RIDM 2015 Review: Maman? Non, merci!

Why do strangers feel free to question women about their reproductive choices? That's one of the many things explored in the documentary film Maman? No merci! (No Kids For Me, Thanks!) It's being shown at RIDM, Montreal's documentary film festival.
Why do strangers feel free to question women about their reproductive choices? That’s one of the many things explored in the documentary film Maman? No merci! (No Kids For Me, Thanks!) It’s being shown at RIDM, Montreal’s documentary film festival.

 

“Baby hunger.” That’s what one of my friends used to call it. An overwhelming, seemingly impossible-to- ignore desire to have children. Some women have it, some don’t. All the same, women are expected to produce children, because. . .because we can? Contraception and abortion, if available, make it easier to plan the arrival of those children, but opting out of the idea of motherhood entirely is regarded as odd, possibly abnormal, inhuman, even. Where’s that famous maternal instinct?

Women who say they don’t want children are not taken seriously; they’re told that they’ll change their minds; they just haven’t met the right guy yet; they’re missing out on the most wonderful experience they could possibly have; they’re being selfish; they will have a lonely old age, and “you’ll be sorry!”

Consider for a moment the semantic differences between “childless” and “child free.” The first sounds rather forlorn, and might remind one of other words that end in “less” – words like homeless, penniless, hopeless. But “child free” – is it too celebratory? Could those who do have children see it as a criticism of motherhood and parenthood?

Perfect strangers feel entitled to quiz the childless-by-choice, berate them and analyze them. Seriously, is it anyone else’s business? Is there any other area of our lives that’s so open to scrutiny by others?

Author Lucie Joubert decries "frenetic maternalism" in her book L'Envers du landau.
Author Lucie Joubert decries “frenetic maternalism” in her book L’Envers du landau.

Maman? No merci! (No Kids For Me, Thanks!) is a documentary about women in Quebec, France and Belgium who are childless by choice, and quite clear and eloquent about it, too. Some men share their views, as well.

In the opening minutes of Maman? Non, merci!, director Magenta Baribeau says that she was surprised that strangers were so curious about her personal reproductive decisions; she decided to find other women like herself, and to discover why deliberate childlessness was so shocking for some in this day and age.

Right after the screening, there will be a French-language debate in the theatre on the topic La maternité, un idéal à repenser? (Rethinking Motherhood).

The participants will be: Magenta Baribeau, director of Maman? Non merci!; Stéphanie Benoit-Huneault, Special Projects Assistant, Réseau québécois en études féministes (RéQEF); Chiara Piazzesi, Professor, PhD (Département de Sociologie, UQAM); Judith Rouan, President of Fédération du Québec pour le planning des naissances (FQPN). Mélanie Sarazin, President of Fédération des femmes du Québec (FFQ) will be the moderator.
Maman? No merci! (No Kids For Me, Thanks!)
Directed by Magenta Baribeau
Country : Quebec
Year : 2015
Language : French
Subtitles : English
Runtime : 74 min
Production : Magenta Baribeau
Cinematography : Magenta Baribeau
Editing : Étienne Langlois
Sound : Gordon Neil Allen

Tuesday, Nov. 17, 2015, 5:30 p.m.
Cinéma Excentris – Cassavetes, 3536 St. Laurent Blvd.

RIDM 2015: Music documentary Making a Monster comes highly recommended

Malcolm Brickhouse of the heavy metal band Unlocking The Truth, in a scene from the documentary film Breaking a Monster. It's one of several films about music being shown at RIDM, MOntreal's documentary film festival.
Malcolm Brickhouse of the heavy metal band Unlocking The Truth, in a scene from the documentary film Breaking a Monster. It’s one of several films about music being shown at RIDM, MOntreal’s documentary film festival.

I haven’t managed to watch Breaking a Monster yet, but it sounds really intriguing, so I’ll tell you about it by quoting the reviews of others.

The synopsis on the RIDM web site says: “In 2007, three African-American pre-teen metal heads became instant celebrities after posting videos of their street performances in Times Square. Their recently formed band, Unlocking the Truth, came to the attention of the Jonas Brothers’ manager, an ex-hippie with a nose for a hit who negotiated a lucrative recording contract for them. Surrounded by music-industry pros, the three friends had to learn in a hurry how to cope with stardom and protect their identity while making the most of the marketing strategies developed by white adults who “want what’s best for them.” A funny, incisive look at music marketing today.”

