Montreal’s French-language film festival Cinémania runs from Wednesday, November 1 until Sunday, November 11.
The opening night film is Doubles Vies, directed by Olivier Assayas. Stars include Juliette Binoche, Guillaume Canet and Vincent Macaigne. The films characters are involved in the book publishing industry in France.
The film has English subtitles; its English language title is Non-Fiction.
Opening night tickets are $25, but the film will also be shown again on Saturday, Nov. 3, 2018 at 11:15 a.m. Tickets cost $9 for people 30 and under; $12.75 (people 65 and older). General admission is $13.50
Both screenings will be at Cinéma Imperial, 1430 Bleury.
The Cinémania lineup includes films from France, Belgium, and a Quebec-Belgium co-production.
In a fun twist, the French film Le Grand Bain (Sink or Swim) will have one of its two screenings at the swimming pool of the MAA Sports Centre, 2070 Peel St. Le Grand Bain is about a bunch of guys who form a synchronized swimming team. Some have compared it to the British film The Full Monty.
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.
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.
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.
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.
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.
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.
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.
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.
In the 12-minute NFB/ONF documentary Oscar, filmmaker Marie-Josée Saint-Pierre uses animated sequences, archival footage, photos, news clippings and other documents, radio and TV interviews with Montreal-born jazz pianist Oscar Peterson to chart his career and to depict the loneliness of life on the road and the toll it takes on a marriage, on the relationship between a father and his children and on musical performance, too. (Peterson was only 19 when he married for the first time. He tells an unseen interviewer that he should have waited until he was at least 40.)
A telegram reads: “I miss you Daddy. When are you coming home?” We also see a divorce document – genuine or recreated, I don’t know – that lists the respective parties as “Oscar Peterson” and “Mrs. Peterson.” That’s how it was in those days, married women didn’t even have a name of their own. More cringe inducing is a radio segment from 1944 in which announcer Jeff Davis calls 18-year-old Peterson a “coloured boy with amazing fingers.”
In addition to talk about the hardships of touring, we see daytime and night-time photos of Montreal back in the 1940s, are reminded how popular our city was with U.S. tourists, and revisit the tale of how U.S. impresario Norman Granz was riding in a Montreal taxi when he heard Peterson on a live radio broadcast from the Alberta Lounge. Granz instructed the driver to take him there right away.
In the next sequence, Granz has taken Peterson to Carnegie Hall, where he plays on a bill that includes Ella Fitzgerald and Dizzy Gillespie. (Granz was Peterson’s manager for most of his life; a New York Times obituary for Granz says that Peterson named one of his sons after him. Google tells me that late in life Peterson had a daughter named Celine. Was she named for our national songbird? Anybody know?)
An animated depiction of CBC radio host Peter Gzowski is astounded when Peterson tells him that he thinks ahead while he’s playing, or more precisely, that he plays behind his thinking.
Needless to say, Oscar contains lots of Peterson’s music, too, a bonus for old fans and newly created ones.
Oscar is part of a three-film selection called Animating Reality 1: Familiar Faces, that will be shown on Sunday, Nov. 27, at 1:15 p.m., as part of the Sommets du cinéma d’animation film festival, at the Cinémathèque Québecoise, 335, de Maisonneuve Blvd. E.
NOTE: Casino, a 4-minute film by Montreal director Steven Woloshen, uses music by Oscar Peterson. Casino is among the films in the International Competition – Programme 3, that will be shown at 3 p.m. on Sunday, Nov. 27, at 1:15 p.m., at the Sommets du cinéma d’animation.
You don’t hear about scanning tentacles everyday; neither do you get to talk to an Oscar winner. But some of us did both yesterday (Friday, Nov. 25, 2016) when filmmaker Joan Gratz gave a master class at the Les Sommets du cinéma d’animation here in Montreal. We learned a lot and laughed a lot, too.
Gratz’s Mona Lisa Descending a Staircase won Best Animated Short at the 65th Annual Academy Awards in 1993. (Snow White announced the award. Seriously! Gratz did not mention this herself, but I saw it on YouTube.)
I had seen it before, but did not realize that she had created the images with clay. Gratz explained how she does that, and showed us many of her other films, including Kubla Khan, Puffer Girl, and Pro and Con.
Meanwhile, you can see her latest film Primal Flux, as part of the International Competition 3 selection, at Sommets du cinéma d’animation, on Saturday Nov. 26 at 5p.m. and Sunday Nov. 27 at 3 p.m. Both screenings will be in the Salle Principale of the Cinémathèque Québecoise.
335, de Maisonneuve Blvd. E.
Montréal, Québec, H2X 1K1
The 15th edition of Les Sommets du cinéma d’animation, at the Cinémathèque québécoise, will squeeze many activities into a mere five days.
