Passchendaele: bringing memories and patriotism back...to Canada

0 Comments POSTED: September 8, 2008 11:44 | By: Michael Yarde

History was made last Thursday night, Passchendaele (the TIFF 08 opening film) ushered in a new frontier for Canadian film. Passchendaele is a gut wrenching love story thrust against the backdrop of a little known battle in the province of Alberta. Passchendaele is a beautiful story about a rough patch in Canadian history, that artfully awakens the giant story within. Passchendaele is provocative, sexy and slightly understated. This movie challenges old notions of who we think we are as Canadians. Peace keepers? The title of this gritty and sometimes intense Canadian history lesson has Passchen all over it. If you take the anatomy of this film a part you'll see bits and pieces of metaphor scattered all over the place.

It's obvious Paul Gross put his seasoned mind, heart, soul, and boyish charm into this project. During his introduction at the gala screening inside the historic Elgin Theatre, Paul asserted that Canada's not known for brash displays of patriotism. Passchendaele is a personal journey that lead Paul Gross to dig deep in his pockets and the trenches of Canadian film funding to bring his grand fathers story to the screen. Making a movie in Canada is war. Victory always seems elusive until you find your very own Passchendaele.

This is not just a story about war but also a story about determination to see a dream come true. If you choose to see Passchendaele, you're on your way to a new chapter in Canadian history.

Enjoy your trip.

Detroit Metal City and Japanese Duality

3 Comments POSTED: September 6, 2008 12:59 | By: Steve D'Alimonte

Japanese society has evolved in leaps in bounds since the end of World War II (arguably more than most nations). It has gone from a culture based strictly on tradition with very few outside influences, to one of the world?s most robust economic powerhouses with American influences proliferating.

Being only able to speculate, I believe this transformation has never been fully accepted by mainstream Japanese society, and in many ways is still being dealt with. For better or worse, American influence will not be leaving Japan anytime soon, thus Japanese society must find a way to cope with its pervasiveness while still retaining a sense of the tradition of their not-so-distant past.

It is this climate of uncertainty where Detroit Metal City (DMC) exists, and is perfectly embodied by the duality of main character Soichi Negishi /Johannes Krauser II. Living with his family in a rural Japanese setting at the opening of the film, we see signs of a simpler, more innocent Japan. Negishi decides to leave his loving, farm-dwelling family to move to Tokyo to pursue his dream of becoming a Swedish-style pop musician.

It is in Tokyo where Negishi encounters the realities of modern-day Japan; an orgy of lights, buildings and money. In order for Negishi to survive this modern jungle, he must adapt to his environment and thus Johanns Krauser II (Death Metal Rocker extraordinaire) is born. Negishi is never quite comfortable with this transition but attempts to walk the line of his past of present selves.

All the insecurities of this duality are brought to the fore upon returning for a visit to his family. Negishi is aghast at the despicable behaviour of his younger brother, and sees it is himself that is to blame. Negishi attempts to rectify the situation at home, but is quickly summoned back to the big city to compete in a battle of the bands with American Metalist Jack II Dark.

With Jack being played by Gene Simmons, a more American symbol would be hard to find. In a showdown with the Godfather of Metal, Negishi must play the part of Krauser like never before. A telling moment is just prior to the showdown when Krauser appears with the word ?Kill? written on his forehead (it is usually written in Japanese). A fan comments that he ?must mean business?. I won?t ruin the ending of the film, but needless to say Krauser is able to hold his own. Krauser, like Japan is able to survive by ?playing their part? in this modern world...but they don?t have to like it.

Collaborating with Ariel Dorfman on "A Promise to the Dead"

0 Comments POSTED: August 15, 2007 14:36 | By: Peter Raymont

In October of last year, I brought my dear wife and filmmaking partner, Lindalee Tracey to hospital. She was suffering through the last, painful stages of cancer. During each of Lindalee?s final days in palliative care, Ariel Dorfman sent me a poem which I read to her. Poems by the Persian poet, Rumi and by Ariel himself. So Lindalee slipped away with Ariel?s and Rumi?s lovely words swimming in her mind.

Ariel was traveling to Chile just a few weeks after Lindalee?s passing. Though I was still very much in shock and mourning and having difficulty functioning, I felt compelled to go with Ariel and make this film. Lindalee had been so supportive of this project and would have wanted me to go. So, while Ariel had his ?promise to the dead? ? to those dear companeros who were brutally killed in Pinochet?s military coup 33 years before, I, too, had very personal promises to keep.

