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TIFF17

Rewriting the History Books: 1on1 with Tracey Deer (BEANS)

July 29, 2021 by Steve Norton Leave a Comment

I remember the Oka Crisis. Or, at least, I thought I did.

As a pre-teen, I vaguely remember hearing the stories of the Mohawk people who protested the building of a golf course. I remember seeing it on the news and hearing the testimonies of those who were worried that things would escalate. Because I was so young though, I didn’t understand what was really going on or issues such as media bias. Maybe none of us outside the situation really did.

Thankfully, in her stunning new film Beans, writer/director Tracey Deer offers some much-needed perspective on the events that took place that summer. Set against the drama that took place in 1990s Quebec, Beans (Kiawentiio Tarbell) is a young girl who lives on the Mohawk reserve of Kahnawa:ke. Staying with her loving parents (Rainbow Dickerson and Joel Montgrand) and her little sister (Violah Beauvais), Beans lives a life of innocence and safety on the reserve. However, when a proposed expansion to a golf course threatens their burial ground, an armed stand-off develops between the Canadian government and Mohawk population, exposing the racist undercurrents of the local population against the Indigenous population. Unprepared for the hatred that she experiences, Beans must re-examine who she is and transform herself into her own kind of warrior.

Although Beans itself is a fictional story, the film showcases many true events that took place during the events of the Oka Crisis. Having grown up during that time herself, Deer used her personal experiences to shape the characters and story.

“’The film is inspired by true events’ is how we phrase it because all of the events depicted of the Oka Crisis in the film did happen,” she explains. “But my family in the movie is a fictional family. Beans, my protagonist, played by the incredible Kiawentiio is the emotional through line. The coming-of-age journey that she goes on is very much my coming-of-age journey. But I have placed the character in these various historical events [and] I wasn’t at all of them myself. Some of the things that she does and her experiences are not identical to my own, but the emotional through line, the feelings and the growth and the shattering of innocence, all of that, is pulled directly from my own coming-of-age summer.”

While Oka was a massively important event in Canadian culture, Deer notes that history has only ever told it from one side. However, Beans allowed her the opportunity to tell a more complete picture of what really took place and the damage that it caused her family.

“[Voice] is so important. It’s one of the big reasons it was so important to me to make this film,” says Deer. “The way the media [covered] that event 30 years ago did not at all jive with the experience I was having of it. The way they would talk about the Mohawk protesters. These were my neighbors, my cousins, my uncles, my aunties, and to call them terrorists and send the army in against them, it didn’t make any sense. So, it was important to me to show the other side of it—the inside out view of it—so that people could see what it was really like… For so long, the policy of the powers that be [in] the government is to squash us, divide and conquer and take. Oka was really that watershed moment where Indigenous people stood up and said ‘no more’. I’m so proud that we did that. I learned so much about our strength and our resiliency from that summer. I learned so much about the importance of voice and to have my voice heard.”

“I learned a lot of negative things [and] devastating, destructive things that almost destroyed me. I was suicidal at 15 because of all of that rage and all of that hatred was just living inside me. That was that sense of innocence. That sense of safety, the ability to dream, all of that was stolen from me that summer. And I don’t want that stolen from any more indigenous children. So, it’s important that we tell the story like it is and Canadians step up to right the wrongs of history and make sure that history doesn’t repeat itself.

Embedded within Beans lies a powerful question about the nature of resistance. Torn between her father’s more aggressive stance and her mother’s insistence on integrity, Beans must wrestle with what it means to stand up against injustice. By showing this tension, Deer wanted to highlight the value of both perspectives but also show the damage that hatred can do to the soul.

“It’s really the tight rope that I have walked my entire life,” she considers. “I would say certainly as an Indigenous filmmaker, I firmly believe that violence is like a disease. Hatred is a disease. When we put it on to others, it then grows in others and then it’s put in and then it continues. I say that because I know that that was my experience. I learned to hate that day when those rocks were thrown at us, when the back window was burst open and my sister got cut with glass. That is the moment that I learned to hate. Unlike Beans, who lashes out quite a bit in the movie, I wanted to show what that hate looks like. But, for me personally, that hate lived inside me and it started tearing me up.”

