"Ozploitation": A Model for Canada?

0 Comments POSTED: September 9, 2008 22:16 | By: Steve D'Alimonte

I wanted to wait until after seeing Acolytes before discussing Not Quite Hollywood (NQH) so that I could discuss both of them in regards to Australian film culture in general. I must admit, I knew little to nothing about ?Oz? film (other than what Quentin Tarantino told me) so it was interesting to see the films from the past two nights, and hear the discussions that followed.

In this blogger?s opinion, both NQH and Acolytes were fun films, but not the top-crop of this year?s festival. NQH had a plethora of source material to work with, but moved through this material at a clip-show?s pace with little time for exposition. Acolytes was at times tremendously thrilling and frightening. The film was brilliantly pieced together and the soundtrack (both background and musical scores) was the highlight of the film. However, the ?jumps? in the film became tiresome and almost comical at times and there were some plot points remaining foggy (to me at least) at the film?s end.

Aside from the content of the films, I was particularly interested in learning about film production in Australia, and in particular the trajectory of Australian genre film that has evolved over the past 40+ years. The so called ?Ozploitation? film that arose in the ?60?s was Australia?s attempt to create a national cinema, one that could stand its own against the influx of European and American film coming into the country. The attempt was a success as Australian feature production went from zero in the early 60?s, to 50-plus a year by the 1970?s.

All this led me to consider the sad-state of Canadian feature film. In the Q&A after NQH (featuring Acolytes director Jon Hewitt (left), NQH director Mark Hartley (centre) and Producer Anthony Ginnane (right)) Ginnane praised Canada for the support the government gives to Canadian filmmakers. Unfortunately (outside of Quebec), the praise is not so well deserved. Government support for Canadian film has gone through ups and downs over the past half century, with funds typically swelling or decreasing depending on the ideological nature of the government of the day. This is compared to the Australians who created the ?Australian Film Development Corporation Bill in 1970? and had film development enshrined as a parliamentary act.

Given that this week is TIFF (and the same week that an election has been called no less) what better time to ask ourselves why there has never been a ?Canadian New Wave? of cinema, and why financial support for filmmakers is always on the top of the list when it comes to government spending cuts.

Detroit Metal City and Japanese Duality

3 Comments POSTED: September 6, 2008 12:59 | By: Steve D'Alimonte

Japanese society has evolved in leaps in bounds since the end of World War II (arguably more than most nations). It has gone from a culture based strictly on tradition with very few outside influences, to one of the world?s most robust economic powerhouses with American influences proliferating.

Being only able to speculate, I believe this transformation has never been fully accepted by mainstream Japanese society, and in many ways is still being dealt with. For better or worse, American influence will not be leaving Japan anytime soon, thus Japanese society must find a way to cope with its pervasiveness while still retaining a sense of the tradition of their not-so-distant past.

It is this climate of uncertainty where Detroit Metal City (DMC) exists, and is perfectly embodied by the duality of main character Soichi Negishi /Johannes Krauser II. Living with his family in a rural Japanese setting at the opening of the film, we see signs of a simpler, more innocent Japan. Negishi decides to leave his loving, farm-dwelling family to move to Tokyo to pursue his dream of becoming a Swedish-style pop musician.

It is in Tokyo where Negishi encounters the realities of modern-day Japan; an orgy of lights, buildings and money. In order for Negishi to survive this modern jungle, he must adapt to his environment and thus Johanns Krauser II (Death Metal Rocker extraordinaire) is born. Negishi is never quite comfortable with this transition but attempts to walk the line of his past of present selves.

All the insecurities of this duality are brought to the fore upon returning for a visit to his family. Negishi is aghast at the despicable behaviour of his younger brother, and sees it is himself that is to blame. Negishi attempts to rectify the situation at home, but is quickly summoned back to the big city to compete in a battle of the bands with American Metalist Jack II Dark.

With Jack being played by Gene Simmons, a more American symbol would be hard to find. In a showdown with the Godfather of Metal, Negishi must play the part of Krauser like never before. A telling moment is just prior to the showdown when Krauser appears with the word ?Kill? written on his forehead (it is usually written in Japanese). A fan comments that he ?must mean business?. I won?t ruin the ending of the film, but needless to say Krauser is able to hold his own. Krauser, like Japan is able to survive by ?playing their part? in this modern world...but they don?t have to like it.

