2017 Festival du nouveau cinéma: Cosmonauts and cowboys, zombies, yakuza and Vincent van Gogh

Loving Vincent, about the artist Vincent Van Gogh, is the closing film at the 2017 Festival du nouveau cinéma, in Montreal.

 

The 46th edition of Montreal’s Festival du nouveau cinéma began Wednesday, Oct. 4 with an invitation-only screening of Blade Runner 2049 at Place des Arts.

Things really begin in earnest on Thursday; from then until Sunday, Oct. 15, 2017, 167 features and 181 short films from 68 countries will be shown. There are 35 events, with at least 25 of them being free ones. Films will be shown at Cinéma du Parc, Cinéma Impérial, Cinémathèque québécoise, Cineplex Odeon Quartier Latin Agora Hydro-Quebec du Coeur des sciences de l’UQAM / Chaufferie, L’Espace Jeunes de la Grande Bibliothèque, Société des arts technologiques, la Grande Place du Complexe Desjardins.

Man of Iron is one of several films by Polish director Andrzej Wajda that will be shown at the 2017 Festival du nouveau cinema, in Montreal.

In addition to new films from Fatih Akin, Jane Campion, Denis Cote, Todd Haynes, Hong Sang-soo (two of them!) Aki Kaurismaki, Kiyoshi Kurosawa, Yorgos Lanthimos, Claude Lanzmann, and Barbet Schroeder (just to name a few) there will be retrospectives and homages featuring the work of Polish director Andrzej Wajda – Le Terre de la Grande Promesse (1975), Man of Iron (1981), Korczak (1990), Katyn (2007) Walesa, Man of Hope (2013); Japanese director Seijun Suzuki – Detective Bureau 2-3: Go to Hell Bastards (1963), Gate of Flesh (1964), Tokyo Drifter (1966), Branded to Kill (1967). Takeshi Kitano brings his modern-day yakuza trilogy to an end with Outrage Coda.

There will be Westerns, old and new, from France, Germany, Indonesia, Japan, Mexico, South Korea, and Spain, including Lonesome Cowboys (1968) from Andy Warhol, El Topo (1970) from Alejandro Jodorowsky, Sukiyaki Western Django (2007) from Takashi Miike, and The Good, The Bad And The Weird (2008) from Kim Jee-Woon.

Korean film The Good, The Bad and The Weird takes the Western genre to Manchuria in the 1930s. It’s one of several Westerns that will be shown at the 2017 Festival du nouveau cinema in Montreal.

Co-directors Hélène Cattet and Bruno Forzani will show their latest film Laisser bronzer les cadavres, Amer (2009), L’etrange couleur des larmes de ton corps (2013), some shorts, and give a master class.

There have been several dramatic films made about the U.S. space program, but when did you last see one from Russia? Salyut 7 will show us how two Soviet cosmonauts brought an unresponsive space station back to life in 1985.

Sports fans might enjoy Borg/McEnroe, a drama about the tennis rivals, fresh from screenings at TIFF and the San Sebastian International Film Festival. Black and White Stripes: The Juventus Story is a documentary about the Italian soccer team.

Black and White Stripes: The Juventus Story is one of the films being shown at the 2017 Festival du nouveau cinéma in Montreal.

In Robin Aubert’s Les Affamés, residents of a small Quebec town defend themselves from zombies.

Virtual reality films of various lengths can be seen at Société des arts technologiques and la Grande Place du Complexe Desjardins.

On Friday, Oct. 13, in association with the Montreal Zombie Walk, there will be a dance party at the Agora, starting at the rather unusual time of 9:13 p.m.

The closing film, Loving Vincent, is a feature-length painted animation based on the works of Vincent Van Gogh. The trailer looked great! The screening on Saturday, Oct. 14 is by invitation only, but it will be shown again on Sunday, Oct. 15.

While many films will be shown twice, some will only have one screening. It’s best not to wait until the last minute to buy tickets. The one and only screening of Swedish satire The Square, on Tuesday, Oct. 10, is already sold out.

 

The descriptions above barely scratch the surface of the FNC offerings. Visit the festival’s web site for more information about the films, events and ticket prices.

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The early-bird pass from the 2017 Festival du nouveau cinema is a great deal!

