ScreenFish

where faith and film are intertwined

TIFF19

Speaking Your Story: 1on1 with Matthew Teague (OUR FRIEND)

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It’s always difficult to share your own story of pain. But if that story can encourage another who’s struggling, it may be worth the challenge. 

After enduring tremendous suffering throughout his wife Nicole’s battle with cancer, journalist Matthew Teague opted to pour his soul into writing about his experience. After Nicole’s passing, Teague’s piece would eventually become his celebrated Esquire article, The Friend, which highlights the amazing impact that their beloved family friend Dane had on them during this painful season of life. While the process of exploring his grief in this way was an incredibly difficult process, he also admits that it was somewhat cathartic as well.

“I would say [it was] both [difficult and cathartic],” Teague recalls. “It wasn’t easy. It’s very emotional and sometimes a physical thing, but very cathartic at the same time. I mean, that’s sort of the way with all grief. It’s not fun. It’s not easy but you’ve got to work your way through it.” 
When he first began sharing his heart through his writing, Teague had initially intended to speak about his journey with his wife. However, as the title suggests, eventually the article took a pivot to focus more on the incredible love shown to him by his dear friend during his time of struggle. Asked when he knew his story was really about Dane, Teague contends that the idea originally stemmed from his editor.

“I was talking with my editor at Esquire who knew Nicole had died and he’d heard me talk about my friend Dane before,” he remembers. “I’d never put all those together in my mind as a story but I was telling him how ill prepared I had [been] to care for someone right up to facing death, because we so rarely talk about it as a culture. When we do talk about it, we [often] do it euphemistically. We don’t necessarily talk about it in a very direct and honest way. And he said, ‘Why don’t you do that?’ And I said, ‘Because I’m a mess’. I feel like I was just flailing [as I] struggled throughout the whole process. Every story needs a hero and he said, ‘Well, why don’t you write about your friend, Dane?’ And that all sort of clicked into place that it was a story about three people and that’s when I knew I’d be writing about him.” 

Now, with the release of the new film Our Friend, Teague has the opportunity to share his story onscreen. Directed by Gabriela Cowperthwaite, Our Friend recounts Teague’s real-life journey during the death of his wife. After his wife, Nicole (Dakota Johnson) has been diagnosed with cancer, Matthew (played by Casey Affleck) struggles to balance meeting her needs and raising their daughters. Seeking to help, close friend to the family Dane (Jason Segel) offers to move in for a short stay to help Matthew get back on his feet. However, as time marches forward, his temporary gesture extends into an indefinite living arrangement at great personal cost to Dane. 

With this in mind, if there’s one particular thing that he wants people to know about his dear friend, Teague points to Dane as a model of self-sacrifice.

“I think Dane tends to sacrifice,” he enlightens. “Faith is a big part of my life and I would say that the center of that faith is sacrificial love. I think that’s exemplified by what Dane did and continues today to be a true friend to someone—to be a true neighbor to someone—is to be sacrificially loving.”

Although there are many who have walked away from their spiritual beliefs during times of suffering, Teague argues that his faith helped provided a bedrock of hope for him in the most difficult of circumstances.

“[Nicole’s passing] didn’t throw [my faith] on the rocks,” he expounds. “It was sort of the lifeline that held on to, more than anything. Faith gives us a hope for something on the other side of that veil of mortality. It gives my daughters a hope that they’ll see their mom again, and that she’s in a place of great joy now. Without that, facing oblivion would be a lot harder, I would think.” 

When the opportunity came to bring his story to life, Teague was thrilled to know that Casey Affleck had signed on to portray him within the film. While he has incredible respect for Affleck’s ability to immerse himself into any character, he also appreciated the fact that the actor did not try to ‘become’ him onscreen.

“Casey is just a fantastic actor,” Teague beams. “He could represent anyone. It’s deliberate on his part—and I’m happy for it to be—that he didn’t try to imitate me [by] talking like me or walking like me or any of that. I’m not Winston Churchill, right? ‘Oh, Matt holds his teacup just that way or whatever.’ Nobody’s going to know that sort of thing. What he focused on was exactly what I hoped he would which is to deliver the spirit of the [story] more than to try to pretend to be me.” 

This ‘spirit of the story’ is what truly sets Our Friend apart from other modern ‘love stories’. At a time when the term ‘friend’ is used almost carelessly, this film takes the time to truly explore the depth of the word’s meaning. Whereas most narratives tend to lean on romantic relationships as the emotional core of the story, Our Friend demonstrates the power of what it means to truly love one another.

