The Peak
By Nick Pannu
**Interview** with CBC's DNTO Sook-Yin Lee
Sometimes, with foreboding trepidation, people are reluctant to pursue a courting that could potentially become a serious relationship. Trust may be one of the barriers, but low self-image and esteem maybe the other issue preventing a commitment. Also, if one partner is less experienced, then non-compatibly becomes too much of a burden. The zeal and conviction of one partner to overcome their inexperience and resolve their identity crisis often manifests through various foreplay.
In Year of the Carnivore, this dynamic is exposed and put on display through the main character, 21-year-old store detective, Sammy Smalls. Sammy is very self-conscious about her looks, but strives to overcome her insecurities as well as get better at sex. Often unjustly criticized for her storylines revolving around bohemian-like characters, Sook-Yin Lee in her directorial debut uses her candid and authentic style to communicate specific issues through the turmoil of her characters. Recently, I got the opportunity to speak with accomplished filmmaker and media personality Sook-Yin Lee and delve further into her film, Year of the Carnivore.
Nick Pannu: Your main character Sammy Smalls has low self-image and a lot of insecurities, but it’s interesting how a lot of her issues in the film can relate to everyone else as well as the viewers.
Sook-Yin Lee: You can relate to this idea of an awkward love story where people make tons of mistakes. I certainly can relate to it. I have a feeling that a lot of people have been more than awkward in matters of love.
*N:* Sammy Smalls has this physical scar, we all have our own hidden scars. There’s unique ways that she deals with her insecurities and other characters do including her boyfriend by delving into these alter egos as a means to work through their insecurities and find their true identities. Could you tell us a little more about that?
SL: Sammy goes through a transformation because she’s kind of confused. It’s difficult sometimes being a chick in the world . . . when you’re surrounded by all these images of what a woman should be and you fit into none of them. Sammy tries to become that person by wearing the high heels, some slinky negliche, and blond wig. It becomes one of her alter egos and serves her in some respect, but also becomes kind of a pain in the butt, too.
*N:* What was your decision behind casting Cristin Milioti in the role, whose previous credits include The Sopranos? Did it have anything to do with having that confidence in an actress that can portray the character who is obviously insecure, but who also shows empathy for other characters in the film?
SL: That’s the trick of it. I tend to cast actors who remind me of their characters and it was really tough finding Sammy. It’s really tough to find someone who can do the comedy but also has the ability to go to a very deep emotional place where you feel something. Also, a lot of actors want to look good and put their best face forward just like everyone else . . . lighting from this angle . . . “this is my good side.” I needed to work with actors who didn’t really care about that stuff and were brave enough to portray someone who feels less than a human being. Cristin Milioti is someone special and I was lucky to find somebody who reminded me very much of the character: bold and shy at the same time.
Sunday, July 11, 2010
Mothers and Daughters
The Peak
Mothers and Daughters and Improv
By Nick Pannu
**Interview** with Gabrielle Rose
Mothers and Daughters opened at Tinseltown and other theatres on May 8. Greater attendance during its first week will grant the film a longer run in theatres.
Canadian cinema’s diamond-in-the-ruff director, Carl Bessai, once again demonstrates his innovative and versatile approach towards Filmmaking in his latest film, Mothers and Daughters. As a tribute to both the birth of his only daughter and also to his mother (who raised four boys after the death of his father), Carl Bessai chose to venture into a realm that would require the perspective of his almost exclusive female cast. Bessai features not one, not two, but three separate storylines that thoroughly examine the unique dynamic experienced between mothers and their daughters. Bessai lured three of B.C.’s veteran actors, Babz Chula, Tantoo Cardinal, and Gabriel Rose into developing their own respective storylines. Additionally, the experienced trio provided guidance and made the process more creative and less daunting for their younger co-stars.
Actress Gabrielle Rose confirmed that Bessai had not even presented a script, but instead a mere outline of the basic premise and overall theme, to cast members. After taking Chula, Cardinal, and Rose out to dinner, Bessai coaxed them into developing their own storylines, a challenge which would occupy them for the next three to four months. According to Rose, “I was initially at a loss of what to do, but within 24 hours I was able to come up with my storyline of my character.” Overnight, Rose managed to conceive Brenda, the quintessential invisible middle-aged woman eclipsed by her more successful and beautiful daughter who no longer needs her mother. The cast rehearsed for the following four to five months and put the script together in scene format. The film was then shot within just five days. Rose further explained that the actors would start each scene only knowing its plot arc, left to improvise and construct the script within three to four takes. She found the experience quite enriching and liberating because improv allows the actor to develope their characters to an even greater extent. As the days of rehearsal progressed, even actors such as Camille Sullivan, who had far less experience with improv, found the experience enriching.
Prior to Mother & Daughters’ western Canadian premiere, the film has had several screenings in film festivals across Canada where many audience members have responded well and connected to the film. The content and scenarios addressed are genuine issues that women deal with: as a woman ages and becomes less visible as a result of our shallow society, will her inner beauty and substance also be overlooked?
The improvisational nature of the script gave a rawness and edge to the acting that made the intensity of the mother-daughter interactions very real. Bessai forced the actors to dig a little deeper into their own experiences in order to build up the realism of each separate storyline. Tantoo Cardinal explored a specific perspective within the aboriginal community which emphasizes that parents and children can become estranged from one another, making it clear that there was no way that that could have been written into the script from someone else’s perspective.
Carl Bessai’s experiment of delving into the connection between mothers and their daughters through improvisation will perhaps provide insight for other mothers and daughters in their own relationships. In one scene, Babz Chula, who plays a famous author, defends her on-screen daughter’s mediocrity, “in spite of everything you always have that feeling that there is something great about your children.” Gabrielle Rose ends the final act by uttering, “forgive your mothers, they didn’t know what they were getting into.”
Mothers and Daughters and Improv
By Nick Pannu
**Interview** with Gabrielle Rose
Mothers and Daughters opened at Tinseltown and other theatres on May 8. Greater attendance during its first week will grant the film a longer run in theatres.
Canadian cinema’s diamond-in-the-ruff director, Carl Bessai, once again demonstrates his innovative and versatile approach towards Filmmaking in his latest film, Mothers and Daughters. As a tribute to both the birth of his only daughter and also to his mother (who raised four boys after the death of his father), Carl Bessai chose to venture into a realm that would require the perspective of his almost exclusive female cast. Bessai features not one, not two, but three separate storylines that thoroughly examine the unique dynamic experienced between mothers and their daughters. Bessai lured three of B.C.’s veteran actors, Babz Chula, Tantoo Cardinal, and Gabriel Rose into developing their own respective storylines. Additionally, the experienced trio provided guidance and made the process more creative and less daunting for their younger co-stars.
Actress Gabrielle Rose confirmed that Bessai had not even presented a script, but instead a mere outline of the basic premise and overall theme, to cast members. After taking Chula, Cardinal, and Rose out to dinner, Bessai coaxed them into developing their own storylines, a challenge which would occupy them for the next three to four months. According to Rose, “I was initially at a loss of what to do, but within 24 hours I was able to come up with my storyline of my character.” Overnight, Rose managed to conceive Brenda, the quintessential invisible middle-aged woman eclipsed by her more successful and beautiful daughter who no longer needs her mother. The cast rehearsed for the following four to five months and put the script together in scene format. The film was then shot within just five days. Rose further explained that the actors would start each scene only knowing its plot arc, left to improvise and construct the script within three to four takes. She found the experience quite enriching and liberating because improv allows the actor to develope their characters to an even greater extent. As the days of rehearsal progressed, even actors such as Camille Sullivan, who had far less experience with improv, found the experience enriching.
Prior to Mother & Daughters’ western Canadian premiere, the film has had several screenings in film festivals across Canada where many audience members have responded well and connected to the film. The content and scenarios addressed are genuine issues that women deal with: as a woman ages and becomes less visible as a result of our shallow society, will her inner beauty and substance also be overlooked?
The improvisational nature of the script gave a rawness and edge to the acting that made the intensity of the mother-daughter interactions very real. Bessai forced the actors to dig a little deeper into their own experiences in order to build up the realism of each separate storyline. Tantoo Cardinal explored a specific perspective within the aboriginal community which emphasizes that parents and children can become estranged from one another, making it clear that there was no way that that could have been written into the script from someone else’s perspective.
Carl Bessai’s experiment of delving into the connection between mothers and their daughters through improvisation will perhaps provide insight for other mothers and daughters in their own relationships. In one scene, Babz Chula, who plays a famous author, defends her on-screen daughter’s mediocrity, “in spite of everything you always have that feeling that there is something great about your children.” Gabrielle Rose ends the final act by uttering, “forgive your mothers, they didn’t know what they were getting into.”
I Served The King of England
by Nick Pannu
Writer/Director Jiri Menzel’s I served the King of England had its western Canadian Screening at 5th Ave Cinemas on Sept 9th. CJSF’s Nick Pannu reviews…
Director, Jiri Menzel returns in a grand fashion…giving movie goers a utopia-like escape as he brilliantly uses satire reflecting back on one’s character’s pursuit of wealth amidst the unavoidable dangling carrots. The story revolves around Jan Dite, a Charlie Chaplain like character who seldom talks, but uses ecencentric gestures to express himself. Coming from humble beginnings as a hotdog vendor from a small Czechoslovakian town does little to limit the resourcefulness of Jan Dite. He listens, learns and seeks out opportunities eventually achieving his short-lived goal.
Working as a mere hot dog vendor does not stop the young Jan Dite from dreaming of becoming millionaire one day. Slowly destiny seems to reflect his ambition. He is hired as a waiter at a reputable town pub. Serving wealthy customers is where is the young Dite witnesses the many perks of the rich, which includes beautiful women and lavish dishes. He then leaves the pub and finds work in one of Prague’s finest brothels. Yet it is later working in one of Prague’s most elegant hotels where Dite is able to take advantage of every opportunity that presents itself.
Writer/Director Jiri Menzel does little to hide his contempt towards the Nazis. Although the plot revolves around the titillating escapades of wealth-mostly beautiful scantily clad women- the master race doctrine of the Nazis is fully exploited by Menzel. It is shown how once the Nazis took over, Czechs were treated with repugnance. Anyone not agreeing to hail the furer was taken away by the SS guards. A Prague brothel is converted into breeding lab where young German girls are impregnated by soldiers on their way to the front. Yet, it is admirable how Menzel eloquently combines different elements which involve a farce of the Aryan quest and a young waiter’s naïve pursuit of wealth. Also, the realism of the film is suprisely not compromised by not showing any explicit bloodshed during the substantial World War II sequence of the film.
