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where faith and film are intertwined

Premieres

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.

TIFF ’21: Flee

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Directed by Jonas Poher Rasmussen, Flee tells the true story of Amin Nawabi (a pseudonym) who fled Afghanistan as a young man. Over the course of a journey that included relying on human smugglers, almost drowning at sea and fake identities, Nawabi and his family were willing to take every possible avenue available to start new lives in Denmark. Although Rasmussen first met his friend in high school, Nawabi has never told his story to anyone. Now an adult living with his partner, Nawabi he has chosen this format to tell the struggles that made him the man that he is today, including being separated from his family and coming to terms with his sexuality at a time of oppression.

By telling the story through animation and stock footage, Flee has a unique feel. There is something beautiful about this style of storytelling. It somehow manages to allow the narrative to pop onscreen visually without taking anything away from the storyteller himself. However, the animated style also filters the truth. For example, while the film itself plays out like a memory, so too does it also remain one that we can’t fully see for ourselves. On the other hand, through his (limited) use of archival footage, Rasmussen grounds his story in reality. Even when the animated style allows you to keep a distance from the story, the footage provides necessary historical context. 

With creativity and style, Rasmussen creates a visual treat for the eyes that accentuates his narrative. However, the real story here is not the format. The most powerful aspect of Flee is Nawabi himself as he bears his soul with honest and humility. With each reveal, one senses that Nawabi has taken a more difficult path with the potential for massive reward. 

Flee premiered at TIFF ’21 on Tuesday, September 14th, 2021.

TIFF ’21: I’m Your Man

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Set in the present day, I’m Your Man tells the story of Alma (Maren Eggert), a scientist who is offered a job evaluating a new line of humanoid companions. After her boss manages to convince her with some mild bribery, Alma agrees to bring the cybernetic Tom (Dan Stevens) into her home for a period of three weeks in order to ascertain their value as romantic mates and potentially the rights they deserve sociologically. Although she’s skeptical (and even resistant), Tom never wavers from his desire to make her happy, forcing Alma to re-examine what she believes to be the nature of love.

Co-written and directed by Maria Schrader, I’m Your Man is a fun and philosophical film that asks some big questions in surprising ways. While the film could potentially unravel due to its high concepts, the film manages to sell its premise and draw the audience in with genuine affection. Admittedly, much of the film’s effectiveness is largely due to the utter charisma of Stevens, who sells Tom with such adorable charisma that you never really question the fact that this woman in this robot seem to be falling in love. (In fact, in the film’s greatest achievement, you’re even rooting for them as a couple.)

While the film acknowledges the social implications and dangers of becoming too obsessed with items which are in real, there is a charm that plays out in the relationship as well. Can a person love a thing as much as it does another human? In truth, this could be argued that this is already the case. If the act of love involves in our investment of time, than where we put our focus should be indicative of what we care most about. If love is based on an emotional attachment (even an unhealthy one), I’m Your Man wants to investigate the boundaries of that argument.

I’m Your Man premiered at TIFF ’21 on Monday, September 13th, 2021

TIFF ’21: MiddleMan

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In The Middleman, Frank, a man who has suffered from long term unemployment, must take on the role as of “middleman” in the town of Karmack, USA. Broken by their own pain, Karmack is a town that is so depressed that they require a professional middleman to give any bad news to people. This responsibility falls to Frank, who is given the extreme burden of a job nobody wants. (After all, this would be one of the most emotionally draining roles that one could do for a living.)

Initially, it seems as though Frank has been thrust into this role without choice. But, as the film unravels, it becomes clearer that Frank has actually chosen the role and did so out of guilt. Dealing with the shame of a tragic event from his childhood, Frank has lived in regret and guilt his whole life. As such, this job is his way of making amends for his guilt. He has to be the one to deliver bad news to people, to be the middleman and take in all the anger, grief, and frustration to those that he must deliver the bad news. It’s his way of getting what he thinks he deserves. This self-destruction only further worsens his mental health. Anytime that Frank is in a position of good fortune, he’s unable to bear it and does something destructive to his life in order to off-set the blessing.

