Film Freak Central

Hot Docs 2012: Only the Young (ds. Elizabeth Mims and Jason Tippet)

by Angelo Muredda Like a delicate magic trick, Only the Youngis best watched in a state of rapt fascination. An unostentatious feature debut from Elizabeth Mims and Jason Tippet, the film chronicles a few months in the lives of three impossibly sweet teens in a desert town. Impressively, it does so without signposting major events along the way. Instead, we weave through their relationship and family dramas with only their changing hairstyles as obvious chronological markers, catching everyday lyricism in first car rides and teen girls’ catlike head nudges.

Hot Docs 2012: Summer of Giacomo (d. Alessandro Comodin)

by Angelo Muredda Conceptually sandwiched somewhere between Maren Ade’s terrific Everyone Else and Terrence Malick’s Badlands, Alessandro Comodin’s Summerof Giacomo is a richly textured portrait of dumb love in the grass, times two. As the lengthy credits of electric blue font superimposed on black and scored to languid birdsong suggest, this is chiefly an aesthetic experience, and Comodin delivers a gorgeously lensed (on 16mm) account of twentyish Giacomo and Stefani’s wayward hike through the countryside in search of a river by which to set up camp for the afternoon. The press notes tell us that Stefani is a childhood friend, but that hardly matters: all that we gather and need to gather is that something might have happened at some point, but outside of this hike, it’s over. What we’re left with, then, apart from their pathfinding and inevitable squabble, is a dense sensory record of the seriously goofy and – this is nicely underplayed – deaf Giacomo’s experience. His cochlear implant is briefly glimpsed in the first over-the-shoulder shot of him clanging randomly at a drum set, and you could happily read the film as an experiment in attending to the sounds, both slight and explosive, that pass through the device en route to his dufus skull.

Hot Docs 2012: The World Before Her (d. Nisha Pahuja)

by Angelo Muredda The winner of Hot Docs’ Best Canadian Feature award, granted just two weeks after it snagged top doc honours at Tribeca, Nisha Pahuja’s The World Before Her is a fearless and intricately structured portrait of a nation split down the middle. The film sets out to explore women’s uneasy place in an increasingly modernized and globally inflected but still traditional India by observing how a pair of institutions go about raising girls, and to what end. Pahuja’s riskiest and ultimately smartest move is to juxtapose the personality-making rituals of the Miss India pageant with a Hindu nationalist training camp that prepares young girls to marry young, obey, and take up arms against Muslim and Christian neighbours, should the good fight of a united Hindu nation come to their doorsteps.

Hot Docs 2012: Loose ends

by Angelo Muredda

The Betrayal (d. Karen Winther): The director returns to her spotty history in this intermittently affecting but mostly flat exercise. Winther combs through old journals and interviews both her parents and former friends in her effort to get to the bottom of a colossally stupid and damaging decision, when she was a troubled 15-year-old, to volunteer her far-left friends’ whereabouts to a known neo-Nazi group. As a portrait of 1990s Oslo's political bifurcations, the film is fairly compelling, but Winther is maddeningly vague about her ideological inclination in any phase of her life, and her frequent voiceovers about uncovering why she did what she did grate more than they illuminate. In any case, it's the wrong question. **/**** (Special Presentations)

Hot Docs 2012: ¡Vivan Las Antipodas! (d. Victor Kossakovsky)

by Angelo Muredda “The world spins, but they’re always below us.” That’s one of the many pearls in Victor Kossakovsky’s ¡Vivan Las Antipodas!, a high-concept travelogue that fleetly covers four pairs of dry-land spots at exact opposite ends of the earth. The opening epigraph from Lewis Carroll aside, Kossakovsky gravitates to such homespun maxims rather than headier stuff, and the film is all the more dazzling for it – an intoxicating riff on the Looney Tunes bit where Yosemite Sam digs through an outcrop and lands in China. While he’s interested enough in the locals, particularly the source of that comment, two guys who ferry busted cars over their pontoon bridge in Argentina, the director generally turns his Red camera to beautiful images of animal life, fauna, and architecture, weaving strange textures out of his startling juxtapositions between, for instance, a volcanic rock formation in Hawaii and an elephant’s hide in Botswana.

