Connect with us


‘Fake Tattoos’ seeks to subvert the tropes of the romantic comedy genre



Montreal indie Fake Tattoos
'Fake Tattoos' is the first feature from Montreal-based filmmaker Pascal Plante (Photo courtesy of Calgary Underground Film Festival)

Capturing the voices of teenagers in an authentic way requires a certain finely-tuned ear – Greta Gerwig did this to great effect in 2017’s Lady Bird, as did James Ponsoldt in The Spectacular Now (2013). Montreal-based director Pascal Plante’s first fiction feature, Fake Tattoos, seeks to continue the tradition – something Plante said was done largely through adopting a unique approach to casting.

“It relies a lot on the actors, for sure,” he said. “In the film, we used long takes. It takes quite a lot of rhythm (from the actors). We tried to achieve just finding the perfect match.”

Anthony Therrien and Rose-Marie Perreault play Théo and Mag, respectively, and were cast as a young couple who meet at a metal show. Plante said Therrien was cast first and was tasked with performing the scene in the film in which Théo and Mag meet for the first time with each aspiring actress who came to audition. Plante saw the chemistry he hoped for when Therrien and Perreault started interacting.

“Her performance was by far the most convincing. There was something about it – there was that extra spark,” he said.

In writing the feature, Plante said he hoped to create characters that were “relatable and loveable in their flaws.” The film employs what Plante described as an almost “loose and chaotic” style, which he said is only feasible if the audience is comfortable hanging out or being fascinated by the characters.

That sort of loose, naturalistic style was employed in Richard Linklater’s trilogy of films starring Ethan Hawke and Julie Delpy – often referred to as the Before Trilogy – which Plante cited as being among his influences for Fake Tattoos. Though the film’s dialogue isn’t improvised, the cast was encouraged to be flexible with the way lines were written or delivered depending how they felt their characters would react in any given situation.

“When we did the auditions, I got to get a lot of feedback about the way I wrote dialogue and the emotional truth of the characters. And I was listening a lot during the casting about what the young actors had to say about it,” he said. “That helped to shape it stronger, into the way we were looking for – everything we did was to try to achieve that authenticity.”

Fake Tattoos screened at Slamdance, the Vancouver International Film Festival and the Festival du Nouveau Cinéma, taking home the Winner Focus Grand Prize award at the latter.

“We’re going to travel a lot with it,” he said. “We’ve been extremely lucky but I’m really grateful.”

Check out the trailer below.

Fake Tattoos screens April 17 at the Calgary Underground Film Festival. 

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *


What Walaa Wants’ central subject is a “force of nature”



Directed by Cristy Garland, What Walaa Wants traces the journey of a young Palestinian girl from age 15 to 21. Photo courtesy National Film Board of Canada
Directed by Christy Garland, What Walaa Wants traces the journey of a young Palestinian girl seeking to join the Palestinian Security Forces. Photo courtesy National Film Board of Canada

At the opening of What Walaa Wants, viewers are introduced to 15-year-old Walaa, a young Palestinian girl whose mother has just been released from prison. Raised as a refugee camp in the West Bank, Walaa announces she wants to be part of the Palestinian Security Forces – an uncommon and difficult ambition for a young Palestinian girl, but one that speaks to the spirit and force of the 89-minute documentary’s central subject.

Following Walaa from the age of 15 to 21, What Walaa Wants traces her journey to join the security forces, with all the resistance and obstacles inherent in her culture. Director Christy Garland said Walaa was a “force of nature.”

“There are so many things about her story. Everything has a twist,” Garland said. “The question really is, is this young woman going to go down the same path as her mother? Or is she going to be able to accomplish her own positive, constructive goal of being a cop? It’s a rollercoaster of a story.”

The film took home the Special Jury Prize at the 2018 Hot Docs Canadian International Documentary Festival in Toronto and played Nov. 14 at the Plaza Theatre in Calgary as part of the Marda Loop Justice Film Festival.

Garland spoke with The Mutt prior to the film’s screening at the Marda Loop Justice Film Festival on Nov. 14. This interview has been condensed and edited for length.

THE MUTT: How did you come to meet Walaa?

CHRISTY GARLAND: I just happened to be there for another reason. A couple days before I left, I met Walaa in a workshop. Right away, I knew she was an interesting personality. Very strong-minded, funny, but she was also scaring the other girls a little bit. I asked what was going on with her, and they said, ‘She’s a sweet girl, but she’s going through a difficult time. Her mother has just been released from prison.’ So I thought there might be a story in there, about a  mother-daughter renegotiating their relationship after the mother is released from prison. I thought that could totally be a documentary. Certainly those elements come up in the film, but it gets even more interesting.

