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toxic masculinity

Squeal: Men are Pigs

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Men are pigs. Sort of.

This old truism trope lays the ground work for Squeal, a dark fairy tale that wants to explore man’s baser impulses and his potential for redemption. In Squeal, Samuel (Kevin Janssens), a man who is on a quest to find his long-lost father. When he finds himself lost in the remote forests of Eastern Europe, Samuel encounters Kirke (Laura Silina), a pig-farmer’s daughter who invites him to stay the night. However, when he awakens, he discovers that our initial hospitality was a ruse to capture him and force him to work on their farm. Chained in the barn amongst the pigs, Samuel is treated as just another animal and awaits the opportunity to escape.

Spun as a dark comedic fairytale, Squeal feels like the bizarre offspring of Stephen King’s Misery and The Princess Bride. Directed by Ike Karapetian, the film is entirely willing to lean into its darkest impulses yet still remains a fascinating and whimsical endeavor. Focusing on the story of a man chained in a barn and treated as livestock, Squeal wields its horrific edge with glee. Leaning into the more chilling aspects of folklore, the film feels like a terrifying bedtime story. Other than Samuel, each of its characters seem wildly disconnected from the gravity of the reality that is before them. Humans are treated like animals yet animals remain revered. While the violence does not get particularly graphic, this is meant to be a world where anything can happen at any given moment. 

At the same time, there is a eccentricity [and, dare I say, even sweetness?] to the film. Embedded within this bizarre kidnapping tale lies the beating heart of a love story which is kicking at the darkness to break free. With its simple, rural setting, the film feels as though it has fallen out of children’s book. Featuring talking animals and a quirky chemistry between Silina and Janssens, Squeal maintains a certain light-hearted spirit underneath the mayhem. Without question, it is undoubtedly the strangest mix of genres that one will see this year… but the film is still manages to work. 

What’s most interesting about the film is its comparison between man and animal. Throughout Squeal, the lines between civilization and the natural world are increasingly blurred. Treated primarily as a source of income, both Samuel and the pigs are valued as essential, even if their intelligence is overlooked. Both are fed slop and washed gruffly. (Although, admittedly, Kirke’s bathing of Samuel has a different tone. What’s more, Samuel even notes that the differences between them have become. [“I’m only eating garbage like you because I have to,“ he notes.] 

Despite their differences, man and pig have become closer than one might expect.

As such, the film also seems an exploration of toxic masculinity. From the fact that Samuel has never known his father to the film’s open ending, there’s a suggestion within Squeal that men have a certain animal nature within their DNA. In this way, Samuel’s journey feels as though it threatens to reveal his character. (After all, men often are pigs.) 

Strangely though, there’s also a certain hopefulness about the film that this inner nature can be overcome. The romantic angle offers a redemptiveness to Samuel’s story that seems to heal his wounds. As his journey unfolds, there is a genuine sense of hope for mankind. Though they may have baser instincts, maybe love can help man’s humility and heart can break through after all, allowing for some light in the midst of this dark world. 

While it will not be for everyone, Squeal is such a strange experiment that one can’t help but admire it. Though wild in style, Karapetian understands what he wants to create and goes for it with gusto. 

Squeal is available in theatres in NY/LA and on VOD on Friday, August 19th, 2022.

Men: Trapped in Man’s World

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Men may begin as a quiet trip to the country… but it is no vacation.

Directed by Alex Garland, Men tells the story of Harper (Jessie Buckley), a young women left grief-stricken after the sudden and shocking death of her husband. In an attempt to heal, Harper retreats alone to the English countryside, renting a small estate where she can be alone. After meeting the quirky groundskeeper (Rory Kinnear), she settles in for some peace and quiet. Although, when someone follows her home after a morning walk, her time of solitude begins to unravel as she looks to escape her mysterious stalker (or, potentially, stalkers) before its too late.

As is often the case with Garland’s work, the film is visually stunning from start to finish. By taking painstaking detail in his cinematography, Garland ensure that every shot is rife with metaphorical significance. Anchored by slow camera pans, Garland wants the viewer to sit within his imagery with a reflective glare. Bold red colours that bleed across the screen augment the pervasive darkness within its characters. The harsh lines of the estate contain Harper in a prison of tradition and the ‘old ways’. Frankly, there’s very few frames that are visually wasted in this storytelling.