Hot Docs 2012: Shut Up and Play the Hits (ds. Will Lovelace and Dylan Southern)

by Angelo Muredda “It’s like a sad hipster DJ Revolutionary Road.” That’s recently-retired LCD Soundsystem frontman James Murphy on first single “Losing My Edge” in Will Lovelace and Dylan Southern’s by turns ebullient and funereal Shut Up and Play the Hits. “Losing My Edge” is one of the dance-rock act’s infamous “position songs.” You could think of it as a hunted gazelle’s lament before the wolves swoop in, masquerading as a thirtysomething’s off-the-cuff recitation of his musical knowledge before a pack of preternaturally all-knowing twentysomethings who are “actually really, really nice.” It’s probably the best example of Murphy’s uncanny ability to position himself at the edge of things – in this case between the accumulated experience of old-school music appreciation (it’s not for nothing that the last LCD album was called This Is Happening) and new digital ways of knowing by downloading in massive quantities. Credit Lovelace and Southern, then, for positioning their film at the same edge, and delivering a concert film of LCD’s last show at Madison Square Garden that’s a self-consciously dead record of a living wake, announcing itself as a funeral even before the credits.

Hot Docs 2012: The Frog Princes (ds. Omar Majeed and Ryan Mullins)

by Angelo Muredda The Frog Princes is so big-hearted you wish it had more to say than “way to go.” Copping its framing device from Rushmore, the film shadows a theatre troupe over a few months as it prepares for its debut performance of The Frog and the Princess. The hook is that the performers all have developmental disabilities, and are part of an initiative headed by Stephen Snow, a psychotherapist who teaches drama therapy at Concordia. “Steve” to his players, Snow comes across as an amiable guy whose high standards inspire self-confidence and a good work ethic in people from whom society shamefully expects little. There’s joy in seeing actors like cutely named Ray-Man, a young man with Down Syndrome, channel their untapped self-confidence into something tangible. Ray-Man makes a sharp contrast with Tanya, a clinically depressed woman with Prader-Willi Syndrome, whose nastiness and frequent minor meltdowns give the film a welcome edge whenever she’s onscreen.

Hot Docs 2012: Who Cares? (d. Rosie Dransfeld)

by Angelo Muredda A vérité portrait of a group of sex workers in Edmonton, Rosie Dransfeld’s Who Cares? is a sobering and uncondescending look at vulnerable people who work without a safety net on the outskirts of society. The film begins with a pair of police officers on a taskforce called Project Care, which spearheads other departments’ investigations of sex worker murders by registering the DNA of the living, so they can be identified in the event that, as one officer puts it, “something bad should happen.” That’s an alarming concept, and Dransfeld leaves the officer’s euphemism about an intervention that only happens after death hanging uncomfortably. It isn’t that their heart is in the wrong place, the film suggests, as the men express real sympathy and concern for the daily abuse these women face, but that their structural response to the problem leaves these workers invisible and unprotected until they’re gone.

Hot Docs 2012: Finding North (ds. Lori Silverbush and Kristi Jacobson)

by Angelo Muredda An incendiary political missive in search of a good movie, Finding North is as frustrating as it is revelatory. Directors Lori Silverbush and Kristi Jacobson come at the problem of hunger in the United States with the statistical acumen of seasoned journalists. Their conceptual scope is expansive, covering everything from the daily struggles of Rosie, a seriously malnourished fifth grader, and Barbie, a single mother of two, to more abstract problems like the federal government’s complicated dance around subsidies for enormous agribusinesses at the expense of local farmers. With the help of some unexpectedly poignant commentary from celebrity sources like Jeff Bridges – “We don’t fund our Department of Defense through charity,” he scoffs – they sharply indict capitalist culture’s endorsement of corporate welfare and neglect if not open hostility toward public health for those who fall under the rubric of “food insecure,” relying on food stamps and local food banks on a daily basis. But this material deserves better than the conventional and sometimes mawkish treatment it gets here. Too often Silverbush and Jacobson fall back on cute animated graphs and verbose wisdom from talking heads like Raj Patel, also trotted out for expert testimony on food sovereignty in Jennifer Baichwal’s Payback just this year. The soundtrack’s reliance on a series of strong but on-the-nose songs by T-Bone Burnett and the Civil Wars to emphasize its subjects’ dire straits also feels unnecessary and, in the face of their real struggles, which are otherwise rendered in heartbreaking detail, cheap. Movie aside, the message is strong. **1/2/****

 

PROGRAMME: Special Presentations

Hot Docs 2012: Tchoupitoulas (ds. Bill and Turner Ross)

by Angelo Muredda Tchoupitoulas is a rare thing, an aesthetic antidote to the info-dump documentary tradition of talking head interviews and old snapshots. Described in the press notes as a night-time “piggyback ride” through the French Quarter, it’s more like a sweet re-imagining of James Joyce’s “Araby.” That short story culminates in a child’s dispiriting revelation that all that glitters in a bazaar is not gold, but Tchoupitoulasstrikes at something more ambivalent and certainly more beguiling, the bleary-eyed altered state of a 3AM comedown after a night of revels.

