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May 06, 2009

Bird is the Word: Ghost Bird

Posted by Elaisha Stokes at 10:56 AM ET | Comments (0)

Look up. Way up. What do you see? What do you think you see?

In the swamps of eastern Arkansas it might be a whole lot of nothing. Or so Ghost Bird a new film by director Scott Crocker suggests.

The Ivory-billed woodpecker has long been considered the Holy Grail by diehard birders who refused to believe it went extinct over sixty years ago. So when scientists announced that the bird had been found in the small town of Brinkley, Arkansas, it was celebrated around the world as the rediscovery of a lifetime. But the skeptics aren't convinced, and the evidence isn't conclusive.

What follows is a deep meditation on the politics of scientific discovery, the revival of a small town, and the hope for a species long considered a ghost from the past. Ghost Bird is not a film about birds, or environmental conservation. Rather it is a story of loss and belief, our difficult relationship with nature and our own tragic culpability. Ghost Bird is fundamentally a story about people.

Ghost Bird has it's world premiere at Hot Docs on May 6th at 9:45 PM at the Cumberland theater and May 8th at 1:30PM at the ROM.

More entries on: Hot Docs festival

May 05, 2009

How to tell imperfect stories: Reporter

Posted by Elaisha Stokes at 12:45 PM ET | Comments (0)

Before I was a blogger for This, I worked briefly as a media trainer in Zambia. The experience was challenging at the best of times and devastating at the worst, but overall I think I emerged a better person, and certainly gained a stronger understanding of the complex nature of international aid work. Suffice to say, sending your dollars to Africa isn't enough. Reporter, now screening at Hot Docs, attempts to answer some of these questions through the experiences of Nicholas Kristof, a two-time Pulitzer Prize winning columnist for the New York Times.

Reporter unfolds in the DRC, where decades of conflict have left four million civilians dead and countless more displaced. Like most conflict journalists, Kristof spends the film searching for that one individual story that can summarize an entire war and resonate with the readers. His goal: to make you care, which as he puts it, is almost impossible in an age where empathy is dead.

Reporter is Eric Daniel Metzgar third film, and without a doubt, his most commercial. Executive Produced by Ben Affleck and premiering at Sundance, the film still retains the tender appeal of Metzgar's earlier films. Unlike many of today's big budget documentarians, Metzgar directs, edits and photographs his own films. And while techies everywhere decry the shaky camera a one-man-filming-band can often produce, the result is a tender, intimate portrayal of the realities of international conflict reporting that goes beyond a superficial treatment and gets to the heart of the matter. It's like Sherman's March meets Apocalypse Now, and it totally works.

What sets Reporter apart from the pack of aid-agency documentaries released in the last few years (Shake hand with the Devil comes to mind,) is the imperfect characters. Metzgar's chilling commentary portrays Kristof not as a super-human being, or even a saint, but as a complex individual who sometimes detaches himself from the horror of his victims stories to get the job done. The dynamics between the characters is tense, anxious, and utterly real, making Reporter one of the docs to watch this festival season.

Reporter screens Wednesday May 6th at 4:30 PM at the Royal Ontario Museum

More entries on: Hot Docs festival

May 04, 2009

Since when did we divorce the right answer from an honest answer?

Posted by Elaisha Stokes at 10:49 AM ET | Comments (0)

Universities in Canada have been a source of political controversy for years. Increasing tuition fees, strikes that go unresolved for months, and conflicts between tenured professors are often the topics of nightly news reports. At times academia seems more like a political minefield that a sanctuary for the pursuit if higher learning.

Professor Norman Cornett, a new documentary by filmmaker Alanis Obomsawin, explores the wrongful dismissal of the professor Norman Cornett from McGill University in 2007. Cornett won the affection of many students with his unconventional teaching methods, which favored stream of conscious reflections over academic essays and standardized tests. He encouraged his students to explore diverse issues from a personal standpoint, and rejected the notion that academic pursuit much by an impersonal proposition. Unfortunately, McGill University did not share his views on unconventional teaching techniques and opted not extend his contract when it came up for renewal (Professor Cornett was not tenured faculty.)