Horror as a Political Platform

0 Comments POSTED: September 8, 2007 17:57 | By: Shane McNeil

MORE COMMENTARY AND EXCLUSIVE VIDEO ON LAST NIGHT'S SCREENING FROM DARRYL SHAW!

What really disturbs and inspires modern horror directors?

Surely they've been desensitized by the over saturation of violence in our culture, correct? Well, they should be!

Anyhow, once you get used to the massive amounts of dyed Karo syrup and foam latex body parts, the only way to keep yourself motivated to sustain bone chilling horror is to take a quick look around and soak in what's really
really wrong with the world... Besides the fact that you're lavishly exploiting situations of human torment (Hey! You're here aren't you? Don't judge! Or maybe make a film about judging.)

It's at this point this often socially shunned genre takes on an ironic quality... A message! (other than don't go up those stairs, don't get into a stranger's car, don't eat random sticky things from the Ryerson University Theater's floor etc)

Yep, all the best horror films have 'em. Even the best Troma flicks (Don't give up the fight for truly independent cinema!)

In Xavier Gens's nightmarish vision of the not so distant future, a group of teens are on the run from the authorities of a newly elected extreme right wing government.

The film explores both the macro and the micro of this cultural worst-case scenario;

starting with some explosive scenes of civilian rioting in the big city, before tightening its focus; examining the ideals and philosophies of a demented family of extremists in the country side.

On the surface, the film plays out like a kinetically charged homage to french slasher Haute Tension meets The Texas Chainsaw Massacre...

But the driving force behind it is its scathing social commentary; Xavier Gens slices his rotary saw blades into racism, sexism and nationalism-- the sum total of ignorance; from which, apparently, there is no escape.

So you've got ask yourself: What's really scary? Getting your Achilles Tendons snipped, or sending your kids to a Nazi endorsed public school?

Thankfully both.

Expect more satire in tonight's premiere of "Diary of the Dead" which is George Romero's commentary of the inept response to the aftermath of hurricane Katrina.

By Darryl Shaw

Collaborating with Ariel Dorfman on "A Promise to the Dead"

0 Comments POSTED: August 15, 2007 14:36 | By: Peter Raymont

In October of last year, I brought my dear wife and filmmaking partner, Lindalee Tracey to hospital. She was suffering through the last, painful stages of cancer. During each of Lindalee?s final days in palliative care, Ariel Dorfman sent me a poem which I read to her. Poems by the Persian poet, Rumi and by Ariel himself. So Lindalee slipped away with Ariel?s and Rumi?s lovely words swimming in her mind.

Ariel was traveling to Chile just a few weeks after Lindalee?s passing. Though I was still very much in shock and mourning and having difficulty functioning, I felt compelled to go with Ariel and make this film. Lindalee had been so supportive of this project and would have wanted me to go. So, while Ariel had his ?promise to the dead? ? to those dear companeros who were brutally killed in Pinochet?s military coup 33 years before, I, too, had very personal promises to keep.

We are optimistic that A Promise to the Dead: The Exile Journey of Ariel Dorfman, premiering in this year's Real to Reel, will follow a similar path and provoke lively debate and discussion at theatrical and TV venues around the world. Though we live in ?the Americas?, we know so little about the lives and experiences of our brother and sisters in the southern hemisphere.

[pictured: Ariel Dorfman (left) with Peter Raymont]

From TIFF to Congress race

0 Comments POSTED: August 9, 2007 14:59 | By: Michael Tucker

When GUNNER PALACE premiered at TIFF in 2004 we asked two soldiers from the unit featured in the film to come up to Toronto for a casual Q&A. One of them, Captain Jon Powers, later became involved with the publicity for the release of the film and spent six weeks on the road doing press, meeting audiences and attending events. Through that exposure, Jon decided to start an NGO to help Iraqi children and actually returned to Baghdad in 2005.

Last week I was in Chicago for the second annual Yearly Kos progressive blogging convention to screen our TIFF 2006 film THE PRISONER. Walking through the lobby I heard a familiar voice call out, "Hey Mike" and I turned around to find Jon Powers decked out in a suit and tie--and most amazingly running for US Congress out of Western New York. (Pictured here with General Wesley Clark).