The Festival du nouveau cinéma will run from Oct. 5 to Oct. 15, 2017 in Montreal.

Big film fan? Got time to see lots of films? Montreal’s Festival du nouveau cinéma has got a deal for you! Several deals, really. You’ll have to move fast though, because Monday, Sept. 25, 2017 is the last day to take advantage of some extra-special prices.

On Tuesday, Sept. 26, 2017, the film lineup and schedule will be made public. But until then, you can get an early-bird pass for $150. Students (with a student ID card) and seniors (65 and older) will pay $125. The pass is good for all films except the opening one (Blade Runner 2049!) the closing one, and the Stereoscopic – Dear Criminals 3D show.

On Tuesday, Sept. 26 the price of the regular pass will increase to $200. Students and seniors will pay $160. A single, regular ticket, will cost $13; a student or senior ticket will be $9. A booklet of 6 tickets will be $66. (There is also a discount for films shown before 4 pm. It can get a bit complicated.)

Is it a gamble to buy a pass without knowing which films will be shown? Based on my past experience, I would say, not at all! Last year, the festival showed 138 features and 170 shorts from 62 countries, including works from Wim Wenders, Jim Jarmusch, Andrea Arnold, Lav Diaz, Werner Herzog, Hong Sang-soo, Hirokazu Kore-Eda, Kiyoshi Kurosawa, Bruce McDonald, Kim Nguyen, Park Chan-wook, Ulrich Seidl, Sion Sono, and Bertrand Tavernier.

There were dramas, comedies, fantasies, documentaries, European TV episodes and films suitable for children. There were two interactive films where audience members made decisions for onscreen characters via apps on their smart phones or tablets.

Blade Runner 20149 is the opening fim of the 2017 Festival du nouveau cinema. Harrison Ford and Ryan Gosling are the stars; the film was directed by Montreal’s own Denis Villeneuve.

Apart from Blade Runner 20149, we also know that the zombie flick Les Affamés, from Québécois director Robin Aubert is on the schedule. It won the award for Best Canadian Feature Film at the recent Toronto International Film Festival. Marc-André Grondin, Monia Chokri and Micheline Lanctôt are among the stars.

I’ve never had a problem at the Festival du nouveau cinéma finding enough films that appealed to me, my only difficulty was making a schedule that included as many of them as possible. I have a friend who is a true film festival fiend. He often sees 60 to 70 films at a typical Montreal festival. If he did see 70 films at FNC, each one would cost him a mere $2.14 with the $150 pass or $2.86 with the $200 pass. If he only saw 30 films, that would work out to $5 or $6.66 each. Still a great deal!

The Festival du nouveau cinéma will run from Oct. 5 to Oct. 15, 2017 in Montreal.

Films will be shown at Cinéma du Parc, Cinéma Impérial, Cinémathèque québécoise, Cineplex Odeon Quartier Latin.

Buy early bird passes here.

Visit the FNC ticket information page for more ticket options.

FFM 2017: Free entry to the closing film, Monday night

The Awards Ceremony for the Montreal World Film Festival / Festival des film du monde will be at 7 pm. Monday, Sept 4, 2017, at the Imperial Cinema, 1430 Bleury St. When the ceremony is over, around 7:30, there will be a free closing film.

Film fans can watch the closing film of the 2017 Montreal World Film Festival / Festival des film du monde free of charge tonight, Monday, Sept. 4, 2017.

The as-yet-unnamed film will be shown after the awards ceremony. That ceremony will begin at 7 pm, and last for about 30 minutes, or so I am told.

Surprises can be nice, but not naming the film in advance does not seem very wise to me. Who will venture downtown for a film if they know nothing about it?

It might make sense to show the winning film, but I have no idea if that is what will happen.

FFM 2017: My prediction for best film – Y de Pronto el Amanecer

Chilean director Silvio Caiozzi, right, instructs child actors in his film Y de Pronto el Amanecer (And The the Dawn.) The film ran in competition at the 2017 Montreal World Film Festival / Festival des film du monde. The winner will be announced tonight, Monday, Sept. 4, 2017.

UPDATE: Y de Pronto el Amanecer did indeed win the Grand Prix of the Americas, for Best Film.