“We have to have a line that says violence is never the answer. We need to stand up for ourselves and we do need to be strong. As her mother says, you need to be able to stand up for what’s important to you. And I believe, for me, that is the line that there is a way to stand up and not feed the cycle. And I feel you see that in the scene where the women deescalate the violence. There are ways to do that and we have to get much better at doing that. I think we’re a society that turns to violence and turns to retribution and vengeance way too easily.”

Through Beans’ childlike lens, Deer remembers how these events affected her own childhood and reshaped her understanding of the world.

“That’s exactly what my adolescence felt like. It was a really carefree, fun childhood up until that summer,” she remembers. “That summer really, really shattered that when I realized that who I am is not welcome in the wider world. There’s no place for me. When those people threw those rocks at me, they told me I was worthless. They considered me and my family worthless. So, how as a child, how do you process that? How do you understand that? Okay, I am so worthless that they are allowed to throw rocks at me and the cops stand by and let that happen.”

“This film takes place during the backdrop of the Oka crisis, but incidents like this are happening across the country to this day, right?,” she continues. “Our children are being told by our society, by our country that they are not welcome. And we are told every day that it is not safe for us in the wider world. That is really what I wanted to get across, because I think that sense of entitlement and sense of safety is something that the majority of Canadians take for granted. It is a given that with the right motivation and the will, you can pursue your dreams. You have a tonne of examples of people just like you, who were doing every single thing in the world. So, if they can, why can’t you? You can do it. I want people to understand that that’s not the country that they present to us. If your child was Beans, and this is what she was going through, how would you feel about that? I believe we all have the ability to make a difference. We all have our personal sphere of power, so we can all do something about this. I want people to see this devastating journey that Beans goes on and leave the theater wanting to do what they can to prevent it from happening to any other young indigenous child.

Having said this, the obvious question remains whether or not things have changed in Canada since then. Considering the horrors of abuse that have taken place against the Indigenous children continue to lead the headlines, there remains a great deal of work to be done to heal the pain that has been caused. Even so, Deer also says that she believes some progress has been made.

“The film is a historical movie, you know. It took place 30 years ago but, as you said, the themes are all incredibly current,” she contends. “That makes me really sad and it makes me really angry because, on many levels, I don’t think we’ve come very far as a country in the way that the country handles Indigenous issues. I don’t think the country and the leadership are very good at listening to Indigenous people. I think that’s one of the big things that has to happen for change to happen is [that] Canadians need to become much better listeners and not be so quick to judgment or so quick to think that they know what the solution is. I think it’s just about listening and then doing, based on what you’ve heard.”

“Now, on the other hand, the thing is [that] I don’t want to be all just doom and gloom and dire. I do think there has been progress on some levels. I see it right now. I see that there’s an openness in this country to be hearing from us. There’s a willingness to take down those walls. It’s hard to take down those walls because those walls protect you from feeling implicated[and] responsible, but you are. This is your country, and these things are still happening across the country. The coming of age story for our indigenous kids is still incredibly similar to the story that you see in Beans. So, more work needs to be done. I do think that I am encouraged. I am an optimist, and I always look for ways to be helpful. And I am hopeful. I want to believe in this country and believe in Canadians because I need to. I need you all to do the work. It’s not on us to make things better for things that we didn’t because it’s up to Canadians to do that. So, my answer is twofold. We have not come far enough, but things are happening that are giving me hope.”

Beans is now available in theatres.

To see our complete conversation with Tracey Deer on YouTube, click here.

To hear our conversation with Tracey Deer, click here.

Filed Under: Featured, Film, Film Festivals, Interviews, TIFF Tagged With: Beans, indigenous people, Joel Montgrand, Kiawentiio Tarbell, Mohawk, Oka Crisis, Rainbow Dickerson, TIFF17, TIFF20, Tracey Deer, Violah Beauvais

TIFF ’19: Just Mercy

September 11, 2019 by Julie Levac Leave a Comment

Image result for just mercy movie

Based on true events, Just Mercy tells the story of Walter “Johnny D” McMillian (Jamie Foxx), a man who was wrongfully convicted of the murder of Ronda Morrison and sentenced to death in Alabama. Adapted from the book by Johnny D’s attorney, Bryan Stevenson (Michael B. Jordan), Just Mercy is a hard-hitting look at racism in Alabama in recent decades, and the reality of a corrupt justice system.