We all like to think that our film matters, but rarely do we see any direct good come from them. As Powers told me, "That trip to Toronto changed my life."

Yes, it's THAT Phil Donahue

0 Comments POSTED: August 1, 2007 12:26 | By: Thom Powers

As I talked to reporters yesterday about the Real t

o Reel line-up, I heard a recurring sense of surprise that the co-director of BODY OF WAR was the same Phil Donahue well-known as the venerable talk show host. Indeed it is. He teamed up with veteran doc maker Ellen Spiro to tell the story of Tomas Young, an Iraq war veteran who became a vocal opponent of the Bush administration. In the film, Donahue stays strictly behind the camera. But here he's pictured with Young, Spiro and Pearl Jam's Eddie Vedder, who wrote two new songs for the film.

Tomorrow Doc Blog will hit the road to visit Michael Moore's Traverse City Film Festival on the shore of Lake Michigan. Check back for on the scene reports and further reflections on TIFF's doc line-up.

Iranian Cinema Part of the Revolution

0 Comments POSTED: September 15, 2006 00:58 | By: doc blog reporter

Everyone has heard of the 1979 Iranian Revolution, but few Westerners have seen much of the Iranian cinema and its impact on the country over the past sixty years. Director Nader Takmil Homayoun (right) decided to breathe life into the rich history of his native land's film industry with Iran: Une Révolution cinématographique, which made its premiere tonight to a sold out crowd at the Al Green theatre.

Iranian cinema has largely been off the North American radar, perpetuating an image in the West that Iranians are people of prayer and little else. The film looks at how Iran's cinema and filmmakers have been impacted by its turbulent politics and vice-versa, by speaking to its prominent directors and juxtaposing clips from these films with stock footage of real-life events that occured in the eras of each film's release.

In the Q & A after the film, Homayoun had plenty of questions to answer from a very vocal and appreciative crowd. One audience member asked about the prevalence in Iranian cinema of "average" people as actors and filmmakers. Homayoun said this remains because the Iranian films try their best to represent reality. His translator tried her best to relay the term "un-actor", which describes these so-called average people who make and star in Iranian films. In Iran today, he said, many people can be seen using small digital cameras and getting involved in the industry.

In the end, Homayoun mentioned that though Iran has been considered a land of poetry, it is now, after many years of censorship and even a period of theatre burning, it is also considered a land of cinema. The questions and discussion continued long after, spilling into the hallway and then out in the rain on Bloor st.

If you would like to add your comments on the film for the director, please share them on the Doc Blog...

Forget CNN, Just Watch Ohio

0 Comments POSTED: September 14, 2006 18:09 | By: doc blog reporter

It may not be Florida in 2000, but the state of Ohio has so much influence in American politics, many analysts, politicians and citizens alike believe that "as Ohio goes...so goes the nation." Making its worldwide premiere tonight, ...So Goes the Nation presents an intimate and candid look at this phenomenon, focusing on the northern state in the '04 US presidential election. The film gives us a first hand glimpse into the lives and views of the entire political spectrum in Ohio. Everyone from the average citizen to Democratic and Republican political strategists weigh in on their influence and analyze this microcosm of the American political process.

The film's co-director, James D. Stern (left) has been busy at the festival, participating in the News and Views "Venture Capital and Film Financing" panel, moderated by Cinetic Media founder, John Sloss. Stern will be at the premiere tonight to answer questions at the Q & A.

TIFF Gets to Know a Terrorist on Film

23 Comments POSTED: September 13, 2006 19:46 | By: doc blog reporter

A full house gathered at the ROM today for the premiere screening of My Life as a Terrorist: The Story of Hans-Joachim Klein. The film follows the life of Klein, a German man who went from being a left-wing radical to being linked to the murders of OPEC officials in 1975. Klein describes this transition and reveals how he feels the terrorist organization used and manipulated him.

Stock footage and photographs are used along with recent footage of Klein on a trip back to his old home in Germany in order to tell his amazing story. The film's director, Alexander Oey (right), was at the ROM answering questions ranging from why he felt the need to make the film to his thoughts on terrorism. An audience member brought up the saying "war is diplomacy but in a different way" and went on to ask Oey if he felt this film implied that of terrorism. Oey pointed out that Klein regrets all his involvement in the organization but makes a distinction between that and his days as a radical in his youth.