Overall an entertaining film that is funny and is able to show how some pursuits could ultimately end up being a farce once achieved. In this film Nazis take over Prague, then shortly after the war, the socialists confiscate all the wealth. Oldrich Kaiser, who plays the young ambitious waiter, Jan Dite, played the character very well. Without Kaiser’s performance the film would lack a big chunk of its substance-which is comedy.
Writer/Director Jiri Menzel’s I served the King of England had its western Canadian Screening at 5th Ave Cinemas on Sept 9th. CJSF’s Nick Pannu reviews…
Director, Jiri Menzel returns in a grand fashion…giving movie goers a utopia-like escape as he brilliantly uses satire reflecting back on one’s character’s pursuit of wealth amidst the unavoidable dangling carrots. The story revolves around Jan Dite, a Charlie Chaplain like character who seldom talks, but uses ecencentric gestures to express himself. Coming from humble beginnings as a hotdog vendor from a small Czechoslovakian town does little to limit the resourcefulness of Jan Dite. He listens, learns and seeks out opportunities eventually achieving his short-lived goal.
Working as a mere hot dog vendor does not stop the young Jan Dite from dreaming of becoming millionaire one day. Slowly destiny seems to reflect his ambition. He is hired as a waiter at a reputable town pub. Serving wealthy customers is where is the young Dite witnesses the many perks of the rich, which includes beautiful women and lavish dishes. He then leaves the pub and finds work in one of Prague’s finest brothels. Yet it is later working in one of Prague’s most elegant hotels where Dite is able to take advantage of every opportunity that presents itself.
Writer/Director Jiri Menzel does little to hide his contempt towards the Nazis. Although the plot revolves around the titillating escapades of wealth-mostly beautiful scantily clad women- the master race doctrine of the Nazis is fully exploited by Menzel. It is shown how once the Nazis took over, Czechs were treated with repugnance. Anyone not agreeing to hail the furer was taken away by the SS guards. A Prague brothel is converted into breeding lab where young German girls are impregnated by soldiers on their way to the front. Yet, it is admirable how Menzel eloquently combines different elements which involve a farce of the Aryan quest and a young waiter’s naïve pursuit of wealth. Also, the realism of the film is suprisely not compromised by not showing any explicit bloodshed during the substantial World War II sequence of the film.
Overall an entertaining film that is funny and is able to show how some pursuits could ultimately end up being a farce once achieved. In this film Nazis take over Prague, then shortly after the war, the socialists confiscate all the wealth. Oldrich Kaiser, who plays the young ambitious waiter, Jan Dite, played the character very well. Without Kaiser’s performance the film would lack a big chunk of its substance-which is comedy.
Jack Brooks: Monster Slayer
by Nick Pannu
CJSF 90.1FM
A monster flick with gore? Yes, Nick Pannu, was there to see it with his own eyes...
Perpetual guts, gore and decapitations can easily jade the contemporary horror fan. Usually raising the bar with… well… with more mutilations, blood spurts screams can succeed in maintaining the niche horror film groupies/enthusiasts. Director, Jon Knautz ventures outside the realm and doses his film with a mix of comedy, crafted special effects and a storyline.
Relative newcomer- in a starring role- Trevor Mathews stars as Robert. As small boy he witnessed the murder of his parents at the hands of some werewolf-like mutant monster while out camping. Robert is scared up into his 20s and never gets over the guilt of running away when his parents were being mauled. This guilt has manifested into serious anger management issues...until he is given the chance to confront his past demons by slaying monsters!
The script is brilliantly crafted by John Ainslie. Ainslie cohesively strings together graphic horror scenes with comedy and suspense. Unexpectedly Robert’s night class teacher turns into a monster and attacks the class. Just an average Joe, a plumber by trade, Robert steps forward and rises to the occasion. Pivotal characters in the film, which include the slapstick monsters, enhances the plot.
The script perhaps wouldn’t have taken life if it were not for characters such as the eccentric professor played by Robert Englund. Seen without his Freddy Gruger makeup, Englands is successful is illustrating the dynamics of his acting repertoire. Animation and special effects were given as a prelude to the rest of the film early on in the opening scene. Combining all the different elements of the film director, Jon Knautz shall face no challenge in engaging moviegoers even beyond… to an anticipated sequel.
CJSF 90.1FM
A monster flick with gore? Yes, Nick Pannu, was there to see it with his own eyes...
Perpetual guts, gore and decapitations can easily jade the contemporary horror fan. Usually raising the bar with… well… with more mutilations, blood spurts screams can succeed in maintaining the niche horror film groupies/enthusiasts. Director, Jon Knautz ventures outside the realm and doses his film with a mix of comedy, crafted special effects and a storyline.
Relative newcomer- in a starring role- Trevor Mathews stars as Robert. As small boy he witnessed the murder of his parents at the hands of some werewolf-like mutant monster while out camping. Robert is scared up into his 20s and never gets over the guilt of running away when his parents were being mauled. This guilt has manifested into serious anger management issues...until he is given the chance to confront his past demons by slaying monsters!
The script is brilliantly crafted by John Ainslie. Ainslie cohesively strings together graphic horror scenes with comedy and suspense. Unexpectedly Robert’s night class teacher turns into a monster and attacks the class. Just an average Joe, a plumber by trade, Robert steps forward and rises to the occasion. Pivotal characters in the film, which include the slapstick monsters, enhances the plot.
The script perhaps wouldn’t have taken life if it were not for characters such as the eccentric professor played by Robert Englund. Seen without his Freddy Gruger makeup, Englands is successful is illustrating the dynamics of his acting repertoire. Animation and special effects were given as a prelude to the rest of the film early on in the opening scene. Combining all the different elements of the film director, Jon Knautz shall face no challenge in engaging moviegoers even beyond… to an anticipated sequel.
Martin Garo's Young People
The Peak
Young People the last of the sexy films
By Nick Pannu
Young People Fucking opened in theatres on Friday, June 13.
**Interview** with Director Martin Garo and Cast Aaron Abram & Kristin Booth
Martin Garo, writer and director of the recently released film Young People Fucking, says his film is a perfect example of the type of films that will have no chance of receiving funding and ultimately cease to reach the production stage if Bill C-10 is passed in Canadian law.
Bill C-10 is an amendment to the Income Tax Act that is currently under review by the Canadian federal Senate. If Bill C-10 is passed, Ottawa’s Heritage Ministry will be granted the right to deny funding for Canadian films in the form of tax credits if the film’s content is identified as “questionable.” Some people say that Bill C-10 threatens to undermine a promising domestic Canadian film industry that already faces many challenges, especially those of finances.
Garo argues that while Young People Fucking does have an objectionable title, the film still manages to enlighten and serve a wide demographic, which is something that would be entirely overlooked if Bill C-10 is enacted. Moreover, Garo says that Bill C-10 goes against common sense and that anyone can see that it is poor legislation. If the bill is read thoroughly, Garo says, “people will see all the things that are wrong with the bill — creatively and business-wise.”
Young People Fucking is a unique and authentic film if you consider its originality, candidness, and good acting. Even for those offended by the content, the brilliant script will still engage and often surprise the audience through its witty and comedic scenes. The responsibility for this ingenious script lies solely in the hands of two people: Martin Garo and Aaron Abram. Abram, who also acted in the film, communicated with Garo via the internet over the time span of one year to write the script.
Garo admitted that there was an advantage to keeping the writing exclusive to two people rather than a group of writers. Garo said it was more the sense of humour and dialogue that he shared with Abram that allowed the creative process to occur naturally, as well as to be gratifying. Being frank though, Abram admits “when you’re writing about sex, things come together easily because it’s an easy subject — it’s all about conflict and a universal subject that everyone can relate to”
The film thoroughly examines the various dynamics of sex in the context of different relationships, played out during the course of one night. There is the foreplay between roommates, ex-partners, grade school friends, a first date, and a married couple. The opening scene starts with friends being quite candid and blunt on how sex is necessary. Carly Pope, who plays opposite to Aaron Abram in this scene, coaxes Abram to have sex with her in a very straightforward and profane manner regardless of the fact that they are not romantically involved.
The scene immediately foreshadows the nature of the content in the rest of the film. A lot happens, actually a lot of unexpected things respectively with each couple. As these bizarre things happen the viewer can’t help but mentally create their own barometer for which scene is most or least unusual and strange. The dialogue is contemporary with minimal cheesy lines; the audience is treated to implied themes that conclude each segment for the different couples.
As well written as the script is, it would not have taken life if not for the talented cast. Actors delivered the script marvelously, managing to stay focused in suggestive scenes that often included nudity. Actress Kristin Booth seemed to have a very challenging role considering the foreplay she had to deliver in her final scene. On remaining focused and not cringing, Booth explained that in the scene, “You become that character, you are that character . . . [you are] living the character, not looking from an outside perspective. [I] don’t think about certain circumstances, don’t cringe in very suggestive scenes because at that moment . . . I am that character as truthfully and as honestly as I can be.”
Both Abram and Booth added that characters also evolve substantially through takes and feedback from scene partners. Aaron Abram did co-write the script, but he was adamant that “you need input from other people. It helps to have new ideas, to keep the character fresh.” Also, Abram confesses that he would have no choice but to improvise, considering the curve balls that two time Leo award-winning actress Carly Pope is known for throwing.
As has been demonstrated by this and other Canadian films, the Canadian film industry has unlimited potential to develop further and thrive. Bill C-10 will further burden Canadian filmmakers that already deal with financial pressures, and perhaps discourage some from ever taking the initiative to make film. Filmmaker Martin Garo makes a good point when he says that the virtue of democracy is giving people the right to see what they want to see, and choose not to buy a ticket for film that offends them.
Young People the last of the sexy films
By Nick Pannu
Young People Fucking opened in theatres on Friday, June 13.
**Interview** with Director Martin Garo and Cast Aaron Abram & Kristin Booth
Martin Garo, writer and director of the recently released film Young People Fucking, says his film is a perfect example of the type of films that will have no chance of receiving funding and ultimately cease to reach the production stage if Bill C-10 is passed in Canadian law.