Director Alanis Obomsawin, who is the subject of this years Hot Docs retrospective, explores the nature of what is means to learn through the story of Professor Cornett. Through the eyes of his excited and eager former students, Obosawin creates a touching and tender tribute to both the Professor and the virtues of an open minded and generous spirit. While this is a small film with a local perspective, it honors the spirit of the documentary medium, calling attention to a grave injustice, and building awareness on what it means to be truly educated.

Professor Norman Cornett will have its world premiere on May 8th at 9:30 PM at the Bader Theater in Toronto, Canada.

More entries on: Hot Docs festival

May 01, 2009

Jackpot! An interview with Filmmaker Alan Black

Posted by Elaisha Stokes at 10:59 AM ET | Comments (0)

Back in grade five (oh the good old days) my best friend Cait and I used to spend our lunch hours playing Bingo in the cafeteria. The Scottish lunch lady would call out the numbers and we would patiently scratch them out on our tiny square cards. It was free to play, and prizes included bouncy balls and stickers. Not that it mattered much - even at that tender age of ten I had the worst luck ever. I never won anything.

Still the thrill of the game stuck with me. And it turns out I'm not alone. I caught up with Canadian filmmaker Alan Black to talk about his new film Jackpot! Set against the backdrop of a local Toronto Bingo hall, Jackpot! explores what it means to really win in life.

Your film is about a Bingo hall in Toronto. Where did the idea come from? Do you play a lot of Bingo?

It came from playing Bingo with my grandmother as a kid. Every Christmas we would go down to Florida to visit her and pass the days playing Bingo. It was a great experience, exciting and a great feeling to win. To this day is stands out as a really Important childhood memory. Later on in life I went to play Bingo as an adult and it was so different, people were so serious, it wasn't fun at all. There was this strange sub culture that I don't remember existing when I played as a kid. Then I read an article about a shooting outside a Bingo hall at Jane and Finch over $1500 bucks. Four people beat another person to death. Can you imagine killing someone for $300? It made me realize, playing Bingo is not about the money. I started to wonder "what are these people really after?"

And what are they really after?

I think they are after purpose in life. Some glimmer of hope that their life otherwise doesn’t provide. I have a lovely fiancé, a job, a family and friends. Every morning I wake up and I think about all the good things in my life. I think about this interview, the festival, what’s next. But what do you do if you don’t have anything good on the horizon? If every day is the same and you have nothing to look forward too? All you want is a moment of success, some possibility. I believe Bingo players play for that moment of winning. They play for the feeling of possibility, that moment of success!

So is this film a comedy, a tragedy or a character film?

It’s a bit of all of those things. It’s not a comedy, it’s not for laughs. There is definitely humanity and comedy in the characters. But it’s not a tradegy either. It's a bit of everything, I hope.

The characters in your film love Bingo, but at moments it seems that this love is more of an addiction. In your mind, are these people gambling addicts, or is it more complex?

It’s more complex. The questions is not whether or not they are addicts, but why. What has caused them to meet something like this in their lives? You know, at one point one of the characters points out that playing Bingo isn't much more expensive than a night spent at the movie theater. In the end these people are spending their enterainment dollars on something that brings them joy, and what’s wrong with that?

It’s obvious through the intimacy of your interviews with the characters that you built a strong relationship with these people. What kind of process did you go through to gain their trust?

What you see is about 30 days of shooting. Myself and my producer spent every weekend playing Bingo and hanging out with the characters at the Bingo hall for an entire year before actual filming commenced.

Did you ever worry you might become addicted to Bingo?

I don’t have an addictive personality. I really like Bingo and there is something exciting about winning or coming close. When you're one number away from winning you get this amazing rush. I get that, but I don’t think I need it. There isn’t that void in my life

What do you think your film says money and our current recession?

I think it's funny that the film is being read that way. Jackpot! is in the Lets Make Money program at Hot Docs and I’m on a panel about greed and poverty. But this is not a movie about money. It’s a film about an absence of something. That absence could be financial, but it could also be emotional, social, etc. I suppose in the end this film speaks to overcoming adversity. It speaks to perservearance and finding purpose when things aren’t going well.

Is this a hopeful film?

I think so. I think it’s about not giving up. About finding something to keep you going, even when that thing is very hard to find.

