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Sunday at AFIFest2020

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As AFIFest Presented by Audi continues to unfold, each day new films are being opened for viewing. During normal years, most films would play a couple times during the week. That challenge was to find the day and time that you could fit things. This year, I get to pick and choose the order I see films in each day. The lack of a rigid schedule is a plus for having a virtual festival. On the negative side, you don’t get to hear people saying how good something was so you can add it to your list to see.

Writen and directed by David Carbonier and Justin Powell, The Boy Behind the Door is a taut thriller. It is the kind of film that might, in normal years, be presented in a selections of Midnight films. Bobby and Kevin are best friends and dream of growing up to head off to someplace different from their home. They dream of California. But then the two boys are kidnapped. Bobby manages to escape, but he cannot leave Kevin behind. He is soon playing a cat-and-mouse game with the kidnappers as he tries to locate and free his friend. The film maintains a constant tension, with a few moments that make you jump. There is a fair bit of blood and violence, which for some people would be a plus, for others a turn-off. Bobby is the more resourceful of the boys, but he must also rely on Kevin for them to succeed. When one needs the other, these friends will do whatever is needed to save the other.

Japan’s Under the Open Sky, directed by Miwa Nishikawa, tells us of a man who, after spending the last 13 years in prison, is trying to adjust to the outside world. Masao Mikami has served his sentence for murder and returns to society. He vows that this time he will go straight. A lawyer serves as his sponsor and helps him get set up with welfare and a place to live. Mikami wants to make his own way, but there are challenges for an ex-con trying to find work. He is contacted by Tsunoda, a TV director, who is interested in helping him find his mother, who abandoned him as a child. The producer of the story wants something more interesting—using his gangster background to set him up to fail. Mikami was known as a brawler and has trouble keeping his temper in check. But he also manages to collect a group of people who care about him and help him find the chance of success in the outside world.

The dangers of recidivism as common for those who are released from prison. If they do not have access to jobs and help, the life of crime seems like an obvious choice. Tsunoda wants to write about Mikami as “an ordinary man” The world may not pay much attention to ordinary people, but for Mikami to fit into the role might actually be extraordinary.

(L-R) Paul Bettany as “Frank,” Sophia Lillis as “Beth,” and Peter Macdissi as “Wally” in UNCLE FRANK Photo: Brownie Harris/Amazon Studios

Family can be the source of pain or healing—and often both. In Allan Ball’s Uncle Frank, Beth Bledsoe (Sophia Lillis) has grown up in rural South Carolina, where she doesn’t really feel like she fits in. On the rare occasions that her Uncle Frank (Paul Bettany) visits from New York City, she is drawn to how different he is from her family. He counsels her to be who she wants to be, not who others tell her she is. She heads to New York for college, and to get to know Frank better. Crashing a party at Frank’s home, she discovers that he is gay. His partner Walid (Peter Macdissi) is the embodiment of kindness.

When Frank’s father dies suddenly, Frank and Beth drive together to the funeral. Walid follows separately because Frank doesn’t want the family to know about him. The three of them will have to face many of the pains of Frank’s past, especially after he is involuntarily outed. Those demons include a sense of guilt about who he is, which has led him to live with his self-loathing all these years. The film is set in 1973 when such closeting was even more prevalent than it is now. Frank’s advice to Beth to be who she wants to be was much harder for him to live out himself.

Inside Out 2020: I am Syd Stone

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Written and directed by Denis Theriault, I Am Syd Stone is a coming-of-age (of sorts) mini-series that follows the emotional journey of Syd Stone (Travis Nelson), an celebrity heartthrob who is constantly stopped by fans who want take a selfie with their idol. Though he exudes masculinity, Syd is at war within himself as he struggles with his sexuality. When his career slows down, he finds himself in a small town, shooting a B-movie that he despises. Sitting at the hotel bar, he meets Matt (Benjamin Charles Johnson), a lawyer who’s in town for a trial and the two men are instantly attracted to one another. As the two men begin a passionate affair, the life that Syd has built for himself is threatened to crumble in the wake of his personal revelations.