Hot Docs 2012: Legend of a Warrior (d. Corey Lee)

by Angelo Muredda Director Corey Lee stages a moving reunion with his infamous but distant father in Legend of a Warrior. As a martial arts grandmaster and lauded trainer famed for ushering former pupil Billy Chau to a kickboxing world championship, Frank Lee spent his son’s formative years in gyms, training surrogate children while Corey went largely unattended. Now his son is trying to reconnect, relocating to the elder Lee’s Edmonton gym for a rigorous five-month training program that will submerge him in his charismatic father’s world while taking him away from his own young children. What follows is both an observational record of that process and a subtle father-son melodrama, punctuated by animated interludes that turn Frank’s early days in Canada and youth in Hong Kong into a comic-strip biography.

Hot Docs 2012: The Boxing Girls of Kabul (d. Ariel Nasr)

by Angelo Muredda Ariel Nasr’s The Boxing Girls of Kabulopens with clandestine footage of an execution in Kabul’s Olympic Stadium, where members of the Taliban force a woman to crawl before shooting her at close-range. That image haunts the alternately uplifting and sobering narrative that follows, which shadows the faltering Olympic hopes of a trio of young female boxers in a country where patriarchal attitudes toward women, particularly athletes, range from mild acceptance to violent hostility. This is a vibrant film, coloured by the verve of its protagonists, Shahla and siblings Sadaf and Shabnam, who speak candidly about their progressive values and their anxieties about the precariousness of their position amidst threats of assault and kidnapping. They’re presented as jocks, so it’s especially jarring when their future turns out to depend less on their athleticism than on the volatile political conditions of their country and its stance on the rights of women.

Hot Docs 2012: She Said Boom: The Story of Fifth Column (d. Kevin Hegge)

by Angelo Muredda A few minutes into Kevin Hegge’s long-gestating She Said Boom: The Story of Fifth Column, a critic calls the titular feminist post-punk act an art band that wasn’t necessarily arty. That sounds like an interesting distinction, but it’s also as far as the idea goes in a doc that almost makes up in enthusiasm what it lacks in depth. Hegge sets a fast pace, and the early history of intellectual centre and drummer GB Jones and lead singer Caroline Azar’s collaboration nicely establishes their dynamic of cryptic rock deity and big-sweatered frontwoman, with plenty of footage of their debut in the Toronto punk scene. (Azar suggests that their off-kilter sound was a happy byproduct of their musical ignorance.) The film picks up once the band intersects with a certain go-go dancing nascent film theorist by the name of Bryan Bruce, now better known as alt filmmaker Bruce LaBruce, of No Skin off My Ass fame. Along with Jones, LaBruce ran the influential queer punk zine J.D’s.,and Hegge effectively incorporates this archival material, as well as their collaborative Super 8 films, into a mixed-media portrait of Fifth Column’s role in the formation of queercore. But the film is weirdly shy about the bandmates’ sexuality, abruptly stopping the conversation with Azar’s story about wanting to elope with Jones in her late teens. For all Hegge's attention to the combative spirit of the Toronto zine wars in the late 80s, the city also comes off abstractly, as a scene that could be situated anyplace. Fifth Column fans and queercore enthusiasts will appreciate the rare present-day input from Jones, but overall this is a surprisingly conventional story of a band that, as one member says, recorded the sounds of everything falling apart. **1/2/****

 

PROGRAMME: Next

Hot Docs 2012: Ai Weiwei: Never Sorry (d. Alison Klayman)

by Angelo Muredda Like Jafar Panahi and Mojtaba Mirtahmasb’s vital This is Not a Film, Ai Weiwei: Never Sorrydelights in capturing its dissident subject lounging in the company of animals. Panahi has his iguana, which roams the Tehran high-rise to which he’s been confined by Iranian authorities, and Ai, a target of systematic harassment by the Chinese government, has his cats, one of whose ability to open doors mystifies him. By framing Ai in this domestic scene, director Alison Klayman finds warmth in an artist recognized for his compulsive refusal to comply with draconian authority – see, for instance, the series of photos where he smashes ancient pots and strategically places his middle finger in front of cultural landmarks. Situating Ai as a cat man might seem precious, but Klayman is also doing sly political work here. She’s demystifying an avowed radical, and showing (without telling) how his oppositional stance to the government in projects like a multi-year effort to catalogue the students who died in 2008’s Sichuan earthquake due to shoddily constructed buildings are born not of snark but out of a real respect for individuals, be they undocumented students or pets.

