ScreenFish

where faith and film are intertwined

TIFF17

TIFF ’19: Just Mercy

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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.

TIFF17: The Mountain Between Us

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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. 

4.07 Diving into THE SHAPE OF WATER

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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/

 

4.01 Breaking Down the BATTLE OF THE SEXES

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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!

TIFF17: Beast

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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.

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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.

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TIFF17: Ravens

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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.

 

Suburbicon: Neighbourhood Disturbance

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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:

 

 

TIFF17: The Carter Effect

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

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.