What the one thing your hope the audience takes away from this film?

I hope they get a glimps of a section of Toronto they never get to see. I hope they get exposed to a world they don’t really know about. I hope it helps them better understand peoples motivations in life, however silly they might seem. In the end, you can’t really judge people on what there doing, you can only hope to get a better understanding of why they are doing it.

Jackpot! screens at the Hot Docs International Documentary Film Festival Friday May 1st at 10 PM at the Royal Cinema, and Sunday May 10th at 6:30PM at the Bloor Cinema.

More entries on: Hot Docs festival

Hot Docs launches with docs in crisis

Posted by Elaisha Stokes at 10:27 AM ET | Comments (0)

Last night marked the opening of the 16th annual Hot Docs International Documentary Film Festival, the largest documentary film festival in North America, and an important industry event for independent film makers world wide. As an independent Toronto based producer, I've been involved with Hot Docs for the last four years. This year I'll be covering the event for This Magazine, bringing you news and reviews from the front lines of the festival.

This years festival is the largest in the history of Hot Docs. It's also arguably the most important. The global economic down turn, combined with the restructuring of Canadian government funding for film and television has created unprecedented challenges for documentary filmmakers. Recently, the Conservative government elected to abolish both the Canadian Television Fund (CTF) and the Canadian New Media Fund (CNMF). While these funds have been replaced by the Canadian Media Fund (CMF), the CMF is controlled by the cable industry, with no commitment to educational or documentary programming. Moreover, private broadcasters will have access to the CMF to produce their in-house productions. The result? Less financing for independent Canadian producers, more of tax payers money in the hands of private broadcasters and cable companies, and less quality Canadian content on our airwaves.

Independent Canadian documentary production is a $170 million dollar industry in Canada. It represents some of the best in educational Canadian content. While Hot Docs is a time of celebration for an industry with international recognition, it's also a time to pause and reflect on what kind of content we as Canadians want to see on our airwaves. Like it or not, television matters. And in my mind, television without Canadian content in no television worth having at all.

More entries on: Film | Hot Docs festival

April 25, 2008

The Northwest Passage has no more pomegranates

Posted by daniel at 12:37 PM ET | Comments (0)

First off, apologies for the spell of darkness. I wasn't trying to express certain silences of the documentary form with the silence of this blog. (Or was I?) No, a combo of slow internet, distractions, etc -- these are to blame. There must always be something to blame. (Or must there?)

On Wednesday I watched Passage in a sold-out theatre. Passage is an attempt to rescue the reputation of John Rae, the man who discovered the true story of John Franklin's death as he sought the Northwest Passage, from the dustbin of history. Much less successfully, experienced director John Walker tries to valorize the Inuit's role in the whole affair.

The film is a po-mo tour-de-force, blending historical recreation, rehearsals of the historical recreation, debate about historical recreation, etc etc. And yet, it works! At least, insofar as the narrative is compelling and remarkably easy to follow. It's also pretty heavy on self-congratulation. And with its lionization of Rae, Passage's intended spotlight on the role of Inuit in Rae's achievements is dimmed and at times forgotten.

Tehran Has No More Pomegranates is another po-mo tour-de-force. (Yes, from now on I will only be reviewing po-mo tour-de-forces.) I saw it yesterday in another packed house.

It's director Massoud Bakhshi's history of Tehran, mostly the past hundred years, organized loosely around the theme of the contradictions and idiocies of various attempts to modernize the city. Unlike Passage, a sincere and serious movie with a playful form, Tehran is an ironic, sarcastic, and funny treatment of Tehran -- it's almost documentary sketch comedy. Though in its last few scenes, Tehran's loose structure begins to wear, on the whole it's an entertaining and insightful and quite beautifully shot.

More entries on: Hot Docs festival

April 22, 2008

Obstructed View

Posted by daniel at 03:39 PM ET | Comments (0)

[Hot docs media downloads are down, at least here in the Reference Library. So no photo for you!]

Last night I watched another slow-paced doc about migrants -- this time, asylum seekers -- and I was lulled into such a deep ravine of slumbererous sludge I couldn't even bring myself to get up and leave. I should have brought a pillow and caught up on my sleep.