Anchored by strong performances from leads Travis Nelson and Benjamin Charles Johnson, Syd Stone is a beautiful character portrait of a man lost within himself. Theriault’s decision to let the camera repeatedly sit on Nelson’s face as he wrestles internally is both uncomfortable and fascinating to watch. Though he says nothing, Nelson’s work here says volumes. For the most part, the film’s pacing operates on a slow burn and even feels like a one-act play. (In fact, the first 5 episodes are so well scripted that, admittedly, the finale feels somewhat jarring. Though well-done in its own right, it simply can’t match the intensity of the rest of the piece by expanding the world so rapidly.)

Passionate and intense, I Am Syd Stone is an incredible picture of a man who needs to decide (or admit) to himself who he intends to be. Theriault’s work here is simple yet effective and showcases the challenges of accepting one’s self in the present, regardless of the damage that has been done in the past.

I am Syd Stone is currently streaming at Inside Out 2020.

Inside Out 2020: Dating Amber

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Set in 1995, Dating Amber tells the story of Eddie (Fionn O’Shea), a young Irish teen who is struggling to come to grips with his closeted sexuality. Growing up in a home with a military father, expectations are high that Eddie will follow in his dad’s footsteps and join the military. However, Eddie’s life changes when he meets Amber (Lola Pettigrew), another gay youth who has yet to come out. Pressured by his peers to get involved sexually with the girls, Eddie suggests to Amber that they pretend to date in an effort to fit in with the other youth. While the ruse works at first, soon their desire to be themselves begins to cause tension and they must decide whether speaking the truth is worth the cost.

Written and directed by David Freyne (The Cured), Dating Amber is a fun coming-of-age story that entertains as much as it engages. With a sharp wit and strong sense of purpose, the film charms with its characters and humour yet neither does it shy away from the complexities of young hormones. Featuring a charismatic cast of youth, Amber pops with energy and life as it explores the challenges of adolescence and sexual exploration. Though their onscreen relationship may be fake, stars Fionn O’Shea and Lola Pettigrew have genuine chemistry together as they support and challenge one another throughout their emotional journey.

Endearing and poignant, Dating Amber is an loveable film about what happens when the innocence of youth collides with the harsh pressures of an unfeeling world. As Amber and Eddie grow more comfortable with themselves, the film serves as a reminder that, when we own who we are made to be, it enlivens the soul.

Dating Amber is currently streaming at the InsideOut Fest.

TIFF20: Good Joe Bell

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Directed by Renaldo Marcus Green, Good Joe Bell tells the true story of Joe Bell (Mark Wahlberg), a loving husband and father from the American Heartland. The picture of traditional manhood, Joe’s conservative worldview is threatened when his son, Jadin (Reid Miller) tells him that he’s gay. After Jadin is bullied mercilessly at his high school, Joe sets out on a mission across America to speak to school groups, communities or anyone who will listen about the corrosive dangers of bullying. However, as he sets out on his journey, Joe must also confront his own inner demons in an effort to be fully transformed by his experience. 

Good Joe Bell is a timely look at what means to be truly changed from within. By telling the story from Joe’s perspective, the film effectively delves into inner biases that create a dangerous culture of oppression, as opposed to merely citing examples. Known for action blockbusters and comedic roles, Wahlberg is not generally known for subtly within his work yet his performance as Joe feels both personal and authentic. As Bell, Wahlberg offers an honest portrait of a man searching the very depths of his soul for new understanding. 

For this reason, the beauty of Good Joe Bell is that it feels so much larger than Joe himself. Structurally, the story may be a tale of one man’s attempt to confront his own prejudices out of love for his son, it also serves as an example of a Conservative culture in dire need of doing the same. Moving and sincere, Green’s story of a man who understands the need for change within his own life comes at a time when Joe’s voice needs to be heard.

After all, though his walk is his own, Joe’s journey to redemption could be anyone’s.

Good Joe Bell is currently streaming on the TIFF Bell Digital Theatre during the Toronto International Film Festival.