We are optimistic that A Promise to the Dead: The Exile Journey of Ariel Dorfman, premiering in this year's Real to Reel, will follow a similar path and provoke lively debate and discussion at theatrical and TV venues around the world. Though we live in ?the Americas?, we know so little about the lives and experiences of our brother and sisters in the southern hemisphere.

[pictured: Ariel Dorfman (left) with Peter Raymont]

From TIFF to Congress race

0 Comments POSTED: August 9, 2007 14:59 | By: Michael Tucker

When GUNNER PALACE premiered at TIFF in 2004 we asked two soldiers from the unit featured in the film to come up to Toronto for a casual Q&A. One of them, Captain Jon Powers, later became involved with the publicity for the release of the film and spent six weeks on the road doing press, meeting audiences and attending events. Through that exposure, Jon decided to start an NGO to help Iraqi children and actually returned to Baghdad in 2005.

Last week I was in Chicago for the second annual Yearly Kos progressive blogging convention to screen our TIFF 2006 film THE PRISONER. Walking through the lobby I heard a familiar voice call out, "Hey Mike" and I turned around to find Jon Powers decked out in a suit and tie--and most amazingly running for US Congress out of Western New York. (Pictured here with General Wesley Clark).

We all like to think that our film matters, but rarely do we see any direct good come from them. As Powers told me, "That trip to Toronto changed my life."

Yes, it's THAT Phil Donahue

0 Comments POSTED: August 1, 2007 12:26 | By: Thom Powers

As I talked to reporters yesterday about the Real t

o Reel line-up, I heard a recurring sense of surprise that the co-director of BODY OF WAR was the same Phil Donahue well-known as the venerable talk show host. Indeed it is. He teamed up with veteran doc maker Ellen Spiro to tell the story of Tomas Young, an Iraq war veteran who became a vocal opponent of the Bush administration. In the film, Donahue stays strictly behind the camera. But here he's pictured with Young, Spiro and Pearl Jam's Eddie Vedder, who wrote two new songs for the film.

Tomorrow Doc Blog will hit the road to visit Michael Moore's Traverse City Film Festival on the shore of Lake Michigan. Check back for on the scene reports and further reflections on TIFF's doc line-up.

Former US Soldier Speaks at Premiere of Iraq films

0 Comments POSTED: September 8, 2006 21:46 | By: doc blog reporter

Friday's premiere screening of The Prisoner: Or How I Planned to Kill Tony Blair and Sari?s Mother, presented together, shocked the audience both on screen and on stage during the Q&A. The Prisoner follows the story of Yunis, an Iraqi journalist who was wrongfully detained by the American military in an Iraqi compound for 9 months.

After the film, Prisoner Director Michael Tucker read an email he received from an American soldier who had befriended Yunis at Camp Ganci where he was detained. Tucker then called former US soldier Benjamin Thompson on stage to speak about his experience, surprising the packed house at the Paramount. The crowd gasped and applauded as Thompson took the microphone.

Thompson mentioned how the Abu Graib scandal has taken away from coverage regarding the general conditions of the prisons. "I wouldn't keep my dogs there," said Thompson. One of the many audience members moved by Thompson's courage was director Michael Moore who afterwards, personally commended Thompson on his bravery for speaking out and the directors, Tucker and Petra Epperlein for creating the film (all seen together: left).

Sari?s Mother, a twenty-one minute from the director of the award winning Iraq in Fragments, presented a glimpse into of how the day-to-day struggles of Iraqis have not improved since the invasion. The film presents Sari, a young boy disfigured and in pain, but arguing with his mother to let him walk to school. Sari has AIDS, and we see his mother frustrated as she seeks treatment for her ailing son. Director James Longley prefaced the film by thanking TIFF Doc Programmer Thom Powers for encouraging Longley to create something with footage that could not be worked into the original film.

Both films inspired anger and a lot of conversation, as the Q & A went on for almost 30 minutes, and the talk spilled into the lobby.

If you would like to join the discourse, please comment on the TIFF blog?