Please submit your thoughts on My Life as a Terrorist to the Doc Blog...

Former US Soldier Speaks at Premiere of Iraq films

0 Comments POSTED: September 8, 2006 21:46 | By: doc blog reporter

Friday's premiere screening of The Prisoner: Or How I Planned to Kill Tony Blair and Sari?s Mother, presented together, shocked the audience both on screen and on stage during the Q&A. The Prisoner follows the story of Yunis, an Iraqi journalist who was wrongfully detained by the American military in an Iraqi compound for 9 months.

After the film, Prisoner Director Michael Tucker read an email he received from an American soldier who had befriended Yunis at Camp Ganci where he was detained. Tucker then called former US soldier Benjamin Thompson on stage to speak about his experience, surprising the packed house at the Paramount. The crowd gasped and applauded as Thompson took the microphone.

Thompson mentioned how the Abu Graib scandal has taken away from coverage regarding the general conditions of the prisons. "I wouldn't keep my dogs there," said Thompson. One of the many audience members moved by Thompson's courage was director Michael Moore who afterwards, personally commended Thompson on his bravery for speaking out and the directors, Tucker and Petra Epperlein for creating the film (all seen together: left).

Sari?s Mother, a twenty-one minute from the director of the award winning Iraq in Fragments, presented a glimpse into of how the day-to-day struggles of Iraqis have not improved since the invasion. The film presents Sari, a young boy disfigured and in pain, but arguing with his mother to let him walk to school. Sari has AIDS, and we see his mother frustrated as she seeks treatment for her ailing son. Director James Longley prefaced the film by thanking TIFF Doc Programmer Thom Powers for encouraging Longley to create something with footage that could not be worked into the original film.

Both films inspired anger and a lot of conversation, as the Q & A went on for almost 30 minutes, and the talk spilled into the lobby.

If you would like to join the discourse, please comment on the TIFF blog?

Controversial Films at TIFF

1 Comments POSTED: September 7, 2006 09:23 | By: doc blog reporter

In today's Toronto Star, writer Peter Howell looks at the TIFF films likely to stir the most controversy, including several documentary titles.

[Right: Tony Kaye's abortion documentary Lake of Fire]

Howell quotes the Festival Co-Director and CEO Piers Handling:

"Filmmakers want to engage with the world by taking on tough subjects," Handling said in an interview yesterday. "That's for sure a theme this year. For whatever reason, there's a feeling by filmmakers that certain battles that had been fought in the past ? like abortion, for example ? need to be fought again, along with other issues that are not being dealt with in the mainstream media."That's what (the festival) should be all about. Not closing down discussion, but opening up forums ... allowing controversial works to be shown."

Looking Back on at Bush vs. Kerry

0 Comments POSTED: September 6, 2006 15:56 | By: Adam Del Deo

We just received word that one of the "stars" of our political documentary, a tireless grass roots campaigner for the Democrats by the name of Miles Gerety, will be attending the world premiere of our film, ".So Goes the Nation." Miles actually drove all night from Connecticut to Ohio for those final crazy days of the campaign to try and tip the scales for the Democrats. We couldn't be happier to hear that Miles, as well his Republican counterpart Leslie Ghiz, will both be present at the World Premiere on Sept. 14th. Not only did they pour every ounce of their blood into those last hours, but having both a Democratic and a Republican field worker present is a perfect representation of what the film tries to accomplish-showing the commitment and strategy of both sides of the American political world. The passion and commitment of Miles and Leslie make our movie really their movie.

Additionally, the film is also the story of macro-level political strategy which, as we officially begin this elections political season (always the day after Labor Day) brings to mind a looming question: what new strategizing has each party done to win or retain seats? Will the messages they are running on (funny-before working on this film we would have said "issues". Now we say "messages" without batting an eye.), will those messages allow for a different outcome on this November 4th?

