ScreenFish

where faith and film are intertwined

LGBTQ

Uncle Frank – The Person You Decide to Be

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Family can be a place of pain or a place of healing. It can be the place we try to escape from or the place we need to return to. It is where we hear words that are like a knife in the heart or like the warmth of a hug. In Alan Ball’s Uncle Frank, it is all of those things.

The story is told from the perspective of Beth (Sophia Lillis), in high school when we first meet her. But the focus is really her Uncle Frank (Paul Bettany). During one of his rare visits to their southern family, Beth is fascinated by Frank and how different he is from the rest of the family. He lives in New York City where he teaches. Beth has no idea why her grandfather (Frank’s father) is so rude to him. When Beth talks with Frank he tells her, “You get to be the person you decide to be or the person everyone else tells you you are. You get to choose.” That conversation changes her life.

(L-R) Sophia Lillis and Paul Bettany star in UNCLE FRANK Photo: Brownie Harris Courtesy of Amazon Studios

Beth heads off to New York for college. When she crashes a party at Frank’s apartment, she discovers that he’s gay and has a long-time partner, Walid (Peter Macdissi). When Frank gets a call to tell him his father died suddenly, he and Beth drive down to South Carolina for the funeral. Frank doesn’t want Walid to come because he doesn’t want his family to know he’s gay. Walid, knowing that Frank will need his support, rents a car and follows them. In time the three of them are on a road trip.

As Frank talks with Beth on the trip, he recalls his youth and the discovery of being gay. It was young love, but it also carried a great deal of condemnation from church and home. After the death of his first love, Frank has carried guilt and shame all these years, even though outwardly he seems comfortable with his life (at least while he is in New York). But when his father’s will surprisingly and cruelly outs him, his emotional turmoil overwhelms him.

SOPHIA LILLIS, PAUL BETTANY and PETER MACDISSI star in UNCLE FRANK

It all goes back to that conversation between Frank and Beth about choosing who you will be. In New York, Frank is the person he has “decided to be”, but does not live that out when he comes home. His father has always looked at him with shame and loathing—that is what society says Frank should feel. When at home, that is who he becomes. That serves as a kind of demonstration of the way pride and shame often play out for LGBTQ people. They may go to gay pride events, but remain closeted to the people closest to them.

(L-R) Lois Smith and Margo Martindale star in UNCLE FRANK Photo: Brownie Harris Courtesy of Amazon Studios

However, Frank may be surprised by how his family responds to his sudden outing. The revelation may be hard for them, but these are people who have loved him his whole life. They may not be able to put that into words well, but it comes through clearly. There is a nice supporting cast that makes up this family, including Margo Martindale and Stephen Root as Frank’s parents, Steve Zahn as Frank’s brother and Beth’s father, Judy Greer as Beth’s mother, and Lois Smith as Frank’s Aunt Butch. While not everyone is welcoming to this news about Frank, there is grace that comes out in various ways.

Uncle Frank is available on Amazon Prime.

Photos courtesy of Amazon Studios.

Ammonite: Reigniting the Spark of the Soul

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Set in the 1840s, acclaimed palaeontologist Mary Anning (Kate Winslet) continues her daily search for fossils along the harsh coastline of Lyme Regis. Although she has made significant contributions to the scientific community, she is now largely ignored by the male-dominated historical society and spends her days looking for common fossils to sell to rich tourists. When wealthy visitor Roderick Murchison asks Mary to care for his young wife, Charlotte (Saoirse Ronan) in his absence, she begrudgingly accepts due to her financial needs. However, as Mary and Charlotte spend more time together, their mutual support for one another starts to bring their hearts back to life. As their friendship turns into a passionate love affair, the two women’s lives are irrevocably changed.

Written and directed by Francis Lee (God’s Own Country), Ammonite is a slow burn of smoldering sensuality. Based on the life of Mary Anning but not on true events, the film is an interesting look at a historical context without feeling forced to recreate actual events. As a result, Lee’s film is an intriguing mix of fact and fiction as he manages to tell a story that seems to flesh out the experiences of women during the 19th century yet also maintains his creative license to explore the modern female voice as well.

While period pieces can become tropes unto themselves, the performances in Ammonite help to elevate the film above other more recent examples. Both Ronan and Winslet have genuine chemistry onscreen and each unspoken glance offers more passion than any flurry of poetic words. Both women are excellent together onscreen yet it’s Winslet that is absolutely remarkable as the emotionally stilted Mary. Anchoring the film with her performance, Winslet says few words yet communicates much. Like the fossils that she uncovers, Mary too is frozen in time and requires gentle care to free her soul from her hardened emotional shell. As such, Winslet brings a complicated subtly to the role that reveals both an inner strength and underlying fear.