If you think about it, Frank really is the villain of the story. No matter how guilty he feels, how much he tries to redeem himself, Frank continues to make the lives of those around him—and himself—worse. Because of his actions, Frank’s continues to harm those around him, despite his intent. As people, we want to improve on ourselves and be better yet sometimes we fail. In this way, Frank is the ultimate failure. The wild moments that unravel around him help Middleman to become a great dark comedy that entertains.

Overall, Middleman takes the viewer on a journey with Frank, a middleman for bad news. With some solid dialogue and brutal moments, the film is really a journey of a man with one of the most emotionally crushing jobs possible who is simply  trying to rectify his guilt and overcome his past.

The Middleman is currently playing at the Toronto International Film Festival.

TIFF ’21: The Electrical Life of Louis Wain

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Set in Victorian London of the 1880s, The Electrical Life of Louis Wain tells the story of Louis Wain (Benedict Cumberbatch), an academy-trained artist who earns his keep by drawing portraits of animals from the county fair. Living with his mother and five younger sisters, Wain was committed to supporting his family yet constantly seemed to find himself at odds with the rest of society. However, his demeanor changes when he hires Emily Richardson (Claire Foy), a loving and inquisitive governess to care for his sisters. Despite their class differences, romance blooms between them. As such, their relationship frustrates his sister Caroline (Andrea Riseborough), causing tension within the family structure.

Directed by Will Sharpe, The Electrical Life of Louis Wain is an engaging and heart-warming piece that celebrates one of arts most unique voices in the last 150 years. While the structure follows standard biopic structure, Sharpe’s use of colour helps give the film a very different style that blends reality with the art world itself. Backed by another all-around solid performance by Cumberbatch, Louis Wain feels surprisingly earnest for a film that focuses on a man that spent much of his life painting cats. 

Nevertheless, there’s something joyful embedded within the film that simply charms (and even makes you appreciate cats a little bit more). In many ways, Wain was a man who saw the ordinary and extraordinary ways. His life was one that sparked a unique flavor of joy, even if it went against the customs of the day. With a strangely cryptic title and enthusiastic adoration of cats, The Electrical Life of Louis Wain is an unexpected joy that speaks to the value of everyone, especially the outcasts. 

The Electrical Life of Louis Wain premiered at TIFF ’21 on Sunday, September 12th, 2021.

TIFF ’21: The Humans

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Based on the play of the same name, Stephan Karam’s film The Humans is an American drama set within an apartment around Thanksgiving. At a season which is supposed to be about  celebration, three generations gather under one roof to discuss their lives, from the positives and negatives to even the most obscure conversations. Starring Amy Schumer, Steven Yeun, Beanie Feldstein, Jayne Houdyshell, and Richard Jenkins, The Humans give an outsiders view into what this random family is going through. 

In many ways, Humans feels like a look into the ‘typical’ American life, especially during the holidays. Opposing viewpoints, perspectives, and generational differences are all things that often surface during these times and make the season challenging for many. One very important conversation to the film that was addressed during the directors Q&A is the impact of work and how much finances interplay with family connection and life. A struggling family dealing with job loss, unemployment, and medical bills seems standard for the typical American family as finances of older generations fail. As a result, it seems that there’s a higher dependence on the younger generation to take care of parents. In fact, having three generations under one roof has become more common, simply out of necessity. 

One thing that I loved about The Humans was how raw and human it felt. Throughout their time together, the viewer is left as a bystander, forced to listen to the lives of these people. In many ways, these people are an average family. They could be you or your loved ones, including the sorrows and anxieties which bubble to the surface and how they try to cope with them by coming together. The film is beautiful yet, at the same time, it’s also sad seeing the human experience play out so casually in this little apartment. There’s something so fascinating about hearing “private” conversations that aren’t meant for our ears. It’s like we’re eavesdropping on the gossip.