“As a culture, we focus so much on a primary romantic relationship,” Teague suggests. “This film is one of few that I can think of that focuses the way it does on friendship. Usually the gossip magazines are not full of tabloid information about who’s best friends with who [or things] like that. But I feel like friendship deserves a bit more about attention. I think it was Tim Keller who said that ‘Friendship is our only really deep relationship that’s not [based] in some way on biological imperative.’ You know, it’s not the love of a parent for a child, a child for a parent or mates for each other. All of which are part of the DNA stream. Friendship is just a choice where you’re going along in life and you see someone and you say, ‘Hey, I like you. Let’s go together’. That’s an extraordinary thing. So, hopefully people will think a little bit more about it in the future.”

Since the events take place over many years, the film’s narrative naturally takes several jumps in time. Although, in one of the film’s more unique story-telling devices, Our Friend moves forward and backward in their journey, allowing the script to offer more moments of levity throughout its runtime. In doing so, Teague suggests that the film better encapsulates their experience of Nicole’s cancer battle.

“[The film] stretches all the way from when Dane and Nicole met in college, probably 20 years ago through the end of the cancer…,” he clarifies. “That’s the reason that it jumps around so much [chronologically]. To have just told [it] in a linear fashion from a woman who’s diagnosed with cancer through to death would just be a straight downward march and would not be interesting to anyone to ride along with. Brad Inglesby, our screenwriter, made the call to have it leap in time around in our lives. That actually more accurately represented our experience [in that] two years of illness, because there are moments of levity and there are moments of reminiscence of the old days and things like that. So, that’s why we structured it for evidence.” 

Friends for two decades, Dane had been considered a part of the Teague family for many years. However, as Nicole’s condition worsened and the everyday tasks became increasingly overwhelming, Dane stepped in to help keep the household running smoothly. For Teague, these small acts of kindness were the moments that reminded him how important his friend had become to the family.

“Long before the illness, we had been close for years and years and years,” he describes. “When [Dane] was in college, he would stay at our house, and sort of moved in half the time with us just because it was a shorter distance to get to school for him to get to class. So, I knew how brotherly our feelings were for a long time before that. But it became clear how much I needed him immediately during Nicole’s illness, when it was just those mundane, simple things. We had the absolute inability to do all the medical stuff and do things like washing dishes, run a load of laundry, get my girls to school on time, [et cetera]. I was falling behind and I just couldn’t keep up. You see some of that in the movie. So, he came in and did that.”

Despite the challenges of adapting one’s own journey for the big screen, Teague believes that the story hits on the right moments with the proper emotional beats.  

“The original story was more graphic and the ability to describe the physical insult of cancer and, maybe really any illness, but it also addressed the psychological and emotional impact,” he says. “Because it is a visual medium… we really couldn’t put some of the physical stuff [onscreen] or people would be throwing up in their popcorn. But we tried to lay out and deliver the emotional and psychological quality as best we could. So, I feel good about it. I feel like it’s a story that says everything that I could want to say and an hour and a half.” 

Though their family’s journey took the form of Nicole’s cancer, Teague recognizes that pain looks different for everyone. Especially given the social fallout of the current global pandemic, it is his hope that those who see the film will be encouraged to see that there is light on the other side of suffering.

Says Teague, “My great hope is that people who are going through the hard times—[and there] are many, many, many magnitudes more now than when we started making this movie. There are so many people experiencing loss and I don’t [only] mean cancer. I mean the loss of employment, the loss of dear loved ones. My hope is that as people who have experienced that will watch this and, at least for a couple of hours, they’ll feel like [they’re] not the only one. In a world flooded with Instagram perfect images, my hope is that this will be a solace to people to realize that [life can be] hard and, if you can just hold on, there’s some joy coming on the other side.” 

Our Friend is available on VOD now.

To hear our conversation with Matthew Teague, click here.

Huffman, Happiness and Finding Herself: 1on1 with Anastasia Phillips (TAMMY’S ALWAYS DYING)

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Directed by Amy Jo Johnson (The Space Between), Tammy’s Always Dying tells the story of Catherine (Anastasia Phillips), a woman trapped in a dysfunctional relationship with her suicidal mother, Tammy (Felicity Huffman). Every month, Catherine finds herself having to literally talk her self-destructive mother off the ledge of the same bridge. Caught in the confines of co-dependency, these suicide attempts are Tammy’s selfish way of keeping hold of her daughter and, having been broken by the experience of trying to save her mother, also the only thing that Catherine believes she’s good at anymore. Asked what excited her most about the opportunity to play Catherine, Phillips beams with enthusiasm about the chance to work with such an incredible team of women onscreen and behind the camera, especially an experienced veteran like Emmy-winner, Felicity Huffman.