Rob Aldam of Backseat Mafia reviews Breaking a Monster from the Sheffield Documentary Film Festival: (Director Luke) “Meyer allows the three to do their own talking and they’re all charismatic, intelligent and engaging characters. . . Breaking A Monster is an extremely funny and perceptive insight into the inner working of the music industry, where absurdity and infuriation abound. There’s much to love here, not least the three stars who hopefully have a bright future ahead in the music industry.”

Doug Dillaman saw it at the Sydney Film Festival in Australia and reviewed Breaking a Monster for The Lumiere Reader. He says: “we are fully immersed into both the band’s home world and the music industry without on-screen text to identify people; just like the teens themselves, we struggle to keep up, and have to decide what’s invaluable industry expertise and what’s laugh-out-loud absurdity, whether the industry pros have their best interests at heart, and whether the teens might just be happier playing Angry Birds and skateboarding. Tastefully shot and expertly cut, it’s superlative not just as music documentary but as a documentary in general. If the film has a flaw, it’s that, by necessity, it ends before it feels over; the story is still to be written, but if Meyer can retain his access after this film goes wide, I’d happily take a sequel.” (Italics are mine. That’s great praise, I think!)
Lanre Bakare reviewed Breaking a Monster for The Guardian: “Meyer’s success comes from understanding that the interesting thing about a rock band made up of 12-year-olds is their unique approach to rock’n’roll situations we’ve all seen a thousand times. When in meetings about their contract they play Flappy Birds; when they get to a hotel room they have a pillow fight rather than chucking a TV out of a window; and if something isn’t going the way they want it to, they turn to their mums. It’s a charming and engaging mix. . .”

(There are other positive reviews out there, but I didn’t find them as quotable as the ones above.)

Breaking A Monster
Directed by Luke Meyer
Country : United States
Year : 2015
Language : English
Runtime : 93 min.
Production : Tom Davis, Thad Luckinbill, Trent Luckinbill, Molly Smith
Cinematography : Ethan Palmer, Hillary Spera
Editing : Brad Turner
Sound : Tom Paul
Contact :(Production) Tom Davis, Seethink Films, tom@seethink.com

Monday, Nov. 16, 2015, 5:30 p.m.
Cinéma Du Parc 1, 3575 Park

RIDM 2015 Review: Star*Men

 

Director Alison Rose, second from right, and her astronomer friends take a break at the Rainbow Bridge National Monument in Utah.
Director Alison Rose, second from right, and her astronomer friends take a break at the Rainbow Bridge National Monument in Utah.

Majestic music, monumental landscapes, mighty telescopes, and millions and millions of stars and galaxies! Billions, actually, but I was enjoying the alliteration.

You will find those things and more in the documentary film Star*Men. It’s a real treat. In addition to the sound and images mentioned above, you get human interest stories with historical significance.

The 1957 launch of the Soviet space satellite Sputnik in 1957 caused serious alarm in the West. The other side in the Cold War had better technology – what might they do with it? There must have been some wounded pride, too, because Sputnik was right up there in the night sky for anyone to see.

The U.S. did not have enough experts of its own and recruited scientists from all over the world to help it compete in this “Space Race.” The “star men” of the film’s title are Roger Griffin, Donald Lynden-Bell, Wal Sargent and Nick Woolf, British astronomers who were hired to work at the California Institute of Technology in Pasadena. As they explain, this was wonderful in so many ways. At that time there was little work in the U.K. for people with degrees in astronomy. They could leave the class system and the U.K. weather behind for sunny skies and open roads.

Photo taken by Roger Griffin in 1960 show his fellow astronomers at a their U.S. campsite with a large English flag. After they noticed the American fondness for their flag, they decided to take lots of photos with their own.
Photo taken by Roger Griffin in 1960 show his fellow astronomers at a their U.S. campsite with a large English flag. After they noticed the American fondness for their flag, they decided to take lots of photos with their own.

All four made important discoveries in astronomy during their working lives. In time two returned to the U.K. and two found other jobs in the U.S. Beside explaining their accomplishments, director Alison Rose takes us along when the four have a reunion, 50 years after their arrival in California, that includes much fascinating talk and some very strenuous hiking, including a visit to the Rainbow Bridge National Monument in Utah. And they wear huge backpacks while doing it, too! The cinematography of Star*Men is exceptional – natural landscapes and the views of star galaxies and nebulae are stunning. The music is great, too. Director Alison Rose will attend the screening and answer questions afterwards.