Bill C-10 is an amendment to the Income Tax Act that is currently under review by the Canadian federal Senate. If Bill C-10 is passed, Ottawa’s Heritage Ministry will be granted the right to deny funding for Canadian films in the form of tax credits if the film’s content is identified as “questionable.” Some people say that Bill C-10 threatens to undermine a promising domestic Canadian film industry that already faces many challenges, especially those of finances.
Garo argues that while Young People Fucking does have an objectionable title, the film still manages to enlighten and serve a wide demographic, which is something that would be entirely overlooked if Bill C-10 is enacted. Moreover, Garo says that Bill C-10 goes against common sense and that anyone can see that it is poor legislation. If the bill is read thoroughly, Garo says, “people will see all the things that are wrong with the bill — creatively and business-wise.”
Young People Fucking is a unique and authentic film if you consider its originality, candidness, and good acting. Even for those offended by the content, the brilliant script will still engage and often surprise the audience through its witty and comedic scenes. The responsibility for this ingenious script lies solely in the hands of two people: Martin Garo and Aaron Abram. Abram, who also acted in the film, communicated with Garo via the internet over the time span of one year to write the script.
Garo admitted that there was an advantage to keeping the writing exclusive to two people rather than a group of writers. Garo said it was more the sense of humour and dialogue that he shared with Abram that allowed the creative process to occur naturally, as well as to be gratifying. Being frank though, Abram admits “when you’re writing about sex, things come together easily because it’s an easy subject — it’s all about conflict and a universal subject that everyone can relate to”
The film thoroughly examines the various dynamics of sex in the context of different relationships, played out during the course of one night. There is the foreplay between roommates, ex-partners, grade school friends, a first date, and a married couple. The opening scene starts with friends being quite candid and blunt on how sex is necessary. Carly Pope, who plays opposite to Aaron Abram in this scene, coaxes Abram to have sex with her in a very straightforward and profane manner regardless of the fact that they are not romantically involved.
The scene immediately foreshadows the nature of the content in the rest of the film. A lot happens, actually a lot of unexpected things respectively with each couple. As these bizarre things happen the viewer can’t help but mentally create their own barometer for which scene is most or least unusual and strange. The dialogue is contemporary with minimal cheesy lines; the audience is treated to implied themes that conclude each segment for the different couples.
As well written as the script is, it would not have taken life if not for the talented cast. Actors delivered the script marvelously, managing to stay focused in suggestive scenes that often included nudity. Actress Kristin Booth seemed to have a very challenging role considering the foreplay she had to deliver in her final scene. On remaining focused and not cringing, Booth explained that in the scene, “You become that character, you are that character . . . [you are] living the character, not looking from an outside perspective. [I] don’t think about certain circumstances, don’t cringe in very suggestive scenes because at that moment . . . I am that character as truthfully and as honestly as I can be.”
Both Abram and Booth added that characters also evolve substantially through takes and feedback from scene partners. Aaron Abram did co-write the script, but he was adamant that “you need input from other people. It helps to have new ideas, to keep the character fresh.” Also, Abram confesses that he would have no choice but to improvise, considering the curve balls that two time Leo award-winning actress Carly Pope is known for throwing.
As has been demonstrated by this and other Canadian films, the Canadian film industry has unlimited potential to develop further and thrive. Bill C-10 will further burden Canadian filmmakers that already deal with financial pressures, and perhaps discourage some from ever taking the initiative to make film. Filmmaker Martin Garo makes a good point when he says that the virtue of democracy is giving people the right to see what they want to see, and choose not to buy a ticket for film that offends them.
Vancouver 24hr Film Race
The Peak
On your marks, get set, action!
By Nick Pannu
Lights, camera, action. Movie sets, flashing strobe lights, and roadblocks have become a fixture almost as permanent in Vancouver as the mountains surrounding the city. On Saturday, June 21, local filmmakers committed themselves to a challenging and arduous task — filmmakers created an original short film in just 24 hours. The films had to revolve around two themes: greed and action. Twenty-nine of the 30 enrolled teams managed to make the ominous deadline and were screened at the Vancouver Film Race on June 25 at the Ridge Theatre.
Over 300 people in attendance witnessed some very creative and unique short films. Competition director Charlie Wysman commented that “Vancouver is the ninth city in the film race, and Vancouver has had the strongest group of films so far.” The film race is on a tour of 17 cities in North America, and is only inclusive to two Canadian cities: Vancouver and Toronto. Starting the event from New York in 2002, Wysman had no real motive other than to put on a fun event. According to Wysman, “the first event went well in 2002, so we decided to keep doing it. It’s a great opportunity for first-time filmmakers, as well as people in the industry who’d like more creative control.” He also stressed that the film race is a great learning experience that filmmakers can apply to future projects.
According to recent film school grad, Diane Donaldson a team mindset is very important when working in desperation within the 24-hour deadline. Donaldson said, “Overall, when you do something like this, it is such a [team] bonding thing when you totally push your body to the extreme. You don’t eat, you don’t sleep, and you just go and film, and film, and edit, and edit, and at the end you just kind of collapse together, and it’s like, oh my God, we did it.”
In spite of having only two themes to work with, the films were quite diverse. Farce door-knocking charities were featured, as well as robots and rocks that look like Elvis, which often engaged the 300 audience members at the final screening in bouts of laughter. Local filmmaker and judge, Kryshan Randal, felt the event was well-organized, high quality, creative, and entertaining. Randal has judged other film events, and commented that this event is unique because the tight 24-hour deadline means filmmakers must survive on creativity and instinct alone.
Local producer for the event, Paul Armstrong, had less than a month to put the whole event together. Armstrong had full confidence in the local film community, and that it could be pulled off successfully. Armstrong articulated that “there are a lot of people in town who want to make film, and this is a great opportunity for them.” A lot of film grads signed up for the competition, as well as filmmakers from Vancouver’s film industry. According to Armstrong, one reason why the local film community is substantial and talented is because of all the exclusive film schools in town, as well post-secondary institutions that have reputable film departments.
One finalist will be selected from Vancouver to compete with other North American cities in the film race. Vancouver’s top 10 finalists will have their films screened at the Celluloid Social Club’s monthly screening at the Anza Club on July 23.
On your marks, get set, action!
By Nick Pannu
Lights, camera, action. Movie sets, flashing strobe lights, and roadblocks have become a fixture almost as permanent in Vancouver as the mountains surrounding the city. On Saturday, June 21, local filmmakers committed themselves to a challenging and arduous task — filmmakers created an original short film in just 24 hours. The films had to revolve around two themes: greed and action. Twenty-nine of the 30 enrolled teams managed to make the ominous deadline and were screened at the Vancouver Film Race on June 25 at the Ridge Theatre.
Over 300 people in attendance witnessed some very creative and unique short films. Competition director Charlie Wysman commented that “Vancouver is the ninth city in the film race, and Vancouver has had the strongest group of films so far.” The film race is on a tour of 17 cities in North America, and is only inclusive to two Canadian cities: Vancouver and Toronto. Starting the event from New York in 2002, Wysman had no real motive other than to put on a fun event. According to Wysman, “the first event went well in 2002, so we decided to keep doing it. It’s a great opportunity for first-time filmmakers, as well as people in the industry who’d like more creative control.” He also stressed that the film race is a great learning experience that filmmakers can apply to future projects.
According to recent film school grad, Diane Donaldson a team mindset is very important when working in desperation within the 24-hour deadline. Donaldson said, “Overall, when you do something like this, it is such a [team] bonding thing when you totally push your body to the extreme. You don’t eat, you don’t sleep, and you just go and film, and film, and edit, and edit, and at the end you just kind of collapse together, and it’s like, oh my God, we did it.”
In spite of having only two themes to work with, the films were quite diverse. Farce door-knocking charities were featured, as well as robots and rocks that look like Elvis, which often engaged the 300 audience members at the final screening in bouts of laughter. Local filmmaker and judge, Kryshan Randal, felt the event was well-organized, high quality, creative, and entertaining. Randal has judged other film events, and commented that this event is unique because the tight 24-hour deadline means filmmakers must survive on creativity and instinct alone.
Local producer for the event, Paul Armstrong, had less than a month to put the whole event together. Armstrong had full confidence in the local film community, and that it could be pulled off successfully. Armstrong articulated that “there are a lot of people in town who want to make film, and this is a great opportunity for them.” A lot of film grads signed up for the competition, as well as filmmakers from Vancouver’s film industry. According to Armstrong, one reason why the local film community is substantial and talented is because of all the exclusive film schools in town, as well post-secondary institutions that have reputable film departments.
One finalist will be selected from Vancouver to compete with other North American cities in the film race. Vancouver’s top 10 finalists will have their films screened at the Celluloid Social Club’s monthly screening at the Anza Club on July 23.
Everything's Gone Green
by Nick Pannu
Paul Fox’s and Douglas Coupland’s Leo Award Winning Everything’s Gone Green, premiered on Thursday, April 24th at Cinema 319 in Vancouver. CJSF’s Nick Pannu reviews…
Locally and internationally acclaimed writer, Douglas Coupland once again works his magic. The dialogue is often persuasive because of Coupland’s ability to give depth to scenes through meaning that links back to the main theme.
The film begins with a twenty-something budding anarchist, Ryan being kicked out by his girlfriend. Abruptly, thereafter, he is suspended from work after his blog exposes his apathetic commitment. Feeling betrayed and mislead by the dangling carrots of yuppiedom, Ryan seeks out a new path. An engaging journey that treats audience members to unexpected comedic scenes tweaked with brilliant satire.
The film never delves into issues directly related to the environment. Occasionally there are swerves within the plot implying that it ultimately will. In one scene Ryan is on his way to a job interview abruptly makes a u-turn to the beach so he can check out a beached whale. In this strategic and defining scene Ryan befriends a girl telling her that the Whale’s circumstance “has purpose and meaning implying that their own lives having more meaning beyond fax machines, cubicles and bill payments. The film explores capitalism on a more subjective micro level - “the environment of the soul”.