Hot Docs 2012: The Mystery of Mazo de la Roche (d. Maya Gallus)

by Angelo Muredda Newmarket-born author Mazo de la Roche hit the big leagues in 1927 when her third novel Jalna, the first entry in a lucrative sixteen-part series, won a $10 000 award from the ATLANTIC MONTHLY. In terms of prestige – particularly Canadians’ favourite sort, the kind that’s granted from elsewhere – you could think of her boon alongside Yann Martel’s Booker win in 2002, which similarly propelled a relatively unappreciated home-grown talent to international literary celebrity. But few people make the connection these days, or read de la Roche at all. Maya Gallus’s playful docudrama The Mystery of Mazo de la Roche does a good job of redressing this lacuna. Through a mixture of dramatic re-enactments with actress Severn Thompson, bitterly funny interviews with de la Roche’s adopted daughter, and talking head testimony from Canadian authors Susan Swan and Marie-Claire Blais, the film situates de la Roche both within her early celebrity in Canada and within the larger cosmopolitan movements of first wave feminism and modernism, with which she was loosely allied.

Hot Docs 2012: Wildness (d. Wu Tsang)

by Angelo Muredda “They call me Silver Platter.” That's the opening salvo of Wu Tsang’s Wildness, which hands its narrating duties off to the so-named bar in the East end of Los Angeles’s MacArthur Park, a safe space for undocumented Latina trans women that turns into a largely cissexual queer hipster party called Wildness on Tuesday nights. It’s a bumpy ride from there. Tsang, the performance artist who started Wildness, smartly establishes MacArthur Park as a palimpsest, constantly transformed by waves of gentrification, economic collapse, and immigration. (That none of these terms are spelled out is also nice.) He brings the same consideration to the complex history of the Silver Platter, attending even-handedly at first to the owners and to the bar’s shifting clientele.

Hot Docs 2012: Ballroom Dancer (ds. Christian Bonke and Andreas Koefoed)

by Angelo Muredda Early in Christian Bonke and Andreas Koefoed’s Ballroom Dancer, we see 33-year-old Russian ballroom dancing champion Slavik tell his students that a dance between two people is an everyday story, not a big drama. The goal, he tells them, is to get on the other person’s wavelength. Slavik’s lesson is taken by Bonke and Koefoed’s film, which strives to get on the physical and emotional wavelengths of an aging artist who can’t get back to his salad days with former partner and reigning champion Joanna. His training sequences with new (younger) partner and lover Anna are rendered in dynamic camera movements that position the spectator as a surrogate partner in their tense mating dance, which yields disappointing results in competition. The filmmakers find a way to capture less obviously visually charged moments as well, framing Slavik and Anna in two-shots that emphasize their distance from one another even as they share the same space: Anna seems always to be hovering in the background on her Blackberry, eager for a window out. Slavik’s journey is a tricky one, then – a quest for self-mastery negotiated with another person who has her own set of goals.

Hot Docs 2012: Bones Brigade: An Autobiography (d. Stacy Peralta)

Stacy Peralta returns to skateboarding culture with mixed results in Bones Brigade: An Autobiography. A sort of sequel to Dogtown and Z-Boys, which focused on his mates in early 1970s crew Zephyr, Peralta’s new film turns to the titular group of talented young misfits that he and business partner George Powell recruited in 1978, who went on to dominate the sport for the next decade. Like Dogtown, this is a likeable memory box of a movie, which briskly mixes up talking head interviews with scratchy archival footage and snapshots visibly manipulated by the director’s own hand. Peralta has a knack for converting alternative social history into this strangely effective hybrid of MTV and family album aesthetics. His firsthand experience and easy conversance with his subjects – who sometimes boyishly narrate his past actions to him with the kind of reverence guys usually reserve for dads and deities – makes for a good hook, and certainly there are worse tour guides through skater culture than a scrappy Jeff Daniels doppelgänger. Still, for an autobiography, this enthusiastic campfire reunion can feel cursory, especially at a bloated two-hour running time.