Bryan Stevenson moved to Alabama to begin the Equal Justice Initiative, a non-profit organization providing legal services to prisoners who could not afford a proper representative, who were not granted a fair trial, or who were likely wrongly convicted. When Bryan first met with Johnny D to reopen his case, it was clear that Johnny D was broken and had lost hope. He didn’t want to feel the pain or put his family through it again. With every turn, it seemed as though there were more road blocks that they had to face. People were intentionally trying to sabotage the appeal despite knowing that there was no real case against Johnny D.

I have never heard so many sniffles or deep breathes in a theatre as I did during Just Mercy.  This film is real and powerful.  What’s more, knockout performances by stars Jamie Foxx, Michael B. Jordan, Brie Larson, Rob Morgan, and Tim Blake Nelson, do not be surprised if you hear some–if not all–of these names as award season approaches.

Just Mercy recently premiered at the Toronto International Film Festival and will begin its wide release on December 25th, 2019.

Filed Under: Film, Film Festivals, Premieres, TIFF Tagged With: Brie Larson, Jamie Foxx, Just Mercy, Michael B. Jordan, TIFF17, TIFF19

TIFF17: The Mountain Between Us

January 3, 2018 by Steve Norton Leave a Comment

The Mountain Between Us tells the story of Alex (Kate Winslet) and Ben (Idris Elba), two strangers who both find themselves stuck in an airport when their respective flights are suddenly cancelled.  Anxious to get to their destination, the two strangers decide to charter a flight together to beat the system.  However, when their pilot (Beau Bridges!) takes ill mid-flight, the plane crashes in the mountains, leaving the two to fend for themselves against all odds in the harshest of conditions.

Shot in Vancouver, British Columbia, Mountain features stunning visual photography and, according to the cast, no CGI wizardry.  The film’s emphasis on practical visuals lend credibility to the perils of the wilderness.  While ‘survivalist’ films are nothing new (remember, it was only two years ago that we witnessed DiCaprio make a similar trek in The Revenant), Mountain somehow feels almost fresh due to the strength of its leads.  While no one would doubt their talent, Elba and Winslet work surprisingly well together, creating genuine sexual tension between the two strangers.

At its heart, Mountain is less about surviving the elements and more about what draws us together.  As such, the ‘mountain between them’ becomes more metaphoric than literal as the strangers must navigate the challenges of trusting another person with whom you have no prior relationship.  While other films show sacrifice as the greatest act of love, Mountain recognizes that mutual sacrifice is also a key part of the community.  Winslet’s nosy journalist is a solid foil for Elba’s emotionally stunted Ben as they are forced to decide whether or not they are better off together or alone in their fight to survive.  This strain is further emphasized by the cinematography between the two subjects, as director Abu-Assad consistently places Winslet and Elba in either extreme closeness or distant separation onscreen.  The result is a visual push/pull that emotionally unites the actors in the midst of dire circumstances.

In the end, The Mountain Between Us is a surprisingly engaging piece about what connected us.  By focusing the story on the tension between the two leads, the script allows them to drive the narrative emotionally, which is their strength.  Through solid performances and writing, the film reminds us that the greatest mountains between us are often what we create ourselves.

Special features include “Love and Survival: Creating Chemistry,” “Mountain Between Them: Shooting in Isolation,” “The Wilds: Surviving Stunts,” a director’s commentary by Hany Abu-Assad, and deleted scenes. 

Filed Under: DVD, Reviews Tagged With: Beau Bridges, drama, Idris Elba, Kate Winslet, romance, Survival, The Mountain Between Us, TIFF, TIFF17, Vancouver

4.07 Diving into THE SHAPE OF WATER

December 18, 2017 by Steve Norton 1 Comment

http://screenfish.net/wp-content/uploads/2017/12/4.07-Shape-of-Water.mp3

Guillermo Del Toro’s latest creation is garnering awards momentum with each passing week. While a romance film between woman and fish-man seems… unexpected… on paper, it carries a poignant message that seems timely and relevant. But why? This week, returnees Ben Dower and Andrew Eaton speak with Steve on the nature of love and repeating history.

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.