Progressive Christianity? Fall Entertainment Preview

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What is progressive Christianity and how is it different from more “traditional” forms? Is it dangerous? What positives does it have to offer?

We discuss the pros and cons – referencing authors such as Alisa Childers, Pete Enns and Andy Stanley – and how to navigate the related issues.

It’s the fall, which means new shows, fall sports and plenty more in the world of entertainment.

We talk about what we’re into and what we’re looking forward to – including Lovecraft Country, The Vow, The Boys, Utopia, the PS5, NFL and college sports, The Gifted, The Last Kingdom and Dune – and share some perspective on entertainment in general, thanks to our collective boy, C.S. Lewis 🙂

Come along for Your Sunday Drive – quick conversation about current events, politics, pop culture and more, from the perspective of a couple of guys trying to follow Jesus.

Hosts: Matt Hill and Nate Polzin. Presented by the Church in Drive of Saginaw, MI, as often as possible. Please visit churchindrive.com and facebook.com/thechurchindrive

Song Without a Name – A Steep Climb

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Life is hard for those on the edge of society. It is often made harder by official indifference of authorities. It is even worse when the authorities feel free to take advantage of such people. Melina León’s film Song Without a Name shows just how such injustice can take place.

Inspired by real events, the film is set in Peru in 1988. There is economic chaos with astronomical inflation. But for Georgina and Leo, an indigenous couple in the Andes, life is lived day to day. Leo is a traditional dancer, Geo sings traditional songs, and they get by selling potatoes on the street. Geo is pregnant, and when she hears a radio ad about a clinic that will provide free medical care for expectant mothers, she takes the long bus ride into Quito for an exam. When she goes into labor, she takes that long bus ride again, gives birth, and encouraged to sleep. When she wakes up, she’s told the baby is at the hospital, and forcibly ushered out of the clinic. When she returns the next day, the clinic is gone. It was part of an operation to provide black market babies for adoption abroad.

On her first visit to the clinic, there were children jumping rope in the courtyard. As the jumped they chanted, “Single, married, widowed, or dead, divorced mother or not, you are worthless.” That rhyme reflects the official indifference that Geo encounter when they report the kidnapping to authorities. The police ask for her identity number, and when she doesn’t have one, she’s asked how they know who she really is. It seems to end any caring by the police, because to them she is a non-person.

It is only after she goes to a newspaper and finds a journalist willing to investigate that we discover that this is an ongoing concern that has official protection. But even when it is brought to light, there is likely nothing to be done about finding Geo’s daughter.

The film is an interesting mix of this story, and a look at the life of indigenous people such as Leo and Geo. The film begins with Leo and others dedicating his new dance clothes, and a celebration of dance and song. Those folkloric interludes show the richness of life that they share in, even if their everyday life may seem a struggle. For those who treat them as “worthless”, these scenes are a statement of the great value they actually have.

The songs are also very much tied into the grief and pain that Geo is going through. Lyrics include, “Time is the longest distance between two places”, “I don’t want to die alone far away”, and “Express bus, where are you taking me”.  These all reflect Geo’s emotional turmoil. The height of this is when we hear her sing a lullaby to her absent daughter. The emptiness she feels is palpable.

The cinematography of the film (which is done in Black and White with a 4:3 aspect ratio) places us in a world with steep landscapes. Geo and Leo navigate those difficult ascents and descents day by day. Their life is a constant uphill climb. Theirs is a precarious life. But others have their own uphill battles, as we see in a subplot involving the journalist as he enters into a relationship with an actor in his apartment building. Being gay also puts him on the edge of society, even though he has a respected professional position.

I first saw this last year at AFIFest. It’s interesting that when I recently watched it again, I made almost as many notes as I did with the first viewing—and mostly about other things I was noticing. That speaks to the abundance this film provides at a variety of levels. It is a blend of  emotional, spiritual, visual, and aural components that invites us to consider the lives of those we may see, but not truly see.

Song Without a Name is available on Virtual Cinema through local arthouses.