“At first, I knew that Felicity was already attached,” she beams. “I knew that she would be a total powerhouse to work opposite and that it would be a huge learning experience for me as an actor. So, that in and of itself was exciting. The script was hilarious and dark and different. The character of Catherine was something I had never really seen on the page before. I’d never really seen a woman who effectively doesn’t have a story be at the center of a story in quite that way. So, I thought that would be a huge and exciting challenge. Also, [it was] terrifying because there isn’t quite as much to dig your heels into. A lot of it is reactive. That’s sort of who Catherine is as a human being as well. She’s codependent. She’s lived in her mother’s shadow. So, I just thought it was a really interesting opportunity. That would be the two things that really excited me.”

“I hadn’t worked with Amy Jo Johnson. I hadn’t met Joanne Sarazen, the screenwriter [or Jessica Adams, the young female producer on this], but as soon as I did, I understood that… there was this trifecta of everything that’s promising about Canadian film right now and the strong female voices in it. So, I mean there’s just no way I could say no once I found out they were considering me.

Whenever one gets the opportunity to work with a seasoned professional like Huffman, there is always much that one can learn from them. For Phillips, the experience of working with Huffman challenged her to memorize the entire scene in order to bring the moment to life onscreen.

“Actually, [Felicity] made the request of all of us that we work without sides on set,” Phillips begins. “So, that sort of trickled down from Amy Jo and I liked it a lot. What I learned about Felicity is that probably, because she grew up with such close ties to David Mamet, the Atlantic Theater Company and her husband, William H Macy, being such a prolific stage actor, she has such respect for the written word. She treated this like a play that everyone would have already learned and so the idea was that we would all arrive on the day, cut the strings and free fall together. I think I will never work a different way after having had that experience. In this industry, you really just get out of it what you put into it and, if you’re still concerned about something as silly as, ‘what’s my line?’, it’s so impossible to fully inhabit the character, the role and just the world. She was just beyond prepared and committed and I will continue with that work ethic myself going forward.”

Though the vast majority of their performances stemmed from the Sarazen’s well-written script, there still remain a few moments of improvisation that made it into the final cut.

“I’d say that almost 99% [of the dialogue] is off the page,” she recalls. “I love it. I love Felicity for this. There’s one scene where I find her lying on the floor and I’m trying to wake her cause I think she’s dead. So, I’m shaking her awake and Tammy suddenly wakes up and she says, ‘I’m not dead. Don’t look so excited about it.’ And then she says, ‘I borrowed your underwear.’ That’s a Felicity throw in. It’s so funny and it just adds this button. So, there are a couple of ad lib moments like that Felicity tossed in, which I think are just pure gold.”

While the opportunity to work with Huffman was incredible, another appealing aspect of the film for her was the unique challenge to play a character like Catherine, who is consistently at the end of her emotional rope.

“Ooh, it was kind of scary because I couldn’t rely on any tricks,” says Phillips. “I basically just had to sit in the place of my deepest vulnerability. The place I occupy when my self-confidence is at its absolute lowest. Basically, [I had to] just marinate in all the disappointments in my own life and then I could sort of begin to understand the day-to-day existence of this woman. Rather than building up something, it was kind of like stripping away all of the things [that] I use to protect myself as a human being and then just being that raw thing that remains, which was kind of terrifying. We’re always trying to compensate, right? I couldn’t do that in this instance.”

Trapped within a destructive relationship with her mother, Catherine’s character seems to identify herself based on other people’s expectations of her, a trait that Phillips believes is common within dangerous co-dependant relationships.

According to Phillips, “I think that’s the term ‘codependent’ [means] exactly that… The chaos of living with an addict is so great that one completely abandons themselves and any notion of who they are just to be in crisis management mode. So, Catherine never had a chance to really think about who she is, [or] what she wants. It’s always been just react and respond to the crisis of her mother.”

What’s more, Catherine’s struggle within the film also sends her on a quest to find her true self. In order for Catherine to find peace, Phillips feels that she must work on setting clear emotional boundaries with her mother and learn to put herself first.

“I don’t want to give away the ending of the film, but I think [in order for her to find herself], it’s finally making the decision that she will put herself first, rather than her own mother and in any decision that she makes [that puts her on the road to finding herself],” she explains. “So, in this film, it starts with her deciding to go to the city. It starts with her deciding that she’s not going to be the one to pick up the pieces after Tammy’s life falls apart again. Just that she’s going to put herself first and, in the long run, what that means, it’s probably just as simple as having friendships, maybe a romantic relationship that’s not so dysfunctional as the one that she has with Reggie. It’s just such small stuff on how you honour yourself versus giving up your power to put other people’s needs before your own.”

Given the film’s emphasis on the struggle of emotional health in the midst of co-dependency, Catherine’s quest for happiness is central to the film’s core. With this in mind, Phillips argues that the search for happiness begins by being able to accept your situation so you can properly seek an answer to it.

“I sometimes I think that rumination isn’t the way to happiness, which is what I usually like to do,” Phillips admits. “I think maybe happiness is acceptance. Not fighting the river or trying to go against the current of it, just accepting what is happening at that moment. You know, trying to minimize the resistance that you have towards it so that you can sort of respond rather than react.” 

