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I’m Your Man: Digital Dating and Loving Lavishly

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You can’t buy love. But can you build it?

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.)

At the same time, this is very much a film that wants to explore what love actually means. While the film acknowledges the social implications and dangers of becoming too obsessed with items which aren’t authentic, there is a charm that plays out in this 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. For example, rather than invest in our in-person relationships, we frequently spend our days connecting more deeply with our cell phones then we do with those around us. While it seems counter-intuitive, the nature of love has never necessitated that our hearts focus on another living person. (After all, didn’t one say that the ‘love of money is a root of all kinds of evil’?) If love is based on an emotional attachment (even an unhealthy one), I’m Your Man wants to investigate the boundaries of that argument.

What’s most interesting about Alma is that her relationship with Tom truly is beneficial to her soul. When she’s with him, she feels safer and she is more in touch with her own feelings. Because of his programming, Tom will always be affectionate, caring and instill emotional value into Alma. Starved for healthy friendships that encourage and empower, her time with Tom fills her with a security and joy that she is unable to find with others. In short, Tom makes Alma happy (“Isn’t being happy a good thing?” Tom asks repeatedly) As a result, the film makes a compelling argument for this type of connection, one without flaws or missteps.

However, as she grows closer to her robotic companion, Alma recognizes that loving an object has become a primarily selfish act. She’s not wrong in this conclusion. The type of love that has been programmed into Tom is one that allows its owner to focus entirely on being told how wonderful they are. Rather than challenge them towards personal growth, this romance becomes entirely self-validating and one-sided. The healthiest relationships ask both parties to offer grace to their spouse while, at the same time, accepting grace from them. There is an unconditional give and take to love that acknowledges imperfections in both partners and says that they are acceptable to them anyways. 

Last time I checked, my iPhone can’t do that. (Though maybe there’s an app for that.)

Surprisingly witty and compelling, I’m Your Man is a strange blend of sci-fi and romance that absolutely makes you fall in love with its charms. Thanks to a delightful performance by Stevens and some compelling conversations about the true nature of love, the film surprisingly manages to sweep you off your feet while also forcing you to re-examine your priorities.

Now, back to checking my notifications.

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

Night Raiders: The Future is History

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Set in the year 2043, Night Raiders takes place in a world where disenfranchised cities in post-war North America are controlled by a maniacal military organization called The Emerson Group. Under their regime, children are considered property of the State and forced into their children’s academy. Having been on the run for years, Niska (Elle-Maija Tailfeathers) and her 11-year-old daughter, Waseese (Brooklyn Letexier-Hart) have managed to stay under the radar by keeping a low profile. However, after Waseese is captured by The Emerson Group, Niska connects with an underground band of vigilantes and joins in their plot to infiltrate the facility and free her daughter.

Written and directed by Danis Goulet, Night Raiders is a sci-fi film with a historical edge. Co-produced by Taika Waititi, there’s a fire to this film that demands attention.  Sharply written and executed, Raiders is an entertaining thrill ride from start to finish. More importantly though, Goulet brings a unique voice into the science fiction genre that allows her to tackle Indigenous stories in a way that connects with everyone. Though its set in the world of sci-fi, Night Raiders still resonates with the real world. Goulet has created a tale that maintains a certain distance from its subject matter yet still feels powerful and poignant. Intense and engaging, Goulet creates a compelling metaphor for the pain of a people group that have often been silenced and ignored. As such, despite the fact that it takes place 20 years into the future, its themes feel current and important in today’s cultural conversations surrounding the history of Indigenous peoples.

Though its set in the world of sci-fi, Night Raiders still resonates with the real world. Intense and engaging, Goulet creates a compelling piece that expresses the pain of a people group that have often been silenced and ignored. As a metaphor for the poisonous environment of residential schools and their effect on the Indigenous communities, Raiders leans into the concept of erasure. With an emphasis on controlling the population, the Emerson Group longs to build a country built on the backs of sameness. As captives, children are indoctrinated into a neutralized culture. Dressing their children in gray tones and keeping them in white cages, Emerson brainwashes their conscripted children with phrasing of dedication to the cause. Colour is eliminated wherever possible with the hope of creating the sense of a unified society. As their indoctrination takes hold, the memories and livelihoods of these children are erased at the hands of the Emerson psychological machine. Similar to the leadership which tormented the children of residential schools, the Emerson Group is concerned only with eliminating differences for the sake of their own ideologies. (It’s also worth noting that everyone who represents Emerson is white while children and families who are subject to their cruelty are all visible minorities.)