Paulo Costanzo who is recognizable from his previous work on the sitcom “Joey”, showcased his versatility as an actor by convincingly playing out Ryan’s angst of being burdened with societal materialistic expectations. Playing Ryan’s love interest, actress Steph Song seems to have genuine chemistry with Costanzo. Furthermore, the music scores - exclusively from Canadian bands - are fundamental in setting the tone of the film. Although the script is flawless, without the upbeat psychedelic music, the dynamics of the film would have panned out differently. Vancouver’s urban and rural scenery also complemented the ‘green’ aspects of the film, which is actually set in Vancouver.
Everything’s Gone Green was presented by the First Weekend Club, a non-profit organization that aims to build audiences for Canadian films. Their mandate is to keep films in theatres longer by building awareness and strong box office for great Canadian cinema on opening weekends. Find out more at www.firstweekendclub.ca
Paul Fox’s and Douglas Coupland’s Leo Award Winning Everything’s Gone Green, premiered on Thursday, April 24th at Cinema 319 in Vancouver. CJSF’s Nick Pannu reviews…
Locally and internationally acclaimed writer, Douglas Coupland once again works his magic. The dialogue is often persuasive because of Coupland’s ability to give depth to scenes through meaning that links back to the main theme.
The film begins with a twenty-something budding anarchist, Ryan being kicked out by his girlfriend. Abruptly, thereafter, he is suspended from work after his blog exposes his apathetic commitment. Feeling betrayed and mislead by the dangling carrots of yuppiedom, Ryan seeks out a new path. An engaging journey that treats audience members to unexpected comedic scenes tweaked with brilliant satire.
The film never delves into issues directly related to the environment. Occasionally there are swerves within the plot implying that it ultimately will. In one scene Ryan is on his way to a job interview abruptly makes a u-turn to the beach so he can check out a beached whale. In this strategic and defining scene Ryan befriends a girl telling her that the Whale’s circumstance “has purpose and meaning implying that their own lives having more meaning beyond fax machines, cubicles and bill payments. The film explores capitalism on a more subjective micro level - “the environment of the soul”.
Paulo Costanzo who is recognizable from his previous work on the sitcom “Joey”, showcased his versatility as an actor by convincingly playing out Ryan’s angst of being burdened with societal materialistic expectations. Playing Ryan’s love interest, actress Steph Song seems to have genuine chemistry with Costanzo. Furthermore, the music scores - exclusively from Canadian bands - are fundamental in setting the tone of the film. Although the script is flawless, without the upbeat psychedelic music, the dynamics of the film would have panned out differently. Vancouver’s urban and rural scenery also complemented the ‘green’ aspects of the film, which is actually set in Vancouver.
Everything’s Gone Green was presented by the First Weekend Club, a non-profit organization that aims to build audiences for Canadian films. Their mandate is to keep films in theatres longer by building awareness and strong box office for great Canadian cinema on opening weekends. Find out more at www.firstweekendclub.ca
Emotional Arithmetic
Emotional Arithmetic Preview Screening
by Nick Pannu
Paolo Barzman’s Canadian production, Emotional Arithmetic, premiered on Thursday, February 21st at Cinema 319 in Vancouver. CJSF’s Nick Pannu reviews.
Three survivors of a Nazi Detention camp are reunited after 40 years. Incarcerated in a transient camp on the outskirts of Paris made eventual deportation to Auschwitz and thereafter death imminent. Meeting again rekindles the bond that once was their only salvation. Spending time together is invigorating and therapeutic. Yet, it also divulges the lingering trauma that they mutually share due to their horrific experience. Each character struggles to put the past behind them, but seem incapable. They all struggle to answer the question; why did they survive, while so many others perished?
Jefferson Lewis is effective and strategic in his ability to transform Matt Cohen’s novel into a screenplay. The essence of the novel is not diluted within the context of film. The opening scene begins profound monologue: “Do I believe in God…ask me does God believe in me”. This paradox sets the course for the film. The viewer is engaged through the process of being coerced to analyze and interpret dialogue and scenes.
Director, Paolo Barzman, also strategically positions scenes to focus almost exclusively on the trauma that each survivor is forced to live and cope with. Through the various flashbacks the conditions in the detention camp are not explicit. It’s clear that Barzman’s intention is not to have the audience pre-occupied with horrific scenes from the detention camp and what occurred there. Rather, he explores the ongoing struggle that the survivors of the horrific acts have to endure for the rest of their lives. Susan Sarandon gives a stunning and genuine performance in her portrayal of Melanie. Max von Sydow and Gabrial Bryne are equally brilliant.
Many filmmakers in Canada have a vision to create an exclusive Canadian film industry. This film proves that film community in Canada is quite capable of producing work that is not only entertaining but of valued substance as well.
Emotional Arithmetic was presented by the First Weekend Club, a non-profit organization that aims to build audiences for Canadian films. Their mandate is to keep films in theatres longer by building awareness and strong box office for great Canadian cinema on opening weekends. Find out more at www.firstweekendclub.ca
by Nick Pannu
Paolo Barzman’s Canadian production, Emotional Arithmetic, premiered on Thursday, February 21st at Cinema 319 in Vancouver. CJSF’s Nick Pannu reviews.
Three survivors of a Nazi Detention camp are reunited after 40 years. Incarcerated in a transient camp on the outskirts of Paris made eventual deportation to Auschwitz and thereafter death imminent. Meeting again rekindles the bond that once was their only salvation. Spending time together is invigorating and therapeutic. Yet, it also divulges the lingering trauma that they mutually share due to their horrific experience. Each character struggles to put the past behind them, but seem incapable. They all struggle to answer the question; why did they survive, while so many others perished?
Jefferson Lewis is effective and strategic in his ability to transform Matt Cohen’s novel into a screenplay. The essence of the novel is not diluted within the context of film. The opening scene begins profound monologue: “Do I believe in God…ask me does God believe in me”. This paradox sets the course for the film. The viewer is engaged through the process of being coerced to analyze and interpret dialogue and scenes.
Director, Paolo Barzman, also strategically positions scenes to focus almost exclusively on the trauma that each survivor is forced to live and cope with. Through the various flashbacks the conditions in the detention camp are not explicit. It’s clear that Barzman’s intention is not to have the audience pre-occupied with horrific scenes from the detention camp and what occurred there. Rather, he explores the ongoing struggle that the survivors of the horrific acts have to endure for the rest of their lives. Susan Sarandon gives a stunning and genuine performance in her portrayal of Melanie. Max von Sydow and Gabrial Bryne are equally brilliant.
Many filmmakers in Canada have a vision to create an exclusive Canadian film industry. This film proves that film community in Canada is quite capable of producing work that is not only entertaining but of valued substance as well.
Emotional Arithmetic was presented by the First Weekend Club, a non-profit organization that aims to build audiences for Canadian films. Their mandate is to keep films in theatres longer by building awareness and strong box office for great Canadian cinema on opening weekends. Find out more at www.firstweekendclub.ca
Celluoid Exposed
The Indie Shorts of Sean MacPherson
by Nick Pannu, The Discorder
Lights, camera, action. Movie sets, flashing strobe lights and roadblocks have become almost as permanent fixture in Vancouver as the mountains surrounding the city. So much a part of the landscape have they become that Vancouver is often labeled ‘the Hollywood of the North.’ Yet, if one is to venture outside the context of corporate media and film, a new frontier can be discovered: the realm of independent movies. In seeking out this entity one can find venues such as the Fifth Avenue Cinemas, Pacific Cinematheque and Vancity Theatre, which showcase mostly—and sometimes exclusively—indie film. Around town, in cafes and post-secondary campuses, small-budget indie entrepreneurs can also be spotted shooting scenes in crooks and crannies. There is little glitz and glamour for these filmmakers. Recognition and hopes of ultimate fame are not the major reasons behind their struggles. Indie film makers have passion and a specific premise for what they are doing. According to local indie writer/director Sean MacPherson, “Although it is the hardest road I decided to take, there is no way to describe the feeling of giving birth to ideas for a film.”
This past summer, on July 31, Sean MacPherson screened three short films: Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness at Pacific Cinematheque. The films were only about 30 minutes each, but the process of making the films took over a year. MacPherson wrote the first script for Mannequin Romance Novel over the course of a month, while working nights at a drop-in centre in Calgary. He admits that preparing these films was one of the toughest undertakings and challenges he ever dealt with. Getting the money for the project and then booking the location took some time. MacPherson confessed the irony of disclosing to others that you have a very small budget has its perks: “When people realize that you don’t have a lot of money, they are willing to help out.” Many businesses along Main Street helped out with the pivotal scenes of his first film, Mannequin Romance Novel, where various scenes were shot in cafes and clothing stores.
Moreover, having a tight budget often coerces filmmakers to bear the burden of wearing many hats during production. MacPherson not only wrote, directed and produced all three films, but also starred in the first two. According to MacPherson, multitasking for the many positions requires that you “have faith in every decision you’re making.” Characters have to be found on the spot because of the time constraint. Several approaches can be taken to find actors; for example, ads can be put in the paper. Around the Lower Mainland, there are also several agencies to help find actors. MacPherson was fortunate to find child actors for his film, Marion Bigsby, from a talent agency in Surrey. Quite a few actors were found shortly before production started, but everyone managed to get into character and perform.
In spite of the many challenges, MacPherson confesses the rewards are ultimately reaped once the films are completed. “There is a sense of gratitude for family and friends who supported each stage of production, and are finally able see the end product.” Also, being able to initiate the thought processes within audience members is rewarding. MacPherson took an open-ended approach in his writing. Props, scenes and characters constructed implied themes that allowed the audience to derive their own meanings. Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness screened on July 31 and Aug. 14. For information on screenings contact Sean Macpherson at winterpictures@gmail.com. There is also a webpage for Mannequin Romance Novel at www.myspace.com/mannequinromance.
by Nick Pannu, The Discorder
Lights, camera, action. Movie sets, flashing strobe lights and roadblocks have become almost as permanent fixture in Vancouver as the mountains surrounding the city. So much a part of the landscape have they become that Vancouver is often labeled ‘the Hollywood of the North.’ Yet, if one is to venture outside the context of corporate media and film, a new frontier can be discovered: the realm of independent movies. In seeking out this entity one can find venues such as the Fifth Avenue Cinemas, Pacific Cinematheque and Vancity Theatre, which showcase mostly—and sometimes exclusively—indie film. Around town, in cafes and post-secondary campuses, small-budget indie entrepreneurs can also be spotted shooting scenes in crooks and crannies. There is little glitz and glamour for these filmmakers. Recognition and hopes of ultimate fame are not the major reasons behind their struggles. Indie film makers have passion and a specific premise for what they are doing. According to local indie writer/director Sean MacPherson, “Although it is the hardest road I decided to take, there is no way to describe the feeling of giving birth to ideas for a film.”
