Hello Dayton937!
24 hours ago, my schedule for today was slim. I only had a couple potential screenings scheduled (and they were tentative)…then first thing this morning I mapped out 5 movies. And a couple of them were fantastic. It was a very full day!
My first screening of the day was a musical of sorts…all songs/performances are motivated from the radio or a boom box – and characters sing along. CHUCK CHUCK BABY, dir. Janis Pugh (UK). “A film of love, loss, music, and female friendship, set in and around the falling feathers of a chicken processing plant in industrial north Wales.” (TIFF Catalog) This love story is sweet and touching and some of it it is in a rather unlikely setting – a chicken processing plant. Though I found some of the story and motivations a little thin, there’s still a lot to like.
I had only read a little bit about my next film…and nothing had prepared me for it! MOTHER, COUCH, dir. Niclas Larsson (USA). “Three estranged children come together when their mother refuses to move from a couch in a furniture store, in this film boasting all-star talent including Taylor Russell, Ewan McGregor, Ellen Burstyn, F. Murray Abraham, Lara Flynn Boyle, and Rhys Ifans.” (TIFF Catalog) Very shortly after the start, I wondered, “Are we in purgatory? Is this an existential crisis? Is this the love-child of Charlie Kaufman and David Lynch?” With an ominous/0ften thriller-like score, this film is a strange one – set in a furniture store selling furniture from the past with current-day prices…but if you stick with with it until the end, it slowly reveals itself and has and you figure it out. I won’t give it away.
Knowing I was going to potentially screen 5 films today, I almost cancelled this one in order to meet up with some friends…but upon reading a bit more about it, I decided to keep on schedule. The original French title for this film is HLM PUSSY – a codename the young ladies of this film give to themselves – meaning low income housing pussy. I’m so glad I went to see it. SISTERHOOD, dir. Nora El Hourch (France). “Three teenage girls, inseparable friends, struggle with the aftermath of a pivotal incident that brings to light their differences in race, social class, and cultural privilege, threatening their seemingly invincible bond.” (TIFF Catalog). The performances in this film are incredible…the three young leads are all phenomenal – and I didn’t feel like I was watching performances. The story of social media and class, and race and privilege are contemporary and so honest. This is Nora El Hourch’s first feature, and I’m absolutely certain we’ll see more from her – I was shaken and moved and very invested in this great film.
My next film was my third film dealing with WWII…and it’s also based on a real person. IRENA’S VOW, dir. Louise Archambault (Canada, Poland). “In occupied Poland, a former nurse (Sophie Nélisse) risks her own life to shelter a dozen Jewish men and women from the Nazi war machine.” (TIFF Catalog). This is an absolutely fascinating story told with a lot of gloss. There were some big eye roll moments (like the Jews hidden in the basement preparing food for a dinner party so Irena could keep up with the pace)…that said, there were some good moments of tension, too. Overall, it wasn’t gritty enough for me to totally get behind it (I also questioned some of its messaging, t00)…but I think it will find an audience – particularly in the Jewish Film Fest circuit. The historical updates at the end were a treat after seeing the film.
My last film of the day turned out to be a gem….something that really spoke to me. FLIPSIDE, dir. Chris Wilcha (USA). “Chris Wilcha helped adapt This American Life to television. His new documentary embodies the spirit of that show as he tries to save a New Jersey record store, in this comic yet deeply moving reflection on opportunities lost and gained.” (TIFF Catalog). This doc is about so many things…it’s about a filmmaker who has several unfinished projects, it’s about his closets in his parents’ house – full of stuff from his childhood and teenage years, it’s about writing and working, it’s about family, it’s about a dying record store. In the course of making this film, the filmmaker is able to include segments of many unfinished films (which validates the initial work in some regard), and he went back home to talk with his parents about where he came from and what he’s achieved. I related so much to this film, and it even had me in tears. (I have to paraphrase because I can’t read my scrawling handwriting) – at one point in the film, Wilcha talks about being middle-aged and beginning to understand one of life’s great paradoxes…he said you can feel devastating, debilitating heartbreak for not accomplishing certain things you set out to do in life – while also feeling good about where you’re at and the choices you’ve made. This struck a real chord with me, and I hope we can bring this film to town.
Thanks for reading!
Jonathan
