‘21.

TIFF ’21: Spencer

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Set during the three days surrounding Christmas, Spencer focuses on the emotional journey of Princess Diana (Kristen Stewart) as she struggles to survive her holidays with the Royal Family. With her marriage crumbling and knowledge of Charle’s affair with Camilla now public knowledge, Diana arrives at Sandringham emotionally exhausted and looking forward to time with her sons. However, as she is forced to endure soul-draining traditions that leave her empty, she continues waste away internally. Broken and weary, Diana begins to rebel against the decorum that she has come to despite, raising the ire of a new employee (Timothy Spall) who has been hired to keep her under his strict watchful eye.

In Spencer, director Pablo Larrain weaves a tale that feels more like gothic horror than it does a tale of royalty. As his follow-up to the superb character drama Jackie, this film takes a more thematic approach to its narrative than it does factual recreation of events. In doing so, he is able to create his own reality that also still feels true to Diana’s emotional stress over her last few years in the Royal Family. 

While there are those who would view the hallowed halls of Sandringham Estate as a modern-day Camelot filled with royal servants and quaint traditions, Spencer takes a decidedly different view. Instead of emphasizing Elizabethan charm and mystique, Lorraine imbues the country house with an ominous sense of oppression and dread. 

As her traumas unravel, Diana is shown to be a woman who is being haunted by ghosts, both figuratively and literally. Pressured to conform by the power of the monarchy, Diana’s inner strength begins to bubble to the surface and she begins to take matters into her own hands. For her, pleasing the system that surrounds her is not as important as the health of her soul and so she looks for opportunities to give herself space to breathe again.

Spencer premiered at TIFF ’21 on Wednesday, September 15th, 2021.