The 43rd Toronto International Film Festival (TIFF) returns Sept. 6 to 16, 2018, with 19 Canadian features and 24 short films on deck. Heavy-hitters this year include the latest from Xavier Dolan (I Killed My Mother, It’s Only the End of the World), titled The Death and Life of John F. Donovan, and the final film from Canadian conservationist and filmmaker Rob Stewart (Sharkwater, Revolution).
Steve Gravestock, senior programmer with TIFF, weighed in on 10 Canadian films you’ll want to mark on your calendar this September.
The Grizzlies (World Premiere)
Dir: Miranda de Pencier
“The Grizzlies looks at teens up north. It’s set in Nunavut, in a community plagued by teen suicides,” Gravestock said. “A teacher tries to get the teens to focus on starting a lacrosse team to sort of do a reset of what they’re focusing on and the discipline that you have to do when you’re playing sport. It’s quite an affecting movie, really very emotional.
“(Director Miranda de Pencier) has been working on it for a number of years. She’s working with two great producers, one of them the events took place in her hometown. It’s really driven by this amazing young cast. This film might be one of the emotional high points of the festival.”
Freaks (World Premiere)
Dir: Zach Lipovsky and Adam Stein
“The film stars Bruce Dern and Emile Hirsch and a really great young actress (Amanda Crew). There’s a little more fantasy in the film,” Gravestock said. “It’s about this father and daughter, and they live in this dilapidated ramshackle house and they’re afraid to go outside. The daughter is bored and desperate to go outside, and the father finally nods off and she sort of slips out and finds this really strange world. It’s kind of an allegory about refugees, although it was started well before the crisis on the American border.”
Kingsway (World Premiere)
Dir: Bruce Sweeney
“Kingsway is a really fun film about more mature desire. It’s about the collapse of this marriage and everybody around them starts questioning what’s going on in their life. The main character is wondering why there is no romance in her life,” Gravestock said. “It has that kind of sly sense of humour that percolates through Bruce’s stuff.”
Falls Around Her (World Premiere)
Dir: Darlene Naponse
“The film stars Tantoo Cardinal as a pop star who wants to escape it all,” Gravestock said. “She’s an amazing actress. I think this is one of the first films where she’s in virtually every shot.”
The Great Darkened Days (World Premiere)
Dir: Maxime Giroux
“The film is also kind of about refugees (and stars) Québécois actors who are chased by these hostile forces across the southwestern United States,” Gravestock said. “It’s really quite visually striking. It’s set in a vague, not very specific time period. It feels like the 1930s but other times it feels much closer to our time.”
The Fireflies Are Gone (North American Premiere)
Dir: Sébastien Pilote
“(The film is about) a girl who sort of lives in a small town that is fading. Industry has left town and she’s desperate to leave and is wrestling with that,” Gravestock said. “Her father left under a cloud of scandal. It’s really a smart movie, I wouldn’t say it’s unexpected, but it’s a very gentle film. It doesn’t come to easy solutions. (Director Sébastien Pilote) has had films play in a variety of festivals, a lot of key European festivals. He’s a very interesting filmmaker.”
Firecrackers (World Premiere)
Dir: Jasmin Mozaffari
“Firecrackers is about this friendship between these two girls. They are graduating from high school and they live in this sort of bleak, very rural place. There’s very little opportunity afforded them,” Gravestock said. “One of them might be able to leave early and it kind of impacts the friendship. It’s really about female friendship. It’s shot in a really distinct way based on a short that (director Jasmin Mozaffari) did a couple years ago.”
Splinters (World Premiere)
Dir: Thom Fitzgerald
“A young adult comes back to deal with her father’s death. It’s set in rural Nova Scotia where they have a farm. She’s dealing with issues of sexuality and she comes back and the town has changed,” Gravestock said. “It’s quite different, and it’s done in a very smart way.”
Carmine Street Guitars (North American Premiere)
Dir: Ron Mann
“The film deals with this guitar shop in Greenwich Village. They make guitars out of buildings that have been torn down in New York,” Gravestock said. “The music is exceptional, but it’s also really about the constant threat of the shop being closed, because people want to sell the real estate. It’s a very gentle protest against gentrification.”
The Stone Speakers (World Premiere)
Dir: Igor Drljaca
“It’s about attempts to reinvigorate the economies of the former Yugoslavia, particularly Bosnia. The landscape is quite stunning, so it’s a really beautiful movie to look at,” Gravestock said. “There’s also a sly sense of humour that percolates through it. Some of these tourist sites are crazy and they tend to get crazier the more you get through the film. So there’s a subtle sense of humour running through it.”
For a full list of Canadian films scheduled at the Toronto International Film Festival (TIFF), 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.
Next to read on The Mutt: Tantoo Cardinal propels Falls Around Her in first leading role
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.
Next up on The Mutt: The story behind Uwe Boll, the so-called “worst filmmaker” ever