With an eye on history, Raiders also very much looks towards the present and the future by speaking into the challenges of breaking free. Although Niska is challenged to step up and take command, her years of oppression keep her under a blanket of fear. Having been stuck under the weight of the Emerson tyranny for so long, she is reluctant to join in the fight against them. Although she yearns for her daughter’s freedom, she believes that the revolution is not her battle. (After all, what can she do about it?) In this way, Niska’s struggle mirrors our current culture as Indigenous populations are being called to step forward and share their stories of suffering. With every traumatic tale that is told, the truth about systemic oppression continues to come to light, allowing for change. However, this bearing of souls is always a challenge, especially after years of psychological oppression. As such, Niska’s journey also resonates at a time when the Indigenous population has finally found the courage to speak out against those that have hurt them in the past.

At the same time, Goulet also demonstrates what’s at stake when she highlights the power of the children themselves. Whereas adults have the opportunity to fight the today’s battles, Raiders acknowledges that their struggle will allow the next generation to have a greater understanding of justice and equity for the future. Although the children require rescue at the hands of the Emerson Group, the film also points to the fact that there is a strength within them that bodes well for future generations. As a result, Goulet balances Raiders with dual perspectives by examining the importance of both an adult awakening and children uprising.

For Goulet, both generations are needed because both voices matter.

To hear our interview with director Danis Goulet & Elle-Maija Tailfeathers, click here (audio) and here (YouTube).

Night Raiders premiered at TIFF and is available in theatres on Friday, October 8th, 2021.

8.01 Writing Back to DEAR EVAN HANSEN

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Directed by Stephen Chbosky, DEAR EVAN HANSEN tells the story of a young man who write letters to himself in order to provide a way of dealing with his mental health issues. However, when one of his letters is mistaken for the last words of another teen who takes his own life, Evan finds himself trapped in a lie that deceives the youth’s family and his friends. This week, the Movies You Missed crew convene to dig into EVAN HANSEN’s moral compass, the film’s depiction of mental health and who they believe the true villain of the film may be.

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, Google Play or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to 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.

8.01 Dear Evan HansenDownload

The Guilty: Blurring the Lines of Justice

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Everyone wants to catch the guilty but not everyone recognizes that same guilt within themselves.

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. With few officers available due to the fires (not to mention the time of night), Joe feverishly works towards rescuing her. 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. Reteaming with his Southpaw star Gyllenhaal, Fuqua has never taken the easy approach with his filmmaking and Guilty is yet another example of his ability to tell stories that others simply cannot. 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). From Phone Booth to Netflix’s Oxygen, many other films have attempted to make this format engaging but most of these examples begin to falter as the film drags on. (Ryan Reynold’s Buried may be one of the few exceptions.) Quite simply, the viewer expects (and usually requires) some sort of visual change in order to keep them focused for an extended runtime. Nevertheless, The Guilty somehow makes it work. 

Much of this can be credited to the commitment of its star. Jake Gyllenhaal has always done intensity very, very well. With few exceptions, Gyllenhaal has always sought characters that he could sink his teeth into and, as a police officer about to stand trial, he fully dives into his performance. Let off the leash by Fuqua, this becomes yet another example of his incredible talent. As a result, 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. The Guilty tells a story of a police officer who is about to face trial for an undisclosed crime and he does not want to be held accountable. At the same time though, so too does he also refuse to acknowledge his own mental instability. As he fights to save the life of a young woman, he also exposes his own flaws and brokenness. Joe is a man who is determined to save those who he feels deserve it yet is also willing to unleash hell on those that don’t. The pressures of the job have clearly broken his spirit and his judgement is compromised. (“Broken people save broken people,“ he is told by a coworker.) Although we never fully fully discover what his crimes may be, we certainly understand that he made the wrong decision when he caused them. His desire to do right has been overcome by his pension to do wrong.