While the film’s sweeping romance remains the focal point of the narrative, the empowering of women in the midst of a toxically masculine society is telling. Having both been taken advantage by men in different ways, Mary and Charlotte have both been silenced by their culture. Though the effects of Charlotte’s abusive relationship are much more visible, Mary too has been neglected by the male-dominated historical society that features her work. As such, both women have lost their voices at the hands of others. As they begin to carry one another’s burdens, sparks of life begins to resurface within them and their spirits lighten.

photograph by Agatha A. Nitecka/RÅN studio

While Ammonite uses this spiritual resurgence to emphasize their sweeping romance, the joy that stems from feeling heard and seen by another is far more important. By highlighting the healing power of relationships, the film serves as a reminder of the value of each human soul and how easily they can be trampled on by the ignorant and selfish. Then, when their sexual journey finally comes together, their affair stems not merely from some base, animal attraction but from the fact that both women have empowered one another in ways that have restored their souls. In this way, Ammonite recognizes that genuine intimacy and mutual support is far more life-giving than raw physical attraction and celebrates the spiritual spark that such relationships bring.

While the film may not be for everyone, there is something poignant about Ammonite that stays with the viewer after the film is complete. As Mary and Charlotte’s relationship blossoms, their love carries an intimate beauty that is often missing from today’s romance films. Like each fossil that the women, Lee shows the viewer that the heart can be restored once again, even when it has been embedded in the muck and mire.

Ammonite is in select theatres now and will be available on VOD in early December. 

Tuesday at AFIFest 2020

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AFIFest 2020 Presented by Audi has teamed up with NBC News to present the Meet the Press Film Festival, programs of short documentaries about issues facing the world. Today I took in the program entitled “Justice for All” which included three shorts.

My Brother’s Keeper (22 minutes), directed by Laurence Topham, is the story of Mohamedou Slahi, a Guantanamo detainee for 14 years, and Steve Wood, who as a Marine was assigned to guard him. In their time together, they developed a friendship. After Slahi was released (he was never charged with a crime), he went home to Mauritania. In this film Wood makes the trip to visit his friend.

Laurence Ralph uses animation in The Torture Letters (13 minutes). The film is a series of open letters to various victims of police violence in Chicago. That violence ranges from intimidation and harassment to violence that can lead to death. The use of animation makes it possible for us to better understand that such abusive behaviors by police are indeed torture. An interesting connection to My Brother’s Keeper: In the Q&A after the films, Ralph noted that one of the people who tortured Slahi was a Chicago police officer.

Can fight solve problems? In Lions in the Corner (9 minutes) Paul Hairston introduces us to Chris Wilmore (known to most as Scarface), a past felon with a very difficult childhood who runs Street Beefs, a backyard fight club in which people with issues come and fight it out rather than solving problems with guns of knives. In the process he has created a community of people who have found a place where they can find respect. Often the battles in the ring serve to vent the anger, but also create a bond between former enemies.

Twin brothers Arie and Chuko Esiri bring us Eyimofe (English title: This is My Desire), the stories of two people seeking a better life away from Nigeria. Set in a Lagos slum, the stories of Mofe and Rosa are told sequentially (although their paths cross at a few points). Both are trying to gather the necessary paperwork (all of which requires money) to emigrate to Europe. But events do not work well for them. Mofe loses his family and then his job. Rosa, who is seeking to take her younger sister Grace with her, struggles to fend off the advances of her landlord, while navigating an unscrupulous woman who will pay for their trip (but at a great price). The film shows us the struggle, the hope, and the desperation of those in or near poverty. The colors and customs we observe provide a sense of ethnography set within the narrative.

Jacinta and Rosemary at Maine Correctional Center, 2016. Photo © Jessica Earnshaw.

Jacinta is a heartbreaking documentary from Jessica Earnshaw. We first meet the young woman named Jacinta as she has a month left on a nine month sentence in the Maine Correctional Center, where her mother Rosemary is also incarcerated. It follows her after he release through times of hopefulness and despair. Jacinta is an addict who isn’t able to fight her addiction very long. The first trigger is when she reconnects with her daughter Caylynne. The emotions are too much for her so she retreats into getting high. The spiral continues. But all this is tied together by mother/daughter relationships—Rosemary and Jacinta, and Jacinta and Caylynne.

Earnshaw has incredible access both inside the prison and in the personal lives of Jacinta and her family. It creates a very honest film about addiction and its consequences. That can be heartbreaking in itself, but it is even more so as we learn about Jacinta’s youth and her relationship with her mother (whom she still loves and idolizes) and also see the bond that Jacinta has with Caylynne and how Caylynne deals with all the things in her mother’s life. A very moving and powerful film.

Heidi Ewing is better known for documentary filmmaking (Jesus Camp, The Boys of Baraka, and Detropia), but brings her first narrative feature, I Carry You with Me, to the festival. It is based on the story of Iván and Gerardo, to young men who fall in love in Mexico. Iván has a son, but when it is discovered that he is with another man, he is forbidden to see his son. Iván works in a restaurant and is trained as a chef, but cannot get past dishwashing. He decides to “cross over” to the US. He expects to find good work, but only can get the most menial of jobs.

Eventually Gerardo joins him and they struggle together until luck gives Iván a shot at his dream. Through the years Iván and Gerardo eventually find a good life in New York City. They are even able to be openly gay and share in Gay Pride events. But they are cut off from their families. They can never go back, or they may not be able to return. This is at once a decades-long love story and a commentary on the lives that many people are living in our midst.

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.