This past summer, on July 31, Sean MacPherson screened three short films: Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness at Pacific Cinematheque. The films were only about 30 minutes each, but the process of making the films took over a year. MacPherson wrote the first script for Mannequin Romance Novel over the course of a month, while working nights at a drop-in centre in Calgary. He admits that preparing these films was one of the toughest undertakings and challenges he ever dealt with. Getting the money for the project and then booking the location took some time. MacPherson confessed the irony of disclosing to others that you have a very small budget has its perks: “When people realize that you don’t have a lot of money, they are willing to help out.” Many businesses along Main Street helped out with the pivotal scenes of his first film, Mannequin Romance Novel, where various scenes were shot in cafes and clothing stores.
Moreover, having a tight budget often coerces filmmakers to bear the burden of wearing many hats during production. MacPherson not only wrote, directed and produced all three films, but also starred in the first two. According to MacPherson, multitasking for the many positions requires that you “have faith in every decision you’re making.” Characters have to be found on the spot because of the time constraint. Several approaches can be taken to find actors; for example, ads can be put in the paper. Around the Lower Mainland, there are also several agencies to help find actors. MacPherson was fortunate to find child actors for his film, Marion Bigsby, from a talent agency in Surrey. Quite a few actors were found shortly before production started, but everyone managed to get into character and perform.
In spite of the many challenges, MacPherson confesses the rewards are ultimately reaped once the films are completed. “There is a sense of gratitude for family and friends who supported each stage of production, and are finally able see the end product.” Also, being able to initiate the thought processes within audience members is rewarding. MacPherson took an open-ended approach in his writing. Props, scenes and characters constructed implied themes that allowed the audience to derive their own meanings. Mannequin Romance Novel, Unicorn Ragazo and Marion Bigsby: Prince of Darkness screened on July 31 and Aug. 14. For information on screenings contact Sean Macpherson at winterpictures@gmail.com. There is also a webpage for Mannequin Romance Novel at www.myspace.com/mannequinromance.
Rocky Belboa
Film Review: Sequels: Rocky territory
Nick Pannu, The Peak
Much like malignant tumours, film sequels unexpectedly emerge. The filmmaker’s intent is to revive interest in recognised characters and plots. Sometimes there is merit to having a second part that discloses unresolved issues that can further develop these elements, but often having a third and fourth film just causes the original to lose its initial appeal. The storyline loses direction, and characters start to lack genuine substance. This begs the question of how a fourth, fifth, or inconceivable sixth sequel could have any credibility. This past Christmas audiences were blindsided with a sixth sequel in the latest installment of the Rocky series, Rocky Balboa. Obvious rhetoric and cynicism precedes the mere thought of an aging Sylvester Stallone in another Rocky film. Yet in its first week, the picture scored at the top of the box office. Perhaps as an act of reverence for the once-endearing character, people decided to pay their last respects to Rocky Balboa.
Cultural immortality is usually reserved for extraordinary characters. Seldom is it the circumstance of adversity alone that makes a character immortal, yet whenever there is a challenge, a feeling of despair, and a struggle to rise out of the depths of obscurity, people think of Rocky. His resilience is a model for the mortals who never back down when the odds are stacked heavily against them. Sylvester Stallone revives the character for one final sequel in Rocky Balboa.
The filmmakers made a conscious effort to legitimatise this tension early in the film. Abruptly after the opening credits, Tarver, a champion with many accolades but no respect from the fans, is shown having trouble making money. His promoters desperately seek a means to revive the fighter’s financial prospects, while the fighter struggles to regain his pride and self-respect. Balboa is also looking for a way to redeem himself. Symbolically this is illustrated when Rocky befriends an older unattractive dog, claiming that it still has use and value. Later, Balboa stands in triumph at the top of the stairs of the Philadelphia Spectrum holding the petite dog. In this film, Rocky still manages to go to the body when he fights, but his quick southpaw jab is gone. Overall, the film maintains its tension because the respective motive of each character manages to make a confrontation between them somewhat credible.
The film invests a lot in establishing continuity between the first Rocky and this last chapter in the fighter’s life. Balboa lives in his old neighbourhood and travels extensively through it as he mourns the death of his wife Adrian and reminisces over their first date. Adrian’s passing is Stallone’s sentimental sucker punch to maintain the viewers’ interest. Delving extensively into Balboa’s past somewhat taints the aura surrounding the first film.
The positive aspects of the film outweigh these imperfections. Solid performances from veteran actor Burt Young and relative newcomer Milo Ventimiglia provide a strong foundation for the movie. Real-life boxer Antonio Tarver is equally impressive in his motion picture debut.
As expected, Stallone is able to effortlessly morph himself into his alter ego Rocky, especially in one particularly poignant scene. This moment actually possesses the arsenal to challenge the famous Rocky line about “going the distance.” “Life is not all sunshine and rainbows,” Balboa candidly tells his son. “It’s actually a very mean and nasty place.” Thus Rocky’s legacy continues.
Nick Pannu, The Peak
Much like malignant tumours, film sequels unexpectedly emerge. The filmmaker’s intent is to revive interest in recognised characters and plots. Sometimes there is merit to having a second part that discloses unresolved issues that can further develop these elements, but often having a third and fourth film just causes the original to lose its initial appeal. The storyline loses direction, and characters start to lack genuine substance. This begs the question of how a fourth, fifth, or inconceivable sixth sequel could have any credibility. This past Christmas audiences were blindsided with a sixth sequel in the latest installment of the Rocky series, Rocky Balboa. Obvious rhetoric and cynicism precedes the mere thought of an aging Sylvester Stallone in another Rocky film. Yet in its first week, the picture scored at the top of the box office. Perhaps as an act of reverence for the once-endearing character, people decided to pay their last respects to Rocky Balboa.
Cultural immortality is usually reserved for extraordinary characters. Seldom is it the circumstance of adversity alone that makes a character immortal, yet whenever there is a challenge, a feeling of despair, and a struggle to rise out of the depths of obscurity, people think of Rocky. His resilience is a model for the mortals who never back down when the odds are stacked heavily against them. Sylvester Stallone revives the character for one final sequel in Rocky Balboa.
The filmmakers made a conscious effort to legitimatise this tension early in the film. Abruptly after the opening credits, Tarver, a champion with many accolades but no respect from the fans, is shown having trouble making money. His promoters desperately seek a means to revive the fighter’s financial prospects, while the fighter struggles to regain his pride and self-respect. Balboa is also looking for a way to redeem himself. Symbolically this is illustrated when Rocky befriends an older unattractive dog, claiming that it still has use and value. Later, Balboa stands in triumph at the top of the stairs of the Philadelphia Spectrum holding the petite dog. In this film, Rocky still manages to go to the body when he fights, but his quick southpaw jab is gone. Overall, the film maintains its tension because the respective motive of each character manages to make a confrontation between them somewhat credible.
The film invests a lot in establishing continuity between the first Rocky and this last chapter in the fighter’s life. Balboa lives in his old neighbourhood and travels extensively through it as he mourns the death of his wife Adrian and reminisces over their first date. Adrian’s passing is Stallone’s sentimental sucker punch to maintain the viewers’ interest. Delving extensively into Balboa’s past somewhat taints the aura surrounding the first film.
The positive aspects of the film outweigh these imperfections. Solid performances from veteran actor Burt Young and relative newcomer Milo Ventimiglia provide a strong foundation for the movie. Real-life boxer Antonio Tarver is equally impressive in his motion picture debut.
As expected, Stallone is able to effortlessly morph himself into his alter ego Rocky, especially in one particularly poignant scene. This moment actually possesses the arsenal to challenge the famous Rocky line about “going the distance.” “Life is not all sunshine and rainbows,” Balboa candidly tells his son. “It’s actually a very mean and nasty place.” Thus Rocky’s legacy continues.
Lady Vengeance
Film Review: Revenge served cold, as it should be
Nick Pannu,The Peak
Lady Vengeance is currently playing at Granville 7 Cinemas.
Director Chan-Wok Park returns with Lady Vengeance, following 2004’s Old Boy. Lady Vengeance tones down the perversity, yet explicit, grotesque, and bloody scenes are still woven into the film, a common thread through the series thus far. Preceded by this repertoire, Park’s reputation abroad would undoubtedly be threatened if a bizarre and eccentric storyline were not in place. There is a scene where the heroine voluntarily chops off her finger, and in another scene the character uses a puppy as a test subject for her new revolver.
Lady Vengeance cannot be berated for its lack of originality; the plot involves a kindergarten teacher befriending a teenage mother, and then framing her for a crime that he commits. Geum-ja (Yeong-ae Lee) is coerced into confessing that she murdered a five-year-old boy after her own daughter is kidnapped and used as collateral. Naïve and vulnerable to the whims of her daughter’s captor, Geum-ja breaks down and publicly confesses to a barrage of media attention. Throughout the film there are various flashbacks of Geum-ja’s incarceration. Upon first arriving, her innocent demeanor makes her instant prey for the seasoned inmates, but surprisingly, she is able to dispose of the dominant con. Thereafter, her tenure in prison becomes less threatening. Geum-ja manages to also befriend many inmates through her various good deeds, such as caring for an Alzheimer’s patient. She maintains her composure and sanity through the duration of her 14 years of incarceration. One main objective sustains her: revenge upon the one responsible for destroying her life – the school teacher, Mr. Baek.
There are other pivotal characters in Lady Vengeance, but a lot is invested into the central character, Geum-ja. Constructing a paradox, Park projects the heroine of the film as a villain to the other characters. There is no denying Yeong-ae Lee’s versatility as an actor as the main catalyst for the character’s ability to convincingly change and evolve. Yet there are other catalysts within the film that allow this realism to manifest itself. Park constructs specific dynamics that allow Geum-ja to realistically plot her revenge. Recently released inmates and those still incarcerated set up a network to provide her with the resources to tactfully prey on the unsuspecting Mr. Baek.