Overall, The Humans is a great movie that provides a look into the typical American household and the fears, dreams, and regrets that haunt us all. As a family, they do their best to endure their struggles and support one another. Backed by stellar performances and a solid script, the film highlights the challenges of doing life together.

The Humans is now playing at the TIFF ’21.

TIFF ’21: Dune

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Directed by Denis Villeneuve (Blade Runner 2049, Arrival), Dune tells the story of Paul Atreides (Timothee Chalamet, a gifted young man who believes his destiny is to do great things. As the heir to the House Atreides, Paul is drawn into an interstellar conflict when his father Leto (Oscar Isaac) attempts to negotiate the exclusive rights to mining a rare and essential natural resource on the planet Arrakis. As discussions move forward, tensions between Atreides are stalled when the brutal Harkkonen attempt to take the resources for themselves. As a result, Paul finds himself caught between loyalty to his father and seeking the destiny he believes lies before him.

While the cinematography may not be quite as impressive as Blade Runner 2049 [How do you compete with Roger Deakins?], there is no doubt that Dune is meant to make you feel insignificant against its landscapes. Filled with creativity and detailed history, this is the sort of sci-fi epic that seeks to honour its source material by fully immersing you within its story. Similar to Game of Thrones, Dune is not a simple ‘good versus evil’ battle but instead becomes a deep political thriller with multiple sides, history and theology. As such, casual fans may need to be patient in order to find their way through at first..) 

With deep affection for his source material and incredible skill, Villeneuve has yet again created a film which is both stunning and smart. Bound to be divisive due to its long runtime and complex political landscapes, there will be those who feel they cannot connect with Dune. What’s more, its always a risk to make a film with the intent of future installments, especially for science fiction epics. However, Villeneuve’s Dune is one which deserves to be completed. 

Dune premiered at TIFF ’21 on Saturday, September 11th, 2021

TIFF ’21: The Power of the Dog

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Although they have built a successful ranch together, brothers George and Phil Burbank could not be more different. Elder brother Phil (Benedict Cumberbatch) maintains a rough and dirty exterior who consistently praises his masculine mentor, Bronco Bill. Meanwhile, George (Jesse Plemons) is a sensitive soul who wants to be a part of the cultural elite. When George meets Rose (Kirsten Dunst), he is immediately smitten by her. After they wed, he welcomes his new bride and her son Peter (Kodi Smit-McPhee) back to the ranch. However, as family secrets begin to surface, tensions between Phil, Rose and Peter begin to rise, threatening the family dynamics.

In her first directorial effort since 2009’s Bright Star, Jane Campion’s latest is a stirring character drama that operates on a slow burn amidst the heat of the desert. Led by a cast that includes Dunst, Smit-McPhee and Plemons, it should be no surprise that Dog features some great work from everyone involved. However, the most noteworthy performance comes from Cumberbatch who absolutely transforms himself as brutish Phil Burbank. 

With heat and affection, Campion’s Power of the Dog is a subversive examination of masculine stereotypes and their toxic effect on the soul. While the ‘gay cowboy’ trope has admittedly become a cinematic staple since Brokeback Mountain broke down barriers, Power of the Dog is more of an exploration of masculine culture than it is a love story. Set at a time when gender roles were supposed to be clearly defined, Dog speaks to the damage that can be done to the soul when who we really are fails to meet those expectations. Here, every primary character is living some form of lie that prevents them from being who they fully are. By subverting the tropes of the western genre, she opens a space for conversation surrounding what it means to lean into who you really are, even if it defies expectations of the dominant culture.

The Power of the Dog premiered at TIFF ’21 on Friday, September 10th, 2021

TIFF ’21: The Guilty

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Directed by Antoine Fuqua (Training Day), The Guilty takes place during the raging wildfires of Los Angeles. As his nightshift at the 911 desk winds down, frustrated and exhausted police officer Joe Bayler (Jake Gyllenhaal) gets a perilous phone call from a young woman (Riley Keough) who appears to be calling her child. Though he must get up early in the morning for a trial of his own misconduct, Joe ascertains that the young woman has been abducted and attempts to piece together her whereabouts from her cryptic clues. However, as the crime begins to unravel, Joe’s own inner demons begin to surface, blurring the lines between justice and vengeance.