TM: Obviously, being at such a young age and still desiring to join the Palestinian Security Forces, Walaa must be a very determined and strong-willed person. What do you think it is about her that drew her to this, and how does that reflect back on her society in which she lives?

CG: There’s a couple things going on. She’s grown up in a dangerous environment, living under a military occupation where tear gas canisters could come tumbling down the street at any time. She’s very, very used to gun battles happening right outside her bedroom window. Certainly, on one level, it’s for her to feel more safe. The other thing is that there are also very, very few career prospects for any Palestinian young people. Getting on the Palestinian Security Forces basically means you have a government job. But what is unusual is she is a young girl and she wants to be one of the few police women on the force. She didn’t want a desk job.

TM: Was that intimidating for her, to be among the few women in these positions?

CG: No, she totally loved it. She dreamed of it. She’s a very, very strong person and she’s not someone who is easily intimidated. That’s one of the reasons why she’s a truly unique character. For very good reasons, a lot of documentaries that deal with women in oppressive situations have no choice but to show how they are victimized and oppressed. But Walaa, even though she lives inside of an occupation, she is not a victim. That’s one of the things that appealed to me. She’s a bit of an ass-kicker.

TM: You followed her from age 15 to 21. That’s quite an undertaking, even in your own life and your own time. Why was it important for you to follow this story over that period of years?

CG: I was extremely excited about the story I was telling, because it was so interesting. It was a very compelling story to be in the middle of and have the privilege of documenting. I knew that I was telling a story that’s not going to be boring. It’s got some incredibly tragic moments, but it’s very buoyant and entertaining and frequently funny, because of her character. That kept me going, because I felt a great sense of purpose.

TM: You hear a lot of news from that part of the world, but to take a focused look at a character in this fashion is not something you see too frequently in documentary films. What do you think will be most illuminating about this film specifically for Canadian and western audiences?

CG: The film gives us a more complicated and nuanced view of Palestinian lives. It allows us to see her world through her eyes, and see it for all its complications. Everyone lives in their information silos, and there aren’t a ton of stories about what it’s like for somebody to live inside an occupation. It’s an opportunity for audiences to identify with Walaa but then also understand how very different her life is from ours due to her restricted freedoms. I think that is what the film offers to people. That’s what documentaries can do nowadays. News has become so focused on soundbites, but documentaries can really take you deeper to give you a much deeper and more complicated perspective.

For more information on What Walaa Wants, click here.

Continue Reading


Director Justin McConnell’s Lifechanger shapeshifts in fresh and surprising ways



Lifechanger is part body horror and part thriller as Drew (played by multiple actors) seeks to correct his misdeeds with the woman he loves, leaving a trail of destruction in his wake. The film stars Lora Burke, Jack Foley, Elitsa Bako and more. Photo courtesy GAT PR.
Lifechanger follows Drew (played by multiple actors), a shapeshifter seeking to correct his misdeeds with the woman he loves, leaving a trail of destruction in his wake. The film stars Lora Burke, Jack Foley, Elitsa Bako and more. Photo courtesy GAT PR.

In Lifechanger, writer/director Justin McConnell’s (Broken Mile, Skull World) gripping and innovative thriller, a shapeshifter seeks to make things right with those he’s wronged, all the while leaving a trail of destruction in his wake. It’s a confident and refreshing take on the genre, one that effectively plays on its surprisingly affecting premise.

McConnell spoke with The Mutt to discuss Lifechanger, the challenges of utilizing an ensemble to play the same character and his strategy when it comes to standing out in a competitive genre. This interview has been edited and condensed for length.

THE MUTT: The concept behind Lifechanger is pretty novel. Where’d you come up with it?

JUSTIN MCCONNELL: Well, in 2014 I was trying to come up with an idea I could do for a really low budget because I was frustrated trying to get a couple of larger projects off the ground. So I started brainstorming what I could do with basically pocket change. During that brainstorming session I just let ideas percolate and I was on a bus one day and thought, “What if I saw myself in public?” Which, of course, is Denis Villeneuve’s Enemy. But from that point, the idea organically grew into what this became. And then tonally, at that time I had been introspective, going through a lot of self-examination and depression, and that fed into the story and the tone of the script and who the character ended up being.

TM: What else played into the script? Were you influenced at all by other films in the genre?

JM: I watched every horror movie I could get my hands on growing up, and I still do. I’ve obviously seen Invasion of the Body Snatchers, The Thing, The Hidden, The First Power… the list is long of things that would make up the DNA of this idea, but it’s not like I was specifically thinking about one or two of those movies and thinking, “I’ll make a movie like that.” It just sort of came out of me.