Controversial Films at TIFF

1 Comments POSTED: September 7, 2006 09:23 | By: doc blog reporter

In today's Toronto Star, writer Peter Howell looks at the TIFF films likely to stir the most controversy, including several documentary titles.

[Right: Tony Kaye's abortion documentary Lake of Fire]

Howell quotes the Festival Co-Director and CEO Piers Handling:

"Filmmakers want to engage with the world by taking on tough subjects," Handling said in an interview yesterday. "That's for sure a theme this year. For whatever reason, there's a feeling by filmmakers that certain battles that had been fought in the past ? like abortion, for example ? need to be fought again, along with other issues that are not being dealt with in the mainstream media."That's what (the festival) should be all about. Not closing down discussion, but opening up forums ... allowing controversial works to be shown."

Early Rave for GHOSTS OF CITÉ SOLEIL

0 Comments POSTED: September 7, 2006 00:19 | By: doc blog reporter

Todd McCarthy wrote a wrap-up of the Telluride Film Festival for Variety. Here's what he had to say about the sneak preview of a film that will have its official world premiere at TIFF...

"One docu ... that grabbed viewers by the throat and wouldn't let go: Asger Leth's Ghosts of Cité Soleil, a film whose very existence is amazing as it portrays up close and first-hand the lives of gun-waving Haitian gang leaders in the world's worst slum."

Looking Back on at Bush vs. Kerry

0 Comments POSTED: September 6, 2006 15:56 | By: Adam Del Deo

We just received word that one of the "stars" of our political documentary, a tireless grass roots campaigner for the Democrats by the name of Miles Gerety, will be attending the world premiere of our film, ".So Goes the Nation." Miles actually drove all night from Connecticut to Ohio for those final crazy days of the campaign to try and tip the scales for the Democrats. We couldn't be happier to hear that Miles, as well his Republican counterpart Leslie Ghiz, will both be present at the World Premiere on Sept. 14th. Not only did they pour every ounce of their blood into those last hours, but having both a Democratic and a Republican field worker present is a perfect representation of what the film tries to accomplish-showing the commitment and strategy of both sides of the American political world. The passion and commitment of Miles and Leslie make our movie really their movie.

Additionally, the film is also the story of macro-level political strategy which, as we officially begin this elections political season (always the day after Labor Day) brings to mind a looming question: what new strategizing has each party done to win or retain seats? Will the messages they are running on (funny-before working on this film we would have said "issues". Now we say "messages" without batting an eye.), will those messages allow for a different outcome on this November 4th?

The Republicans are caught in a tricky balancing act - aligning themselves too closely with the President is dangerous due to his low approval ratings. Attacking "cut and run" Democrats, those who now want out of Iraq, sounds good, but with the increasingly negative perception of the war the GOP can't champion it as a success. Out here in California, the environment is such an important issue that our Republican governor Schwarzenegger just struck a deal to reduce carbon dioxide emissions. Is this split from the old guard a sign of things to come, or are red states going to keep on shaking their heads at California's "crazies" and "retro-hippies?" Will the consistent simplicity of the Republican message in 2004-"war on terror" and Dems always "flip-flopping"-work again? Will the rehashing of same sex marriage get the Christian right to the polls in numbers significant enough to make a difference this time? It seems like such a tactic will be harder to pull together in today's complicated political landscape. But maybe that's us thinking like Democrats, the way the Democrats thought in 2004. In the last campaign, as our film shows, the notion of selling voters on which "team" they wanted to play for ultimately trumped Kerry's focus on issues. With Iraq still raging and people buying Priuses in droves, will the same be true now? We can't think of a better time for our movie to come out than in the midst of this year's elections.

And the Dems.we wonder what they've learned in the past two years? If they watch the 20/20 hindsight interviews in our documentary with figures like Terrence R. McAuliffe (Chairman of the Democratic party) and Tad Devine (part of the team with Bob Schrum that ran the Kerry Campaign), will the 2006 Dems be able to point at the screen and say, "Yes! Yes, we fixed that. The problem has been addressed, and we learned from our mistakes"? And will the Republicans watching Ed Gillespie (Chairman of the Republican Party) and Mark McKinnon (chief strategist) sit back and say, "We have a hand they can't beat. because it's not about issues, it's about people"?