In The Guilty, Antoine Fuqua delivers his signature intensity in a film the demands attention. Taking place entirely in the office of 911 dispatch, it is very difficult to maintain interest over the course of a full runtime in one location (and especially when the protagonist is spending the entire length of the film on the phone. Nevertheless, The Guilty somehow makes it work. Anchored by a solid script and the strength of its lead, The Guilty may be one of the best examples of the genre. It simply grabs you from the opening scene and never truly let’s go. 

However, what makes gives The Guilty its power is it subtext. Bold and gripping, The Guilty is a film that needs to be experienced. With skill and substance, Fuqua takes a genre that rarely works and delivers an entertaining and thrilling film that keeps the viewer on the edge of their seat. Even so, the real value of the film is its question of valor which resonates deeply with the questions of police accountability today. While Joe may be a man who wants to not be Guilty, it’s also clear that he’s far from innocent as well.

The Guilty premiered at TIFF ’21 on Friday, September 10th, 2021. 

Zack Snyder’s Justice League: Reborn Film Finally Does Justice to the Franchise

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You could forgive me if I doubted.

After years of hearing about the mythological ‘Snyder Cut’, there was simply no way that this film could meet expectations. After all, the original film was such a tepid piece of fodder that there was simply no way that a few tweaks or additional scenes could self-correct a franchise that had fallen so far off the rails. Now, with a refreshed budget and a new home on HBOMax and Blu-ray, Zack Snyder’s Justice League has finally arrived. 

And I admit that I was stunned by the results.

The details of the Snyder Cut’s resurgence has been well-documented. Determined not to copy Marvel’s roadmap to success, DC chartered their own path that rushed the process. By the time that The Avengers came around, standalone films had charted a path that allowed audiences to connect with the characters before they attempted to work together. Falling behind in the box office, the release of Batman v. Superman: Dawn of Justice gave DC the chance to try and regain some traction in the pop culture world. In their attempt to speed up the process, they threw their characters into films without any proper introductions. Whether they were attempting to ‘catch up’ to Marvel or simply afraid of being accused of ‘copying’ Disney’s juggernaut franchise, the result was a middling mess of confusion that left no time to create something special. 

After Joss Whedon’s cut of the Justice League failed to catch on with audiences, WB may have thought they were free of the franchise with a chance to reboot things once again. However, they underestimated their fans. After an unprecedented fan campaign that lasted three years and a hashtag (#ReleaseTheSnyderCut) that simply wouldn’t die, WB found themselves portrayed as the villains of a fiendish plot to suppress a director’s vision. Even so, they held firm to their comment that any other version for the film simply did not exist.

All that changed with the creation of HBOMax. Even if Snyder had been able to complete the film initially, there’s simply no way that the WB would have allowed a four-hour cut to be released in theatres, especially for a franchise that had been viewed as flailing. Although, with the move to streaming, Snyder suddenly had the opportunity to lean in to his longer take on the film. All of a sudden, he had the time (and freedom) to tell the story his way. Given more space in the world of digital media, Snyder’s League feels less like a theatrical release and more like the first chapter of a mega mini-series event. At a time when binge-watching has taken over the ‘theatrical experience’, Zack Snyder’s Justice League leans into our current obsession with long-form storytelling, complete with ‘chapters’ marking breaks within the film. 

Most importantly though, what about the quality of the film itself? 

The truth is that it’s good. Very, very good. 

Shockingly good, really.

In the new cut, Zack Snyder’s Justice League picks up immediately following the events of Batman v. Superman: Dawn of Justice. After Superman’s (Henry Cavill) death, the world is left with a need for heroes. As such, Batman (Ben Affleck) and Wonder Woman (Gal Gadot) begin building a team of super-humans who will stand together against an ancient evil that is preparing to return and exact revenge on humanity. 