The Very Large Array, an astronomicla radio observatory in New Mexico. Do they look like giant ears to you? (Malcolm Park photo from Star*Men web site.
The Very Large Array, an astronomical radio observatory in New Mexico. Do they look like giant ears to you? (Malcolm Park photo from Star*Men web site.

Star*Men
Directed by Alison Rose
Country: Canada
Year: 2015
Language : English
Runtime: 88 min
Production : Alison Rose
Cinematography : Daniel Grant
Editing: Dave Kazala
Sound: Ken Myhr, Daniel Pellerin, Peter Sawade
Contact: Alison Rose
aer@inigofilms.com
Star*Men, Monday, Nov. 16, 2015, 6 p.m.
Cinémathèque Québécoise – Salle Claude-Jutra, 335 de Maisonneuve Blvd E.
RIDM (Rencontres internationales du documentaire de Montréal) runs from Nov. 12-22, 2015. Visit the web site ridm.qc.ca for more information.

 

RIDM Review: My Love, Don’t Cross That River

Kang Gye-yeol, left, is 89 and her husband, Jo Byeong-man is 98. They ust might be the cutest couple you have ever seen. You can see them in the Korean documentary film My Love, Don't Cross That River
Kang Gye-yeol, left, is 89 and her husband, Jo Byeong-man is 98. They just might be the cutest couple you have ever seen. You can see them in the Korean documentary film My Love, Don’t Cross That River

My Love, Don’t Cross That River is a portrait of a marriage. Jo Byeong-man is 98 and Kang Gye-yeol and is 89. They have been together for 75 years. Pretty amazing, right?

Director Jin Mo-young records their lives for 15 months, as they discuss their past, clean up around their rural home, prepare meals and take walks. They are slow walks, to be sure, but they can still move, and in one scene Jo Byeong-man carries an impressively large load of firewood on his back.

Many of their walks are taken hand in hand and that’s how they fall asleep each night, too. They are always seen in traditional Korean clothes, usually in matching colours – bright, beautiful colours. Were they on their best sartorial behaviour for the full 15 months, or is that just the way they like to dress? I’m going to assume the latter.

While you’ll hear the occasional comment like “people get old, you can’t do anything about it,” they are remarkably upbeat. They’re playful, too, like children, newlyweds, or the cute little puppies that arrive in the fullness of time (after the pastor’s dog pay a visit to their own pooch.)

Jo presents his wife with a little bouquet of flowers and she accepts them happily, rubbing them on her face and his. They throw autumn leave at each other, sample the seasons first snowfall (then play with that, too).

After all these years, he still appreciates her cooking: “He’s never said it isn’t good. . .he eats a lot and then says ‘what a great meal.’ ” Actually, Kang Gye-yeol seems to have more energy (or patience) for food preparation than I do!

Children and grandchildren come to visit, bring gifts and pay their respects on New Year’s Day and Kang Gye-yeol’s birthday. Presumably they live far away, because we don’t see them much, apart from those days. I was uncomfortable watching a nasty fight between two siblings; it’s a harsh contrast to the warm affection that the two love birds share and it leaves them in tears.

Even at the beginning of the film, Jo Byeong-man coughs frequently and things just get worse as time goes on. Sometimes his cough keeps him awake at night. When they take their walks he has to stop more often to rest. Do you see where this is going? Kang Gye-yeol asks her husband to hang on a little longer, but at the same time, she starts burning some of his beautiful, colourful clothes so that he will have things to wear in the afterlife.

My Love, Don’t Cross That River was a big hit at the Korean box office, outselling many U.S. hits in the first weeks it was in cinemas. So far it is Korea’s most popular homegrown documentary. (Old Partner, about a man his ox and his wife, pretty much in that order, holds the No. 2 spot. The AmerAsia Film Festival showed Old Partner in Montreal in 2011. Read my review Old Partner for the Montreal Gazette here. )

My Love, Don’t Cross That River
Directed by Jin Mo-young
Country : South Korea
Year : 2014
Language : Korean
Subtitles : French, English
Runtime : 86 min
Production : Kyungsoo Han
Cinematography : Moyoung Jin
Editing : Zinsik Hyun
Sound : Minu Jung
Contact: Maëlle Guenegues
Cat & Docs
Maelle@Catndocs.Com

Sunday, Nov. 15, 2015, 4:15
Cinéma Du Parc 1, 3575 Park

RIDM 2015 Review: The Woods Dreams Are Made Of (Le Bois Dont Les Rêves Sont Faits)

RIDM Bois Woods

Spending more than two hours watching the goings on in Bois de Vincennes of Paris? Wouldn’t that be a bit much? The time passed relatively quickly, actually. The film opens with shots of a park that’s so expansive it looks like part of the countryside. Once upon a time it was, but then Paris grew around it. Other scenes will show that there are apartment buildings close to the edge of the park and that sometimes you can hear the rumble of traffic even if you can’t see it.