As such, there’s a complexity to Joe that keeps the viewer at a distance. We believe that he is someone who wants to defend the innocent. He is passionate about bringing down ‘the bad guys’ and wants to be one of the ‘good guys’. His love for his estranged family is genuine.

However, Joe also proves that he’s not currently suited to wear the badge. Bored and frustrated by the average person, he has little interest in the everyday problems of everyday people. Then, when really difficult situations arise, he is far too willing to take matters into his own hands. While this sort of rogue cop has been celebrated on film for decades (ie. 24‘s Jack Bauer), The Guilty understands that this sort of rage-filled avenger simply has no place in real life. There’s an inner rage and hatred against ‘scumbags’ that fuels Joe’s actions, making him a toxic presence in the community. In other words, his ‘justice’ can just as easily become an outlet for his own mental health issues. In this way, The Guilty acknowledges the importance of the police yet also calls for accountability and health of those who don the uniform.

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.

The Guilty is available on Netflix on October 1st, 2021

TIFF ’21: All My Puny Sorrows

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Ever since their father’s suicide in their youth, sisters Yoli (Alison Pill) and Elf (Sarah Gadon) have wrestled with tragedy. Now adults, All My Puny Sorrows follows the two women who carry their grief in different ways yet both are having difficulty coping to get through the day. Navigating a divorce and her struggling career as a writer, Yoli is getting by emotionally (but barely) while Elf is now a famous concert pianist who seems to have the world at her feet. However, neither woman find it easy to confront the emotional trauma that haunts them. After Yoli attempts to commit suicide, the family is forced to dig up their personal demons and figure out what it means to move on.

In many ways, the term ‘puny’ is an understatement for the sorrows in this film. Instead, Sorrows is very much a piece where the weight of death and sadness is simply too much to bear. This is a family of tragic figures who grip a torch of mental health that is being passed along within this family. Broken by the death of their father ‘by his own hand’ [though they hate that term], they carry the weight of his suicide with them into adulthood. Now, Elf may seem like the picture of success yet cannot bear to make it to the next day. While Yoli may be more emotionally stable, she too is struggling to get by, primarily financially. 

Tightly written in a way that pays homage to classic tragic authors, the language in this film is often framed poetically. With constant literary references, Sorrows deep dives into the stories of authors who used their skills to express their pain so beautifully in the past. Though the content is extremely heavy, Sorrows benefits from solid performances from its stars. Allison Pill does a wonderful job leading the cast as a woman struggling and fighting to survive but ultimately forced to release all expectations of life. At the same time, Gadon (who may be one of Canada’s finest actresses right now) continues to turn in grounded performances that feel present with her characters.

Perhaps to its credit, Sorrows offers few answers of hope for those battling mental health issues, depression and suicide. Set against the cold winter, this too is a film which focuses on the winter of the souls of its characters. Whereas many other films attempt to explain away the reasons (and solutions) to issues of depression, Sorrows instead highlights the toxic ways that culture has tried to placate these feelings in the past. For example, in one particularly interesting scene, a pastor shows up to Elf‘s room and attempts to shame her into forgiveness and hope. Instead of listening to Elf’s pain or taking on a posture of humility, he shows a shocking level of insensitivity in the moment and utilizes shame in order to ‘provide help’. In response, she lashes out at him and takes off her clothes. The shock of the moment forces him out of the room in fear, leaving her alone in her suffering. Afterwards, Yoli and her mom discuss Elf’s story, recognizing the perils of shame and the way that we carry it. While this is hardly the most uplifting of moments, it also shows the cold insensitivity of a culture that too frequently stands on the outside, unwilling to acknowledge the depth of pain in others.

However, it’s worth noting that this also means that hope within this world also feels more elusive. As answers become less clear, so too does the pit of suffering feel more… inescapable. By the end, Sorrows seems to lean into hope as the practices of letting go yet finds it difficult to offer ways by which to do so. While it’s appreciated that the challenges of mental health are taken so seriously, so too does the film bear a heavy weight on the viewer’s soul as well.