I predict that Y de Pronto el Amanecer (And Then the Dawn) will win the competition for best film at the 2017 Montreal World Film Festival / Festival des film du monde tonight.

I did not even see all the films in competition, but I really liked The Hidden Sword, from China; Upstream, from Taiwan, was very well done, and friends who saw it told me Anna Karenina: Vronsky’s story was spectacular.

Given all that, it might be rash to predict a win for Y de Pronto el Amanecer, but the story, the acting and the scenery in this Chilean film from director Silvio Caiozzi were all so very impressive. The film is 195 minutes long, but I was never bored for even one second.

A few hours from now I’ll either be saying “Ooops!” or “I told you so!”

The awards ceremony will be at 7 p.m., at the Imperial Cinema, 1430 Bleury St. When it is over, at approximately 7:30 (so I am told) there will be a free, closing film. The name of the closing film will only be announced at the ceremony.

These are the films in competition:

41ST MONTREAL WORLD FILM FESTIVAL
18 films in WORLD COMPETITION

A PROMINENT PATIENT / MASARYK by Julius Ševcík (Czech Republic / Slovakia)
100min; anglais s.t.f & s.t.a

AND SUDDENLY THE DAWN / Y DE PRONTO EL AMANECER by Silvio Caiozzi (Chile)
195min; espagnol s.t.f & s.t.a

ANNA KARENINA. VRONSKY’S STORY / ANNA KARENINA. ISTORIYA VRONSKOGO by Karen Shakhnazarov (Russia)
138min; russe s.t.f & s.t.a

APPENDIX by Hossein Namazi (Iran)
83min; farsi s.t.f & s.t.a

CARDINAL X by Angie Wang (USA)
98 min; anglais s.t.f

DEAR ETRANGER / OSANAGO WARERA NI UMARE by Yukiko Mishima (Japan)
127min; japonais s.t.f & s.t.a

ELVIS WALKS HOME by Fatmir Koçi (Albania / UK)
94min; anglais s.t.f

FALLING IN /OUT OF LOVE by Dominic Bachy (France)
95min; français s.t.a

FOOTPRINTS by Wong Wai (Hong Kong, China)
120min; mandarin s.t.f & s.t.a

FROZEN IGNAT / CINE A UCIS CRACIUNUL? by Dinu Tãnase (Romania)
81min; roumain s.t.f & s.t.a

PATH OF MARYAM by Atia Aldaraji (Iraq / Germany)
76min; arabe s.t.f & s.t.a

RECONCILIATION / ZGODA by Maciej Sobieszczanski (Poland)
87min; polonais s.t.f & s.t.a

SAYAKBAY – HOMER OF 20TH CENTURY by Ernest Abdyjaparov (Kyrgyzstan)
82min; kyrgyz s.t.f & s.t.a

THE BASICS OF KILLING / DRUŽINICA by Jan Cvitkovic (Slovenia / Serbia)
99min; slovène s.t.f & s.t.a

THE HIDDEN SWORD by Xu Haofeng (China)
137min; chinois s.t.f & s.t.a

UNAWARE CONTROL / HUA SE by Xiaoyan Xu (China)
94min; chinois s.t.f & s.t.a

UNSUNG HEROES / NOI ERAVAMO by Leonardo Tiberi (Italy)
90min; italien s.t.f & s.t.a

UPSTREAM by David Chuang (Taiwan)
80min; mandarin s.t.f & s.t.a

The Awards Ceremony for the Montreal World Film Festival / Festival des film du monde will be at 7 pm. Monday, Sept 4, 2017, at the Imperial Cinema, 1430 Bleury St. When the ceremony is over, around 7:30, there will be a free closing film.

FFM 2017: The Montreal World Film Festival is not dead yet, thanks to volunteers!

MONTREAL- Sunday, Aug. 27, 2017 – Film fans stretch to catch a glimpse of director Xu Haofeng and his actors before a screening of Chinese film, The Hidden Sword, at the Imperial Cinema. The Hidden Sword is in competition at the 2017 Montreal World Film Festival / Festival des films du monde. Photo by Liz Ferguson.

This year, like last year, the Montreal World Film Festival/Festival des films du monde is a shadow of its former self. The festival doesn’t seem to be getting any money from any level of government. All the same, it IS still alive, thanks to some wonderful volunteers! I doff my metaphorical hat to them!