There are many reasons to visit the park: to exercise, to relax, to commune with nature, to work, officially or unofficially. Some people set up tents and live in the park in the warmer months.

Director Claire Simon shows us people who do those things; sometimes she talks with them, other times she observes from a distance. I was curious about the man who filled dozens of plastic water bottles from a fountain while thirsty joggers waited for their turn to drink. What was he going to do with them? Sell them to unsuspecting people? Who knows?

A man paints in nature, though not from nature, in a scene from the French documentary film The Woods Dreams Are Made Of (Le Bois Dont Les Rves Sont Faits).
A man paints in nature, though not from nature, in a scene from the French documentary film The Woods Dreams Are Made Of (Le Bois Dont Les Rves Sont Faits).

Some guys who catch a large carp spend a long time examining it; distraught spectators tell them they’re being cruel and urge them to put it back in the water. A man paints outdoors, though he does not paint what he sees. A gay man explains cruising etiquette and laments the advent of smartphone apps; he doesn’t meet as many men in the woods as he used to do.

Workers who clean up the fallen leaves of autumn use horse-drawn wagons to reach places to narrow for trucks. Other employees look more bureaucratic, taking notes on their clipboards, discussing the possibility of redirecting some of the decorative waterways. Yet others, wearing hazmat suits, clear away abandoned tents and other possessions.

In the late 1960s, philosopher Gilles Deleuze was one the professors at an experimental university in the woods; as if in a dream, his daughter shows where the classes took place. It feels like being inside a ghost story.

Claire Simon spent one year shooting the film; if that year was typical, Paris does not get much snow at all – it barely made an appearance.

The Woods Dreams Are Made Of (Le Bois Dont Les Rêves Sont Faits)
Country : France, Switzerland
Year : 2015
Language : French
Subtitles : English
Runtime : 144 min
Production : Jean-Luc Ormières
Cinematography : Claire Simon
Editing : Luc Forveille
Sound : Olivier Hespel, François Musy, Gabriel Hafner

Sunday, Nov. 15, 2015, 2:30 p.m., Salle Claude-Jutra, Cinémathèque Québécoise, 335 de Maisonneuve Blvd E.
RIDM (Rencontres internationales du documentaire de Montréal) runs from Nov. 12-22, 2015. Visit the web site ridm.qc.ca for more information.

 

RIDM 2015 Review: They Will Have To Kill Us First: Malian Music in Exile

Members of the band Songhoy Blues are among the musicians who appear in the documentary film They Will Have To Kill Us First: Malian Music in Exile.
Members of the band Songhoy Blues are among the musicians who appear in the documentary film They Will Have To Kill Us First: Malian Music in Exile.

They Will Have To Kill Us First: Malian Music in Exile is a documentary about the difficulties faced by residents of northern Mali, especially the musicians, after a Tuareg rebellion in 2012 was hijacked by Islamist forces. Mosques, tombs, libraries, and ancient manuscripts were destroyed. The imposition of sharia law meant veils for women, amputated limbs for convicted thieves and a ban on all music – even ringtones on cellphones. Musicians fled cities like Gao and Timbuktu in fear for their lives. Among those who appear in the film, some went to Bamako, in Mali’s south, while others went to refugee camps in Burkina Faso.

Malian musician Fadimata Walett Oumar, who is nicknamed Disco, right, and her husband Hassan (Jimmy) Mehdi, in a scene from the documentary film They Will Have To Kill Us First: Malian Music in Exile. The film is being shown at RIDM, Montreal's documentary film festival.
Malian musician Fadimata Walett Oumar, who is nicknamed Disco, right, and her husband Hassan (Jimmy) Mehdi, in a scene from the documentary film They Will Have To Kill Us First: Malian Music in Exile. The film is being shown at RIDM, Montreal’s documentary film festival.