The film festival’s schedule includes short and feature-length animated films from around the world, master classes, and a free stop-motion workshop for children (I’m jealous!).
Canada’s venerable nation Film Board (NFB/ONF) is well represented and there are competitions for student films, from Montreal, Quebec, elsewhere in Canada and abroad.
Admission to the films: $10 for adults, $9 for students, seniors and those 4-16 years old.
Autumn brings us crisper days, falling leaves, pumpkins, turkey and the 45th edition of the Festival du nouveau cinéma. There will be 138 features and 170 shorts from 62 countries, from Afghanistan to Yemen. On the festival’s web site you can search for films alphabetically, by type of work, genre, or country. (Read about the films here; consult the schedule here.)
The festival opens Wednesday, Oct. 5, 2016 with Kim Nguyen’s Two Lovers and a Bear, set in the snowy Arctic. (The closing film, Maliglutit (Searchers) from Zacharias Kunuk is an Arctic film, too.) While the opening and closing events are “invitation-only,” the two films will have other screenings during the festival.
There will be some well-known names among the directors and stars, along with many talents that might be new to us. The well-known directors include “friends of the festival” Wim Wenders and Jim Jarmusch, along with 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.
Retrospectives will look at the works of Michael Cimino and Krzysztof Kieslowski, among others.
Documentaries will cover many topics, including music (French electronic music, Iggy Pop) actors (Toshiro Mifune) and filmmakers (Abbas Kiarostami, Sion Sono).
The festival is blessed by its place on the calendar – it can nab hits from other festivals, from Sundance in January right up to the very recent ones in Toronto and Venice.
Those hits include Toni Erdmann, a German-Austrian co-production about a very serious businesswoman who is miffed that her prankster father is more popular with her friends and colleagues than she is. At one point he disguises himself as a Kukeri, a Sasquatch-like creature of Bulgarian folk legend.
In Aquarius, from Brazilian director Kleber Mendonça Filho, Sonia Braga plays a retired music critic who resists ruthless developers who want to tear down the beach-front apartment she’s lived in for decades. The film was expected to be Brazil’s Oscar contender, but it fell victim to politicial wrangling.
The festival will present The Handmaiden, Park Chan-wook’s tale of love and deception, with French subtitles. That version is called Mademoiselle.
The festival will also present episodes from TV series that were made in Argentina, Belgium, France, Poland, and the U.S. One of the more bizarre selections is Le Ball Trap, a French production featuring stuffed animals. Not the kind of stuffed animals you buy in a toy store – stuffed as in taxidermy. Formerly living creatures which are now looking somewhat worse for wear.
There will be master classes with directors Ulrich Seidl of Austria, Félix Van Groeningen of Belgium, Nadav Lapid of Israel and Jennifer Reeder of the U.S.
Other events include a cinema quiz and musical evenings. Read about them on the festival’s web site under “All Events.”
In the last few years, many local film festivals have featured virtual reality components and FNC 2016 has lots of them. Read more about virtual reality at FNC here.
This year, locations for films and other events include: Cinema Imperial; Cinema Du Parc; Theatre Maisonneuve; Pavillon Judith-Jasmin Annexe (the former NFB/ONF Cinema); Cineplex Odéon Quartier Latin; Theatre Saint-Denis.
The Festival du nouveau cinema runs from Oct. 5 to Oct. 16. Tickets can be bought online; prices range between $8 and $13. Passes and booklets are available, too. (Click here for FNC ticket information.)
Or, you could opt for Sembene! a documentary about the Sengalese filmmaker Ousmane Sembene. A favourable review by Matt Zoller Seitz of rogerebert.com says the film makes “the director, who died in 2007, sound not just like a great artist and relentless person, but a figure out of a legend or folktale: an invincible juggernaut of a storyteller; the man who gave voice to African stories that, until the early post-colonial period, had been largely voiceless on film.” “One of the recurring points made by various witnesses is that until Sembene burst onto the scene, images of Africa were mainly about pretty scenery with exotic wildlife that visiting American and English movie stars could have adventures in front of. In other words, the continuation of colonialism through cinema. Sembene did much to counter that tendency, although he never enjoyed the kind of widespread acclaim that other international directors, including Chinese and Japanese masters, have sometimes enjoyed in Western nations.”
The documentary Poverty Inc. looks at how efforts to help people in other countries often make things worse than they already were A Variety review says the film is ”an easy-to-understand docu-essay with a tough-to-accept message, especially as it implies that some aid organizations may actually be cashing in on their concern.” “The problem, “Poverty Inc.” cautions, is that few pause to think what happens after they’ve written the check, never fathoming that the mere act of giving can actually have have a detrimental effect.” “Poverty Inc. treads a delicate line between condemning NGOs and encouraging otherwise generous-minded souls to think twice about the sort of support they provide to societies in need — the key advantage here being Miller’s solution-oriented focus on the “right” kind of aid.”