You’ll see them selling tickets, working as ushers etc., but there are more unseen workers behind the scenes, as well. Without their work, the cinemas would be dark.

Many of the volunteers don’t even know festival founder Serge Losique, but they do follow his maxim: “It’s all about the films!”

While I didn’t formally interview any of them, I can see that the volunteers range in age from their early 20s to 60s, maybe even 70s. While some of the older volunteers are retirees, others are giving up precious vacation days. They are film fans have enjoyed the festival for decades and they don’t want to see it die. Several people now working for free were on the festival payroll for many years.

The volunteers and the people who are still buying tickets truly appreciate the festival’s dedication to films from the far corners of the globe that are not made in the familiar Hollywood mold. (If I had a nickel for every time I heard that over the years. . .seriously, I really would be rich.)

(Do you care about those film fans, government people? While most of them are tax-paying citizens, some of them are tourists, from other parts of Canada, and the U.S., who have been coming to Montreal for the festival for years.)

Check out the festival this long holiday weekend. Many directors are here with their films, and some brought their actors, too. Sometimes there are Q&As in the cinema right after the screening, but even if there isn’t one, you can usually ask questions in the lobby. At the very least, if you liked the film, you can thank and congratulate the director. They seem quite willing to have their pictures taken with fans, too. A nice souvenir of the festival! Fans are quite friendly, too. If you ask nicely, most will be happy to tell you what they have seen and what they thought of it.

MONTREAL- Sunday, Aug. 27, 2017 – Chinese director Xu Haofeng, second from right, with actors and others associated with his film, The Hidden Sword. The Hidden Sword is in competition at the 2017 Montreal World Film Festival / Festival des films du monde. Photo by Liz Ferguson.

Films are being shown at the Imperial Cinema, Cinéma du Parc and the Dollar Cinema. From my own experience I can say that some of them are very good! And people I trust have said the same about other films. So far, I haven’t seen anything that I regret. I particularly liked The Hidden Sword, from China, directed by Xu Haofeng, and Y de Pronto el Amanecer, from Chile. It was directed by Silvio Caiozzi. Both films are playing in competition.

Links to schedules are below. Unfortunately, there isn’t a fancy printed program this year, nor is there the “big book” of yesteryear, but at Cinéma du Parc, you can pick up a schedule, with synopses, of the films that are being shown there.

The Montreal World Film Festival / Festival des films du monde continues until Monday, Sept. 4, 2017. Tickets are $11 each, or you can buy a booklet of 10 coupons, which must be exchanged for tickets, for $85.

The Imperial schedule is here.
Cinéma du Parc schedule is here.
The Dollar Cinema schedule is here.
To read a film’s synopsis, click on its category, which will be in blue on your screen.

For example, REG is Regards sur les cinémas du monde / Focus on World Cinema, and DOC is Documentaires du monde / Documentaries of the world. (I won’t list all the categories here.)

FFM 2017: Martial arts director Xu Haofeng is in Montreal to show his latest film, The Hidden Sword

Director Xu Haofeng instructs actors in fighting techniques on the set of his film The Final Master. Xu is in Montreal to show his latest film, The Hidden Sword and to meet with film fans.

Xu Haofeng practices martial arts, writes books and film scripts about martial arts, makes martial-arts films AND does the fight choreography, too! Impressive, right? That would be a dream life for some aficionados!

Xu’s previous films are The Sword Identity, Judge Archer and The Final Master. The latter was shown to appreciative audiences here at the Fantasia International Film Festival just a few weeks ago.

Now Xu himself is here in Montreal, at The Montreal World Film Festival / Festival des film du monde to present his latest work, The Hidden Sword.

 The Hidden Sword will be shown at 7 p.m., Sunday Aug. 27, 2017 at the Cinema Imperial, 1430 Bleury St. (H3A 2J1).  Here’s a plot synopsis from an article in Screen Daily: “Based on Xu’s own novella, the film is set in the 1930s when a special sword has helped the Chinese army win the war against Japan. The old man who developed the sword tries to go into hiding with his family, when his martial techniques start to attract too much attention, but eventually the outside world starts to intrude.”