Infusing her performance with an inner strength, star Jessie Buckley does an excellent job portraying the combination of grief and courage necessary for her character’s evolution. However, despite some solid work from Buckley, it’s Kinnear’s wild performance(s) that may be most notable within the film. Playing almost every male role, Kinnear brings life to his villainous men, disappearing into each persona. From the toxic shame of a priest to the ignorance of the police, each character he creates is fueled by their own quirks and characteristics that makes them entirely unique.

Admittedly, it’s worth noting that Men is not for the squeamish. Known for films like Ex Machina and Annihilation, Garland has made a name for himself with his visual creativity. In Men, however, he truly unleashes his inner brutality, especially in the film’s final sequence. Beginning as fairly standard (but well-executed) terror, the film gradually devolves into the madness of body horror that would make Cronenberg proud. However, despite featuring arguably some of the more graphic images we’ve seen onscreen in recent years, Men never loses sight of its metaphor. As a result, even the most disturbing sights feel earned as the film leans into its conversations about the poisonous nature of masculinity.

Much like Eve’s bite of the proverbial fruit in the Garden of Eden, so too does the film emphasize the shame placed upon women in order to preserve the male ego. At every turn, the film looks to find a reason to share the blame as opposed to admitting any form of guilt. Whether it is the accusations of her husband or the absurd counsel of a broken priest, Harper is constantly blamed for the problems of men. Though Harper’s grief weighs heavily upon her soul, her suffering is not heard. Instead, at every turn, her feelings are belittled by men who consistently look for ways to explain away their own transgressions by placing responsibility on others (or, more specifically, women). 

Though she bears no guilt, she is made to believe that she does.

As Men unravels further, it becomes clear that it’s not about one or two problematic men but rather the toxicity of an entirely male culture. By using Kinnear in multiple roles, Garland highlights the fact that all men suffer from the same flaws. From laying on shame to outright abusiveness, these characters have created a culture of brutality, male power and arrogance that is passed down from generation to generation. (Incidentally, it’s possible that this is why the film is titled Men. Written by a man, this is an as much an exploration of what is wrong with the male gender as it is about women’s responsiveness into it.)

As is often the case within Garland’s work, the film’s finale remains open for interpretation. Without giving any spoilers, this seems like a genuine inquiry as to what it is going to take to end the cycle of masculine toxicity. Although the film lands on a moment of optimism, Men is unafraid to sit in the darkness. But what does hope look like when the surrounding culture seems unaware of the depth of its issues? While Garland gives no clear response, Men demands that the viewer look for answers.

Men is available in theatres on Friday, May 20th, 2022.

Black Conflux: Fighting for Hope in a World of Toxic Gender

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Set in 1980’s Newfoundland, Black Conflux explores the life of Jackie, a troubled teenage girl, and Dennis, a lonesome man, as they both struggle with their sad lives. Small town blues resulting in depression, alienation, and hopeless all impact these two individuals as they try to make something of themselves. Both want more but both are limited to the town and resources that are available to them.

Black Conflux really does an excellent job of exploring the fruitlessness of small-town living. Jackie, a young teen in high school, lives a boring and even depressive life. Her life feels as though it has almost no meaning to it. Because there’s little to do in Newfoundland, she and her friends spend their time drinking, smoking and, when they’re really bored, just hanging out at the mall. Dennis is in a similar situation, working a dead-end warehouse job for scraps with nothing to look forward to on a daily basis. Frustrated and empty, everything in their lives seems to lead to more disappointment. Even so, they both crave more, whether it’s wanting to move away to a big city or meet that special someone. Black Conflux showcases the struggles that average people in a small town endure and how their ordinary lives can be a strenuous journey.

Black Conflux also takes a look into gender issues and the ways that both men and women have been treated or stereotyped in the recent past. For instance, this becomes particularly clear when one character is almost raped by a long-time friend. Because the young man has been portrayed as a sweet and kind guy, the victim struggles to find others who believe her story, even calling her a tease. In this moment, the films showcases how poorly women have been treated, with others minimizing the effects of rape and victim shaming. Plus, this scene also highlights the fact that even someone close to you can be a potential assaulter. 