In addition, the film also highlights the fact that, even though there are those who seem happy on the outside, it does not mean that they aren’t broken themselves.

“I like that line of Tammy’s, ‘You can never see what’s broken in a happy person,’” Phillips claims, “but it makes me feel a little bit like suspicious of what the notion to be happy is. [It’s] as if happy is just a state of mind that you choose despite all the other horrible things that are going on in your life. You just choose not to indulge them. You choose not to wallow in them. You choose not to reveal them maybe or project them. So, maybe happiness is just a choice you have to keep on making. You can be happy despite the poor hand of cards you’ve been dealt in life because you have chosen not to be a victim of that, but to allow yourself to enjoy your own life.” 

“I really think that Joanne Sarazen, who wrote the script, has these one-line zingers that you could write a philosophy paper on some of them. There’s so many nuggets to unpack and I was very fortunate to be a part of it.”

For full audio of our interview with Anastasia Phillips, click here.

Tammy’s Always Dying is available on VOD now.

Tammy’s Always Dying: Struggle and Conflict in Co-Dependent Care

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Directed by Amy Jo Johnson (The Space Between), Tammy’s Always Dying tells the story of Catherine (Anastasia Phillips), a woman trapped in a dysfunctional relationship with her suicidal mother, Tammy (Felicity Huffman). Every month, Catherine finds herself having to literally talk her self-destructive mother off the ledge of the same bridge. Caught in the confines of co-dependency, these suicide attempts are Tammy’s selfish way of keeping hold of her daughter and, havin been broken by the experience of trying to save her mother, also the only thing that Catherine believes she’s good at anymore. When Tammy is diagnosed with terminal cancer, Cathy’s repressed desire to leave her small town pushes her to leave. However, even if she were to go, she carries the guilt of responsibility and she questions what it will take for her to be truly free.

Having premiered at TIFF 19, Tammy’s Always Dying takes a long, hard (and sometimes funny) look at the relationship between co-dependency and mental health. Written by Joanne Sarazen, the film primarily showcases the relationship between Catherine and her alcoholic mother from Catherine’s perspective and, in doing so, opts to show the brokenness and conflict that can be experienced by caregivers. Johnson’s skill as a director continues to improve as she becomes more invested in developing atmosphere for her actors to work within. For example, through her frequent use of bleached lighting, Johnson casts an utter bleakness upon the world that she’s created, visually demonstrating the idea that each day bleeds into the next. What’s more, this idea becomes pushed to the forefront when contrasted with the sharp, sleek colours in the production of the The Gordon Baker Show. Whereas Catherine’s world remains consistently out of control, the television studio is a world that thrives on it, dictating not only the appearance of their guest but how they experience emotions as well. 

In addition, Johnson wisely gives her veteran cast the space they need to invest themselves into their characters. While Huffman’s performance shows off her veteran talent, it’s Phillips’ courageous performance as Catherine that carries the film. In an unbelievably raw performance, Phillips bravely shows the internal struggle between her daughterly-duty to care for her mother and the guilt she carries of her desire to be free from her. 

For Catherine, each day is a battle as she is constantly tasked to prevent her mother from initiating any of her several different plans for taking her own life. For Catherine, this lifestyle has taken its toll on her soul as she struggles to recognize the boundaries of where her mother’s traumatic behaviour ends and she begins. (In fact, it’s interesting to note that even the film’s title is focused on Tammy’s character as opposed to Catherine’s journey. One can almost hear Catherine’s exasperation within it, as if she were exclaiming, “Tammy’s Always Dying!”) As a result, Catherine seems to have lost all sense of self-understanding. In short, her entire life’s purpose seems to be related to her mother’s safety. Living her life based on the names that she is given by others (or that she imagines herself), Catherine remains stunted in her personal and spiritual growth and happiness remains elusive to her. 

Interestingly, the question of happiness itself lies at the centre of the film as well. Struggling to keep herself afloat, Catherine is on a quest not only to find herself but also what it means to experience any sense of joy. From sex to alcohol to fame, Catherine looks to any external source that may potentially give life to her soul. As such, without giving any spoilers, Catherine’s journey to self-discovery stems from her own courage to re-examine what she has. (Again, this remains a testament to Phillips’ work here as she is fully willing to let Catherine bare her soul onscreen on multiple occasions.)

While Tammy’s Always Dying is far from light-hearted (even with its more comedic moments), the film is definitely worth the time. Anchored by incredible performances by stars Huffman and Phillips, the film highlights the conflicted nature of caring for those you love when you lose yourself in the process.

To hear full audio of our interview with star Anastasia Phillips, click here.

Tammy’s Always Dying hits video on demand on Friday, May 1st, 2020..