A scene from Xu Haofeng’s film The Hidden Sword.

A few hours before the film, Xu will give a master class at the nearby L’Astral, 305 Ste. Catherine St. W. (QC H2X 2A3). Admission to the master class is free of charge and open to anyone.

Xu will also give a press conference at 4 p.m, on Monday, Aug. 28, 2017 at the Intercontinental Hotel, 360 St. Antoine W. (QC H2Y 3X4). That is free and open to all, as well.

Tickets to the film are $11. You can buy them online or at the cinema.

The Montreal World Film Festival / Festival des film du monde is running until Sept. 4, 2017.  Films are being shown at Cinema Imperial. Cinema du Parc and the Dollar Cinema. Consult the FFM/MWFF schedule on the Internet. Tickets are $11, a booklet of 10 coupons, which must be exchanged for tickets, is $85.

The Hidden Sword, 7 p.m., Sunday Aug. 27, 2017 at the Cinema Imperial, 1430 Bleury St.

Fantasia 2017 Review: Estonian film November (Rehepapp)

In the Estonian film November (Rehepapp), Liina’s mother is waiting for her daughter in the graveyard.

November (Rehepapp) is a black-and-white film that draws upon Estonian history and folklore. It plays out like a timeless, definitely-not-Disney fairy tale – almost everybody is dressed in rags and has a very dirty face, even though they DO have saunas. As far as we can see, those saunas are used more by the dead than by the living. Every autumn, villagers await their deceased relatives in the local graveyard, then take them home for food, gossip and a sauna. Rumour has it that the dead are somehow transformed into giant chickens while using the sauna.

Even more fantastical than those ideas, for me, was the concept of the kratt – a sometimes cranky, sarcastic creature made from odds and ends (branches, pitchforks, hay) who serves his master by stealing things and doing chores around the farm. A kratt does not come cheaply, though – a person has to sell his soul to the devil to make his kratt come alive. Where does one meet the devil? At the crossroads, in the dead of night, of course.

There’s nothing bucolic about life in the countryside – the peasants face hunger, poverty and the plague. There is conflict between parent and child, Christianity and paganism. Co-operation seems like an unknown concept; greed and selfishness abound. People are willing to betray family, friends, and neighbours for any small advantage. Many hope to get their hands on a legendary cache of hidden silver.

In the Estonian film November (Rehepapp) Liina (Rea Lest) watches in dismay as Hans (Jöšrgen Liik) stares at the baron’s daughter.

Young Liina (Rea Lest) lives with her father, who wants to marry her off to his gross old drinking buddy, Endel. Liina will have none of it; she wants to marry Hans (Jörgen Liik), her friend and contemporary. But Hans is smitten by the sleep-walking daughter of the German baron who rules the area from his imposing manor house. (Unlike the others, the baron and his daughter have clean faces and clean clothes. At home, the baron wears a fancy embroidered coat that makes him look the Liberace of his day. German actor Dieter Laser plays the baron; Imdb.com says he was also in the Human Centipede films.)

The baron (Dieter Laser) and his daughter (Katariina Unt) are among the few clean, well-fed people in November(Rehepapp). Just how tall is that hat, anyway?

Google tells me that Estonia was among the last European countries to be Christianized, and the last to abolish serfdom, as well. Though the characters in the film are nominally Christian, that doesn’t stop them from stealing things from the church, nor does it stop Liina from asking a witch to help her win Hans over. If they are still serfs, that would go far in explaining their miserable circumstances.

I saw November (Rehepapp) at the Fantasia International Film Festival in Montreal. Both screenings were sold out, so I was very lucky to see it at all. Unlike some of the other popular films at the festival, November is not full of laughs, or action, but it’s well worth seeking out.

Oscilloscope Films has the North American distribution rights and will give the film a theatrical release in the fall.  Watch out for it! An article on the Deadline.com web site has a very apt quote from Oscilloscope’s Dan Berger: “November is one of the most unique and stunning films to come along in some time. It’s equal measures beautiful love story and balls-to-wall bonkers-ass folk tale. It keeps you rapt, guessing and intrigued from its first frame to its last.” Yeah, what he said!