The people we meet include established stars Khaira Arby and Fadimata Walett Oumar (nicknamed Disco, because she was a big Madonna fan in her younger days). Disco is a longstanding member of the group Tartit, though it is not named until near the end of the film. She is also married to a high-ranking Malian soldier who changes allegiance more than once, which makes their lives somewhat complicated. The film also serves as a promotional vehicle for a younger band called Songhoy Blues, and includes footage from their U.K. tour. (Earlier this year, they toured North America, making stops at SXSW and in Toronto, too.) You can find music by Khaira Arby, Tartit and Songhoy Blues on iTunes; click on their names to go there. The film’s soundtrack will be released, but sadly, it isn’t ready yet. If you like what you heard in the film, check out Tinariwen, as well.

Khaira Arby is among the Malian musicians who appear in the documentary film They Will Have To Kill Us First: Malian Music in Exile.
Khaira Arby is among the Malian musicians who appear in the documentary film They Will Have To Kill Us First: Malian Music in Exile.

Most of us will never see the wonders of Timbuktu in person, so I appreciated glimpses of them in the film. I suspect that some scenes were shot before the widespread destruction and that many of those intriguing structures no longer exist.

At 100 minutes, the film seems stretched out. I expected lots of music, since it is about musicians, after all, but got tantalizing snippets instead. There is lots of talking, and some of it is repetitive. Perhaps I am just a victim of my own expectations – the film has many positive reviews on the Internet. Sample quote from a review in the Austin Chronicle:
“Social journalism of the highest order, They Will Have to Kill Us First is by turns horrific and front-loaded with sonic heroism. It’s also one of the most vibrantly shot and masterfully edited documentaries of this or any other SXSW year.”

Full disclosure, I did watch They Will Have To Kill Us First at home via an online screener, which must have reduced its power considerably.

(Justified) spoiler: The film ends with a joyous outdoor concert in Timbuktu, with lots of happy women and children among the audience.
They Will Have To Kill Us First: Malian Music in Exile (Click on the film’s name to read more about it on the RIDM web site.)

Friday, Nov. 13, 2:30 p.m.
Cinéma Du Parc 1 (Buy tickets here)

Saturday, Nov. 14, 215 p.m.
Cinéma Du Parc 2 (Buy tickets here)

They Will Have To Kill Us First: Malian Music in Exile
Country : Mali, United Kingdom
Year : 2015
Language : English, Bambara, French, Songhay
Subtitles : English
Runtime : 100 min
Production : Kat Amara Korba, Sarah Mosses, Johanna Schwartz, John Schwartz
Cinematography : Karelle Walker
Editing : Andrea Carnevali, Guy Creasey
Sound : Phitz Hearne
RIDM (Rencontres internationales du documentaire de Montréal) runs from Nov. 12-22, 2015. Visit the web site ridm.qc.ca for more information about the festival.

Cinema Politica Mondays: Documentary film (T)error reveals FBI entrapment methods

Terror FBI

(T)error is a documentary that shows how the FBI keeps itself in business by using informers and infiltrators to create “terrorists” it can then arrest. Neat trick, huh? This has been going on for decades, but things were stepped uo considerably after 9/11. Montrealers, I suggest that you watch this film tonight, at 7, at Concordia University. Friends in other cities, I hope that you have a chance to see it, too.
There are many positive reviews of (Terror on the Internet, one is by Peter Debruge of Variety. It begins with this: “A vital expose of American law enforcement carried out with almost reckless zeal, Lyric R. Cabral and David Felix Sutcliffe’s “(T)error” pushes the boundaries of documentary ethics, plunging itself into the middle of an active FBI sting operation while playing both sides in an attempt to understand — and by extension, to reveal — how the U.S. government identifies and apprehends terror suspects.”

Debruge’s review ends this way:  “The FBI may seem all-powerful and intimidating, but by focusing on an imperfect in-the-trenches personality like (informant Saeed) Torres, who does it for the money at great cost to his own conscience, the film stresses just how fallible the system is — and the urgent need to police it more closely.”