Guns Akimbo: Chaos, Culture and Carnage

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“Never bring a spork to a gunfight.” – Nix, Guns Akimbo

It’s sage advice such as this that drives Jason Kei Howden’s Guns Akimbo, a film super-charged by red bull and ready for blood at every turn. Set in the present day, Guns Akimbo tells the story of Miles (Daniel Radcliffe), a mild-mannered video game developer who, after a night of combatting internet trolls, inadvertently finds himself forced to participate in a real-life (and live-streaming) death match on the dark web site, Skizm. Awakening with two handguns strapped to his arms, Miles soon finds himself in the cross-hairs of Nix (Samara Weaving), the game’s most popular (and powerful) killer.

Free-wheeling and fired up, Guns Akimbo feels like Scott Pilgrim vs. The World had it been directed by Eli Roth. Over-flowing with adrenaline and blood splatters, Howden’s film pops and spins with the energy of a video game brought to life. Featuring a soundtrack rooted in ’80s pop tunes with a pounding new pulse, Akimbo is designed to power-up the viewer for a rocket ride of carnage and chaos. While the film isn’t profound, it does win over its audience with its sheer glee for wanton destruction.

Howden makes good use of Radcliffe’s overall likeability as Miles, a lost and lonely game developer who meekly rolls through each day at his desk and pines for his ex-girlfriend at night. Since moving on from the Harry Potter franchise of his childhood, Radcliffe has deliberately chosen wild and unexpected projects in order to avoid typecasting and Akimbo is yet another push away from the beaten path. As Miles, Radcliffe brings his own brand of awkward innocence and humour to the character as he grapples with his new reality of having locked and loaded limbs. Strong ‘only behind a keyboard’, Miles is the furthest thing from a killer and absolutely no one’s hero. While the film has no restraint when it comes to carnage, it also appears to want to criticize the viewer for enjoying themselves. Although his job is to create an online game, Miles lives in a very real world, complete with dead-end job and lonely nights. As an everyman, he takes no joy in his situation and recognizes the inherent evil of becoming the villain in his own story. (Essentially, imagine a lead character from Grand Theft Auto with a moral compass.)

Though, herein lies the incredible irony of Guns Akimbo. Interestingly, while the audience takes in the craziness, Akimbo somewhat bites back at those who are thrilled by the killing of Skizm. Well aware of the drones chronicling his every move, Miles at one point even screams at his audience, blaming them for his situation because of their addiction to the violence. When the film cuts to the viewers, they simply laugh off his judgments, taking nothing to heart. In moments like these, the film appears to want to make a commentary on our culture’s passion for bloodlust. However, the film’s own interest in the thrill of the hunt mixed with its pulse-pounding soundtrack undermines the argument by quickly reminding the viewer that the bloodshed is all in good fun. As a result, Guns Akimbo ends up reinforcing the very joy of carnage that Miles seems to stand against at the film’s outset. Slowly but surely, the fantasy of a ‘video game world’ becomes the new reality and it does so with a smile. (In this way, the film is somewhat of a disappointment in that it misses the opportunity for a genuine exploration of a culture obsessed with violence.)

Wild and disorderly, Guns Akimbo makes no apologies for its enthusiastic attempt to bring online gaming into reality. Without question, this is a film that wants to entertain without fully committing to its social commentary. It’s loud, violent and strangely fun in an adrenaline-fueled way… so pick up the popcorn and pass the Red Bull.

Guns Akimbo lets the carnage rain in theatres on Friday, February 28, 2020..

The Song of Names: Music of the Soul

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Split between two timelines, The Song of Names follows the brotherly relationship between Martin, a wealthy British child during the Second World War and Dovidl, a Polish violin prodigy whose parents leave him in his family’s care. As the two boys grow into men, they form a familial bond. That is, until young Dovidl disappears before one of his most important violin recitals. Forty years later, as the elder Martin (Tim Roth) discovers his first clue as to what happened to his childhood best friend, he begins to unravel a mystery that not only speaks to his own life but helps explain the depth of the elder Dovidl’s (Clive Owen) heart and soul as well.

Directed by Francois Girard (Boychoir, The Red Violin), Song of Names is a fascinating journey into youthful innocence in the wake of cultural trauma. Moving effortlessly between 1940s London and the 1980s, the film recognizes the stirs and echoes that violence and death can leave behind, decades after the events take place. Featuring a strong cast across three generations, each actor playing Martin and Dovidl throughout the years brings solid and unique performances to the piece. However, while Roth and Owen are given their most interesting roles in years, the youth often steal the film from the veterans, especially the youngest team of Misha Handley and Luke Doyle. 