TM: You incorporating that element of having a heart and a brain behind the horror elements of this movie… why do you think that’s important in this genre?

JM: I think it’s important in this particular film and in a lot of horror because you need to make something that stands out. The more personal you can get on an emotional level, the more they’re going to remember the film and the more it will cut through the noise. There’s way too much out there now. There’s a lot that doesn’t rise to the top and it’s very difficult to get noticed. So it’s good to break through into other genres and appeal to people who aren’t just hardcore goreheads. Though there’s nothing wrong with that approach, either I wouldn’t necessarily say a lot of the projects I’m working on now are full of heart. But for this one, it just organically kind of became that way, and I wanted to do something a little bit more grounded and personal while still being a horror film.

TM: I’ve seen the film described as part psychological thriller, part body horror… at this point in the process, how do you tend to explain the story to the unfamiliar?

JM: I like to say that it’s about a murderous shapeshifter on a mission trying to make things right with the woman he loves, and I leave it at that and let people come to their own conclusions. But there’s a lot you could say about the story. It’s less of a love story and more of an obsession story and about trying to be a better person and coming to terms with guilt. There’s a lot of other stuff going on, but I usually pitch it to people in the flattest way possible, with a hook, and let them come to their own conclusions.

Lifechanger director Justin McConnell said utilizing a diverse cast to portray the same character of Drew was a challenge, but one he relished taking on as a filmmaker. Photo courtesy GAT PR

Lifechanger director Justin McConnell said utilizing a diverse cast to portray the same character of Drew was a challenge, but one he relished taking on as a filmmaker. Photo courtesy GAT PR

TM: So, really, the shapeshifter element, that’s a tool to tell a deeper story. What was the balance there in telling that deeper story and pairing it with the shapeshifter story?

JM: It was important to me to do something fresh and new and get into the head of what a creature like this would be like at this stage in their life, having to live like a human all the time but having to life just outside of the species. So that was absolutely important, but you can pull that away and look at it on a metaphorical level. He’s changing and becoming someone else until he becomes someone else who appeals to the woman he loves. So it’s almost like a metaphor that if you’re in a bad relationship, you put on a mask and try to become who your partner wants you to be. If you do that your entire life, you end up living your entire life and never being yourself.

TM: As a director, what throughlines did you want to communicate to your cast to ensure they were playing this character using their own strengths as actors while still playing the same individual? 

JM: Well, the first thing I did when I had everyone casted was that I had written up a two- or three-page summary so they knew who this person is, where they are coming from, how they’d be psychologically. I tried to get that up front. We also had a “Drew boot camp,” where everybody who had to play Drew sat at a big conference table and we just talked for a few hours. In that session, we came up with stuff like the common tics that he has, the tone of voice that he uses fairly regularly, but I didn’t really want to step on their individual performances. So it was very specific things that could tie them to the character in a visible way without them having to overthink and have to act like the other person as much as possible, because I figured that would make all the performances really stilted. I tried to control that on set as best I could without stepping on it too much. In post-production, we as a team had to be very mindful of how Drew comes across on screen. If any particular actor had a scene or a delivery that was too far outside of what Drew’s character would be, it was cut out of the film.

TM: You guys were working with a limited budget, but the makeup and effects are very strong in the film. You took home the Best Practical Effects award from the Toronto After Dark festival. What was your approach to the effects given your budget?

JM: I’m pretty decently connected with the prosthetic and makeup effects community in Toronto, and there are a lot of really high-end effects people in the city. I knew that David Scott had wanted to work with me for quite a while, with his company Form & Dynamics, so I approached him with a listing of all the effects breakdowns. It was really quickly realized that we could actually pull off what I wanted to pull off. And we were clever and cut some corners and adapted past effects that they’d done and reskinned them and found other ways to cut costs, because we had a low-budget but we still wanted to pull off a ton of effects.

TM: Any parting words to moviegoers who haven’t seen Lifechanger yet?

JM: You don’t necessarily have to be a horror fan to enjoy this film. Anyone who is looking for a different kind of story, (Lifechanger is) something that’s violent but isn’t so gory that it’ll turn you off if you’re not into that kind of thing. And just to see a sample of what Canadian indie genre films are doing these days, because I think we’re in an independent renaissance in Canada right now. There are so many great Canadian independent films that have been funded outside of the Telefilm system in the last five years or so. It’s worth checking out and removing some of the stigma of thinking, “Oh, it’s just a Canadian movie.” That’s what I would say to Canadians. Anyone else, you’ll know pretty quickly by seeing the trailer whether you want to see it or not. Go into it with an open mind. If you like it, great, if you don’t, well, it’s not for everybody. Hopefully you enjoy it.

