Likes, favourites, retweets – the lasting mental effects of those notifications so ubiquitous on social media remains largely unknown, with terms like “Facebook depression” slowly making their way into the mainstream. A society built around a simulated form of validation surely has some effect on human psychology – especially on someone living in the public eye.
Broken Star, the first feature film from Dave Schwep, examines the effects of fame in the age of social media, following starlet Markey Marlowe (Analeigh Tipton), a young actress who craves to hold on to her fame through any means possible.
“You could also say it’s about an actress who is put on house arrest and connects with her landlord (Ontario’s Tyler Labine) in a unique way, where she discovers the depths of her darkness,” Schwep said. “But I would lean towards more the need to be seen and the need to be validated.”
Distributed by Cineplex Pictures, the film is Schwep’s first narrative feature, having previously directed the documentary Bo in 2012. He said he decided to tackle Broken Star as his first feature after reading the script by writer David Brant.
“We all deal with social media. People get their sense of their own identity based on what other people like – whether it’s a photo or a tweet, but none of that stuff is real. I think what people really want is to figure out who they are,” Schwep said. “We’re so lost in society when we’re constantly watching these videos that don’t really matter. None of that stuff really matters and what really matters is who we are. The character in the film is basing her identity off how other people think of her instead of how she sees herself.”
Though fame has been present in some form throughout history, celebrities and notable individuals have never had direct, constant access to audiences like they do through social platforms. Schwep said developing Broken Star in that context allowed him to make a film more “out-of-the-box” compared to traditional thrillers.
“We don’t really have a track record to see how (social media) is affecting the next generation. I think it’s fascinating to make a film right now about that,” he said. “I think it will surprise people and make them think – the film has more questions than it maybe has answers, which I think is also important, asking ourselves questions and not being fixated on answers – because, in the end, the answers change.”
Schwep said Tipton and Labine added layers to the characters, bringing their own experiences and perspectives to the film.
“(Tipton), she really dove into the role and brought out a lot of deeply disturbing and emotional and compelling drama,” Schwep said. “And Tyler Labine, he’s never really played a role anything like this before. He really delivered an alluring insight into the darkness ultimately within our society.”
Though Broken Star features some elements typically associated with the thriller genre, Schwep said the film was more a psychological drama, building a portrait of a psychological state.
“In this age of social media, I think anyone can relate to this topic of wanting to be seen, the toxic need for attention and validation of that attention. It’s something that plagues us all,” he said. “The film is a window into the psychology of an actor seeking out the attention of others and doing anything to keep it. It’s a dark journey within. My hope is that people will be inspired to look within themselves and be able to apply the psychology to their own lives.”
Broken Star opens in Cineplex Theatres July 20. For more information, click here.
There Are No Fakes is a shocking journey into the world of art fraud
Some of the best documentaries of the past two decades involve hard left turns – films that begin in one direction but end in another due to events that unfolded during production. There Are No Fakes, directed by Jamie Kastner, joins that select company of documentary as its comedic opening slowly morphs into something much darker.
There Are No Fakes centers on the work of Norval Morrisseau, the Indigenous Canadian artist of the Bingwi Neyaashi Anishinaabek First Nation, sometimes referred to as the “Picasso of the North”. Morrisseau, who died in 2007, sought to remove forgeries of his art from the marketplace, establishing the Norval Morrisseau Heritage Society in 2005.
After Kevin Hearn (of Barenaked Ladies fame) buys one of Morrisseau’s paintings, he starts to doubt its authenticity and discovers a bizarre feud consolidated around Morrisseau. It’s this conflict, and the dark secrets hidden beneath it, that form the backdrop of There Are No Fakes.
Kastner (The Secret Disco Revolution, Free Trade Is Killing My Mother), who was friends with Hearn in high school, learned through conversation about Hearn’s ongoing lawsuit surrounding the Morrisseau paintings. It became clear to Kastner that such a story would be perfect for his next project.
“It was almost unbelievable. There was so much crazy stuff in this story, I couldn’t quite believe it,” Kastner said. “I told him if I was going to proceed with it, though we were friends he would have no editorial control. As a journalist, I would be talking to both sides, and he agreed.
“I went off on my own doing my own kind of digging and research. Lo and behold, everything he told me and then some turned out to be the case.”
As the story unfolded and as Kastner continued to meet a succession of larger-than-life characters, he found himself shocked at what he uncovered. Bringing footage back to his editor provoked a similar reaction.
“He’d say, ‘Holy f***!’ Then I’d do another one, and he’s quite an even-keeled guy, and he’d say ‘holy f***,’” Kastner said. “So it was a series of ‘holy f***’ moments. I tried to recreate that experience for the audience.”
Documentaries can often unfold much as expected, with a known story dictating the outcome of the production. But given the fluid situation surrounding the events of There Are No Fakes, Kastner followed the story as it led him, knowing he had been handed an incredible gift.
“It’s definitely a privilege and a responsibility (to tell this story). You’re dealing with the legacy of one of our most important artists,” he said. “You wind up dealing with very serious issues of abuse of different kinds, so I felt a real responsibility.
“You have to handle it very carefully as a documentary filmmaker. It really is so unique and unusual and special and horrific and inspiring and a whole range of things that you don’t usually get in one film.”
There Are No Fakes made its world premiere at Hot Docs 2019, receiving highly positive reviews. Kastner said the film provided fascinating insight into the legacy of Morrisseau, touching on multiple problems still at play in Canada.
“It’s a very dramatic story. People can’t believe that they’re real people. They seem like characters out of some HBO series or something,” Kastner said. “I think it’s a very entertaining, edge of your seat, jaw-dropping type of story that happens to be a documentary.”