At times, their brotherly tension plays out as a childhood version of Mozart and Salieri, brimming with subtle jealousy and arrogance. Even so, this angst is also counter-balanced with a deep love for one another that draws them together in the most difficult of circumstances. Most importantly, however, as the youngest incarnations of the characters, Handley and Doyle bring a youthful purity to their roles that highlights the subsequent damage of trauma. Despite their pettiness and brotherly squabbling, their relationship exists within a very specific and painful moment of history hat slowly drains them of their innocence, especially that of Dovidl. This becomes particularly evident when the two boys find a corpse on their way home after an air raid. In scenes such as this, the challenges of youth come face-to-face with the reality of war and their lives are transformed.

As the viewer moves back and forth through various timelines, they witness Davidl struggle to process the travesty of his family (not to mention his people). Interestingly, while Martin searches tireless to discover what happened to his brother, flashbacks set up the fact that Dovidl himself is asking the same sorts of questions as he attempts to process and understand his own life. As a young Jew living in England, the question of identity and his place in his culture are natural question. Although, issues of faith also remain at the forefront as Davidl attempts to understand how his own Jewishness and relationship to God could allow the types of oppression and pain that he has seen take place. (Without giving any spoilers, as the film draws to a close, the viewer begins to understand the remembrance and reclaiming associated with the titular song as well.) 

At the same time, the viewer also watches as Martin, who comes from a wealthy British family, attempt to understand the journey that his brother has taken (both literally and figuratively) as an outsider. To him, his brother’s journey never quite makes sense. (After all, weren’t they from the same family?) As a result, Martin’s journey becomes one of comprehension and empathy as he learns the truth behind Davidl’s personal and emotional journey.

While the film’s mystery drives the narrative, it’s really the quest for identity that gives Song of Names its soul. Featuring solid performances from its entire cast, the film speaks to the ways that we grapple with both pain and personal history. As such, the parallel journeys of Martin and Dovidl not only demonstrate the trials of processing tragedy but also the challenges of understanding one another as well. 

The Song of Names plays in theatres on December 25th, 2019.

6.09 Spending A BEAUTIFUL DAY IN THE NEIGHBORHOOD

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Focusing on the life of television legend Fred Rogers, A BEAUTIFUL DAY IN THE NEIGHBORHOOD is a different type of biographical picture. By examining the life of the iconic children’s performer through the eyes of disgruntled journalist Lloyd Vogal, the film showcases the impact that one life can have on the world around them. This week, Steve is joined once again by ScreenFish’r Julie Levac and TO Film Files’ Jolie to talk about the nature of forgiveness and living an authentic life.


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

Want to continue 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.

6.09 A Beautiful Day in the NeighborhoodDownload

6.06 Laughing at History in JOJO RABBIT

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This week, Paul and Julie Levac gather to take on JOJO RABBIT, a film which allows director Taika Waititi to bring his brilliant art to the big screen in a stunning satire that will have you howling and shedding a tear in the same sitting.

Jojo Betzler is determined to fight for his country, confident in the support of his imaginary friend, Adolf Hitler. When he discovers a Jewish girl hiding is his house, he is faced with a dillema. As he slowly builds a tolerance for the girl, and together with the lessons of an exceptional matriarch, Jojo begins to realize that perhaps his fanatical views of the Fuehrer and Nazis are not what they used to be.

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

Motherless Brooklyn: Pulling at the Thread of Power

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Directed and adapted for the screen by Edward Norton, Motherless Brooklyn tells the story of Lionel Essrog (Norton), a Brooklyn detective in post-war New York. Working with street smart private investigator Frank Minna (Bruce Willis), Lionel (who also goes by the name Brooklyn) and his team uncover the truth for hire. However, when Minna is shot and left for dead, Lionel determines to unravel the mystery, plunging him into a Brooklyn underworld riddled with crime, corruption and colourful characters. As his quest for truth leads him further up New York’s ladder of power, Lionel’s investigation is complicated by his Tourette syndrome, which leaves him prone to compulsive behavioural tics and inappropriate verbal outbursts.

Adapted from the 1999 novel of the same name, Brooklynis a tightly written throwback film to classic Hollywood’s noir films like The Big Sleep or Chinatown. With a stellar cast and tightly written script, Norton creates a world which feels both foreign and familiar. While the film transports the audience back to 1950s New York, it also feels current in today’s culture, highlighting racial tensions and the growing divide between the upper and lower classes. In Motherless Brooklyn, power is a drug that gives people the freedom to ‘do whatever they want, whenever they want’ but it’s also short in supply. Divided by racial and financial lines, Brooklyn is a city on the brink of chaos.Those that have little power are struggling to make their voices heard while those who have much fight ferociously to maintain it. 