At the same time, Dennis personifies toxic masculinity. He’s angry, brooding, and aggressive but also kind of sad and pathetic. The notion that a men must be smart, successful, confident, and persuasive definitely weighs on him. His love/sex life is not what he wants it to be. His career as a warehouse stocker leads to nothing but his boss belittling him. In this way, Black Conflux points to the depressive effects of toxic masculinity before it even had a name, and how devasting it can affect the mental health of some men. As both Dennis and Jackie process their feelings of guilt and shame, they also must fight to recognize that they are not merely the sum of their own pain. Instead, regardless of what may have happened in the past, what you do next is what really matters.

Overall, Black Conflux is a powerful film that show the struggles that men and women face on a daily basis. Even though it’s set in the 1980s, its exploration of gender issues feels current and serve as a reminder of the challenges that both genders must endure.

Black Conflux is available on VOD and Digital now.

Nobody: Murder, Mayhem and [Toxic] Masculinity

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First, Liam Neeson changed the course of his career with Taken. Then, Reeves found his gun-fu again in John Wick. Now, Nobody introduces us to another ex-special ops man trying to move on with his life has risen to protect… well… suburbia.

Nobody introduces the world to Hutch Mansell (Bob Odenkirk), a middle-aged man trapped in a cycle of routine. Though he adores his wife and kids, Mansell is stuck in a dead-end job and clearly feels dejected as he attempts to navigate life in the suburbs. However, after a home invasion shakes up his world, Mansell’s long-simmering inner rage is unleashed upon those who broke into his home. When a brutal attack leads to the death of a mob boss’ son, Mansell suddenly must defend his family from a dangerous adversary bent on revenge.

Penned by the writer of John Wick, Nobody definitely falls in line with that particular franchise. Violent, vicious but also hilarious at times, Nobody is a tonne of fun. Directed by Ilya Naishuller (Hardcore Henry), the film puts a heavy emphasis on the violence of its action set pieces. Even so, while the blood flows freely, Naishull gives these scenes a bounce and elegance that keeps the tone fairly light as opposed to horrify. Backed by a solid cast (including the most entertaining performance by Christopher Lloyd in years), Odenkirk brings a surprisingly brutal energy that lights up the screen. As a middle-aged man pushed too far, Odenkirk is absolutely delightful as the former military man who wants to convince everyone—including himself—that his past is behind him. At the same time, the normally comedic actor completely commits to the action scenes and throw himself into the mix in such a way that you can’t help but enjoy watching. Although he plays the role with the utmost seriousness, there’s simply an affability around him that makes him enjoyable to watch. 

What sets Nobody apart from the Wick films though is that Mansell is just waiting for an excuse to return to his old life. Whereas Wick is dragged back into the underworld with the death of his dog, Mansell begins the series of events himself out of his own pent-up rage. Feelings of inferiority combined with the inevitable routine of life, Mansell feels as though he’s lost a part of himself and the stress continues within him builds until he explodes. (“There’s a part of me that’s been awakened apparently,” he recognizes.) In doing so, however, his actions create a cycle of violence that continues to escalate. Nevertheless, despite his own culpability, the film never judges him for his actions and he’s held up as the hero.

That’s where things get interesting.

Through its celebration of violence, the film also unintentionally (or intentionally?) celebrates toxic masculinity. Because of his love for his family and desire to protect others, one can’t help but like Mansell. At the same time, however, the film uses its revenge fantasy element to breathe life into him. This is a world where women are resided to the basement (literally) when the violence breaks out. While may be a fun ride as an action film, Mansell’s character becomes problematic as it upholds the current trend of the ‘angry, middle class male’. 

Trapped by the feeling of weakness when his family is attacked, Mansell has lost a sense of himself, especially as everyone around him seems to point out how pathetic he has become. (“You did the right thing for you… but if it was my family,” he’s told by a police officer.) By highlighting the restlessness that’s gnawing at Mansell from within, Nobody validates his unleashing of rage as an act of reclaiming his manhood. Here, Mansell has a renewed sense of confidence and vigour. Suddenly, the repressed male becomes the actualized male. (Due to the fun nature of the world and action scenes, one only hopes that this is lack of awareness is balanced out with stronger female representation in the inevitable sequel.)

