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.
CUFF 2019: Director Rob Grant on the tension (and dark comedy) of HARPOON
Adrift on the seas on a luxury yacht, three friends find themselves stranded without food or supplies and quickly realize their survival is less than assured. An official selection at International Film Festival Rotterdam 2019, Harpoon will make its Canadian premiere at the Calgary Underground Film Festival (CUFF) April 28.
The Mutt spoke with director Rob Grant prior to the film’s screening at CUFF. This interview has been edited and condensed for length.
THE MUTT: Can you tell me a bit about the genesis of Harpoon?
ROB GRANT: I had a great relationship with my producers (Knuckleball director Michael Peterson and Kurtis Harder) from a film called Fake Blood. I pitched Mr. Peterson on this idea that was a mix between Polanski’s Knife on the Water but by way of Seinfeld characters on the boat. I grew up in Vancouver, and the original idea was, “Well, I spent a lot of time on a boat, we could go take a boat out to the ocean and try to isolate ourselves out there.” Once a budget came into play and the idea grew, suddenly we were shooting the interiors of the boat in a set in the middle of freezing winter in Calgary, and shooting the exteriors on a boat in tropical Belize down south.
TM: Was it difficult for you to balance those comedic elements and still find a way to ratchet up the tension?
RG: It was very difficult, and there were a lot of discussions about that. When you have to give the elevator pitch, you have to say: “This is the genre and this is what it means.” But I subscribe to the logic that in life you can feel in one moment that you’re in a love story and the next minute in a horror movie, and that’s the way real life actually works. But it seems a little more rigid in movies. We were aware of potentially disrupting viewers’ experiences of watching the movie. (We thought) a movie could, or should, be multiple things at once. We’re willing to accept that there’s going to be some audience members that are going to reject that as a movie experience, but we wanted to try it.
TM: Can you tell me more about those influences you mentioned? I’m curious about how you mixed something like Seinfeld with more traditional thriller elements.
RG: Hitchcock’s Lifeboat was definitely in there, as well as Polanski’s Knife in the Water. But I had to still find the dark humour in it, and Seinfeld came up specifically because as much as we all find the Seinfeld characters enduring, they’re very much in it for themselves. They’re worried about their own outcomes. So I tried to use a lot of that. As much as these people like to say they’re looking out for each other, the second it becomes a survival story they’re all kind of in it for themselves. Paul Thomas Anderson’s Magnolia was another one, not only for mixing drama and humour, but definitely because the narration was less focused. It sets up what’s going to happen without speaking to much on the nose about what you’re about to see.
TM: I understand there’s some great gore and effects in Harpoon. What was your approach to that, and what effect do you think that has?
RG: I’ve explored the effects of violence in cinema with Fake Blood, and this was an extension of that. The entire movie, these people speak very casually and aloof about the things that potentially will need to be done without actually considering what that entails until suddenly when it happens. I felt like it would be a good idea to make sure that was extremely violent and horrible, not only because we’ve been teasing up to this moment, but I do believe there’s a certain element that people do not consider the actual realities of having to do something like that. So it’s very shocking, very brutal, it’s like, “ha ha ha this was all funny to discuss” and now that it’s happened it sucks the wind out of you. That was a very intentional decision.
TM: What do you think Harpoon does in a unique way when compared to other similar films? What do you hope the audience walks away with?
RG: I hope when people leave the cinema that it wasn’t the movie they were expecting, that it was a little bit of a different take. I do think it’ll challenge them depending what their expectations are. I just hope they’re expecting something interesting in the genre, and that they’re along for the ride.
Harpoon makes its Canadian premiere at the Calgary Underground Film Festival April 28. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.
CUFF 2019: The story behind Uwe Boll, the so-called “worst filmmaker” ever
Director of the critically-maligned video game adaptations Alone in the Dark, House of the Dead and BloodRayne, Uwe Boll has long held a unfavourable reputation in the film industry not only due to the perceived quality of his films, but also due to his antagonistic response to his online “haters.”
But a new documentary, F*** You All: The Uwe Boll Story, seeks to better understand the firebrand filmmaker, diving into Boll’s past through a series of interviews with colleagues, critics and Boll himself.
The Mutt spoke with F*** You All: The Uwe Boll Story Vancouver-based director Sean Patrick Shaul prior to the film’s Alberta premiere at the Calgary Underground Film Festival April 27. This interview has been edited and condensed for length.
THE MUTT: How did you first become acquainted with Uwe Boll?
SEAN PATRICK SHAUL: I first met Uwe Boll on the set of Assault on Wall Street. I worked as a crew member with him. Seeing him work was so fascinating. The way he directed was like no one I had ever seen before. He was such an interesting guy. That was almost 10 years ago and I ended up working on a TV show that was shooting in his restaurant. That was how I came across the idea for the documentary. The idea was to look at someone who is widely known as the world’s worst director. It was more asking, “Why was he considered that? How did he get that title, and whether or not he was.”
TM: As his persona on the internet developed, did that mesh with what you knew of him? Did you feel he was being portrayed in a way that was inaccurate?