Living up to the acclaim of Old Boy is an obvious challenge for Chan-Wok Park, but he doesn’t seem intent on following the same formula that made his previous film a success. He seems to start off with a clean slate and new vision. Subduing the perverse antics of Old Boy, Park concentrates on facilitating the journey of an innocent character evolving and becoming empowered so she is no longer the victim, but the predator. Although the special effects are watered down when compared to Old Boy, cinematographer Jeong Jeong-hun deserves special praise for the miraculous imagery he creates in Lady Vengeance.
Nick Pannu,The Peak
Lady Vengeance is currently playing at Granville 7 Cinemas.
Director Chan-Wok Park returns with Lady Vengeance, following 2004’s Old Boy. Lady Vengeance tones down the perversity, yet explicit, grotesque, and bloody scenes are still woven into the film, a common thread through the series thus far. Preceded by this repertoire, Park’s reputation abroad would undoubtedly be threatened if a bizarre and eccentric storyline were not in place. There is a scene where the heroine voluntarily chops off her finger, and in another scene the character uses a puppy as a test subject for her new revolver.
Lady Vengeance cannot be berated for its lack of originality; the plot involves a kindergarten teacher befriending a teenage mother, and then framing her for a crime that he commits. Geum-ja (Yeong-ae Lee) is coerced into confessing that she murdered a five-year-old boy after her own daughter is kidnapped and used as collateral. Naïve and vulnerable to the whims of her daughter’s captor, Geum-ja breaks down and publicly confesses to a barrage of media attention. Throughout the film there are various flashbacks of Geum-ja’s incarceration. Upon first arriving, her innocent demeanor makes her instant prey for the seasoned inmates, but surprisingly, she is able to dispose of the dominant con. Thereafter, her tenure in prison becomes less threatening. Geum-ja manages to also befriend many inmates through her various good deeds, such as caring for an Alzheimer’s patient. She maintains her composure and sanity through the duration of her 14 years of incarceration. One main objective sustains her: revenge upon the one responsible for destroying her life – the school teacher, Mr. Baek.
There are other pivotal characters in Lady Vengeance, but a lot is invested into the central character, Geum-ja. Constructing a paradox, Park projects the heroine of the film as a villain to the other characters. There is no denying Yeong-ae Lee’s versatility as an actor as the main catalyst for the character’s ability to convincingly change and evolve. Yet there are other catalysts within the film that allow this realism to manifest itself. Park constructs specific dynamics that allow Geum-ja to realistically plot her revenge. Recently released inmates and those still incarcerated set up a network to provide her with the resources to tactfully prey on the unsuspecting Mr. Baek.
Living up to the acclaim of Old Boy is an obvious challenge for Chan-Wok Park, but he doesn’t seem intent on following the same formula that made his previous film a success. He seems to start off with a clean slate and new vision. Subduing the perverse antics of Old Boy, Park concentrates on facilitating the journey of an innocent character evolving and becoming empowered so she is no longer the victim, but the predator. Although the special effects are watered down when compared to Old Boy, cinematographer Jeong Jeong-hun deserves special praise for the miraculous imagery he creates in Lady Vengeance.
Over the Hedge and Beyond
Animation: Over the Hedge and beyond
Nick Pannu, The Peak
Over the Hedge opens Friday, May 19th at Paramount Theatre, 900 Burrard St, Vancouver. Call (604)-630-1407 for more information.
Over the Hedge is the latest computer animated film to hit the big screen. Being no strangers to animated features, directors Tim Johnson and Karey Kirkpatrick add a lot of spice to an endeavor that is more than just a family-friendly affair. As well as laughing hysterically, audiences will be blindsided by the unpredictable nature and originality of circumstances that present themselves throughout the film. Johnson and Kirkpatrick also use the film to shed light on issues such as over-consumption.
Abruptly, a large suburban development is thrust into the middle of the forest. Animals emerging from hibernation are shocked to see their familiar surroundings changed beyond recognition. Initially, what has invaded the forest is unknown: a giant hedge stands between the new inhabitants and the ecosystem that has been reduced to a fraction of its original size. The few resources that remain in the forest are too meagre to sustain the wilderness creatures but the animals are afraid to seek out other resources over the hedge.
Realizing that venturing beyond the hedge is the only means of survival, RJ the raccoon boldly encourages the rest of the animals that they must conquer their fears. Clever Rocco manages to subdue everyone’s apprehension by baiting them with a bag of tacos he retrieves. Everyone is thereafter mesmerized by the prospect of encountering an abundance of food once they leap over the hedge.
The film touches on many themes that are not often consciously addressed. For example, why do we always take the position that animals invade our territory? When examined closely, a more poignant argument can be made that is actually people that are invading the animals’ environment.
Also, animals from the wilderness are often disregarded as non-sentient beings while domesticated dogs and cats are not. Johnson and Kirkpatrick offer substantial insight in their production, yet humor is the fundamental ingredient that propels the film, making it difficult for the audience to tune out.
As well, Johnson and Kirkpatrick do a superb job of molding appropriate characters for the all-star cast of voices including Bruce Willis, Garry Shandling, William Shatner and Nick Nolte. Aspects of the actor’s personalities are exploited and incorporated in the animated characters, such as William Shatner’s infamous two handed karate chop gesture from his Star Trek days, which surfaces frequently within his character, Ozzie.
Nick Pannu, The Peak
Over the Hedge opens Friday, May 19th at Paramount Theatre, 900 Burrard St, Vancouver. Call (604)-630-1407 for more information.
Over the Hedge is the latest computer animated film to hit the big screen. Being no strangers to animated features, directors Tim Johnson and Karey Kirkpatrick add a lot of spice to an endeavor that is more than just a family-friendly affair. As well as laughing hysterically, audiences will be blindsided by the unpredictable nature and originality of circumstances that present themselves throughout the film. Johnson and Kirkpatrick also use the film to shed light on issues such as over-consumption.
Abruptly, a large suburban development is thrust into the middle of the forest. Animals emerging from hibernation are shocked to see their familiar surroundings changed beyond recognition. Initially, what has invaded the forest is unknown: a giant hedge stands between the new inhabitants and the ecosystem that has been reduced to a fraction of its original size. The few resources that remain in the forest are too meagre to sustain the wilderness creatures but the animals are afraid to seek out other resources over the hedge.
Realizing that venturing beyond the hedge is the only means of survival, RJ the raccoon boldly encourages the rest of the animals that they must conquer their fears. Clever Rocco manages to subdue everyone’s apprehension by baiting them with a bag of tacos he retrieves. Everyone is thereafter mesmerized by the prospect of encountering an abundance of food once they leap over the hedge.
The film touches on many themes that are not often consciously addressed. For example, why do we always take the position that animals invade our territory? When examined closely, a more poignant argument can be made that is actually people that are invading the animals’ environment.
Also, animals from the wilderness are often disregarded as non-sentient beings while domesticated dogs and cats are not. Johnson and Kirkpatrick offer substantial insight in their production, yet humor is the fundamental ingredient that propels the film, making it difficult for the audience to tune out.
As well, Johnson and Kirkpatrick do a superb job of molding appropriate characters for the all-star cast of voices including Bruce Willis, Garry Shandling, William Shatner and Nick Nolte. Aspects of the actor’s personalities are exploited and incorporated in the animated characters, such as William Shatner’s infamous two handed karate chop gesture from his Star Trek days, which surfaces frequently within his character, Ozzie.
Freedomland
Film: Jackson tackles race relations, stuff in new film
Nick Pannu, The Peak
Media savvy pundits have recently shed light on how social policy elicits indifference towards marginalised people and the dire consequences of such policy (ie. New Orleans).
As well, how calamitic racial tensions tend to escalate within this realm. Conveniently, or perhaps with undeniable conviction, writer Richard Price and director Joe Roth boldly attempt to present the issue within their latest collaboration, Freedomland. An all-star cast, which includes Samuel Jackson, Julianne Moore, and William Forsythe, acts as a smoke screen to what otherwise could have been a very promising film.
Immediately a distraught, disenfranchised woman Brenda, played by Julianne Moore, is seen wandering the streets. She is confronted by Samuel Jackson’s character, Detective Lorezna, who desperately tries to find out what happened to her while she is being attended to by medical staff. Suddenly, napalm seeps through the tranquility and viciously erupts thereafter permeating every aspect of the movie. For example, Brenda was carjacked while her son was sleeping in the back seat. Yet the real issue presented in the film is not that her son was in the car when it was stolen but that she identifies a black man as the culprit. Finding the boy is essential towards diffusing a situation which will have dire consequences on a poor, predominately African-American neighbourhood where the car was jacked.
The plot thickens as the case turns out to be more complicated then expected. Brenda is not being forthright and for some reason is holding something back. As well, her brother is an officer in the neighbouring white neighbourhood of Ghana who sets up a barricade in the projects so no one can leave. Having strong ties to people in the community, Lorezna desperately seeks to diffuse the situation by having Brenda unconditionally surrender the pivotal information required to subdue erupting racial tensions between both neighbourhoods.
Initially and until near the end, the plot, as well as what seemed like the theme, was well orchestrated. Unfortunately, there were many implied gestures and circumstances that didn’t necessarily tie together. It seemed like the true essence of what the picture was emphasising was sabotaged. The prominent emphasis on the corrupt, vile approach that the police bureaucracy generally takes with poor marginalised people is subdued by ambiguous swerves. Near the end, not the very last scene, there is a cheesy dialogue between Lorezna and his partner, played by an under-utilised William Forsythe. The displaced issue was not cohesive with respect to the rest of the film. Also, their relationship was never built up enough in the film to communicate such a scene.
Samuel Jackson and Julianne Moore’s roles are convincing and genuine with respect to their characters, but Forsythe is totally under-utilised in this film. His scenes were limited and he was a pivotal character. It would made for an interesting dynamic to place Forsythe as the low self-worthing brother of Moore and antagonist cop setting up the barricade against Jackson’s beloved and esteemed Armstrong projects. Again, the plot was enriched, but the corny and ambiguous ending delegitimises the movie. Mysteriously, it seems that the movie had to be tweaked near the end so the emphasis on the vile, fascist liberties that the police bureaucracy typically takes on the disenfranchised and poor would be buried. People had to walk away from the film not thinking about that issue
Nick Pannu, The Peak
Media savvy pundits have recently shed light on how social policy elicits indifference towards marginalised people and the dire consequences of such policy (ie. New Orleans).