The Republicans are caught in a tricky balancing act - aligning themselves too closely with the President is dangerous due to his low approval ratings. Attacking "cut and run" Democrats, those who now want out of Iraq, sounds good, but with the increasingly negative perception of the war the GOP can't champion it as a success. Out here in California, the environment is such an important issue that our Republican governor Schwarzenegger just struck a deal to reduce carbon dioxide emissions. Is this split from the old guard a sign of things to come, or are red states going to keep on shaking their heads at California's "crazies" and "retro-hippies?" Will the consistent simplicity of the Republican message in 2004-"war on terror" and Dems always "flip-flopping"-work again? Will the rehashing of same sex marriage get the Christian right to the polls in numbers significant enough to make a difference this time? It seems like such a tactic will be harder to pull together in today's complicated political landscape. But maybe that's us thinking like Democrats, the way the Democrats thought in 2004. In the last campaign, as our film shows, the notion of selling voters on which "team" they wanted to play for ultimately trumped Kerry's focus on issues. With Iraq still raging and people buying Priuses in droves, will the same be true now? We can't think of a better time for our movie to come out than in the midst of this year's elections.

And the Dems.we wonder what they've learned in the past two years? If they watch the 20/20 hindsight interviews in our documentary with figures like Terrence R. McAuliffe (Chairman of the Democratic party) and Tad Devine (part of the team with Bob Schrum that ran the Kerry Campaign), will the 2006 Dems be able to point at the screen and say, "Yes! Yes, we fixed that. The problem has been addressed, and we learned from our mistakes"? And will the Republicans watching Ed Gillespie (Chairman of the Republican Party) and Mark McKinnon (chief strategist) sit back and say, "We have a hand they can't beat. because it's not about issues, it's about people"?

All the press coverage of strong numbers enjoyed by Democrats today is, in our view, still premature chatter. This time of year in 2004, Kerry was looking pretty good too. But just like two years ago, the 2006 election will be determined not only by who controls the issues, but also who controls the message. We're proud that our movie sheds some light on how campaigns are strategized and fought, and hopefully will foment discussions around water coolers and wine. Many recent documentaries are a bit like Congress itself, it seems-a lot of polarization and people's accusations without a lot of listening and considering. Let's begin with some talk. And as the masters of presentation and manipulation work their craft on the U.S. public over the coming months, it's the perfect time to talk.

We look forward to meeting up with all the other great documentarians. Safe travels to all.

James D. Stern and Adam Del Deo

Michael Moore back at TIFF!

1 Comments POSTED: August 23, 2006 12:26 | By: Thom Powers

Today the press was buzzing with reports that Michael Moore (left) will be coming to TIFF for a special event in our Mavericks section. Moore will be showing glimpses from not just one, but two works-in-progress. He'll be showing a teaser from his eagerly awaited doc Sicko about the US health care system, due as a major release from The Weinstein Company in 2007.

But kept more secret until yesterday's announcement, Moore has been editing another piece titled The Great 04 Slacker Uprising. It's a scrappy road trip movie following his two months of daily campaigning against George W. Bush in the 2004 election. TIFF audiences will get to see segments from this work-in-progress.

Although the media tracks Moore's every move, he has consciously refrained from making any major appearances or statements since the 2004 election. He's chosen TIFF as the place to open the next chapter to his career. It's a fitting location since Moore's film career kicked off when Roger & Me won the audience award at TIFF in 1989.

John Pierson recalled that festival in his classic insider's book Spike, Mike, Slackers & Dykes...

JOHN PIERSON:
Finally I joined the troops from Flint, numbering over twenty, in Canada. They had buttons, T-shirts, caps - but their Helmac lint rollers had been seized by Canadian customs at the border. The first public showing in Toronto was scheduled for Saturday night, September 9, at 9:00 pm in the Cumberland 3 - a 300-seat theater. Roger & Me was shot in 16mm, and snuck into this festival under the wire through the good graces of print trafficker Noah Cowan. [He is now TIFF's co-director]... The first of Ebert's several great reviews was out that day. By 8:00 pm Saturday, it appeared that the entire population of Ontario was heading east on Bloor Street in the general direction of the Cumberland in numbers that could have filled it many times over....

The Monday show went through the roof. Actually the floor nearly collapsed as a result of overcrowding since every square inch of the aisles was filled with bodies. I felt goose bumps, but I didn't forget that Toronto is the festival were even Henry Jaglom is a god. By now I knew where all the big laughs drowned out the dialogue. The ovation was deafening and, as usual, Michael was wickedly funny in the post-screening Q&A session. He acknowledged breaking a cardinal rule by making a documentary that was actually entertaining.

(photo by Thom Powers)