Seaview sucked all the more poignantly because of its potential. Seaview is a former holiday resort built after World War II on Ireland's coast where middle class English families could go for cheap vacations. 6000 people could live there at a time. Now Seaview has about 800 residents -- asylum seekers who wait up to six or seven years to find out whether Ireland will grant them entry as refugees. Only one in ten is accepted, allowed to join the 5% of foreigners in Ireland who are also refugees.

The situation is melancholy. Extremely. So melancholy that for what seemed like two thirds of the film, directors Nicky Gogan and Paul Rowley's cameras trained principally, sentimentally, even obsessively on empty chairs, empty swimming pools, empty hallways. Yes, I got the point: this place is a horrible institution to live day in and day out. The problem was they put the baby in sulphuric, muddy bathwater (leaving only one option). They confused the institution being unbearable with the documentary being unbearable. Now even my review is belabouring the point!

Okay, all that said, there were several watchable bits: Images of a man on a hunger strike who refuses to speak; bright-eyed children only slowly discovering the miseries of institutional life; a little-too-crude selection of refugees saying how desperate they were to work and contribute taxes instead of burdening the Irish taxpayer.

Hoping for better fare today. Meanwhile, Seaview does play again, Thursday at 2 at Isabel Bader, in case you're suffering from daytime insomnia.

More entries on: Hot Docs festival

April 19, 2008

Catch me, I'm falling

Posted by daniel at 07:12 PM ET | Comments (0)

Well, if you're going to duck into a dark theatre at midday in the middle of a beautiful, sunny Saturday -- Toronto spring's first such Saturday -- you'd better get to see some pretty stunning landscapes. 20 Seconds of Joy didn't disappoint.

I should admit, I would never have gone to see 20 Seconds if it hadn't been for the first five installments I've recently watched of BBC's Planet Earth series. I thought I'd had my fill of wild and gorgeous nature docs. But I was wrong! Oh, so wrong. Anyway, this one, about BASE-Jumping, really reeled me in with its promises of beautiful nature.

But actually, if the shots of Karina Hollekin hurling herself off 290-metre cliffs (including wearing a wild, flying squirrel-esque suit) are the visual highlight, they're actually just window-dressing for a more serious subject: death. Or the fear and/or courting of. As one of the other jumpers interviewed in the movie puts it, "You don't really talk about it, but this sport will eventually kill you." One wrong move and it's over. In exchange for a tiny window of orgasmic joy. With the difference that in BASE-Jumping there appears to be little pleasure in repetition -- to keep the high you have to keep doing ever more dangerous stuff.

It's this vicious dynamic that provides the drama. And makes 20 seconds more than just another sports doc. Though not that much more. The director and central character have obviously bonded, leaving a lone on-camera psychologist (and former extreme sporter himself) providing just a few teasing ideas about megalomania. The rest of the critical thinking you'll just have to do yourself. 20 Seconds plays again Tuesday at 1:30 at the Cumberland.

More entries on: Hot Docs festival

Mexican standoff

Posted by daniel at 04:37 PM ET | Comments (0)

I learned a new word watching the Mexican doc The Demons of Eden: narcopederasty. But to be fair to the film's scope, it should be expanded even further, maybe ending up with something like, "narcokleptocapitalopederasty". And there you have your subject line.

If Demons of Eden cast a wide net, it must be admitted, it caught a lot of fish. But let's leave that metaphor behind. The main storyline follows Lydia Cacho, a human rights writer whose initial plan was to become a cultural journalist and write poetry -- "the beautiful things in life." No such luck. After one scoop led to another, she ended up writing a book about a network of extremely wealthy pedophiles in Cancun, featuring two Lebanese-Mexican gangsters of obscene wealth and influence. Though initially the sidekick, "Denim King" Kamel Nacif Borge becomes the main villain, landing Cacho in jail and arranging her torture.

In the investigations that follow, all rocks are unturned. Some reveal spectacular grime. Taped conversations between Nacif and various figureheads of the establishment, including the governor of Puebla province, are explosive and disturbing. Others reveal distractions -- a brief detour on the toxic blue water released by denim factories raises far more questions than it answers.