The headline on Alan Scherstuhl’s review for the Village Voice says that the films is “Absurd And Revealing.” Yessiree! He goes on to say: “The war on terror bumbles home in Lyric R. Cabral and David Felix Sutcliffe’s amusing and dismaying portrait of incompetence and entrapment. Former Black Panther Saeed “Shariff” Torres has been pressed into service as an FBI informant, tasked with cozying up to American Muslims the Bureau finds suspicious — and then doing whatever he can to confirm his overseers’ assumptions. This time, the 63-year-old is dispatched to Pittsburgh to investigate Khalifa al-Akili, a convert Torres doesn’t believe is a threat: ‘That dude ain’t gonna bust a grape.’ ”

“Soon things go from sadly dumb to dizzyingly absurd, a surveillance-age roundelay. . . Inevitably, this tense comedy dips into tragedy, with our fearful intelligence agencies getting everything wrong and the filmmakers using their rare access to chart each mistake as it happens.”
(T)error will be shown at 7 p.m., Monday, Nov. 9, 2015, in Room H-110 of the Hall Building at Concordia University, 1455 de Maisonneuve Blvd. W. It’s a pay-what-you-can event, with suggested amounts ranging from $5 to $10.

(T)error was directed by David Felix Sutcliffe and Lyric R Cabral. Sutcliffe will answer questions afterwards, via Skype, or something like it. I already have several in mind!

For more information, visit the Cinema Politica Facebook page for the event.

Fascinating slime mould documentary The Creeping Garden returns to Montreal

 

Poster for the documentary film The Creeping Garden. Note the reference to Montreal's Fantasia Film Festival in the upper left hand corner.
Poster for the documentary film The Creeping Garden. Note the reference to Montreal’s Fantasia Film Festival in the upper left hand corner.

The documentary film The Creeping Garden was one of the sold-out hits of the 2014 Fantasia Film Festival. Now the film is in limited release in Europe and North America, and Montrealers can watch it again, or for the first time, at the Dollar Cinema.

I saw and enjoyed The Creeping Garden at Fantasia, and reviewed it for the Montreal Gazette. Here are the first few paragraphs of my review:
“Slime mould – each word is bad enough by itself, but the effect is much worse in combination – eww, ick, gross! Slime mould sounds dangerous AND disgusting. Parents might panic if slime mould were found in their child’s school; potential buyers would refuse a home with slime mould in it, and on top of that, it sounds as slippery as the proverbial banana peel.

“And yet, after watching the documentary film The Creeping Garden (which had its world premiere at Fantasia) I know that it is not dangerous, and I do believe that an enterprising person could turn slime mould into the next chia pet, or a modern-day version of “sea monkeys.” Somewhere, an MBA class might be working on such a project right now. If so, the first order of the day would have to be – a name change.

Transforming plasmodium., looking pretty and colourful. Credit: Steven L. Stephenson
Transforming plasmodium., looking pretty and colourful. Credit: Steven L. Stephenson (Part of a New York Times slide show “Beauty and the Blob.”)

“Using beautiful, often hypnotic images, and the words of artists and scientists (amateur and professional), The Creeping Garden introduces us to this fascinating . . . entity. Slime mould was once thought to be a plant at one stage of its existence and an animal at another, because of its ability to move, albeit slowly. (It moves slower than the slowest snail; you need time-lapse photography to see it.) For some time, slime mould was classified as a fungus, but that designation was later changed, too.

“Scientists estimate that slime mould could be as much as 600-million years old.There are more than 1,000 varieties of slime mould out there. It can look like a delicate fern, little yellow balls, grains of translucent rice, chopped up spaghetti, or a meandering river, seen from above. On the other hand, one kind goes by the common name of Dog Vomit, for reasons that are quite obvious when you look at it.

“Sometimes the film shows us slime mould as the naked eye would see it, other times we see it magnified through a high-powered microscope.

“Slime mould has attracted many fans, and they come in many varieties,too. There are those who study it in their spare time just for the joy of discovery, others who make art with it (images or music) yet others who are using it to solve real-world problems, such as the quickest way to get to a fire exit in a building with a complicated layout.”

Metatrichia vesparia, looking quite weird! Credit: Steven L. Stephenson
Metatrichia vesparia, looking quite weird! Credit: Steven L. Stephenson (Part of a New York Times slide show “Beauty and the Blob.”)

You can read my full review Creeping Garden review on the Gazette web site. (When the paper revamped its “platforms” my name got scrubbed off, but it IS my review, I assure you!)

That review includes several links, so you can learn quite a bit more about slime mould, if you want to.

This slide show from the New York Times might get you in the mood for the film.

If you want a very quiet pet, you can order your own slime mould kit from the Carolina Biological Supply Company.
The Creeping Garden is co-directed by Tim Grabham and Jasper Sharp. It’s 81 minutes long and can be seen at the Dollar Cinema, 6900 Décarie Square, in Montreal, until Nov. 12, 2015. It’s one of the cinema’s “Marquee” presentations, which means that tickets actually cost $5. Quite a good deal, really!