Canadian connection: U.S. actress Constance Ejuma, female lead in the film Ben & Ara, studied theatre at the University of Toronto.
The films mentioned above are just a sampling. The festival is showing shorts and features, comedies, dramas and documentaries. The films were shot in Belgium, France, Martinique, Senegal, the U.S. and elsewhere. In addition to Concordia University, screening venues include Cinema du Parc and the former NFB/ONF cinema on St. Denis.
“An old stranger appears in a peaceful rural village, but no one knows when or why. As mysterious rumours begin to spread about this man, the villagers drop dead one by one. They grotesquely kill each other for inexplicable reasons. The village is swept by turmoil and the stranger is subjected to suspicion.”
– Synopsis from the press kit for The Wailing.
Dread, murder, unexplainable events, irrational behaviour, gossip, rumours, nightmares, fear of the other, a large, fierce dog, big, black crows and mesmerizing rituals. That’s what you get in Korean horror film The Wailing (aka Goksung, 곡성).
I’ve wanted to see it ever since I read the rave reviews from the Cannes Film Festival. It did not disappoint! (The Cannes critics liked director Na Hong-jin’s earlier films The Chaser and The Yellow Sea, too.)
The Wailing is set in the beautiful, misty mountains of rural Korea, where people still live in old-fashioned homes with tile roofs. It looks like the kind of place where nothing much happens from one decade to the next.
A string of gruesome murders disrupts the tranquility and we watch as policeman Jeon Jong-gu (Kwak Do-won) tries to figure out if and how they could be connected. While a newspaper headline blames the disorienting effects of poisonous wild mushrooms for the first murders, Jong-gu wonders if some kind of virus might be going around? (The presumed perpetrators all had horrible rashes.)
Then there’s gossip about a strange Japanese man (Jun Kunimura) who lives in the forest. Some people are convinced that he’s evil, and responsible for the deaths, directly or indirectly. Supposedly he’s been seen wandering in the woods, half naked, chomping on dead animals. One woman says he’s a ghost, feeding on the spirits of the living. Any stranger could come under suspicion in an isolated community, but Japan’s earlier occupation of Korea would further complicate the way the locals view this interloper. Whoever or whatever he might be, a visit to his dwelling proves that he’s not just your everyday recluse.
Policeman Jeon Jong-gu is neither the suave, super cop of some films, nor the corrupt, crooked one of others, rather he’s an Everyman type; pudgy, and a bit of a doofus. After he gets a pre-dawn call to investigate the first murder scene he lets his wife and mother-in-law talk him into eating breakfast first – a few minutes more or less won’t make any difference to the dead, right? His boss and the other cops are not impressed when he finally shows up. Slacker!
Jong-gu seems rather indifferent to his wife (then again, this is not a romantic comedy) but he dotes on his cute young daughter, Hyojin (Kim Hwan-hee). Then she develops a rash too, and starts acting so much out of character that possession seems like a real possibility. When Jong-gu looks at her school notebook, it’s full of strange scribblings and scary drawings. (Have you seen The Babadook?) It also looks like it’s been mauled by a creature with long, sharp claws.
A mudang (shaman) is called in. The shaman is played by Hwang Jung-min and he’s great. I’ve seen shamanic rituals in many other Korean films but the ones here are exceptional, especially the second, longer, night-time one. (I read an article online that some people on the film set thought Hwang really was possessed.)
The Wailing is NOT one of those films where the villain confesses everything, or some expert explains it all before the credits roll. If you go with friends you could have some very interesting post-film discussions about what really happened, who was good and who was evil. The Internet is full of contradictory theories, with some people essentially saying “I’m right because I’m Korean!”
If you read those theories, bear in mind that director Na Hong-jin told the Korea Times: “I mulled over the ending and decided I had to leave it open.”
A final note: Sadly, we Montrealers don’t get to see many Korean films outside of film festivals. If you like the sound of The Wailing try to see it at Fantasia because it will be more impressive there, on a big screen, with a great sound system and the famous, enthusisatic Fantasia audience. Furthermore, some scenes take place at night or in murky interiors – you’ll be able to see them much better in the cinema.
The film is 156 minutes long, but doesn’t feel like it.
Director: Na Hong-Jin
Writer: Na Hong-Jin
Cast: Kwak Do-won, Hwang Jung-min, Jun Kunimura, Kim Hwan-hee, Chun Woo-hee
In Korean with English subtitles, 156 minutes long, showing at the Fantasia International Fim Festival Monday, July 18, 2016 at 9:35 p.m., in the hall Theatre, 1455 de Maisonneuve Blvd. W., Montreal.