As Brooklyn himself, Norton’s performance is sharp, engaging, and loving. At the same time, the character becomes a metaphor for the town for which he’s named. Plagued by Tourette Syndrome, Brooklyn feels as though there’s a chaos in his mind that bubbles over and has to be released. While the casual passerby may not immediately notice Brooklyn’s struggle, his mental chaos inevitably reveals itself. With this in mind, the film clearly draws a line between his character and the city itself, as its own unseen chaos can’t help but overflow from the underground. Diffused lighting and growing shadows point to tension between light and darkness, as Brooklyn (the character) attempts to uncover the truth about Brooklyn (the city). Like his compulsion to pull on the threads of his sweater, Brooklyn also must unravel the web of deception until the facts about his city is revealed.

Furthermore, the film also does not shy away from engaging in the complexities of Brooklyn’s mental health issues. Bullied as a child for his affliction, Brooklyn has always been the one that was pitied by others. After Minna’s death, Brooklyn becomes seen by others primarily for his mental affliction as they constantly try to ‘look out’ for him, rationalizing that he needs their protection. Frustrated by his inability to control his mind and constantly reminded of the burden he is by others, Brooklyn remains ashamed and embarrassed by his behaviour. 

Conversely, however, while clearly struggling with his mental illness, he also recognizes its value. Despite the chaos within him, his Tourettes is also what makes him a great detective by forcing him to ‘pull on the thread’ of truth and allowing him to retain incredible amounts of information. What’s more, the film even paints a portrait of Tourette syndrome with an element of beauty by highlighting the musical aspect of Brooklyn’s mental chaos. (For example, this comparison is highlighted when, in one particularly poignant scene, Brooklyn’s inadvertent vocables cause him to become a participant in a jazz ensemble.)

Featuring strong performances and well-written script, Motherless Brooklyn is an entertaining and engaging return to the noir genre. Under the Norton’s direction, the film is also impressive visually, as the shadows and darkness of New York’s underworld are constantly warring against the light of truth. 

Motherless Brooklyn unravels the mystery in theatres on November 1st, 2019.

Joker: Laughing on the Outside

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In Joker, failed comedian Arthur Fleck (Joaquin Phoenix) works as a clown to pay the bills and lives at home with his sickly mother. Beaten down by a society coming apart at the seams, Fleck struggles to maintain a positive outlook yet desperately wants to make people laugh. Struggling to find his way, Fleck soon begins to act out his frustrations in increasingly violent ways as he slowly transforms into the criminal mastermind known as the Joker.

Written and directed by Todd Phillips, Joker feels like an unexpected twist in his career trajectory. With films such as The Hangover trilogy and Old School leading his portfolio, an exploration of the dark underbelly of humour may seem like a vast departure from his previous work. In many ways, however, Joker also feels like a nature progression. Whereas many of his previous films have dealt with middle-aged men working out their emotional issues through the use of humour, Joker simply flips the switch by digging around in the psychology under the laughter instead of focusing on the gags themselves. While the film is bound to be divisive due to its dark themes and violence, Phillips has created a character arc so compelling that every scene feels like a vital piece to the most complicated of mental puzzles. 

Added to the mix is Joaquin Phoenix who absolutely shines as the hopeful but hurting Fleck. Over the years, the character of the Joker has provided multiple actors opportunity to push themselves and, thankfully, Phoenix carves out his own unique place in the canon. In an Oscar-worthy performance, Phoenix is simply mesmerizing as the failed comedian, giving him a likeable quality amidst his brokenness that makes you want to root for him (until you simply can’t anymore). Without question, Joker is very much the hero of his solo film—but the nature of that heroism eventually gets called into question.

Whereas the Joker has been often presented as a mysterious ‘force of nature’, here he is very much a product of his culture. Living in the slum-like Narrows of Gotham city Fleck’s life is a comedy of errors. Bullied for his job as a clown and living with his mother, Fleck has dreams of making other people laugh as a stand-up comic. His mother waits faithfully for a severance check from the wealthy Thomas Wayne that will never come. He’s in love with the beautiful tenant across the hall who may or may not be interested in him. Like the rest of those in the Narrows, success for Fleck is something that is constantly in view but just out of reach. While he’s constantly laughing on the outside, there’s little joy within him. (Interestingly, in one of the more intriguing story points for his character, his constant laughter stems from a medical condition that causes him to do so regardless of what’s happening around him.) For Arthur Fleck, life is no joke as his desire to matter in the eyes of others is consistently spat upon by the world. 

What’s more, this perspective echoes the film’s portrayal of Gotham itself, choosing to look at life through the eyes of those who are struggling to get by each day. Set years away from the arrival of the Dark Knight, Gotham is at a tipping point as the rich become richer and the poor more helpless. Anger and frustration run deep within those living in the Narrows as they become viewed as ‘troublemakers’ and yes, ‘jokers’ instead of people in need. Even Thomas Wayne, who has been painted in previous visions as a saint who wanted to see the city thrive, is skewed here as an irrelevant billionaire who remains out of touch with the common people. 