There Are No Fakes will screen at multiple locations throughout Canada in July 2019. For more information, click here.
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Isabelle brings psychological terror to an idyllic neighbourhood
In a quaint New England neighbourhood, a charming young couple (Adam Brody and Amanda Crew) find the perfect home to move into. But what they find in that home complicates their dream to start a family, as darkness and paranoia emerges in director Rob Heydon’s Isabelle.
Following in the footsteps of other psychological horrors such as Rosemary’s Baby and The Exorcist, Isabelle comes from a screenplay written by Donald Martin (Milton’s Secret). Having grown up watching genre films like The Omen and The Shining, Heydon approached the project looking to put his own stamp on psychological terror.
“Reading the script, I just got into it cold. Then once I got into it, I couldn’t put it down,” Heydon said. “I thought a lot about what other references it could be like and how I could help bring something to the story and the storytelling.”
Much like other films in the genre, Heydon’s intention for Isabelle was to emphasize the psychology of the terror as a priority. That meant slowly building up the characters and introducing new elements throughout the runtime of the film.
“In a sense, it’s trying to tell a story in three arcs and build the audience’s expectations up to the third act,” Heydon said. “We used the combination of cinematography and editing and music to bring the audience into the mind of the main character and have the audience experience what our main characters are going through.”
The strength of the cast – which includes Brody, Crew and Zoë Belkin as Isabelle – was essential given the nature of the material. Brody was the first to sign on, but other cast members took longer to materialize.
“Amanda Crew wasn’t available at the same time. So it took almost two years to put together the cast,” Heydon said. “But when their calendars lined up, we also got some amazing talent to surround them. Belkin, Sheila McCarthy, who played Isabelle’s mom… we were really lucky.”
Isabelle shot in Hamilton, Ont., with old Victorian homes posing as New England. Beyond the locale, Heydon said the cost savings attained shooting in Hamilton were significant.
“In Toronto, to rent a house for a day might be 10 or 15 thousand per day. In Hamilton, we were lucky to get three houses right next to each other for 20 days for $20,000,” he said. “You just can’t find that anywhere in Toronto.”
Having initially premiered in South Korea as part of the Busan Film Festival (along with fellow Canadian horror Lifechanger), Isabelle will now open to a larger release in Canada. Heydon said genre aficionados should find much to enjoy in Isabelle.
“I’d say read what the film’s about and check out the trailer – I think the trailer says it all. And if you’re interested, come check it out,” he said.
Isabelle begins its theatrical run in Toronto June 28 at the Carlton Cinema. For more information, click here.
Next up on The Mutt: Horror materializes in unconventional ways in Things Fall Apart
Horror materializes in unconventional ways in Things Fall Apart
Those familiar with Hussein Juma, director and writer of Things Fall Apart, know that it’s somewhat fruitless to attempt to fully summarize his work. That’s largely by design – Juma himself says he enjoys injecting ambiguity into his projects.
But more than that, what’s exciting about Juma as a director is his ability to create a sense of atmospheric dread based heavily on context and character and not cliché. So horror fans on the hunt for films that are likely to surprise should take note of what Juma says about his first feature, Things Fall Apart.
“If you like arthouse cinema, things that are going to challenge you and even scare you a little too, I think this film would be for you,” Juma says. “If you’re interested in new ways to tell stories, in indie cinema and the way it can reframe things and put them in different contexts, I think there’s a lot to think about with this film.”
That unique approach to story was evident throughout Juma’s 12-episode web series Horse Mask, a surreal horror that centres around a missing daughter, a forest and many mysterious masks. Though Things Fall Apart is Juma’s first feature, he says working on Horse Mask helped prepare him, given the fact that the runtime of that web series evens out to be around the length of a feature.
Set during a dinner party, Things Fall Apart lets audiences act as a sort of fly on the wall as tensions and emotions emerge.
“Things progressively get more tense between the characters. I think there’s a good balance — there are those moments where you’re going to feel uncomfortable, there are moments where you’re going to be scared, there are moments where you’re going to feel like, ‘What the hell is going on right now?’” Juma says.
Furthering his desire to tell a story in a fresh way, Juma says he employed improvised dialogue throughout Things Fall Apart, making up 80 per cent of the dialogue. Though actors were provided with full scripts, dialogue was written in beats that guided where conversations would go.
“When we finally selected our actors, we extensively rehearsed it multiple times. That was a really cool process,” Juma says. “I had a bare-bones, skeleton idea of where I wanted each conversation to go, but these actors got so into it and took it to interesting places. (Many times) I was like, ‘Oh yeah, that’s great. We have to keep that.’”
The cast, which includes Chengis Javeri (one of the leads in Horse Mask), Bobbi Goddard, Gina Lorene and more, was already familiar to Juma, giving him confidence that they would be able to pull off the improvised dialogue. Juma says surrounding himself with smart, funny people led to a number of happy accidents that made their way into the finished product.
Other times, Juma says he would play off what he knew about the actors themselves.
“If I could see even a sliver of tension between them in the real world or a sliver of something in a look that I see, I can kind of harness that in the film,” he says. “I think that worked really well in terms of when I wanted to play someone against another person. Because I worked with them before, I knew things I could whisper in their ear before a take to throw them off.”
Ultimately, Juma says he wanted to make a film that he would want to see himself. Based on his track record, it’s likely that horror fans looking for a surprising, experimental feature with strong character work will find it in Things Fall Apart.
Things Fall Apart plays June 2 at 2 p.m. at the Globe Cinema in Calgary. For more information, click here.
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