As well, how calamitic racial tensions tend to escalate within this realm. Conveniently, or perhaps with undeniable conviction, writer Richard Price and director Joe Roth boldly attempt to present the issue within their latest collaboration, Freedomland. An all-star cast, which includes Samuel Jackson, Julianne Moore, and William Forsythe, acts as a smoke screen to what otherwise could have been a very promising film.
Immediately a distraught, disenfranchised woman Brenda, played by Julianne Moore, is seen wandering the streets. She is confronted by Samuel Jackson’s character, Detective Lorezna, who desperately tries to find out what happened to her while she is being attended to by medical staff. Suddenly, napalm seeps through the tranquility and viciously erupts thereafter permeating every aspect of the movie. For example, Brenda was carjacked while her son was sleeping in the back seat. Yet the real issue presented in the film is not that her son was in the car when it was stolen but that she identifies a black man as the culprit. Finding the boy is essential towards diffusing a situation which will have dire consequences on a poor, predominately African-American neighbourhood where the car was jacked.
The plot thickens as the case turns out to be more complicated then expected. Brenda is not being forthright and for some reason is holding something back. As well, her brother is an officer in the neighbouring white neighbourhood of Ghana who sets up a barricade in the projects so no one can leave. Having strong ties to people in the community, Lorezna desperately seeks to diffuse the situation by having Brenda unconditionally surrender the pivotal information required to subdue erupting racial tensions between both neighbourhoods.
Initially and until near the end, the plot, as well as what seemed like the theme, was well orchestrated. Unfortunately, there were many implied gestures and circumstances that didn’t necessarily tie together. It seemed like the true essence of what the picture was emphasising was sabotaged. The prominent emphasis on the corrupt, vile approach that the police bureaucracy generally takes with poor marginalised people is subdued by ambiguous swerves. Near the end, not the very last scene, there is a cheesy dialogue between Lorezna and his partner, played by an under-utilised William Forsythe. The displaced issue was not cohesive with respect to the rest of the film. Also, their relationship was never built up enough in the film to communicate such a scene.
Samuel Jackson and Julianne Moore’s roles are convincing and genuine with respect to their characters, but Forsythe is totally under-utilised in this film. His scenes were limited and he was a pivotal character. It would made for an interesting dynamic to place Forsythe as the low self-worthing brother of Moore and antagonist cop setting up the barricade against Jackson’s beloved and esteemed Armstrong projects. Again, the plot was enriched, but the corny and ambiguous ending delegitimises the movie. Mysteriously, it seems that the movie had to be tweaked near the end so the emphasis on the vile, fascist liberties that the police bureaucracy typically takes on the disenfranchised and poor would be buried. People had to walk away from the film not thinking about that issue
The World's Fastest Indian
The World's Fastest Indian
. . and Hopkins rides a fast bike
Nick Pannu, The Peak
The World’s Fastest Indian is playing at Fifth Avenue Cinemas, 2110 Burrard St, Vancouver.
Many prominent actors have recently been forsaking lucrative contracts in major motion pictures to actualise their artistic freedom in independent film. Director and writer Roger Donaldson, in his latest project The World’s Fastest Indian, manages to lure acclaimed actor Anthony Hopkins towards the realm of independent film.
Misled by the title, one may mistake Roger Donaldson’s latest film for a National Geographic special. However, the unpolitically correct term pertains to a 1920s era Indian Twin Scout bike, not a demoralised ethnic group seeking redemption. Having grown up down under, Donaldson takes the initiative to resurface New Zealand’s forgotten national hero, Burt Munro. Munro had set many records throughout New Zealand race circuits with his Indian Twin Scout, which he constantly upgraded. Through innumerable tests and modifications to his outdated bike, Munro always managed to overcome the odds. However, there was one challenge that still eluded Munro — to set the world record on the salt flats of Bonnavillein, Utah. His mortality seeming imminent due to his recent diagnosis of cancer, the 65-year-old Munro seeks to fulfill his lifelong quest of racing his Indian motorcycle in the United States.
Donaldson takes liberties to spice up Burt’s long pilgrimage from New Zealand to the United States. Along the way, Munro befriends many people. A cross-dressed hotel clerk helps him find his way around and absorb the culture shock while staying in Los Angeles. A Native American provides refuge for a stranded Munro and provides him with dog balls to cure his prostate cancer. Apparently, Burt Munro was quite the ladies man. His strong conviction and passion for racing attracts the attention and admiration of a few women.
Suspense is strategically placed near the end when Burt Munro seems like he will finally his achieve his goal of racing on the Bonnavillein flats. Abruptly, many obstacles present themselves. His bike is not able to meet specifications for the race and officials start to question the legitimacy of his ability to race because of his age.
Prominent cast member Anthony Hopkins morphs himself completely into Munro’s character, and plays him with such passion and reverence that the character becomes more prominent than the actor. One is easily empathetic towards Burt’s plight. His enduring vitality reassures and enlightens the audience. Pursuing one’s goals is never too late; life has no meaning unless the journey is taken. Passion and determination endure and sustain vitality.
. . and Hopkins rides a fast bike
Nick Pannu, The Peak
The World’s Fastest Indian is playing at Fifth Avenue Cinemas, 2110 Burrard St, Vancouver.
Many prominent actors have recently been forsaking lucrative contracts in major motion pictures to actualise their artistic freedom in independent film. Director and writer Roger Donaldson, in his latest project The World’s Fastest Indian, manages to lure acclaimed actor Anthony Hopkins towards the realm of independent film.
Misled by the title, one may mistake Roger Donaldson’s latest film for a National Geographic special. However, the unpolitically correct term pertains to a 1920s era Indian Twin Scout bike, not a demoralised ethnic group seeking redemption. Having grown up down under, Donaldson takes the initiative to resurface New Zealand’s forgotten national hero, Burt Munro. Munro had set many records throughout New Zealand race circuits with his Indian Twin Scout, which he constantly upgraded. Through innumerable tests and modifications to his outdated bike, Munro always managed to overcome the odds. However, there was one challenge that still eluded Munro — to set the world record on the salt flats of Bonnavillein, Utah. His mortality seeming imminent due to his recent diagnosis of cancer, the 65-year-old Munro seeks to fulfill his lifelong quest of racing his Indian motorcycle in the United States.
Donaldson takes liberties to spice up Burt’s long pilgrimage from New Zealand to the United States. Along the way, Munro befriends many people. A cross-dressed hotel clerk helps him find his way around and absorb the culture shock while staying in Los Angeles. A Native American provides refuge for a stranded Munro and provides him with dog balls to cure his prostate cancer. Apparently, Burt Munro was quite the ladies man. His strong conviction and passion for racing attracts the attention and admiration of a few women.
Suspense is strategically placed near the end when Burt Munro seems like he will finally his achieve his goal of racing on the Bonnavillein flats. Abruptly, many obstacles present themselves. His bike is not able to meet specifications for the race and officials start to question the legitimacy of his ability to race because of his age.
Prominent cast member Anthony Hopkins morphs himself completely into Munro’s character, and plays him with such passion and reverence that the character becomes more prominent than the actor. One is easily empathetic towards Burt’s plight. His enduring vitality reassures and enlightens the audience. Pursuing one’s goals is never too late; life has no meaning unless the journey is taken. Passion and determination endure and sustain vitality.
Match Point
by Nick Pannu, CJSF 90.1 FM
Acclaimed writer and director Woody Allen ends his hiatus with his latest film, Match Point. Allen takes the initiative to venture beyond the Bronx, New Jersey and Cosmopolitan New York to London.
A synopsis: Abruptly after the credits role off the screen, emphasis is immediately placed on the virtue of luck. A tennis ball just falls short of the line, which would have ultimately won the match. Former tennis pro, Chris manages to secure a job as an instructor in a posh tennis club where he befriends aristocrat, Adam, who later introduces him to his sister. His sister takes a liking to him, as does her father, who admires Chris's tenacity which allowed him to emerge unscathed from the depths of poverty in rural Ireland.
Allen tactfully uses the classic tale of opportunistic-boy-impresses-upper-class-family as a smoke screen. The plot shifts once Adam's fiance, Nola, emerges. Chris, unaware that Nola is Adam's fiance, is overtly forward in his flirtations. In true form, Allen presents a drastic swerve within the plot by falsely foreshadowing who ends up together.
The movie's ultimate climax is never imminent. Allen throws a very swift curve ball near the end that no one anticipates, but manages to come full circle towards the theme that is explicitly proclaimed after the opening credits. Depending on one's mind set, the movie either presents qualms with the realism of some characters or causes others to introspectively question what lengths one is willing to go to in order to preserve their prosperity and wealth.
Allen's approach is admirable in that his sex scenes are not explicit. The audience is not even diverted from the emerging plots due to the partial nudity in the film. Yet, the consistency or rather the frequency of how certain characters evolve and change is questionable. Can greed totally obliterate one's values?
Match Point is playing at Fifth Avenue Cinemas, 2110 BurrardSt, Vancouver. Call 604-734-7469 for more information.
Acclaimed writer and director Woody Allen ends his hiatus with his latest film, Match Point. Allen takes the initiative to venture beyond the Bronx, New Jersey and Cosmopolitan New York to London.
A synopsis: Abruptly after the credits role off the screen, emphasis is immediately placed on the virtue of luck. A tennis ball just falls short of the line, which would have ultimately won the match. Former tennis pro, Chris manages to secure a job as an instructor in a posh tennis club where he befriends aristocrat, Adam, who later introduces him to his sister. His sister takes a liking to him, as does her father, who admires Chris's tenacity which allowed him to emerge unscathed from the depths of poverty in rural Ireland.
Allen tactfully uses the classic tale of opportunistic-boy-impresses-upper-class-family as a smoke screen. The plot shifts once Adam's fiance, Nola, emerges. Chris, unaware that Nola is Adam's fiance, is overtly forward in his flirtations. In true form, Allen presents a drastic swerve within the plot by falsely foreshadowing who ends up together.
The movie's ultimate climax is never imminent. Allen throws a very swift curve ball near the end that no one anticipates, but manages to come full circle towards the theme that is explicitly proclaimed after the opening credits. Depending on one's mind set, the movie either presents qualms with the realism of some characters or causes others to introspectively question what lengths one is willing to go to in order to preserve their prosperity and wealth.