Photos courtesy of Film Movement.

Carmilla – Sin Lurking at the Door

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Vampires have a wide range of portrayals in our culture. They have scared us (Noferatu, and Dracula), become love interests (the Twilight series), a metaphor for sexual variation (True Blood), comic figures (What We Do in the Shadows), or a mixture of all of the above (Buffy the Vampire Slayer). In Emily Harris’s film Carmilla, we find a story that might make us think about the nature of sin.

The film is based on a 1871 gothic novel by Joseph Sheridan La Fanu, which predates Bram Stoker’s Dracula by a quarter century. That novel is seen as the prototype of the Lesbian Vampire genre. Lara (Hanna Rae) is a teenaged girl who lives on a remote estate with her father and strict governess, Miss Fontaine (Jessica Raine). The first thing we notice about Lara is that she is left-handed. Miss Fontaine frequently binds Lara’s left hand behind her back to break her of this dangerous habit. (The left hand invites the devil, she says.) We also discover that Lara is attracted to books from her father’s library that have dark illustrations.

Lara is anticipating a visit from a girl from the next town over—an opportunity for companionship that she sorely lacks. But when the girl is suddenly taken ill, that visit is cancelled. But then there is a carriage accident that brings a mysterious girl (Devrim Lingnau) Lara’s age to the estate to recuperate. Lara is very taken by the girl, who they agree should be called Carmilla. They begin to grow close. Carmilla awakens things in Lara that first lead to strange dreams, and then to some romantic encounters with Carmilla. After they become “blood sisters”, Lara slowly becomes ill.

The film offers wonderful cinematography, playing with light and dark, and the beauty and corruption present in nature. The gothic mood of the film comes from the music more than from the darkness that we often associate with such stories.

We might well mark the absence of much of the vampire lore that we expect. There are ample crosses in the story. The girls frequently go out in daylight with no harm. If Carmilla is indeed a vampire, that is seen more in her corrupting, and tempting nature. It is this that raises ideas of the nature of sin.

In the story of Cain and Abel, God says to Cain: “And if you do not do well, sin is lurking at the door; its desire is for you, but you must master it.” (Gen. 4:7, NRSV). From the time we hear Miss Fontaine chide Lara for using her left hand because it invites the devil, we get a picture of a worldview in which sin is looking for an opportunity to capture people—in this case, Lara. Sin and temptation, as seen in the person of Carmilla, is an opportunity to elicit feelings and actions that already have touched lives. It is of interest that books with darkness in them are already in Lara’s house, even if she isn’t supposed to be seeing them. Another such book, even more graphic, is found in Carmilla’s wrecked carriage. (Was it hers?)

The gothic worldview of sin as something outside of us waiting to devour our souls is not resonant with my own theology, but I can appreciate the understanding of sin as a corrupting force the is really a result of what already lies within us.

Carmilla is available through Virtual Cinema at local art house websites.

Photos courtesy of Film Movement.

Films in Full Colour #4 – MOONLIGHT

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We, at ScreenFish, believe that we are all created in God’s image and want to show our support where we can to those in the Black Community who continue to battle against systemic racism. While our team strives for diversity, we can always do better ourselves in giving voice to those who need the chance to speak out and be heard. 

In our new series, ‘Films in Full Colour’, we will be examining films that explore issues specifically within the black community. For each episode, my co-host will be Jordan Thoms, pastor of Warden Underground Church in Toronto and our hope is that, through the lens of film, we might be able to shine light on the issues faced every day by African Americans. This week, Jordan and I welcome back Erico Kabongo to talk about male role models, confidence in our identity and sexual stereotyping in the black community in Barry Jenkins’ Moonlight.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

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

Films in Full Colour #4: MoonlightDownload

Unsettled – Looking for New Lives

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The life of a refugee is hard. It is even harder when the refugees are LGBTQ persons. In Tom Shepard’s documentary Unsettled, we meet four of these asylum seekers as the begin their time in the US.