All the press coverage of strong numbers enjoyed by Democrats today is, in our view, still premature chatter. This time of year in 2004, Kerry was looking pretty good too. But just like two years ago, the 2006 election will be determined not only by who controls the issues, but also who controls the message. We're proud that our movie sheds some light on how campaigns are strategized and fought, and hopefully will foment discussions around water coolers and wine. Many recent documentaries are a bit like Congress itself, it seems-a lot of polarization and people's accusations without a lot of listening and considering. Let's begin with some talk. And as the masters of presentation and manipulation work their craft on the U.S. public over the coming months, it's the perfect time to talk.

We look forward to meeting up with all the other great documentarians. Safe travels to all.

James D. Stern and Adam Del Deo

Reflections of a Terrorist

0 Comments POSTED: August 24, 2006 15:43 | By: Thom Powers

My Life As a Terrorist: The Story of Hans-Joachim Klein (left) will have its North American premiere at TIFF this year. In 1975, Klein joined the notorious terrorist Carlos the Jackal in a kidnapping of OPEC officials in Vienna. Klein came to regret his involvement, went into hiding for two decades and was eventually arrested. After getting out of prison, he told his life story to Dutch filmmaker Alexander Oey for this remarkable documentary.

The film was brought to my attention by its sales agent Jan Rofekamp of Films Transit. Here Jan recounts one of his previous TIFF success stories...

JAN ROFEKAMP:
I have been in documentary sales since the early Eighties and even though throughout those years we have seen occasional theatrical interest for our docs, as we all know, this theatrical interest has significantly increased today and seems to be here to stay. Theatrical is no longer a pipe dream, although the number of filmmakers that want this for their films largely outnumbers the opportunities. Documentaries have always had a place at TIFF, but since the upsurge in popularity of the genre, TIFF has become for us one of our major launch-pads for feature docs.

Let me tell you about a magical moment at the point of this significant change. When The Corporation premiered in Toronto in 2003, we had decided with the filmmakers to have a go at theatrical and present a feature version in world premiere (instead of the 3 x 57' version) and we decided to do an invitation-only sneak preview in a small cinema in the Varsity a day before the official world premiere.

When I walked in a few minutes before the screening, I held my breath and.....THEY WERE ALL THERE! Every single US distributor and a superb selection of the foreigners were filling the room. I should have had a camera with me to take a picture. Everybody was there...for a doc. I felt this as a magical moment, after all these years of struggle. It would have been unthinkable a year earlier. As we all know The Corporation took off at that moment to a world wide career that is still in full swing.

Iraq in Focus

0 Comments POSTED: August 23, 2006 10:32 | By: Thom Powers

The Prisoner Or: How I Planned to Kill Tony Blair (right) is sure to make as many waves at TIFF this year as the directors? previous film Gunner Palace did when it debuted here in 2004. In one memorable moment in Gunner Palace, director Michael Tucker filmed US forces making a house raid. One Iraqi prisoner looks up at the camera and says, ?I?m a journalist too? before he gets led away. That moment haunted Tucker. He always wondered who the man was and what happened to him. Two years later he found out. In The Prisoner, Tucker and directing partner Petra Epperlein tell the remarkable story of the innocent prisoner as he went through a nine-month ordeal in Abu Ghraib and other detention facilities. The film combines a comic book motif with the prisoner?s home movies and other eclectic footage. It plays like an Errol Morris movie crossed with a Joe Sacco comic book.

Below, Tucker remembers his experience at TIFF two years ago?.

MICHAEL TUCKER:
When Gunner Palace premiered at TIFF in 2004, we invited one of the soldiers featured in the film, Captain Jon Powers, to speak to the audience. Jon, who had left Iraq just a month before - after 14 months in Baghdad in Najaf - drove up from Buffalo with his family and brought along another soldier, Captain Chris Lovell, who was stationed at Ft. Drum. After the screening, Jon and Chris took the stage to field questions. For the first time I saw the disconnect between the reality of their experience and our perception of that reality at home. For the audience, the war was political, but for Jon and Chris, fresh from Iraq, it was personal. Talking about his experience was therapeutic for Jon and for the next 9 months he traveled around the country with me screening the film and meeting with journalists. Born out of that tour, he returned to Baghdad and formed the non-profit War Kids Relief to provide assistance and programs for Iraqi orphans and youth. Today, I can't help but think that the warm reception he received in Toronto gave him the confidence to find a way to channel his frustration into a positive force.