Public transit users can get to the Dollar Cinema via the Namur metro, via bus lines 17, 160, 161, and 166.

Visit The Creeping Garden’s web site and Facebook page for more info about the film. You non-Montrealers can see if the film is coming to your town.

FNC 2015 Review: Chinese punk musicians have their say in Never Release My Fist

Wu Wei, standing, centre rear, with his fellow punk musicians outside his bar in Wuhan, China. Note the bagpipes! The history of Chinese punk music is explored in the documentary Never Release My Fist, by Shuibo Wang.
Wu Wei, standing, centre rear, with his fellow punk musicians outside his bar in Wuhan, China. Note the bagpipes! The history of Chinese punk music is explored in the documentary Never Release My Fist, by Shuibo Wang.

If you like punk music, China, or documentary films, then Never Release My Fist is especially for you. But really, I think this film would appeal to any living, breathing person with an interest in his or her fellow human beings, and how they live their lives, struggle to survive, and try to express themselves. I liked it a lot; if I didn’t have another musical commitment today, I would watch it again!

Montreal documentary filmmaker Shuibo Wang received an Oscar nomination for his NFB short, Sunrise Over Tiananmen Square. In Never Release My Fist he explores the world of Chinese punk, with particular attention paid to Wu Wei, who is often described as the father of Chinese punk. He formed his band SMZB in 1996.

Wu Wei describes himself as unemployed and aimless in the first few years after he finished high school, but he now comes across as very thoughtful and articulate man, distressed by the politics and rampant consumer culture in China. All the same, his lyrics sound quite poetic.

Wu Wei is from the city of Wuhan, the capital of Hubei province in central China. It’s a city of 10 million people known for heavy industry but it also has several universities, with as many as one million students (potential fans! Though director Wang says that most young Chinese prefer pop music).
While he benefited from some time in Beijing, Wuhan is where Wu Wei played most of his music, and it became the punk hotspot of China.

Musicians everywhere have tough lives, but the punks of Wuhan had little money to buy instruments, few places to play, and they faced government censorship as well. Text messages and email were intercepted.

An image from Never Release My Fist, a documentary film about punk rock in China. It's part of the lineup at the Festival du nouveau cinema in Montreal.
An image from Never Release My Fist, a documentary film about punk rock in China. It’s part of the lineup at the Festival du nouveau cinema in Montreal.

Wu Wei might be the main star of the film but his bandmates, former bandmates and fellow punk musicians get their share of screen time. Punk in Wuhan was not just a guy thing, either. Women played a big part, too. We see their performances and they share their sometimes harrowing stories and as well.

At some point SMZB included bagpipes and a violin to some songs, a very interesting touch! And Hou Hsiao Hsien uses bagpipes in the closing credits of The Assassin. Are bagpipes a thing in China now?

Filmmaker Shuibo Wang was able to use lots of great vintage footage that was shot before he ever met the musicians. He will attend the screening and answer questions after the film.

Festival du nouveau cinema programmer Julien Fonfrede, left, and Montreal director Shuibo Wang. (Photo copyright Maryse Boyce)
Festival du nouveau cinema programmer Julien Fonfrede, left, and Montreal director Shuibo Wang. (Photo copyright Maryse Boyce)

Never Release My Fist is being shown as part of the Festival du nouveau cinéma, which runs from Oct. 7 – Oct. 18, 2015. Visit the FNC web site for more information about Never Release My Fist.

Never Release My Fist
Directed by Shuibo Wang
China, Canada | 87 minutes | 2015, in Cantonese with English subtitles
Saturday, Oct.17, 2015, 17:00
Program #283
Cinéma du Parc 2, 3575 Ave. du Parc

Cinema Politica presents This Changes Everything on Monday, Oct. 5, and Naomi Klein and Avi Lewis will be there

THIS CHANGES EVERYTHING1

Montrealers can see the important documentary film about climate change, This Changes Everything, at 7 p.m., on Monday, Oct. 5, 2015, at Concordia University (1455 de Maisonneuve Blvd. W., Room H-110) thanks to the organization Cinema Politica. Writer Naomi Klein and director Avi Lewis will be there. Suggested donation is $10 – $20. That’s probably all the information many of you will need. For others, I hope the review below will make you want to see it.