SPS: I had seen some of his movies and I understood the reputation he had. He also fuelled that himself through the internet, engaging with all of these trolls and these critics. He takes it head on, which is fun to watch. But I had no idea what he would say when I pitched the documentary to him. Within five minutes, I realized we had a lot in common. He was excited about the documentary, excited to have that side told of it.
TM: How does Boll feel about being referred to as the “world’s worst director”?
SPS: He thinks it’s very unfair, which I guess I would agree with. Art is subjective, so it’s hard to say whether something is good or bad. But I think he’s also aware of the type of movies he was making. He didn’t think he was making The Godfather. He knew these were video game adaptations movies, so his expectations were low with those. But he has made more personal films (since then), but he already had this black cloud following him around. It stalled his career in that way. I thought that was really interesting – he made 32 movies, but by his fifth movie, people had already written him off.
TM: Why do you think Boll feels the need to respond to his trolls and his critics online?
SPS: I think he’s a very proud guy. He’s aware of his accomplishments and I don’t think he can let a comment like that go. If someone has the motivation to go after him online, he has the equivalent motivation to fire back at them. He hasn’t really calmed down on that too much. I think he’s currently banned from Twitter for going after trolls. It’s kind of tongue-in-cheek for him when he goes after these people. He enjoys it, he likes engaging with them. It became part of his personality. As much as it hurt his career, it also helped his career in a way.
TM: In spending time with Boll, what surprised you about him as you got to know him better?
SPS: Before, I thought he was kind of an asshole, from his online persona, I thought he was just kind of a jerk. Through meeting him, I realized he’s a super sweet guy, he’s a really, really genuinely nice guy. He cares about films, he’s a real film guy. He knows all of the classics, he’s seen all these foreign films – he’s a real cinephile. But there’s something about him not being able to pull that off. All his favourite movies are the classics, but for some reason he can’t make those films himself. He was kind of handcuffed by all these tax loopholes and funding schedules, that he would have to pump these films out in a certain timeframe to get the tax credit. There’s a lot of reasons his earlier films turned out the way they did. They didn’t turn out the way he envisioned.
TM: Given that he knew the documentary wasn’t going to be all positive, why did Boll want to participate?
SPS: I think he just wanted someone who was looking at the larger picture instead of comparing him to a Tommy Wiseau or a Ed Wood. He wanted to explain himself a bit. The articles and the small kinds of podcast interviews don’t really give him enough time to explain himself, or they ask the same five questions. Almost every headline is “world’s worst director” – I think he wanted to look at something deeper. But he wasn’t shying away from that title. I told him early on in production that we’d be definitely looking at that angle and talking about it. He was more than happy to look at it. Most people would want this buried, but he looked at it head on. “I have that title, but let’s look at why.”
F*** You All: The Uwe Boll story plays April 27 at the Calgary Underground Film Festival. For tickets, click here.
Click here to read our roundup of 9 Canadian films playing at CUFF 2019.
Acquainted takes a raw and honest look at modern love
In Acquainted, a new romantic drama from Toronto-based director Natty Zavitz, high school classmates Drew (Giacomo Gianniotti of Grey’s Anatomy) and Emma (Laysla De Oliveria of The Gifted) reunite with each other at a bar and instantly connect, discovering they share some serious chemistry. Problem is, the pair are both in serious, long-term relationships.
The script for the film was partly inspired by the deterioration of Zavitz’s last major relationship, said producer Jonathan Keltz (Entourage, Reign), who also plays Allan in the film.
“(Zavitz) sent me the script almost four years ago and I just connected so deeply and was so blown away by his script,” Keltz said. “(I was blown away) by how defined his voice was. I was completely moved by it.”
Inspired by films such as Richard Linklater’s Before Sunset trilogy, Acquainted is an honest look at relationships and adulthood, exploring the subject matter with introspection. Keltz said the film examines fidelity and infidelity from a judgement-free place.
“The characters are not villains or victims. It’s a raw and honest look at being in relationships, to have these type of things happen and how to deal with that,” he said. “The relationship with the self and the seeking to find out who you really are is really what’s crucial to the building of a relationship with somebody else.
“It’s about taking the time to do that work that puts you in the best position to be a partner with somebody and to be an adult in this world.”
Many of the cast and crew on Acquainted have worked in Toronto’s film community for years, making the set of the film a reunion of its own.
“In front of the camera and behind the camera, (the film involves all) kinds of amazing artists. It’s really a Canadian film and a Toronto film,” Keltz said. “It’s not trying to either hide that or beat you over the head with that.
“I think that’s done in a very unique way, and in a way that is both Torontonian and Canadian but also universally and commercially viable.”
Keltz said he thought the film would be emotionally affecting to audiences, offering perspective that could help to contextualize modern love and relationship.
“I think this is a really raw and honest and beautiful film about what it means to be in love, to be heartbroken, to be devastated, to be inspired and to try and build a life for yourself and figure out what that means,” Keltz said.
Acquainted is now playing at Cineplex Movies Yonge and Dundas in Toronto, International Village in Vancouver and at Landmark Cinemas nationwide.
Next up on The Mutt: With maturity and depth, An Audience of Chairs reflects on mental illness