With the home video release, one can’t deny that the film looks great in 4K. Nobody takes its set pieces seriously enough that the digital release helps augment the fun. At the same time, while the bonus features are sparse, there are some interesting tidbits that come out through them. (Like the fact that the story was inspired by actual events in Odenkirk’s life!) A behind-the-scenes featurette and bonus scenes are expected but there’s also a solid feature-length commentary included as well which lets Odenkirk and his team delve into the world that they have created together.

RZA, Bob Odenkirk and Christopher Lloyd star in a scene from the movie “Nobody.” The Catholic News Service classification is O — morally offensive. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian. (CNS photo/Allen Fraser, Universal Pictures)

While the film certainly requires some reflection in regards to its masculine stereotypes, it is still a visual treat with its choreography and gunplay. Like Neeson and Reeves, Odenkirk has found new life in an action franchise that reinvents him as an actor. Personally though, I just hope that future entries in the franchise help this Nobody to be more inclusive to everybody.

Nobody is available in theatres and on VOD on Tuesday, June 22nd, 2021.

The Art of Self-Defense: Genuine Power in Toxic Times

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The Art of Self-Defensetells the story of timid bookkeeper Casey (Jesse Eisenberg), a timid bookkeeper who joins a local karate studio to learn how to protect himselfafter he’s beaten mercilessly one night by a roving motorcycle gang. Under the watchful eye of a charismatic instructor, Sensei (Alessandro Nivola), and hardcore brown belt Anna (Imogen Poots), Casey begins to experience inner strength for the first time in his life. However, as Sensei’s increasingly bizarre (and violent) lessons continue to develop, he soon discovers what it means to be trapped in a world of hyper-masculinity and violence. As a result, Casey’s growing concerns begin to place him increasingly at odds with his new mentor and he must decide for himself where the boundaries of true strength lie.

Written and directed by Riley Stearns, The Art of Self-Defense is an excellent example of modern satire for the #MeToo era. Awkwardly hilarious and terrifying at the same time, Stearns journey into the soul of toxic masculinity showcases the complex challenges of modern gender identity issues. Tightly written and executed, Stearns’ film is unflinching in its desire to draw you into this world without becoming comfortable. Something is off… and the audience is well aware of it. Star Eisenberg shines as the socially-stunted Casey, portraying him with an innocence held in constant conflict with his inner rage. Adding to the tension is Nivola’s maniacal Sensei, who provides the necessary level of angst against Casey’s harmless heart. On several occasions, it almost appears as though Sensei is casting a spell on the hapless Casey, a testament to the chemistry between the two actors.

Whereas numerous films in recent years have explored the dynamics of sexual power through the eyes of a female, Self-Defense sets itself apart by examining the tensions of gender from a distinctly male perspective. A victim of bullying in every facet of his life, Casey appears completely unaware of what it means to ‘be a man’ in today’s culture. From photocopying pornography to purchasing a firearm, Casey is looking for something—anything—that might give him a deeper sense of strength in an uber-masculine environment. Herein lies the appeal of his relationship with Sensei. What begins as a simple class teaching how to protect himself becomes a mentorship on domineering masculinity. Suddenly, Casey begins to transform himself from ‘adult contemporary’ to ‘metal’, not only in his musical taste but also his approach to life and work. This is a ‘man’s world’ and only those who adhere to the ‘rules’ will survive. (This truth is reinforced by the muted power of Anna, a female student who Sensei believes will never achieve greatness simply because ‘she’s not a man’.)

In doing so, however, Self-Defense shines an intense spotlight on what happens when the needle is pushed too far in the other direction as well. Is masculinity based upon one’s ability to create chaos and violence? Or is there something intrinsic to courage and strength that leans away from a desire to do harm? These are the questions facing Casey as he attempts to navigate himself through a dangerous world. Similar to the questions facing women following #MeToo, Self-Defense invites men to ask what it truly means to identify as genuinely powerful in toxic times.

