Throughout my time at this year’s FNC, I decided to focus nearly exclusively on their Canadian film selection. I chose to do this because I believe we are in the midst of a creative renaissance within the world of Canadian film. Universal Language, Rumours, Matt & Mara, Measures for a Funeral, Therapy Dogs, Skinamarink, Open Doom Crescendo, The All Golden, Geographies of Solitude, Les Chambres Rouges, Shiva Baby, The Maiden, I Like Movies, Babysitter, Vampire Humaniste cherche Suicidaire consentant, Cette maison, Infinity Pool, Promenade nocturnes, In a Violent Nature, Retrograde, Night Raiders, Honeycomb, Blackberry; All Canadian-directed feature films from the past five years that have pushed the boundaries of what cinema can and should be. Not since the 90s has Canada had such strong voices persisting and challenging Canadian audiences, nearly demanding that they pay attention. In some instances even threaten to leave if not appreciated for what they are. This is foreshadowed by Kyle Edward Ball (Skinamarink) and Matt Johnson (Blackberry) both shifting to separate deals from American powerhouse A24. It would seem as though the days of having the Canadian film slate be taken over by established directors being allowed to fail upwards, or in a straight line above the rest, are nearly behind us. Possibly making way for this newer crop of filmmakers to become internationally recognized. Even institutions like Criterion have taken an interest as you can find the works of Miryam Charles, Sofia Bohdanowicz, Caroline Monnet, Lina Rodriguez, Kazik Radwanski, Sophy Romvari, Matthew Rankin, Brandon Cronenberg, Ryan Mckenna, streaming on The Criterion Channel alongside giants. Now, Criterion, Let’s get some Blu Rays going, eh? I’m not even going to touch on the national short film scene as it is absolutely exploding with talent at the moment, but that deserves its own piece and this is about the Festival du Nouveau Cinema! Anyways, rant over. Free Palestine.
The following are the highlights of what I watched at the 53rd edition of the FNC.
Universal Language- Matthew Rankin – Manitoba & Quebec, Canada
“Iranian cinema comes from 500 years of poetry, and Winnipeg cinema comes from 50 years of discount furniture commercials” – Matthew Rankin during the Q&A
In many ways, Universal Language is like a warm blanket fresh out of the dry on a winter day. However, in those same ways, the film is like a nostalgic punch to the gut. Initially portraying Winnipeg as a transitionary space that is desperate to be interesting to outsiders (the decades-old briefcase sat unmoved on a bench, the water fountain that won’t turn on in a dead mall), Rankin and co-writers Ila Firouzabadi and Pirouz Nemati shine through their sentimentality. What was initially positioned as a joke insisting that Massoud, the tour guide, could not find anything interesting to showcase, morphs from absurdity to tenderness as the guide says “I like to show people places that I love”. The water fountain that once held wishes from a simpler time, a briefcase that signals kindness within the community, an apartment complex not filled with celebrities, but with regular hard-working people, and for future generations, possibly a dollar bill immersed in ice. What would seem remarkably unremarkable to the tourist remain memories, past and present, that make up a hometown for those in the know.
What struck me most about Universal Language is the glimpse into what a truly multicultural Canada could be. Not cultures constrained to boroughs, but cultures allowed to marinate and become one with their surroundings. After all, the most popular conversation surrounding the Canadian identity is that there isn’t much of one to speak of. Save for stereotypes and jokes about being overly kind and apologetic. Why does our government hold on to a xenophobic Canada that refuses to change and adapt to the people who make up its good aspects? Why do our laws forbid the public expression of beautiful languages beyond the two deemed official (or only one in Quebec’s case)? Who chose these languages? Canada owes a debt to its citizens that it will never be willing to pay.
Watching this film was anything but a neutral experience as I found myself becoming quite emotional at the sense of community, nostalgia, and loss that permeates throughout this somewhat utopic version of Winnipeg (save for all those damn highways). With its beautiful display of Iranian culture, a Canada that could be, and a wholly heart-wrenching tale about a son who has lost his home, Universal Language sets a new standard not only for Canadian cinema but for the film scene at large. As Rankin himself remarked during the Q&A The Twentieth Century was the movie of a young man, whereas Universal Language could only be born from experience, maturity, and the emotional understanding that (hopefully) comes with age.
Rumours – Guy Maddin, Evan Johnson, Galen Johnson – Manitoba, Canada
Also originating from Winnipeg, but with a goofier twist, comes Rumours, the latest work from Guy Maddin and the Johnson brothers. A film that portrays a much more unfortunate, despite its accuracy, view of Canada.
Gone are (most of) the influences and pastiche of silent cinema and in are the soap opera framings, melodramatic orchestral score, and spoken dialogue! Closer in tone to The Saddest Music in the World than to The Forbidden Room, Rumours follows G7 country leaders who are essentially faced with the crisis of not having anybody to do their work for them due to possibly sinister, but definitely supernatural causes. With a British person as the American president, an Italian prime minister with a steady supply of pocket cold cuts, and a Canadian prime minister who’s under scrutiny for insurance fraud, Maddin and the Johnsons take a very critical magnifying glass to the concept of government and the bureaucracy that follows.
As we watch the seven incompetent world leaders struggle to write a single notes app apology-like address, through many goofs and absurdities, lay actual criticisms as the seven characters work as stand-ins for their country’s quirks, faults, and eccentricities. Be it because Roy Dupuis’ Canadian Prime Minister is positioned as one of the leads of the film, or because I am more well-versed in Canadian politics than those of the other countries on display, it is the portrayal of Canada that stood out to me the most. Rumors portrays our nation as a very short-sighted country that is horny enough to get into bed with anyone willing to solve their immediate problems. A colonialist Canada who speaks in contradictory statements, choosing to apologize for their wrongdoings instead of doing anything about them. There is a particularly damming scene involving the prime minister, a zombie, and a land acknowledgment which I’m sure you can put together for yourself.