4.07 The Shape of Water

A special thanks to Ben and Andrew for joining us!

 

For those of you in Canada who are interested, you can donate to ScreenFish by clicking the link below and simply selecting ‘ScreenFish’ from the ‘Apply Your Donation…’ area. 

https://www.canadahelps.org/en/charities/connect-city/

 

Filed Under: Film, Podcast, Reviews, TIFF Tagged With: Guillermo del Toro, Michael Shannon, Oscars, Sally Hawkins, The Shape of Water, TIFF17

4.01 Breaking Down the BATTLE OF THE SEXES

October 2, 2017 by Steve Norton Leave a Comment

http://screenfish.net/wp-content/uploads/2017/10/4.01-Battle-of-the-Sexes.mp3

In the Season 4 premiere of ScreenFish Radio, Steve welcomes ScreenFish’rs Julie and Paul Levac to step onto the court to talk about Battle of the Sexes! Detailing the events surrounding the legendary tennis match between Billie Jean King and Bobby Riggs in 1973, Battle of the Sexes has a lot to say about the nature of injustice and sexual politics. PLUS, the team shares what they learned at TIFF17 this year! (You can see our review of the film here.)

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.

4.01 Battle of the Sexes

Thanks Paul and Julie for joining us!

Filed Under: Film, Film Festivals, Podcast, TIFF Tagged With: Battle of the Sexes, Billie Jean King, Bobby Riggs, Emma Stone, Steve Carell, tennis, TIFF, TIFF17

TIFF17: Beast

September 29, 2017 by Julie Levac Leave a Comment

To stream audio of my interview with Jessie Buckley and Michael Pearce, click here.

Director Michael Pearce brings us Beast, a pseudo ‘whodunit’, focusing mainly on the dark leading lady known as Moll (Jessie Buckley).

This chilling and often uncomfortable tale is set on the British Channel Island of Jersey, a stunning backdrop that is metaphorically stained by numerous unsolved rapes and murders.

The cinematography paints stunning color blocking from the first few seconds of the film and continues this until the final scene. The vibrant green of the mountains, blue of the ocean, and Moll’s striking red hair. This tale juxtaposes the beautiful island with its unsuspecting underbelly. The director and cinematographer were not afraid to pull emotion from the landscape, but didn’t force it if it didn’t cooperate. This brought a welcomed sense of realism to the film.

Image result for island of jersey

A woman of few words, Moll presents a seemingly innocent and somewhat sheltered girl. Clearly the black sheep in her family, we see Moll’s struggle to come to terms with her dark past. Their words and actions prove that Moll’s family do not consider her as equal.

Moll’s troubling and violent past seems to continue to manifest itself in her current life. Despite the urge to resolve and grow, Moll is being held back by her overbearing family, unforgiving victim, and struggles inside of her own head. We come to witness bouts of rage and violence. This, coupled with Moll’s past revelations, begin to make the audience wonder if this seemingly simple tour guide and choir singer is perhaps the most violent murderer on the island.

After an aggressive suitor almost attacks Moll, she is rescued by a passerby, Pascal. As we see Moll’s relationship with Pascal grow, we see that perhaps she is not only attracted to him because he saved her, but because she can finally be herself around him. No judgement. No knowledge of her past. They both have their quirks and are both accepting of each other.

Moll is a sad reminder of how our past can hold us captive and deny us the ability to grow and move forward. Moll desperately wants to crawl out of the hole that she feels so stuck in, but is constantly being pulled back in by her environment.

The one and only voice-over in the film discusses the majestic killer whale. When glazed over, this monologue may seem random, but the similarities between Moll and orca are nothing short of mind-blowing. Both feral creatures, they are brilliant yet often completely misunderstood. Both fairly undomesticated, they should not and will not be held captive. And they are both capable of horrific and frightening things. Hence, then, the title, Beast.

Image result for orca in the wild

Filed Under: Featured, Film, Reviews Tagged With: Beast, Jessie Buckley, Michael Pearce, TIFF, TIFF17

TIFF17: Ravens

September 17, 2017 by Steve Norton Leave a Comment

Taking place in 1970s Sweden, Ravens follow the life of Agne (Reine Brynolfsonn), an aging farmer determined to see his son, Klas, take over care of the family land.  Aging and broken, Agne’s struggles range from battling creditors to harsh weather conditions.  However, when he discovers that his son’s future plans differ from what his wishes, Agne begins to spiral emotionally and begins to think of ways to change Klas’ mind.