With a biting tongue and sharp wit, The Art of Self-Defense is a dark but fascinating satire for a culture that remains in search of what it means to express one’s gender. Writer/director Stearns attacks his film with a ferocity that both entertains and opens the door for genuine conversation surrounding the nature of toxic masculinity. Making good use of a talented cast, Self-Defense is definitely a class worth taking.

To hear audio of our interview with Jesse Eisenberg, click here.

The Art of Self-Defensebegins its classes in theatres on July 19th, 2019

Making the Modern Man: 1on1 with Jesse Eisenberg (THE ART OF SELF-DEFENSE)

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The Art of Self-Defense tells the story of timid bookkeeper Casey (Jesse Eisenberg), a timid bookkeeper who joins a local karate studio to learn how to protect himself after he’s beaten mercilessly by a roving motorcycle gang. Under the watchful eye of a charismatic instructor, Sensei (Alessandro Nivola), and hardcore brown belt Anna (Imogen Poots), Casey begins to experience inner strength for the first time in his life. However, as Sensei’s increasingly bizarre (and violent) lessons continue to develop, he soon discovers what it means to be trapped in a world of hyper-masculinity and violence. As a result, Casey’s growing concerns begin to place him increasingly at odds with his new mentor and he must decide for himself where the boundaries of true strength lie. Given the importance of its exploration of toxic masculinity, star Jesse Eisenberg knew from the first moment that he read the script that the film would be something special and relevant.

“I thought this was a brilliantly funny, funny movie about a cult because that’s kind of what it seemed like to me at the time,” he recalls. “[After all,] the karate classes are like a cult [and] the sensei seems like a cult leader. My character seems like the perfect candidate for a cult. You know, somebody who’s desperate to be part of a group, who can’t make friends, or has trouble interacting with other people. So [I thought] the movie was a great commentary on cult behavior. But then, when we were doing the movie, I realized that it’s just a brilliant satire on masculinity, partly because while we were filming the movie, the MeToo movement began, and the Harvey Weinstein story was released. So, the movie took on this other very kind of relevant, topical feeling of being a clever commentary on what being a man means to society.”

Credit for this sharp satire lies in the hands of writer/director Riley Stearns, who steered the project from its inception. Working with Stearns for the first time on this project, Eisenberg was absolutely blown away but he writing prowess and attention to detail.

“It was the only movie I’ve ever done where we all knew exactly what shops needed to be done in each scene,” says Eisenberg. “We were so aware that the script was so perfectly written… that we knew every shot that needed to be done and then, he was able to execute it perfectly. I think Alessandro said, [that] ‘this is the closest experience he has had from script to screen he’s ever seen a movie.’ That’s how I felt too. It was unbelievably concise and efficient. He was able to just execute exactly what he wanted to so perfectly while, at the same time, making us all feel like we were bringing ourselves to it.”

Of course, the topic of toxic masculinity and its effect on our culture has been on the forefront of our culture in recent years, especially in the light of MeToo movement. Asked what he believes it means to be a man in light of these current conversations, Eisenberg suggests that much of our ideas about gender stem from the importance of empowering those without a voice.

“My wife was raised by a woman who ran one of the most important domestic violence shelters in America,” he explains. “From birth, [she] was raised to be an activist for women’s rights. So, since the moment I met her, my mind shifted about the responsibility of men in society and that it’s important to be an ally to those who don’t have as much power in society. So, I’ve always thought that’s the kind of like best way to be a man and the movie so brilliantly shows the other side of it, [by exploring] what men think they have to do in order to succeed in this society. [They think] they have to listen to the right music, drink the right coffee and have the right kind of tech. The movie shows that in a very blunt and funny way from the pressures that men feel because the movie is the satire. It lets the audience off the hook. It’s not preachy, didactic, or strict. The movie shows, through comedy, the dangers and the absurdities of masculinity in modern culture.”

When he was offered the part of Casey, Eisenberg found himself drawn to his character because he provided the opportunity to play someone who has a powerful emotional experience in the midst of outrageous circumstances.