It’s all about the story – the story that we’ve been told, the story that we tell ourselves, the story that we believe. That story might be so firmly engrained in us that we never even think about it, or question it.

And that story is, that the Earth is a machine, and that mankind can and should manipulate its levers. The unfortunate results of that thinking can be seen all around us.

Changing the story is the first step toward changing our lives, our future and the life of this planet that we all depend upon.

After some opening shots of hurricanes, parched earth, polar bears and crumbling, tumbling ice bergs, This Changes Everything takes us to the ugly and monstrous tars sands of Fort McMurray, “the largest industrial project on Earth.” Would the citizens of any large city like Calgary, Edmonton, Vancouver, Toronto or Montreal accept such a huge and destructive project if it were in their own backyard? Somehow I doubt it. But the tar sands are far away and the local population is small. Later in the film, such a place is called a “sacrifice zone.”

One worker claims: “If not for the oil sands, there’d be nothing to come here for.” Then the camera shows us some stunning scenery – a majestic river flowing through a pine forest.It might be difficult for the average person to get up there, but many people would enjoy seeing it, or just knowing that such a place exists.

When we’re told that $150 to $200 billion would be invested there over the next decade, I couldn’t help but wonder what could be accomplished if that kind of money was spent on sustainable development instead.

The abuse of the English language and the twisted metaphors used by some of the people in this film – you have to hear them to believe them. I predict gasps, laughter, boos and hisses at various points during the screening of This Changes Everything.

One guy has the nerve to frame the tar sands project this way: “We’re cleaning up one of the largest oil spills on earth.” There are claims that the area will be brought back to its original state 20 years from now. Tailing ponds will be cleaned and, “you’ll be able to drink the water.” I’d really like to believe that, but I just can’t.

Meanwhile, the Beaver Lake Cree Nation has filed a court case to stop any further exploration, since the oil sands are under their traditional land and the present project has already done so much damage to their lives.

I won’t describe the whole film in detail, but I will say that it visits activists in Montana, New York state, India, Greece, China and Germany. People are standing up, complaining, saying “No!” to rampant development, demanding their rights and a new way of doing things.

While Klein does not present Germany as a perfect place, she produces some impressive statistics (30 per cent of Germany’s electricity comes from renewables, emissions are down, employment is up, etc.) Could Canada do the same? Especially if we can elect a new government in a few weeks?

Speaking of our country, as a Canadian, I’m embarrassed and distressed to see a Canadian mining company throwing its weight around in Greece, eager to get its corporate mitts on the gold there. My apologies to you, people of Halkidiki. And shame on you, mayor of Halkidiki, who dismissed the intimidation and arrests of protestors when he said: “the police don’t knock on doors without a reason; they don’t knock on yours or mine.”

This woman in Halkidiki, Greece, opposes a Canadian gold mine in her area.
This woman in Halkidiki, Greece, opposes a Canadian gold mine in her area.

This Changes Everything, the film, is a companion piece to Naomi Klein’s book This Changes Everything: Capitalism vs. the Climate. They were created at the same time, the film is not based on the book.

I think it’s quite wise that the subhead, “Capitalism vs. the Climate” is not attached to the film – why alienate some of your potential audience right off the bat? As far as I can recall, the word “market,” as a synonym for capitalism, is not heard until 27 minutes into the film, and capitalism itself is not mentioned until 45 minutes in, when Greek activist Mary Christianou identifies it as the core problem. She’s initially reluctant to even say so on camera, because: “I don’t know if it helps the struggle.”

In reviewing the book, some writers suggest that “neo-liberalism” is more to blame for many of our present ills than capitalism alone. Abandoning the belief that all the resources of the Earth, the metals, the coal, the gas and the oil must be extracted, and that the Earth itself is just a machine that we can be trusted to run, seem like easier first steps on the path to change.

This screen grab from the documentary film This Changes Everything shows India buried under "Proposed Coal-Fired Power Plants."
This screen grab from the documentary film This Changes Everything shows India buried under “Proposed Coal-Fired Power Plants.”

This Changes Everything will be shown on Monday, Oct. 5, 2015, 7 p.m., at
1455 de Maisonneuve West, Room H110, Concordia University, Montreal, QC.
Naomi Klein and Avi Lewis will be there for a Q&A session after the film.

There’s a Facebook page for the screening of This Changes Everything.

Visit thischangeseverything.org to learn more about the book, the film, and what you can do.