Directed by Jens Assur, Ravens is beautifully shot with broad angles over the rocky landscapes, giving the film a cinematic scale.  The film’s bleak palette and rough texture depicts a world of emptiness.  In doing so, Assurs works hard to use the backdrop as an unofficial fourth character, mimicking Agne’s despair and frustration.  Compounding this dreary picture with the mysterious death of the family’s cattle, Assurs uses his visuals to interact with his actors and emphasize the creeping sense of loss within Agne.

One of the most striking features of the film, however, is its use of sound.  Using minimal music and dialogue, Ravens focuses its attention upon the facial performances of its actors, especially Brynolfsson.  (In fact, Assurs actually cut out significant portions of dialogue in an effort to create even more space within the scene.  Nevertheless, despite strong performances by the other leads, it’s Brynolfsson who is the standout of the cast, revealing Agne’s inner angst with every glance.  In each scene, Brynolfsson quietly displays Agne as a many in conflict, torn between the desire to be a good man and his compulsive fear of losing everything he has.

Through its broad landscapes and visuals, Ravens is a reminder of how hard we can cling to the things we desire, even at the expense of the ones we love.  Forced to take control of the farm by his father (who had it hand to him by his father), Agne is a man who deeply wants to avoid failure in his accomplishments.  As a result, Agne is unable to release his son freely to pursue his passions, driving himself closer to the edge mentally.  Although he doesn’t seek to acquire more, his deep fear of losing the status quo borders on obsession, leaving an indelible mark on his soul.  He has tied his legacy as a man to his ability to maintain the land, causing him to sight of the belief that ‘tomorrow [will] worry about itself’.

In the end, Ravens remains a beautiful film cinematically that offers quiet but powerful performances from its cast.  Though it’s also a reminder of the spiritual damage we cause ourselves when we allow our fear of losing our legacy to dominate our soul.

Ravens had its North American premiere on Saturday, September 9th, 2017.

To hear our exclusive interview with director Jens Assur and star Reine Brynolfsson, click below.

http://screenfish.net/wp-content/uploads/2017/09/1on1-wJens-Assur-and-Reine-Brynolfsson-RAVENS.mp3

 

Filed Under: Film, Film Festivals, Interviews, Reviews, TIFF Tagged With: Jens Assur, Ravens, Reine Brynolfsson, Sweden, TIFF, TIFF17

Suburbicon: Neighbourhood Disturbance

September 11, 2017 by Steve Norton Leave a Comment

There goes the neighbourhood…

Directed by George Clooney, Suburbicon is a satirical look at the suburban world of the late 50s, as racial integration was truly beginning to break down social barriers.  The film tells the story of Garner Lodge (Matt Damon), a family man who lives with his wife, paralyzed as a result of a car accident, and adolescent son.  When a home invasion turns tragic, the Lodge family is thrown into turmoil.  However, as the truth begins to reveal itself, the family—and the neighbourhood—begins to unravel in unexpected ways.

Written by Joel and Ethan Coen, Suburbicon is filled with their signature brand of dark humor and violence yet Clooney very much puts his own stamp on the film as well.  Through his use of framing and lighting, the film might be the best example of 50s-style film noir in years.  What’s more, he wisely remains behind the camera for this film, resisting the obligatory cameo.  In doing so, he allows the script and cast to bring the film to life on their own, which they do so successfully.  Damon hasn’t appeared this menacing since The Talented Mr. Ripley while Moore plays the stereotypical housewife with a subversive edge.  (Meanwhile, Oscar Issacs almost steals the film in his brief cameo as an insurance adjuster.)

Clooney portrays Suburbicon as a city of ‘diversity’, yet the set design and entirely Caucasian cast remind us of the myth of that claim.  (This reality is emphasized from the very beginning through the film’s opening credit sequence, which hilariously mimics classic promotional films.)  This town is one that believes it has ‘bettered itself’ and has ‘opportunities for prosperity for all’ yet refuses to recognize its unspoken flaws.  Image is everything in Suburbicon but what happens when the seething cesspool of injustice and murder underneath begins to bubble to the surface?