“This is a comedy and, oftentimes in comedies, the characters are just placeholders for jokes. In this one, [though] the character seems like this real emotional person, even though the style was so heightened. I don’t think you or I know anybody that’s like Casey that speaks in that strange, childish way or that is so trusting and earnest. At the same time, the character has a real emotional experience. So, this movie and this character gave me the opportunity to do what kind of tone and style of performance that I’d never done before, but still within the context of a character that’s experiencing real emotions. It didn’t just seem like performance art, but that [Casey] seems like a character with a psychology, just one that doesn’t really exist in this world.”

As Casey, Eisenberg had the chance to explore the boundaries of power within the masculine psyche. Although the film eists in a world of heightened circumstances, he believes that Casey eventually learns how to find a balance between strength and weakness.

“My goal was to play the kind of six-year-old version of myself. When I was six, I was scared of everything but also very sweet and innocent. I thought of Casey like that. He’s just a child in a world where everybody else was an adult. At the beginning of the movie, everybody hates him and don’t pay attention to him. Halfway through the movie, everybody’s scared of him cause he’s an aggressive, you know, horrible man. Then, towards the end of the movie, he kind of finds his balance.”

“I think he’s so desperate to be part of any group at the beginning of the movie [and] the thing a lot of people like that find who are desperate for acceptance a lot of times is dangerous authority. [They’re the kind of people who] prey on people like Casey. I think what he learns over the course of the movie is that… his goodness can be masculine and strong. The movie is so twisted [though] that to put it in those terms, I think sells short some of the absurd lanes that the [story] actually goes.” 

While Eisenberg underwent some intense physical training, he credits the stunt team and other cast members for stepping up to the challenge of developing their martial arts skills. As a result, because his character is only starting out, Eisenberg ultimately felt that the pressure was off him, making the experience more enjoyable for him

“We had [about] three weeks of intense training with this woman, Mindy Kelly, who was like the stunt coordinator for the movie. She is also one of the best martial artists in the world and has been competing since she’s a kid. We had good training, but my character only has to be a yellow belt. So, as good as our training was, I still didn’t have to be as great as like Imogen [Poots] had to be or Alessandro’s character whose characters are black belts. So, I had really intense training with the knowledge that I didn’t have to be as good as some of the other characters. So, it was kind of a bit recreational for me. I had a stunt double this great guy, Ryan Moody, who has worked with me on Zombieland and some other movies. So, I also knew that he would be there for anything that I couldn’t do. Then, when we got to the set, I could do a lot of it cause my character is supposed to look kind a beginner.”

Having worked on both independent films and major studio products throughout his career, one might assume that there may be more opportunity for collaboration on smaller projects. However, Eisenberg insists that that those creative opportunities change from project to project and are less affected by the scope and budget of a film than one might think.

“In terms of collaboration, you would assume that a smaller movie would be more collaborative but actually it depends on the project. I just did Zombieland: Double Tap and that’s probably the most collaborative experience I’ve ever had in the sense that there were many scripts written and the actors were allowed to veto them if they didn’t like them. Then, on set, we were asked to improvise a lot and to do many takes where we’re doing something other than the script. Then in a movie like The Art of Self-Defense, I didn’t change one word because it’s such a brilliant script. You didn’t want to change it. So, it actually just depends on the project. Some just lend themselves to collaboration and require the actors to kind of bring themselves to it.”

With the release of The Art of Self-Defense, Eisenberg is also looking forward to the release of his next project, Zombieland: Double Tap, the long-awaited sequel to one of his signature roles. Despite 10 years having passed since the original, he says the film is a passion project for himself and the cast and that the delay was only due to the fact that they were waiting for the right script. 

“The only reason it took this long is because we were waiting for a good script to come in. All the actors in it are very busy actors but we all wanted it to do this movie so much because we loved it. So, we were just waiting for the right script to come in. We were more interested [in doing the film] than the movie company. At some points, you’d think [the movie company] would just want to capitalize on a hit and make a sequel as if possible. [Here,] the actors were pushing it so much in this case just because we loved it so much. We loved the ensemble so much [and] we were eager to find the kind of worthwhile sequel. That’s why it took so long. Otherwise, we would’ve done it right away.

The Art of Self-Defense roars into theatres on Friday, July 19th, 2019.

For full audio of our interview with Jesse Eisenberg, click here.