Some films are quite entertaining while we’re watching, but once they’re over we move on. After  watching November the first thing I looked up was the kratt – was it the author’s invention or was it part of folklore? Folklore it was! Then I wanted to know about Estonian history, its rulers, serfdom, paganism and Christianity, saunas for the dead, the ravages of the plague, etc., etc. I really like it when that happens, though such exploration delays my reviews a bit.

November’s cinematographer Mart Taniel won the Best Cinematography in an International Narrative Feature award at the 2017 Tribeca Film Festival. I can’t find photos of one of the more stunning images in the film – a lake surrounded by trees with white leaves.

November is based on the novel Rehepapp, by Andrus Kivirähk. There doesn’t seem to be an English translation yet, but it has been translated into French, as Les Groseilles de novembre: Chronique de quelques détraquements dans la contrée des kratts. Another book by Andrus Kivirähk has been translated into French as Homme qui savait la langue des serpents. In English it is called The Man Who Spoke Snakish. Kivirähk’s books are available at Amazon and Indigo; Indigo has German and Spanish translations of the “Snakish” book, as well.

The film November is based on Andrus KivirŠahk’s book Rehepapp. It has been translated into French as Les Groseilles de novembre: Chronique de quelques dŽétraquements dans la contrŽée des kratts. There is no English translation. Another one of his books is available in French and English translations as L’homme qui savait la langue des serpents and The Man Who Spoke Snakish.

November (Rehepapp) is an Estonia, Poland, Netherlands co-production, in Estonian and German, with English subtitles.
Written and directed by Rainer Sarnet
Cast: Rea Lest, Jörgen Liik, Dieter Laser, Katariina Unt, Taavi Eelmaa, Arvo Kukumägi, Heino Kalm, Meelis Rämmeld
Cinematographer: Mart Taniel
Production company: Homeless Bob Production, PRPL, Opus Film
North American distribution by Oscilloscope.

Review of The Midwife (Sage Femme): Two Catherines are better than one!

Catherine Deneuve and Catherine Frot are the main stars of French film The Midwife (Sage Femme).

In The Midwife (Sage Femme) we get two Catherines for the price of one – Catherine Frot as Claire, the midwife of the title, and Catherine Deneuve as Béatrice, a figure from Claire’s past. For many viewers, seeing these two together will be more than reason enough watch the film.

Claire works in a small hospital where all the midwives get along; her works exhausts her but she enjoys it. Her future is uncertain, because the hospital will soon be closed (hence the “Resist” sign hanging from it). She is the single mother of Simon, who is off at medical school.

Actress Catherine Frot received maternity training and delivered six babies in the course of filming The Midwife (Sage Femme).

We hear Béatrice before we see her, as Claire listens to her voice on her answering machine. We find out later that it’s a voice she has not heard for more than 30 years.

With great reluctance, Claire goes into Paris to meet Béatrice, who is dying of brain cancer and looking to reconnect with people from her past. She needs familiar faces and moral support. Fair enough. Far as we can tell, making amends, and seeking forgiveness are not part of her plan. She seems to be the guilt-free type.

Béatrice was mistress to Claire’s father, but she left him one day without a word of explanation. It’s not clear what she was to Claire  – something between a big sister, aunt or mother figure? (Some of the critics who don’t like this film are annoyed that such things are not spelled out.) What is clear that Claire has never forgiven Béatrice – not for the affair itself, but for her departure.

We have no idea how Béatrice has been supporting herself all these years either, though a scene in a gambling den offers a partial answer. I read somewhere that those were real gamblers, not actors.

The two women have many disagreements and misunderstandings before they come to a sort of truce. (Minor spoiler, sorry, but you could figure that out from the trailer.) Though these women are straight, that’s the same pattern many romantic comedies follow, isn’t it?

Speaking of romance, Claire has a one-step-forward, two-steps-backwards one with long- distance truck driver Paul (played by Olivier Gourmet, who has worked so often with the Dardennes brothers.) Here his character is quite amiable, not glum, silent, tortured or creepy as he has often been in other roles. Paul and Claire share adjoining garden allotments. (Gardening, earthiness, sex – is it too obvious? I’m willing to let it go.)

Béatrice does not have a visible love interest, but even though she is seriously ill, she still has an appetite for alcohol (whisky and wine) and lots of red meat. Cigarettes, too! However unlikely that might be in real life, it’s a signal that she’s not yet ready to just lay down and die and that she’s still chasing pleasure, wisely or not.