The movie's style is as hectic as its substance. A cacophony of extravagant graphics is out of control, making the subtitles often very tricky to follow. But Lydia Cacho's dignity and courage shine through, and if her story is rich in detail and digressions it's strong enough to keep you gripped (if confused). Like Shock Waves, Demons of Eden suggests that its journalist protagonist is ultimately a great nationalist. Cacho speaks frequently about wanting to bring out the best in her fatherland. Good luck to her. The film plays again Monday at noon at the ROM.

More entries on: Hot Docs festival

April 18, 2008

Reporting the news, building the nation

Posted by daniel at 10:48 PM ET | Comments (0)

Before Shock Waves came a 30-minute short called Umiaq Skin Boat which followed a group of Inuit elders building the first Umiaq (a traditional skin boat) in the community in 50 years. Boat-building being only so riveting, we also get some tall tales of survival from the elders, reminding me of an incredible book, Uqalurait: An Oral History of Nunavut. (For more arctic facts and some self promo, check The Walrus's arctic issue's special arctic facts gizmo.)

Shock Waves is a harrowing celebration of a network of radio stations in the Democratic Republic of Congo (DRC) called Radio Okapi. Of course, the story's heroes are the reporters themselves, followed around as they put themselves in ever more precarious situations (though we get to see them drink beer and debate governmental incompetence too). And yes, there is footage of a dangerous encounter at a riverside military checkpoint shot with a secret camera.

But it's much harder to watch one of Okipa's journalists interview a woman brave enough to recount being raped by a soldier. Five years after the official end of combat (in 2003), sexual violence continues to rage. The reporter asks her if she's had an HIV test since the rape. She says no. He offers to help her procure one. For a long time she looks down silently as her baby nurses. But she won't agree. She says she's afraid. According to the doc, 25% of the women raped in the DRC contract HIV.

The station is actually Congo's largest, with eight branches spread across the country and funding (now expired) from the UN and a Swiss journalism foundation called Hirondelle. The UN, which at its height had 17,000 peacekeepers in the country, also provide the reporters with much-needed security. Emerging from a massive civil war, journalism is the right profession if you're looking for death threats. Or the chance to build a nation.

One reporter says, "We have a historical role to play, helping make sure that social change can happen." Absurd as that would sound coming from Peter Mansbridge, in the DRC these reporters literally provide a voice for the voiceless. The doc also makes a lot of hay about the fact that in a country as vast as Western Europe but with little movement between regions (aside from the 1.5 million internally displaced), a truly national radio station is playing a huge part in the forging of national unity and identity. There's a sense that Okipa is providing for the Congo what Benedict Anderson, in Imagined Communities, believed the newspapers did throughout much of the rest of the world--a common narrative digested at the same time of day, allowing people who have never met to feel almost as close as neighbours.

The two are playing again Sunday at noon at the ROM. After wiping away your tears of frustration as you try to make it through the Sunday Star without unlearning too much, this is where to go if you want to see journalists earning their liquor money.

Tomorrow I review The Demons of Eden. Stay tuned!

More entries on: Hot Docs festival

Danger is somebody's middle name

Posted by daniel at 05:55 PM ET | Comments (0)

Blogging a Toronto film festival may not be literally dangerous (despite being an act of aggression against actual literature), but real journalism often is. This evening, I'm hoping to explore the theme twice. Apparently, neither film is a "hot pick". Then again, the margins are where the action is; as a German Jew might have once said, "The decisive blow is always struck left-handed."

First up, at 6:45 at Al Green, is Shock Waves, a look at a daring Congolese community radio station, Radio Okapi, by a Quebecois documentary team.

Next, at 9:00 and also at Al Green, I'll try The Demons of Eden, the story of a Mexican human rights journalist with powerful enemies who's investigating violence against and women and children.

There's probably a pun to be made contrasting the grimness of the themes with the fact they're in romance languages. But I won't go there.

More entries on: Hot Docs festival

Heavy hammer, bright sparks

Posted by daniel at 12:37 AM ET | Comments (0)

Anvil is ostensibly a movie about a metal band, but like any classic narrative, it's really about something more elemental--a self struggling against a context. Or in this case, two selves, Lipps (lead guitarist Steve Ludlow) and Robb (drummer Robb Reiner), who in the 1980s influenced and played with David Bowie and various metal luminaries before descending into obscurity. Now, the band's leads are in their early fifties and trying to make a final stand. As Lipps notes wryly -- yet optimistically -- early in the film, "It could never get worse than it already is."