In fact, one of the most interesting facets of Suburbicon is its interest in exploring racial tensions, without that narrative becoming the primary focus of the film.  By focusing on the gradual destruction of the Lodge family, Clooney somehow manages to allow the racial issues to gain prominence.  In other words, through its emphasis on the murderous intrigue, it is a reminder of how often the real social injustices of our culture get either swept aside or misplace blame.  Although it takes place in the late 50s, there is a timeliness and urgency to Suburbicon that give it a much-needed satirical bite.  It’s hard to watch Suburbicon and remain comfortable, which is to its credit.  The film knows what it wants to say and it does so efficiently and effectively.

But, if you decide to move there, just don’t drink the tea.

This year, ScreenFish was invited to the TIFF17 press conference for SUBURBICON! Narrated by George Strombolopolous, this revealing conversation includes director George Clooney, writer Grant Heslov, and stars Matt Damon, Julianne Moore and Karimah Westbrook.  You can stream the audio from the event here:

http://screenfish.net/wp-content/uploads/2017/09/TIFF17-SUBURBICON-press-conference.mp3

 

 

Filed Under: Film, Film Festivals, Reviews, TIFF Tagged With: Coen Brothers, film noir, George Clooney, Julianne Moore, Matt Damon, Oscar Isaac, Suburbicon, TIFF17, Toronto, Toronto International Film Festival

TIFF17: The Carter Effect

September 8, 2017 by Steve Norton Leave a Comment

Stream below for our 1on1 interview with director, Sean Menard!

http://screenfish.net/wp-content/uploads/2017/09/Sean-Menard-director-THE-CARTER-EFFECT.mp3

Directed by Sean Menard, UNINTERRUPTED’s The Carter Effect focuses its lens on the cultural impact of Vince Carter, former NBA all-star and face of the Toronto Raptors franchise from 1998-2004.  While every city has a deep affection for their sports heroes, the relationship between Carter and his adopted home was different.  Nicknamed ‘Air Canada, Carter’s natural athleticism and unlimited charisma not only improved his team but helped the city of Toronto get noticed on an international level.  However, after being traded to the New Jersey Nets, Carter became demonized by Toronto fans and media at an almost unprecedented level, leading to years of friction between them.

With The Carter Effect, Menard covers a story that has broad implications for the city of Toronto.  Wisely, Menard pulls his camera back to focus not only on Carter’s career but the variety of industries that were affected by his presence.  By bringing in voices ranging from global hip-hop icons Drake (famously Torontonian and executive producer) and Kardinal Offishal to local business and night club owners, Menard’s film paints a portrait of a superstar that not only affected the sports scene but helped rebuild a city’s identity.  For a time, because of Carter’s influence, Toronto became the ‘place to be’.  (Drake himself states that, as he travels the world, he “preaches the gospel that is Toronto”.)

Having grown up in the city during that era, it was interesting to almost relive a period of time where Toronto believed it mattered on a global level, only to have its fragile psyche come crashing down as things grew sour.  It was an astounding period of time where the city of Toronto came to identify itself through, really, a 22-year old youth.  Despite his impact on industry and culture, Menard also reminds the viewer that, ultimately, Carter was a young man who received god-like status while barely out of university.  Through interviews with his mother and former teammates, Carter is depicted as mature but surprised (and even hurt) by the turnaround in public opinion.  In many ways, the film becomes a reminder of the humanity of sports heroes and the flaws of our relationship with celebrity culture.  (After all, given the emphasis of sports as a business, is it really fair for a city to build its identity based on the abilities of one athlete, regardless of his skill?)

In the end, The Carter Effect appears to be more than a glimpse into a moment in Toronto sports history.  Rather, it’s a portrait of a love/hurt relationship between a man and his adopted home.  While the film explores the devastating break-up between Carter and the franchise that he built, it also genuinely extends a hand of gratitude to the player that changed the face of the NBA in Canada.

Thank you, Vince.  And welcome home.

Filed Under: Film, Film Festivals, Premieres, Reviews, TIFF Tagged With: documentary, Drake, Lebron James, Sean Menon, The Carter Effect, TIFF, TIFF17, Toronto, Vince Carter

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