Colours and clothes were among the pleasures of The Midwife for me. Though Béatrice dislikes Claire’s frumpy beige raincoat, Claire does wear a pretty blue scarf, which matches the blue couch in her otherwise boring apartment. Béatrice has an absolutely gorgeous coat in a rich, jewel-like purple. No matter how distraught she might be, she always looks good! (I also read that her film wardrobe is by Yves St. Laurent.) In a nod to Deneuve’s past ads for Chanel No. 5, you might notice a big bottle on her bathroom shelf, if you look carefully. (Nothing bad happens to it, but keeping glass bottles in rooms with hard floors seems very unwise. Don’t ask me how I know.)

In the French film The Midwife (Sage Femme) Claire (Catherine Frot) checks her image after trying on lipstick belonging to Béatrice. She takes a spritz of perfume, too. See the bottle of Chanel No. 5, almost hidden by her shoulder?

The Midwife is unusual in that Catherine Frot was not just acting in scenes set in Claire’s workplace. Frot received several days of training in a French maternity ward and delivered six babies in the course of filming. Those scenes were shot in Belgium, because babies younger than three months old cannot be filmed in France. (In the U.S., babies who “act”  must be at least 15 days old.)

Writer-director Martin Provost (Séraphine, Violette) said he wrote the film with Frot and Gourmet in mind, and he was very happy that they agreed to appear in the film. In this interview, on a British site called The Upcoming, Provost talks about that and the birth scenes.

The Midwife (Sage Femme)
Written and directed by Martin Provost.
With: Catherine Frot, Catherine Deneuve, Olivier Gourme, Mylène Demongeot, Quentin Dolmaire

In Montreal, The Midwife (Sage Femme) is playing in the original French-language version at Cinema Beaubien and Cineplex Odeon Quartier Latin, and with English subtitles at Cineplex Odeon Forum.

Fantasia 2017: Before you see A Taxi Driver, here is some background info about the Gwangju Massacre

Thomas Kretschmann, left, and Song Kang-ho in South Korean film A Taxi Driver.

A Taxi Driver is the closing film of the 2017 edition of the Fantasia International Film Festival. It’s a dramatization of real life events from South Korea’s tumultuous history.

In May of 1980, Jurgen Hinzpeter, a German reporter, stationed in Tokyo, hears rumours about  government violence against citizens in Gwangju South Korea. News is not getting out because phone lines had been cut and roads into and out of the city were blocked. The country is under martial law; many schools are closed and news reports are censored.

Hinzpeter (played by Thomas Kretschmann) flies to Seoul and hires a taxi driver named Mr. Kim (Song Kang-ho) to drive the 300 km to Gwangju. (In those days, the city’s named was rendered as Kwangju in English.) With advice form local farmers, the two men manage to bypass the barricades and enter the city using tiny back roads.

Once in the city they see a real spirit of solidarity among the citizens, who are hungry for democracy and an end to military rule. Then they see soldiers shooting protestors, young and old, along with people who try to help the wounded. They capture these events on film while trying to avoid arrest, injuries or their own deaths.

The film’s only screening, today, Wednesday, Aug. 2, 2017, is sold out, but if you are among the lucky people who have a ticket, here are some links to recent articles and ones written at the time, that will give you some background information to the events depicted in the film.

An article in today’s New York Times says: “With the Korean news media muzzled by martial law, only the handful of foreign correspondents present could publish reports on what was happening in Gwangju. . .Mr. Hinzpeter was one of the few foreign correspondents to document the carnage, and his footage was seen around the globe.”

“Mr. Hinzpeter, who died last year at 78, has long been celebrated in South Korea for his part in exposing Mr. Chun’s atrocities. A memorial to the journalist stands in Gwangju. . . Behind a hospital, ‘relatives and friends showed me their loved ones, opening many of the coffins that had been placed in rows,’ Mr. Hinzpeter wrote. ‘Never in my life, even filming in Vietnam, had I seen anything like this.’ “

A New York Times article from May 20, 1980 bears the headline “New Repression in South Korea.”