In many ways, the title All My Puny Sorrows feels immensely ironic as these burdens are far from small for its characters. There is a heaviness to this film that is both painful and poetic as its characters sit within their struggles, seeking some form of light. Even so, due to a smartly written script and engaging performances, the film manages to remain compelling, even when its sadness can be overwhelming. 

All My Puny Sorrows premiered at TIFF ’21 on Saturday, September 11th, 2021.

TIFF ’21: The Eyes of Tammy Faye

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Andrew Garfield as “Jim Bakker” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Beginning in the late 1950s, The Eyes of Tammy Faye follows the rise and fall of Tammy Faye Bakker and her husband Jim. Though their lives began in humble beginnings, they gradually rose through the ranks to create the largest religious broadcasting network in the world. Marked by their smiling faces and charming demeanour, the couple’s ministry sprawled around the globe and touched the lives of many. However, as their financial improprieties caught up with them, their ministry crashed with a mighty force, leaving their family scarred by scandal for years to come.

Tightly written and anchored by a stellar cast, The Eyes of Tammy Faye is a soulful and scathing look at the destructive allure of power in the world of faith. Directed by Michael Showalter, the film emphasizes the disconnect between authentic religious zeal and the systems that exist to monopolize upon it. With each potential stepping stone in their career, Showalter always manages to emphasize the potential for ‘more’. More money. More power. More… everything. Whether it’s the bright lights of television or massive mansions to which they’re invited, Showalter dwarfs Jim and Tammy by the lucrative aspects of success that surround and call them. Despite their initial passion, the lure of success’ proverbial apple becomes too great and they are ensnared by their decisions.

Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

As Jim Bakker, Garfield manages to balance a heart of corruption and one of passion. Instead of fully demonizing him, Garfield’s initial desire and double-speak reveal the charisma of a man that fooled millions. In many ways, he is the villain of the piece, yet there is a sympathetic aspect to this performance that somehow makes him likeable. However, the true star of the film is Chastain herself. Here, Chastain is utterly transformative in the role of Tammy Faye, portraying her as never complicit in Jim’s crimes yet never fully innocent either. With humility and love, Chastain never demonizes her character, despite giving her an eye that is ever-seeking approval, be it from her family or her audience. Together, the couple have wonderful chemistry as a pairing who begin with genuine care for their spiritual mission yet gradually compromise themselves into evil. 

At no point in the film is faith judged in and of itself. Instead, the film highlights the dangers and toxicity of those who control it. Whether it’s the self-approval sought by Jim Bakker or the toxic nature of power that we see in someone like the ever-menacing Jerry Falwell Sr. (Vincent D’Onofrio), the genuine face of its leadership is what’s on trial. These are broken people who refuse to accept their brokenness. To Falwell and the other white men in control, the Evangelical system is one of order and power. [Even Pat Robertson is viewed as a man who is willing to slit your throat if it helps his career.] All are willing to twist scripture to fit their own agendas, arguably except Tammy Faye. 

Jessica Chastain as “Tammy Faye Bakker” and Andrew Garfield as “Jim Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

As such, the most fascinating aspect of this film is that it’s scathing conversation about faith feel feels so honest. Led by Falwell, the organized Christian church is portrayed as an exclusive club where those that do not fit into the box are unwelcome unless they conform. Tammy Faye is one who did not fit into those boxes, and she is reminded of this constantly. From the very beginning of the film, Tammy Faye is seen as kept on the outside looking in. As a child, she is shown as staring from outside the window due to the shame thrown upon her mother. As an adult, she is left out in the cold based on the shame that her husband threw upon her (and himself). 

Held up against the toxic masculinity of the Evangelical leadership, Tammy Faye is seen as a (mostly) genuine person within the film, despite her flaws. For her, the purpose of the ministry is to show the love of Jesus to as many people as possible. She is consistently and constantly opening the doors to the disenfranchised, especially the LGBTQ+ community. She views people as deserving of God‘s love as opposed to focusing on an overall agenda. However, this same openness is what makes her a threat to that system. Because of her willingness to embrace those that the organized church was unwilling to reach, Tammy Faye is kept at a distance (or worse, ostracized). 