Sound familiar? Of course, nothing about this movie was remotely familiar. Nearly everything was weirdly, becomingly strange. For me, the most outrageous act on camera happens when one of Anvil's fans, at an Etobicoke night club, chugs a beer through his nostril. But when fifty-something metal rockers weep as they make up after a terrible fight; when a 10,000-person venue attracts under 200 fans (in Romania); when a painful meeting with a record label executive reaches its painful conclusion; you feel for these guys.

I may have even felt it a little extra when we learned, about halfway through, that Lipps and Robb are Jews. Myself, I'm only half Jewish. But I suddenly felt even closer to these misfits tragically torn between two communities--one they were leaving behind and one they sought to join. Heavy metal has to be one of the great goyim scenes. That's not what Anvil was after--and yet, wasn't it?

I won't ruin the ending beyond saying the film was as deeply moving in its conclusion as promised in its middle acts. If you have the chance to see it and are looking for something outside the realm of social justice cinema, check it out. It's playing this Sunday (sold out, I think) but also next Sunday.

Still, there was something strange about the post-movie Q&A featuring director Sacha Gervasi (screenwriter of the Steven Spielberg flick The Terminal). Ultimately, you've got a highly successful Hollywood operator who, yes, was an Anvil roadie in his late teens, but is now using their failure as the narrative matériel of his latest success. Nothing wrong with that of course. But to see it all on stage brought it a little closer to home. At least, I thought so.

Afterward, I went to the Hot Docs opening party in the atrium of the MaRS building--a center for various forms of innovation, or so the government tells me. The risotto and pad thai were tasty, the wine drinkable, the Stella comfortably snobby (while tasting faintly like fancy, well-treated Belgian sewage), the guests charming enough. I should write something nasty or insightful. But that will have to wait.

Tomorrow's a big day. So off to sleep. See you soon.

More entries on: Hot Docs festival

April 17, 2008

Documenting the documentaries

Posted by daniel at 04:06 PM ET | Comments (0)

DOWNTOWN TORONTO--Today begins the 15th Hot Docs, "Canada's international documentary festival". This is my first time blogging a festival--I'm excited. First off, as I'm not a documentary "expert", I'll spare you a long introductory rumination on the documentary form. For the moment.

But I am a narcissist. So I'll kick things off with a quick introduction to my toolkit. But first, tonight is the special opening screening of Anvil, a look at some pretty old, very loud people. More sophisticated analysis to come. Also tonight, the opening night reception.

More serious fare starts tomorrow. I'm especially looking forward to The Demons of Eden.

The Toolkit:

(1) My laptop. Without it, I cannot blog. (2) A glass of water. (3) My press pass. My authenticity. (4) The competition. They have more resources but less spunk. (5) A pen and notebook. Almost as important as the press pass for looking authentic. (6) A list of Hot Docs parties and receptions. (7) My cell phone and mobile office. (8) A voice recorder. Almost as important as the notebook for looking authentic. (9) Some light reading to pass the time between screenings.

More entries on: Hot Docs festival

Hot Docs coverage at Blog This

Posted by mason at 12:39 PM ET | Comments (0)

For the next 10 days, Blog This will be alive with reviews and news from Hot Docs, a documentary film festival taking over the screens of Toronto. All this thanks to our special Hot Docs correspondent, Daniel Cohen. Daniel lives in Toronto and has written about politics and culture in Canada and South America for the Toronto Star, NOW Magazine, The Walrus and New Internationalist. He is co-editor of Notes from Canada's Young Activists and a contributor to GreenTOpia: Towards a Sustainable Toronto. Daniel tells me this is his first time blogging a festival, and with many boozy receptions slated for the event, anything can happen... (Now take it from me, Daniel, don't drink and blog! If you must, then observe the cardinal rule: Write drunk, edit sober.)

Keep visiting Blog This for one-of-a-kind Hot Docs coverage.

More entries on: Hot Docs festival

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