Allen's approach is admirable in that his sex scenes are not explicit. The audience is not even diverted from the emerging plots due to the partial nudity in the film. Yet, the consistency or rather the frequency of how certain characters evolve and change is questionable. Can greed totally obliterate one's values?
Match Point is playing at Fifth Avenue Cinemas, 2110 BurrardSt, Vancouver. Call 604-734-7469 for more information.
Everything is illuminated
The Calamity of war creates existing ghosts
within the subdued spirit of survivors
A review by Nick Pannu, CJSF Radio 90.1 FM.
Writer andDrector, Liev Schreiber 's^y^thinjgjsjlluminqted premiered on Friday, October 7 at Fifth Avenue Cinemas in Vancouver. CJSF's Nick Pannu reviews.
The film follows the introspective quest of Jonathan, an American Jew, to find the women who saved his grandfather from Nazi prosecution. Jonathan acquires the services of a Ukrainian family (a grandfather and his grandson) that specializes in driving American Jews in search of their roots to the places where their ancestors died.
The means through which the films ultimate objective is pursued is unorthodox, but at times quite amusing. Throughout the journey Jonathan collects items, preserves them in zip lock bags, while Alex painstakingly constructs a Ukrainian-English pigeon dialect in order to communicate with Jonathan. All the while, his grandfather drives uttering Jewish obscenities in Ukranian.
The film starts off at a slow pace, hi the beginning there is limited dialogue. Situations and circumstances are implied mostly through Jonathan's demeanor and facial expressions. One peculiar scene involves the death of Jonathan's grandmother. After her death, Jonathan places her dentures in a zip lock bag and pins them to a wall amongst the other items representing relatives that have passed. Scenes like this are used quite often as a means to define characters. Even as the movie progresses and dialogue becomes more prevalent, symbolism is still used to communicate the plot.
Elijah Wood proves his versatility as an actor as he plays the subdued character Jonathan Safran Foer. Lord of the Rings' infamous Frodo demonstrates genuine sentiment and empathy for the hidden calamity that is unveiled at the end of the movie. Also, Boris Leskin and Eugene Hutz, who play the Ukrainian grandfather and grandson, enhance and sustain the realism. Having previously lived and grown up in the Ukraine allows novice actor and punk rock star Eugene Hutz to easily fit into the role as Alex and be the catalyst for comedic scenes in the movie. Laryssa Lauret as well, morphs into her character and effectively conveys how victims of war choose to preserve the past.
Writer and Director, Live Schreiber's communicates a profound statement at the end, which gives substance to the initial stages of the movie that were previously quite vague and had limited meaning. It's tempting to watch the movie again to understand the implied symbolism in the beginning. The first half of the movie is not very poignant nor tactfully aligned to compliment the eloquent way that the theme is presented at the very end.
Everything Is Illuminated is playing at Fifth Avenue Cinemas, 2110 Burrard St, Vancouver, BC. Call +1 604 734 7469 for more information.
within the subdued spirit of survivors
A review by Nick Pannu, CJSF Radio 90.1 FM.
Writer andDrector, Liev Schreiber 's^y^thinjgjsjlluminqted premiered on Friday, October 7 at Fifth Avenue Cinemas in Vancouver. CJSF's Nick Pannu reviews.
The film follows the introspective quest of Jonathan, an American Jew, to find the women who saved his grandfather from Nazi prosecution. Jonathan acquires the services of a Ukrainian family (a grandfather and his grandson) that specializes in driving American Jews in search of their roots to the places where their ancestors died.
The means through which the films ultimate objective is pursued is unorthodox, but at times quite amusing. Throughout the journey Jonathan collects items, preserves them in zip lock bags, while Alex painstakingly constructs a Ukrainian-English pigeon dialect in order to communicate with Jonathan. All the while, his grandfather drives uttering Jewish obscenities in Ukranian.
The film starts off at a slow pace, hi the beginning there is limited dialogue. Situations and circumstances are implied mostly through Jonathan's demeanor and facial expressions. One peculiar scene involves the death of Jonathan's grandmother. After her death, Jonathan places her dentures in a zip lock bag and pins them to a wall amongst the other items representing relatives that have passed. Scenes like this are used quite often as a means to define characters. Even as the movie progresses and dialogue becomes more prevalent, symbolism is still used to communicate the plot.
Elijah Wood proves his versatility as an actor as he plays the subdued character Jonathan Safran Foer. Lord of the Rings' infamous Frodo demonstrates genuine sentiment and empathy for the hidden calamity that is unveiled at the end of the movie. Also, Boris Leskin and Eugene Hutz, who play the Ukrainian grandfather and grandson, enhance and sustain the realism. Having previously lived and grown up in the Ukraine allows novice actor and punk rock star Eugene Hutz to easily fit into the role as Alex and be the catalyst for comedic scenes in the movie. Laryssa Lauret as well, morphs into her character and effectively conveys how victims of war choose to preserve the past.
Writer and Director, Live Schreiber's communicates a profound statement at the end, which gives substance to the initial stages of the movie that were previously quite vague and had limited meaning. It's tempting to watch the movie again to understand the implied symbolism in the beginning. The first half of the movie is not very poignant nor tactfully aligned to compliment the eloquent way that the theme is presented at the very end.
Everything Is Illuminated is playing at Fifth Avenue Cinemas, 2110 Burrard St, Vancouver, BC. Call +1 604 734 7469 for more information.
L’enfant
Words by Nick Pannu, CJSF Radio 90.1 FM
Belgium brothers Jean and Luc Dardenne collaborate on their latest venture writing and directing, L'enfant. Nick Pannu reviews...
An effort is made to create something meaningful as well as entertaining. Yet, often there are scenes that seem too subjective with no implied symbolism or enriching substance of plot. The setting of the film is in the brother's hometown of Seraing, Belgium. It seems to an extent that the Dardennes have incorporated their youthful experiences from that town into the film. Nonetheless, towards the end one character's calamity and eventual redemption manages^to ellipse the self-indulging nostalgia elements that the Dardennes inject seemingly to amuse themselves earlier on in the film.
Immediately after the opening credits scroll off the screen, a distraught teenage mother, Sonia, is shown desperately seeking out her estranged boyfriend, Bruno. Her turmoil is short lived and eventually she is able to locate him. No time is wasted in disclosing Bruno's lack of ethics. He manages to momentarily give a mere glance at his infant child with no genuine paternal conviction. As well, Bruno panhandles and steals in order to sustain his downtrodden living quarters under a bridge.
In spite of Bruno's many shortcomings, Sonia's naive disposition allows her to maintain faith that he will change and be a provider for her and their child. The Dardenne brothers strategically keep the audience engaged by not entirely divulging Bruno's character. Shortly after his girlfriend and child arrive, Bruno takes the initiative to secure an apartment, buy required amenities and rent an expensive convertible for a family outing in the countryside. Not only is Sonia expecting that Bruno will change but the audience also anticipates that he will evolve. Eventually, Bruno shatters this false expectation when he sells the couple's baby on the black market.
Bruno manages to get the child back, but it's too late and Sonia severs ties with Bruno. Thus, void of essential resources, food and shelter, an ostracized Bruno is forced to evaluate his life. Succumbing to despair and turmoil inevitably makes Bruno's journey towards self realization and redemption possible.
As directors, the Dardennes are effective in evoking a realism that is never compromised by sensationalization which is typical of most commercial films. As well, the actors deliver a genuine and convincing performance. However, no real depth is established in the characters. With the bits of information given it is implied that Bruno's relationship with his mother and stepfather is not very good with Bruno being kicked out and left to fend for himself on the streets. This would explain his lack of paternal obligation towards his own child. As well, the character development of the child is lacking, there should have been more scenes focusing on the baby.
L'enfant is playing at Fifth Avenue Cinemas, 2110 BurrardSt, Vancouver Call 604-734-7469 for more information.
Belgium brothers Jean and Luc Dardenne collaborate on their latest venture writing and directing, L'enfant. Nick Pannu reviews...
An effort is made to create something meaningful as well as entertaining. Yet, often there are scenes that seem too subjective with no implied symbolism or enriching substance of plot. The setting of the film is in the brother's hometown of Seraing, Belgium. It seems to an extent that the Dardennes have incorporated their youthful experiences from that town into the film. Nonetheless, towards the end one character's calamity and eventual redemption manages^to ellipse the self-indulging nostalgia elements that the Dardennes inject seemingly to amuse themselves earlier on in the film.
Immediately after the opening credits scroll off the screen, a distraught teenage mother, Sonia, is shown desperately seeking out her estranged boyfriend, Bruno. Her turmoil is short lived and eventually she is able to locate him. No time is wasted in disclosing Bruno's lack of ethics. He manages to momentarily give a mere glance at his infant child with no genuine paternal conviction. As well, Bruno panhandles and steals in order to sustain his downtrodden living quarters under a bridge.
In spite of Bruno's many shortcomings, Sonia's naive disposition allows her to maintain faith that he will change and be a provider for her and their child. The Dardenne brothers strategically keep the audience engaged by not entirely divulging Bruno's character. Shortly after his girlfriend and child arrive, Bruno takes the initiative to secure an apartment, buy required amenities and rent an expensive convertible for a family outing in the countryside. Not only is Sonia expecting that Bruno will change but the audience also anticipates that he will evolve. Eventually, Bruno shatters this false expectation when he sells the couple's baby on the black market.
Bruno manages to get the child back, but it's too late and Sonia severs ties with Bruno. Thus, void of essential resources, food and shelter, an ostracized Bruno is forced to evaluate his life. Succumbing to despair and turmoil inevitably makes Bruno's journey towards self realization and redemption possible.
As directors, the Dardennes are effective in evoking a realism that is never compromised by sensationalization which is typical of most commercial films. As well, the actors deliver a genuine and convincing performance. However, no real depth is established in the characters. With the bits of information given it is implied that Bruno's relationship with his mother and stepfather is not very good with Bruno being kicked out and left to fend for himself on the streets. This would explain his lack of paternal obligation towards his own child. As well, the character development of the child is lacking, there should have been more scenes focusing on the baby.
L'enfant is playing at Fifth Avenue Cinemas, 2110 BurrardSt, Vancouver Call 604-734-7469 for more information.
Subscribe to:
Comments (Atom)