Randy Havens as “Steve Pieters” and Jessica Chastain as “Tammy Faye Bakker” in the film THE EYES OF TAMMY FAYE. Photo Courtesy of Searchlight Pictures. © 2021 20th Century Studios All Rights Reserved

Similarly (or perhaps because of this), Tammy Faye is also a woman who wants to experience love. She views the camera as a person, which also ties into the theme of her eye. Tammy Faye understands that she has a unique connection with her audience (parishioners?) because they give her a chance to speak and feel loved themselves. To her, this is a genuine relationship that it worth taking seriously. On the other hand, Jim abuses the power of the camera’s eye. Although he claims to have vision, his soul is weak and he views his ‘partners’ as means to support his fame and lifestyle. Their great value lies in their wallets and he gradually begins to lose sight of what he has been called to do. (One can almost hear the serpent whispering in the background, ‘Did God really say that you should build a Christian waterpark?’) 

Backed by an Oscar-worthy performance by Chastain (yes, I’m calling the shot), The Eyes of Tammy Faye is poignant, potent and one of the best films of the year. Dissecting the poisonous nature of power and its relationship to fame and faith, the film holds its leads accountable yet also offers them grace when needed. This is a story that focuses on the consequences of allowing one’s eyes to wander from the mission to the money and the destructiveness that one’s fall from grace can have on others. At the same time however, it also recognizes the humanity of its subjects and, potentially, offering them a road to redemption as well.

Jessica Chastain as “Tammy Faye Bakker” and Andrew Garfield as “Jim Bakker” in the film THE EYES OF TAMMY FAYE. Photo by Daniel McFadden. © 2021 20th Century Studios All Rights Reserved

The Eyes of Tammy Faye premiered at the Toronto International Film Festival and is currently in theatres.

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: Scarborough

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Adapted from the novel by Catherine Hernandez, Scarborough details the lives of three families of various backgrounds who live in poverty in Scarborough, Ontario. Meeting up at an after-school program at a local community center, the children’s stories begin to intertwine. 

Set in the urban centre of the Greater Toronto Area, Scarborough shows how one of the wealthiest cities on the planet can create a massive divide in wealth and resources between families. In many ways, the film offers a glimpse into the lives of true poverty and the struggles that these families face every day, like raising a child with limited finances and the mental burden that it places on the parents. Scarborough boldly shows how these limited resources can perpetuate the cycle of poverty, stunting the children’s potential and opportunities for a better future.

Personally, what I loved most about Scarborough is that it never shy’s away from the challenges of poverty yet it also makes it extremely difficult to watch. The film depicts a community of children that has been abandoned by its city, leaving them to endure child abuse and other traumas. One of the most difficult stories to watch is that of Laura, one of the three main children within the film. Abandoned by her mother and left to live with an abusive and racist father (who’s also mentally unstable), Laura lives in constant fear of others and has developed insufficient communication and social skills as a result of his violent outbursts. Under pressure to perform perfectly and called horrendous names by her father, Laura is struggling to survive in a toxic environment. Warped by her father’s bigotry, Laura’s worldview has been tainted. (She even genuinely asks her Muslim teacher if she ‘eats babies’.) 

In addition, Scarborough pulls no punches on the difficulties that occur with limited finances. Things we don’t consider are viewed as luxuries to families struggling daily, such as breakfast and lunches, school supplies and even toilet paper. These communities are hampered by their loss of funds and require help to make it through the day. Interestingly, the community center that provides the children breakfast becomes the centre point of the film and Ms. Hina, the Muslim daycare teacher, is the angel that these children need. However, despite Toronto being one of the most diverse cities on the planet, Ms. Hina faces constant bigotry by parents who confuse her racial background and her supervisors who reprimand her for not going above and beyond her duties. At a place in which the goal is to educate these kids and guide them into the future, its somewhat ironic that Ms. Hina is consistently undermined due to her race.

Overall, Scarborough is a must-see film and the truest depiction of First World poverty that I’ve ever seen. Never shying away from the abuse and neglect that these children endure, the film is raw and points out that the glaring cycle of poverty has not been addressed properly. As such, Scarborough is as informative as it is hard to watch. Though the story is fictional, it has never felt more real. 

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: 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.