If you’re not familiar with Napalm Death, Pig Destroyer or Carcass, it’s likely you’re not well-versed in the history of the grindcore genre, an extreme melding of hardcore punk, heavy metal, and – as Slave to the Grind director Doug Brown puts it – “the most abrasive” sounds out there.
“The etymological origins (of the term grindcore) comes from the sounds of grinding gears,” Brown said. “It’s supposed to be kind of irritating and uncomfortable sounding. There’s not a lot of order to the song structure – it’s generally very fast, extreme and intense sounding music. There’s a level of abrasion and intensity to it.”
The genre’s roots can be traced back to the 1980s, with the Birmingham-hailing Napalm Death generally credited as being among the early pioneers in the genre. Other groups, such as Repulsion and Brutal Truth, made major contributions.
Brown, an avid record collector, initially came to the genre in high school through Soilent Green, a Louisiana-based grindcore band. Despite being blown away by the group’s sound, he at the time was unaware that they were part of a larger movement and couldn’t verbalize what he liked about the sound.
“Once I realized that not only is there a word for (groups like Soilent Green and Napalm Death), there’s an entire community of like-minded people who are in it for the sole purpose of creating very destructive-sounding music with no aspirations of success,” he said. “It was very liberating. All of a sudden what I was hearing was that it was heavy, it was faster than anything I had ever heard before – it literally sounded like wind coming over me. It was so visceral and singular.”
Soilent Green’s Leaves of Three, from the album Confrontation (2005).
Brown began to learn as much as he possibly could about the genre. He attended grindcore shows in Toronto, meeting other fans who hailed from all walks of life.
“People are drawn to chaos. I don’t think we’re a civil group, as much as we are very civilized in the day-to-day, but if most people were given the opportunity to unleash and let loose, they would probably take it if they knew there was zero consequence,” Brown said. “And there are a group of like-minded people out there who just happen to express that musically, where there are never any consequences – especially when everyone is doing it so positively. So the types of people you’ll see there? You’ll see a lot of parents. The types of people who get very excited over chaos.”
A high school film studies teacher by trade, Slave to the Grind is Brown’s second documentary, having previously completed Never Enough, a feature-length look at why people collect. Following a successful Kickstarter campaign, Brown said he was in the “right place at the right time” to complete the first documentary on grindcore. All told, Brown spent four years collecting footage and meeting the pioneers of the genre.
“Working on this film has been me realizing how deep this history is, but also me realizing how little I knew going into it. Here I am, going in, thinking I have hundreds of grindcore albums and I can explain how important the variations of the sound are,” he said. “But spending time with these musicians made me realize what it actually meant to live on the road for all those years – what that really does to the human psyche. You realize, as much as I can study I will never truly understand.”
The final film features footage from nine countries and four continents, filmed over four years. Brown pulled together the film from 70 interviews that ranged between one to three hours each, all while working full-time and having his second daughter. The film features interviews with many of Brown’s favourite grindcore artists.
“It was amazing. (Meeting my heroes) is everything you would hope it would be, but in the case of grindcore, it’s actually true. They are taking time off of their work to go on tour. I look at all the bands I’ve interviewed, maybe two of the bands can do it full time,” he said. “Immediately you’re on the exact same level as everyone else on a socioeconomic level – everyone understood everyone else’s struggles. Everyone has mortgages. It’s like you’re a rock star but you remove all glamour.
“And I truly believe this – Metallica. I really like Metallica, they’re a great band. But I think they would be releasing better albums if they were still broke. If they were still struggling in their art. The struggle in itself was quite amazing to see.”
Though every filmmaker’s goal is to get people to see their films, Brown said if he set out to please everyone, he would please no one.
“I know I have accomplished – this is certainly because I am a school teacher making this film, it’s the academic side of it all – every single thing can be analyzed and every single thing can be presented in a way that anyone can enjoy,” he said. “This is not a concert film. It’s primarily a historical talking head-style documentary intermixed with some gruesome animations. So I really hope that anyone reading this is interested in learning about subculture and learning about music that you would never hear about, this is certainly the film for you.”
Check out the trailer below.
Slave to the Grind premieres at the Calgary Underground Film Festival April 21. For more information, visit grindcorefilm.com
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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