Lifechanger is now available on VOD across North America. For more information, click here.

To go back to the front page, click here.

Next up on The Mutt: Trench 11 takes the horror of the First World War deep underground

Continue Reading


The Woman Who Loves Giraffes follows life of famed zoologist



The Woman Who Loves Giraffes focuses on zoologist Dr. Anne Innis Dagg, pictured here feeding giraffes at the Brookfield Zoo in Chicago in 2016. Photo courtesy Elaisa Vargas
The Woman Who Loves Giraffes focuses on zoologist Dr. Anne Innis Dagg, pictured here feeding giraffes at the Brookfield Zoo in Chicago in 2016. Photo courtesy Elaisa Vargas

Canadian zoologist Dr. Anne Innis Dagg, the central figure of The Woman Who Loves Giraffes, still finds it difficult to articulate exactly why her fascination and love for giraffes has persisted throughout her entire life. But Alison Reid, director of the 83-minute documentary, has a theory.

“She’s just captivated by the way they move. They’re such a tall and impressive creature. And (Anne) says, even if a giraffe is just walking, she always says, ‘Isn’t that stately?’” Reid said. “I think there’s something about their personalities that touches her, as well – they’re just so gentle and understated, but curious.

“I think it was because she was captivated at such a young age. There’s something about them imprinted on her. It became part of her DNA, somehow.”

Born in 1933 in Toronto, Dagg became fascinated with giraffes after visiting the Brookfield Zoo in Illinois at a young age. During the mid-1950s, she traveled alone to South Africa to study the animals, years before a similar expedition was undertaken by English primatologist Jane Goodall.

“(Studying animals in this fashion) wasn’t done at all at this time,” Reid said. “She was groundbreaking. Scientists did not study animals in the way they do now.”

After she returned to Canada, Dagg completed her PhD in animal behaviour at the University of Waterloo. Though her research and publication quickly became highly-lauded in academia, Dagg’s attempts to secure tenure at the University of Guelph were denied by administrators, who questioned her fitness for the role despite her ample qualifications. 

“I think at the time she was incredibly hurt and incredibly affected by it. She says in the film that she was so depressed over it – it cut to the core of her being,” Reid said. “And quite frankly, we were ripped off. The scientific community was ripped off in not allowing her to continue her studies. She was an incredible teacher. She ended up being a resource person at the University of Waterloo.”

But though Dagg was hurt and affected by the mistreatment, she pushed back. She began to research and write on gender bias in academia, something Reid said is as fundamental to her legacy as an educator as her work on giraffes. 

“They’re so intertwined. Her giraffe journey was so affected by the discrimination she faced and inspired her feminist activity. The two are co-mingled, for sure,” Reid said. “She’ll always be the pioneer of giraffe biology. She’ll always be that. But we’re hoping, she’s been nominated for the Order of Canada, so we’re really hoping that that comes to be. I think that would be a really good recognition for her.

“But we’re also hoping that the universities that prevented her from continuing her studies, perhaps they will come up with something that will be a legacy.”

Director Alison Reid (right) initially intended to make a narrative feature based on the life of Dr. Anne Innis Dagg before discovering the zoologist planned on making a return trip to Africa. Photo courtesy Anne Dixon.

Director Alison Reid (right) initially intended to make a narrative feature based on the life of Dr. Anne Innis Dagg before discovering the zoologist planned on making a return trip to Africa. Photo courtesy Anne Dixon.

It’s a fuller understanding of Dagg, and of her return to the field of giraffe research, that is documented as part of The Woman Who Loves Giraffes. Prior to beginning work on the documentary, Reid had started scripting a narrative film based on Dagg’s life. It was only upon meeting Dagg and conversing with her that Reid discovered the famed zoologist was planning to return to Africa.

“I just thought, this is historic. We have to shoot it,” Reid said.

It was in Africa that Reid discovered Dagg as she likely had been back in the 1950s – adventurous, tenacious and full of “get-up-and-go” attitude.

“I interviewed her in the Pearson Airport before we left. To see her a couple days later in Africa, in a pop-top vehicle, with the wind in her hair, just glowing and watching giraffes… she just came alive,” Reid said. “It was like she was a kid again. It was just amazing.”

Utilizing interview and both archival and present-day footage, Reid assembles an affecting and moving portrait of Dagg and of the animal that has captivated her rousing, unstoppable spirit.

“I want to be moved when I watch a film, and (The Woman Who Loves Giraffes) moves people,” Reid said. “So I made the film because it’s exactly the type of film I would want to see. So I hope others continue to be drawn to it as well.”

The Woman Who Loves Giraffes will play across Canada in January. For showtimes, click here.

Continue Reading

Copyright © 2018 The Mutt