With Maddin being 63 films deep at the point of writing, you can probably tell right away if you’ll like this film or not. As a massive Maddin-head myself (I’ve seen 42 out of the 63 so far), this film was everything I wanted it to be. I loved it. It’s an absurdist satire that goes to some extremely whacky places that only Maddin and the Johnsons can go to with such confidence.
Matt and Mara – Directed by Kazik Radwanski – Ontario, Canada
I have been a fan of Kazik Radwanski, Deragh Campbell, and Matt Johnson for quite some time now. In many ways, individually from each other, these three kickstarted my obsession with Canadian film. Kazik with How Heavy This Hammer (2015), Deragh with Fail to Appear (2017), and Matt with The Dirties (2015). All this to say that when I heard they were all working on another film together I expected that I would love it and love it I did!
I got the chance to have a brief conversation with Kazik in which I mentioned how much I admired his ability to keep his films so grounded in reality with such free-flowing poise. This was in the context that I am a genre filmmaker who makes absurd films about zombies, bloody bathrooms and exploding heads. The opposite of grounded. His response made me completely rethink Matt and Mara as he mentioned that realism isn’t necessarily something he intentionally strives for and that you can find genre-like similarities in his works. Upon first viewing, I would have never thought Matt and Mara was a sort of pressure cooker suspense film, but it totally is. The “will they/won’t they” nature of Matt and Mara’s relationship made me so viscerally uncomfortable and stressed due to their natural chemistry and the baggage of both of their situations. This suspense is heightened by the intimacy of the camera as we intrude in close-ups on fantasies normally kept guarded.
This film will hit much harder with late 20s/30-somethings in the arts as it plays like their version of The Graduate. The film asks a lot of interesting existential questions that are primed to ruin your night. You’re a working artist. Now what? Is there validity in continuing to be an artist amongst true adult and familial responsibilities? Did you stop betting on yourself for the sake of comfortability and consistency? You’ve got to make rent. Food needs to hit the table. Where could you have gone if you kept believing? What if you reignite the flame and realize you’ve found yourself to be somebody completely different than who you’ve been? You’re on the conference/festival circuit spending extended periods of time schmoozing with people you’ve just met in strange places, people with a litany of different intentions, creating relationships, routines, and familiarity with people who aren’t your significant other. You can strive in a bubble that does not reflect reality. A space in which everyone is making it and super busy working on their next manuscript/screenplay that will definitely be picked up. Is it real? Is it worth it?
Despite being Kazik’s most accessible and funny film, Matt and Mara is an incredibly heavy and introspective work that deserves your attention and discussion. Watch it in the cinema if you can. One of Kazik’s best films to date.
Cherub – Directed by Devin Shears – Newfoundland & Labrador
The second film at FNC to feature Niagara Falls as a core story beat, Devin Shears’ feature film directorial debut Cherub is a very welcome change of pace as it follows Harvey, a man who might as well be invisible to those around him. He wears all beige clothing that easily blends into his environment and would rather fantasize about a conversation than risk having one.
There’s a layer of calm positivity that is laid upon Cherub that I found to be rather pleasant to watch. The way that Shears portrays Harvey’s journey into body and sexual positivity is unlike most films I have seen. There isn’t necessarily a solid antagonist at play. Harvey is alone for most of the runtime. That is until he finds community and allows himself to be seen despite his fear of being perceived. He finds comfort, acceptance, and like-minded people in the pages of a queer magazine for ‘big men and their admirers’. It can be tough to allow yourself to try new things and join new spaces where it seems so established and possibly even embarrassing, which is something this film portrays perfectly.
Devin Shear’s feature debut boasts a unique voice and is a welcome addition to the current film landscape as it explores the journey of self-love, acceptance, and self-understanding.
SHORT FILM LIGHTNING ROUND:
Gender Reveal – Directed by Mo Matton – Quebec
Mo Matton’s Gender Reveal is as absurd as the parties it criticizes. Finding humour in an outdated tradition, Matton analyzes Tokenism, gender, politics, queerness, and power dynamics in a film that takes such a hard right turn that it’s impossible to see coming. I won’t say too much as this film is better experienced blind but it very much fits in amongst my genre sensibilities and I loved it!
Serve the Country – Directed by Fabian Velasco & Milos Mitrovic – Manitoba
If there’s one thing directors Fabian Velasco and Milos Mitrovic do well, it’s their signature brand of loser-core which is on full display with their newest film Serve the Country. This film follows a trend that I have noticed and very much welcome in the Canadian film scene of absolutely unhinged, uncomfortable, and abrasive filmmaking. With a pitch-black sense of humour, Serve the Country fits right in with the likes of Connor O’Malley’s The Mask and Nirvanna the Band the Show. Tennis, 9/11, stolen valour, this film has it all!!
On a Sunday at Eleven – Directed by Alicia K. Harris – Ontario
Alici K. Harris’ On a Sunday at Eleven is a film that explores Eurocentric beauty standards, pressure to conform, and the beauty of culture as a young black woman trying to fit in in a mostly white ballet class. Harris has been a name on everyone’s radar for a while and with this film, she more than proves herself as a name to look out for. Beautiful cinematography with topics that are handled with such care, empathy, and emotion.
Crème à glace – Directed by Rachel Samson – Quebec
Rachel Samson’s Crème à glace is pure nostalgia harnessed in animation form. Taking place on a scorching hot summer day during the final summer vacation before everything changes. No longer a child, not yet an adult. A transitionary space destined to illicit feelings of alienation and loneliness as relationships morph and melt away in the summer heat. This short should be shown everywhere.
Short Ends 