Subhi is a gay man from Syria, whose life has been threated many times by Islamic extremists and has been beaten by his father. Mari and Cheyenne are a lesbian couple from Angola who faced harassment from family and neighbors. Junior is an HIV-positive gender-fluid man from the Congo. His mother is a pastor who believes that gays should be killed. They are all resettled in the San Francisco area. That may be a haven from LGBTQ people, but it is also a very expensive place to try to restart one’s life.

From left: Junior, Mari, Cheyenne, and Subhi

As the film progresses we see Subhi grow into a role of spokesperson for LGBTQ immigrants’ rights. He speaks to the UN Security Council and testifies before the US Congress. We follow Mari and Cheyenne as they try to deal with the process of seeking asylum—finding a lawyer who will handle their case pro bono, and dealing with the forms and hearings to be accepted for asylum in this country. We also see the trials that Junior faces issues with housing and substance abuse.

The film doesn’t just show us the good side of their progress. Certainly, Subhi’s story seems fairly inspiring as he becomes something of a political poster child for the issue. But as we watch Junior move from house to house to street to shelter, seemingly without support or friends, and know that much of his problems have been brought on by himself, we know that just getting to the US is not a panacea.

Of course, the stories all become more complicated when Donald Trump is elected president, having declared about refugees, “They’re going back.” The film reminds us that since the Second World War, America has been a leader in accepting refugees. It also tells us that under the current administration, the number of refugees allowed to enter the US has dropped by 70% to the lowest level in history.

But those political considerations become the background as we are given the personal stories of these four people as they face the trials of trying to establish themselves in a new land. It is important to note that these are personal stories. These are not abstractions of immigrants and refugees. These are people who have suffered and are looking for a chance to live their lives in security and happiness. Political considerations are almost always in the realm of the abstract. Unsettled gives us real people and asks us to care for them.

Unsettled is available on World Channel via local PBS stations and WorldChannel.org

The Surrogate – A Difficult Choice

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The Surrogate is an exploration of making difficult ethical and emotional decisions. It gives us a situation that doesn’t have a clear correct answer, but does have various perspectives to look at the issues involved. We may have our own ideas of what should happen, but even if we think we have the right answer, we must face facts we may find uncomfortable.

Jess (Jasmine Batchelor) has happily agreed to be egg donor and surrogate for her best friend Josh (Chris Perfetti) and his husband Aaron (Sullivan Jones). The three of them are looking forward to creating a wonderful family. Though, when a test shows that child has Downs Syndrome, that new reality raises a number of questions. But those issues eventually lead to the question of continuing or terminating the pregnancy.

There are various alternative views that we see as the story plays out. Jess is the most active participant in dealing with the questions. She pushes Josh and Aaron to go to a community center focusing on Downs kids. She introduces them to parents. Much of the time Josh and Aaron are very stoic about the situation, or perhaps just hiding their thoughts and feelings. We are really called to identify with Jess in this journey, perhaps because in the end, it must be her decision—after all it’s her body.

There are a variety of issues that come up: a romanticized view of the disabled, the difficulty involved in raising a child with Downs, what we dream of for our children (and if that is really dreams we have for ourselves, and even whether the very question of terminating the pregnancy is eugenics—or if it might actually be the moral thing to do. The film looks at the ideals that people hold, but also at the realities that they face. How we bring those together is an important part of making difficult decisions.

Writer/director Jeremy Hersh does not make this an easy decision. There are no straw men set up to be knocked over. All three of these people are likable. They are all progressive in their outlook. But it is also a personal struggle for all involved. All the perspectives are presented honestly and fairly. And it is clear that emotions are as much a part of the process as facts and logic.

In press notes for the film, Hersh says, “I make movies partly as a way of investigating my own blind spots, in order to hopefully identify them and learn from them.” That is certainly how this film operates for viewers. It puts a complex issue before us and doesn’t let us make a quick choice, bur rather shows us what we might not have thought to look at—or tried to avoid looking at.

The Surrogate is available through Virtual Cinema. Check your local art house’s website.

Photos courtesy of Monument Releasing