Although I have never considered myself a ‘Snyder-apologist’, one can’t help but recognize the quality of his epic saga. The ‘director’s cut’ is far from a new concept in our culture. Even so, the extent of these re-edits usually amounts to a few additional scenes or some updated special effects. In the case of the new League, Snyder offers an almost entirely different story with new subplots and expanded character beats.

In fact, it’s not an exaggeration to suggest that it improves on the original theatrical cut in virtually every way.

While Whedon’s original film attempted to ‘lighten’ the tone with more quips and less exposition, that vision never truly fit with the world that Snyder had already created. Marked by rushed character arcs that never satisfy and a bland villain, the original film rarely works. Nevertheless, with the move to HBOMax, Snyder’s version has the proper time to explore the stories of new characters without betraying the larger superhero story. Though this saga would obviously have benefited from prior stand-alone films, Snyder’s League does its very best to compensate by giving meaningful backstories to its new additions, especially Ray Fisher’s Cyborg. Once a side character with little relevance, Cyborg has suddenly become the film’s emotional core with an arc that has a significant impact on the outcome of the story.

In addition, the most notable change comes through a more fully realized villain in Steppenwolf. Whereas Whedon trimmed the brute’s story down to almost nothing, Snyder’s new footage offers a meaningful role to the character. Instead of a standard ‘big bad’ who’s forgettable (at best), the new League highlights his motivation and relationship to the larger impending force of nature in Darkseid. As a result, not only does Steppenwolf become more interesting to the viewer but his actions simply make more sense. (What’s more, new special effects give the character a much more menacing look, a factor that was lacking in the original cut.) 

Of course, it’s also important to know that the film ends on an enormous cliff-hanger. Originally conceived to be the first of three films, League operates in grand strokes but never fully concludes. (For the record, Snyder has currently stated he has no intention of returning to the world.)

What’s more, despite its overall quality, this League will not likely win any new converts from those who struggle to connect with Snyder’s vision. Although it goes without saying that this a vastly improved version of the film, all the Snyder-isms that will cause derision remain front and centre. Off-putting to some for his showmanship, there’s little question that his visual polish drives his work. Featuring a litany of stylized effects, slow-motion action and dark, gritty story-telling, League is Snyder is at his free-wheeling best yet he will still likely alienate viewers who are looking for something more along the lines of Marvel’s lighter, more humorous tone.

However, these vast differences are all very intentional. Whereas Marvel has taken a much more scientific or ‘human-centred’ approach to their content, Snyder’s vision for the DC Universe has always included viewing these heroes as modern gods. Though Marvel seems to create heroes on par with mankind, Snyder views characters like Superman, Batman and Wonder Woman as super beings who have been sent as examples to inspire humanity to greatness. (One need not look further than the giant monument to Superman to see that this is true.) There’s a deep admiration for his characters within Snyder’s work that hints at the spiritual longings of a culture looking for heroes. As such, his vision for the League meets every superhuman act with a grand crescendo. Bursts of electricity, clangs of metal and a bombastic soundtrack give the film an epic scale that highlights his vision. To Snyder, the DC Universe is an example of our modern mythology and, as such, he is unapologetic in his reverence for the material.

With the release of his ambitious superhero opus, Snyder truly does come out as the winner here. With grandiose storytelling and vastly improved character arcs, Zack Snyder’s Justice League shows what the director can do when given the time (and money) to bring his vision to life. As a result, this reborn League certainly feels like the unexpectedly epic conclusion that this chapter of the DCEU (and Snyder himself) needed.

That is, until #RestoreTheSnyderVerse takes effect.

Zack Snyder’s Justice League is available to stream on HBOMax and on Blu-ray. The special feature included is “Road to Justice League” as Snyder reflects on the three DC films he made for Warner Bros.