In Joker, hope remains out of reach for much of the city. In a city that mirrors the broken spirit of American culture, the 99% have grown angry with their way of life and want desperately for their voices to be heard. Then, when an unknown attacker kills three businessmen on a subway, tensions within the city begin to bubble over as talk of revolution hits the streets. 

In light of this, the most terrifying aspect of the film stems from its realism. Instead of chemical transformations or superpowered villains, Joker shows what can happen when a city loses its grace for the downtrodden of humanity. Although Fleck’s actions become reprehensible, they stem from his inability to process the abuse of a culture that has turned its back on him. “I used to think my life was a tragedy,” he moans, “but now I know that it’s really a comedy.” Light becomes lost in a world that has succumbed to the shadows and Joker gleefully dances into the darkness. (Is it any wonder that the film has been referred to by Phillips as a ‘cautionary tale’?)

Despite its bleak outlook on the world, Joker truly is one of the years best and most creative films. Phoenix’ performance as the Clown Prince of Crime may take him to dark places but there remains a brokenness within him for much of the film which humanizes him. Pressure from all sides to succumb to a culture of despair, Arthur Fleck’s journey is less of a comic book film and more about what happens when a world fails to listen to those who need it most.

And the outcome of that is no laughing matter.

Joker laughs its way into theatres on Friday, October 4th, 2019. 

Judy: For Love and Fame

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Starring Renee Zellweger as the titular star,  Judy follows the final years of Hollywood icon Judy Garland as she performs tireless in an effort to regain custody of her children. Set thirty years “The Wizard of Oz,” Garland arrives in London to perform nightly sold-out shows at the Talk of the Town nightclub. While there, she reminisces with friends and fans by night and battles her own personal demons by day.

Directed by Rupert Goold (True Story), Judyis both a loving tribute and unapologetic look at Judy Garland’s journey as a fading star near the end of her life. Visually, the film is simple yet effective. Lighting remains brightest during flashback sequences when her career is at its peak yet become more intimidating in the present, as Garland’s life continues to decline. What’s more, rather than attempt to entertain the audience using quick cuts, Goold often leaves the camera unflinchingly fixated upon the face of his star, allowing Judy to be the story (as opposed to the editing). In doing so, Goold wisely allows Zellweger to take centre stage and she absolutely shines as Garland. In one of the year’s best performances, Zellweger presents the aging star with a complex mix of ferocious self-destruction and tender grace. During live concerts, Zellweger shows Garland in her element and bursts off the screen with all the energy that one would expect from a Hollywood icon. Yet, when the lights dim, she begins to fold in on herself emotionally, collapsing under the weight of the expectations of others.

Though Judy focuses its lens on Garland’s journey, the film is also a scathing examination of celebrity culture. Although her motivation to perform stems from her desire to regain her children, Garland maintains a love-hate relationship with the spotlight. Known the world over for her singing voice, she has also found that the very act of getting on stage has become increasingly difficult for her. Whereas she has taken on the role of star willingly, she now fully understands the cost of the limelight. Despite the fact that she is beloved and held in reverence by millions, Judy has lost all sense of herself at the hands of the expectations of others. Bright lights bleed off the screen, giving her fame an ominous feel at the hands of the public. (Interestingly, however, while she’s onstage, stage lights resume their former brilliance, suggesting that Garland is still in her glory in front of her fans.) 

However, Garland’s regrets aren’t simply due to her own personal malaise or lack of gratitude. By juxtaposing Garland’s teen years in the midst of the Hollywood studio system with her breakdown later in life, Judy reveals the direct impact that abusive leadership can have on childhood psyches. Forced not to eat in order to keep her figure slim and crushed by the expectations of the studio, Garland’s childlike innocence is slowly taken away as she is prevented from experiencing the joys of her youth. As a result, the elder Garland understandably displays an obsession with the approval of others as she grapples with the painful effects of child exploitation. 

Whereas the opportunity to play Dorothy Gale once provided her with her own personal yellow brick road to fame, Garland now finds herself spiritually lost somewhere over the rainbow. In other words, having literally gained the whole world, Garland has lost her soul at the hands of those in power and it has left its mark on her. While fans selfishly cry out for her to meet their expectations, Garland struggles to even get out of bed in the morning due to crippling depression. Drowning herself in alcohol and drugs, Garland yearns to have someone drawn to her as a human being, as opposed to her celebrity status. Broken by her past, there’s a piece missing to her soul underneath the glittering lights of fame. Even as her soul aches for closeness, she must always be ready to perform when the curtain calls.

Painting his subject with a sympathetic brush, Goold neither condemns the fading actress nor entirely excuses her behaviour. Instead, Judy recognizes that the soul of the artist is just as valuable as that of others… and just as easily damaged.

 Judy opens in theatres on Friday, September 27th, 2019.