Gwangju is about 300 km from Seoul. These days, one can drive there in about 3 hours and 15 minutes.

This article from The Hankyoreh calls the massacre Korea’s Tiananmen, referring to the 1989 massacre of students in Beijing, China. Lee Gang-jun lost his twin brother Lee Gang-su. “When he asked a forensic pathologist to determine the cause of death in 1997, just before the body was moved from a cemetery in Gwangju’s Mangwol neighborhood to the May 18th National Cemetery, it was because he wanted the truth to come out. ‘My brother’s skull was caved in, and even the specialists couldn’t figure out what the marks were caused by,’ (Lee) said. Gang-jun believes that his brother died during torture at the Sangmudae military base. After his death, soldiers shot him to create the impression that he died from a bullet would instead of complications suffered during torture.”

This article from ThoughtCo. says “Troops shot dead twenty girls at Gwangju’s Central High School. Ambulance and cab drivers who tried to take the wounded to hospitals were shot. One hundred students who sheltered in the Catholic Center were slaughtered. Captured high school and university students had their hands tied behind them with barbed wire; many were then summarily executed.”

An article in The Korea Observer includes quotes from Na Byung-un, who was there in Gwangju. “In those days, South Korea’s GDP per capita was just under $4,000 per person, or less than one-sixth than that of the United States, according to World Bank data. As a country with few natural resources recovered from Japanese colonization, it struggled to find its footing politically, economically, and socially. This was especially true in Gwangju, a city nestled in the one of the poorest regions of South Korea, agricultural South Jeolla Province. ‘People were very, very poor, and they led miserable lives.’ Na recalls. ‘They didn’t even have one dollar.’ “

“According to Na, there was a rumor that those who criticized the government would be kidnapped and murdered in secret. . . .Na recounts, “People had been uprising and protesting against dictatorship continuously under Park Chung-hee and Chun Doo-hwan. They put innocent people into prison and oppressed the masses by force of arms. So people all rose up. . . All Gwangju citizens were involved in the protests, because all of us were together as one. Everyone thought we had to stand against injustice,’ says Na. ‘Even the police were on our side. They changed into normal clothes at night and joined us.’ “

Tim Shorrock of The Nation has reported extensively on Korea. In this article he says that the Korean troops who injured and killed civilians were “sent with the approval of the U.S. commander of the US-Korea Joint Command, Gen. John Wickham.”

“That decision, made at the highest levels of the US government, forever stained the relationship between the United States and the South. For the people of Gwangju, many of whom believed that the US military would side with the forces of democracy, it was a deep betrayal that they’ve never forgotten. And once the rest of Korea knew the truth about the rebellion and understood that the United States had helped throttle it, anti-American sentiment spread like wildfire.”

(U.S. president Jimmy) “Carter decided that the Gwangju uprising—despite the US knowledge that it had been sparked by the slaughter of unarmed civilian protesters—had to be crushed militarily. Five days after the meeting, South Korea’s crack 9th Army Division rolled into the city and killed the remaining rebels holed up in the provincial capital building.”

Shorrock’s article contains links to many, many others.

A Taxi Driver is distributed by Well Go USA. Perhaps it will return to Montreal for a general run in the future.

See Colossal again, or for the first time, free, outdoors, at the Fantasia Film Festival, tonight!

In the film Colossal. Anne Hathaway’s character has a weird connection with a giant monster that’s attacking Seoul.

Montreal’s Fantasia International Film Festival showed Nacho Vigalondo’s quirky first feature film Timecrimes (Cronocrimenes) way back in 2008, so it’s highly appropriate that the festival show Colossal.

Though most of Colossal is set in the U.S. (actually, British Columbia, for the small town parts) there is also a giant monster attacking Seoul, South Korea. So it REALLY fits in the Fantasia lineup.

In fact, it’s so appropriate, that when I first heard about Colossal, I thought that it might have its premiere at Fantasia. But, no, it was released months ago.

Anne Hathaway, Jason Sudeikis, and Dan Stevens are among the stars.

It will be shown on a terrace behind the Hall Building, at 1445 de Maisonneuve West. Enter by Mackay St.

Colossal,  9 pm, Wednesday, July, 26, 2017.

 

http://www.fantasiafestival.com/festival/en/2017/films-schedule/films/782