Tag: film

Some Good Fortune

I’d heard on a podcast that it was good for couples to do “novel activities” together.

On another podcast came the comment that Landmark Theatres were far superior to the more dominant Cineplex ones. We have a Landmark Theatre close by.

In the newspaper, I’d read how Aziz Ansari had fought to have his new movie get a theatrical release. And that he’d cast a bunch of Canadian actors in it, albeit not because they were Canadian.

On the shared calendar, I saw that we had an opening Monday afternoon.

Hence Jean and I found ourselves at Landmark Cinemas for a matinee showing of Good Fortune.

Now, by this point the movie had been out for about four weeks and it was, you know, Monday afternoon. So this wasn’t a true “watching with a crowd” experience, given that there were only about two other people in attendance. But—notwithstanding our having gone to see a physics documentary at the Princess Cinema last month—it had been so long since we’d gone to a chain theatre, this seemed to qualify as a “novel” experience.

Plus, you know, Monday afternoon! On a non-holiday! Novel!

The Landmark was nice. We sprung for a few extra bucks to sit in the premium seats with recliners, heaters, a coat hook, and such. The screen was big. The movie was high definition. The sound was surround.

And the story was entertaining. The trailer is a pretty accurate synopsis: Arj, played by Ansari, is trying to stay afloat with part-time and “gig economy” jobs—and not entirely succeeding. He captures the attention of Gabriel, an angel played by Keanu Reeves, who longs to make bigger gestures than saving people from texting and driving. Though advised against it by his supervisor, Gabriel tries to show Arj that money wouldn’t solve all his problems by having him trade places with Jeff, played by Seth Rogen, a wealthy “tech bro” that Arj has been doing errands for. Only Arj very much enjoys living Jeff’s life and doesn’t particularly want to go back, setting off a chain of cosmic chaos.

It’s quite funny, it moves at a good clip (it’s about 90 minutes long), and it has a strong cast. It is pretty delightful seeing Keanu Reeves as a “budget angel”.

But, it’s kind of excruciating sitting through the struggles of Arj, and then Jeff, and also romantic foil Elena (played by Keke Palmer), working so hard for so little while Jeff, and then Arj, live in such leisure, comfort, and luxury. Because it is so true. And because I know which side of that spectrum I’m closer to (sitting in my premium seat, on a Monday afternoon).

Warning that I’m about to be a little spoilery about the ending…

Continue reading “Some Good Fortune” →

Relationship lessons from movies

Without meaning to, we went through a series of movies about couples (before breaking the spell with Marcel the Shell with Shoes On, which is very sweet, and not in a bad way): You Hurt My Feelings, Anatomy of a Fall, Simple comme Sylvain / The Nature of Love, and Past Lives. These are the key questions each one seems to address.

You Hurt My Feelings

Is honesty the best policy?

The least artsy of this collection of movies, I suppose, it centres on a happily married couple, Beth and Don, whose relationship is shook when she overhears him honestly tell his brother-in-law that he didn’t like her novel, which is still working its way toward publication. Things become tense and initially, Don has no idea why.

Beth and Don are also having work struggles: Don is a psychiatrist with some unhappy clients, who feel that he hasn’t really helped them. Beth is stunned to discover that the students in her small writing class not only hadn’t read her previous book; they didn’t even know she’d written one. And their son is wilting under the pressure of their expectations, and is angry about it.

So yeah, it’s a movie about relatively privileged people and their relatively minor personal problems. But it’s snappily written, funny, and very well cast, with Julia Louis-Dreyfus and Tobias Menzies as the lead characters. Jean and I both enjoyed it.

As to the question… Well, in life, as in the movie, sometimes you do want to blunt your honesty in order to be encouraging. But it can go too far. At a certain point, a relationship should be strong enough to handle the truth that you don’t, in fact, appreciate those V-neck sweaters you’ve been gifted with every year.

Anatomy of a Fall

Who lives, who dies, who tells your story?

OK, the question is from Hamilton, but it still seems apropos for this movie. The husband and father, Samuel, dies at the start of it, from falling out of his office window. His wife Sandra is the only one home at time. Their partly sighted son Daniel is the one who comes across the body, after a walk with his dog. We, the audience, don’t see what caused the fall.

Sandra lives, Samuel dies, but who tells the story? Initially, Sandra, mostly, as she’s trying to defend herself against an accusation of murder. Daniel also participates, and in doing so, realizes that he has decide what he believes is the truth about what he heard. But in one of the movies many twists—the nature of which I won’t reveal—even Samuel is able to give some input as to his state of mind at the time.

This was a fascinating one, and I came to my own conclusions about what I believed happened—but not because the movie spoon-fed them to me. The facts remain ambiguous to the end, a fact Jean found deeply unsettling.

Simple comme Sylvain / The Nature of Love

Do opposites attract?

Sometimes, for sure, and this movie, the most popular Québecois film of 2023, presents one such case. Sophia, a philosophy professor, is in a comfortable but staid long-term relationship with another professor when she meets Sylvain, a handsome craftsman hired to do some renovations on her country home. Sophia and Sylvain’s attraction is quick and deep and soon consummated. And consummated again. And again.

Though she initially tells herself it will just be a fling, ending things proves harder than expected and Sophia starts to wonder about the possibility of a long-term relationship with Sylvain. But they are very different, in education, background, wealth, interests… Each phase of their relationship is punctuated by a section of Sophia’s lecture in the course she’s giving about the nature of love (philosophically speaking).

That structure made me think of Le déclin de l’empire américain, though this film, directed by Monia Chokry, definitely has its own strong vision. Jean and I were both drawn in, and he was better at predicting how things would turn out. Fun fact: This movie beat Oppenheimer as Best Foreign Film at the César Awards in France.

Past Lives

Do you ever really get over your first love?

Easy question; of course you don’t! But few people have the trajectory with their first love as the one followed in this film. Nora and Hae Sung are childhood friends in South Korea. Nora’s mom, wanting her to have good memories of South Korea before the family immigrates to Canada, arranges for them to go on a “date”, the apex of which is them holding hands.

But with her family’s pending departure, the two friends are separated before any true, mature romance can bloom. Years later, though, they find one another on Facebook. The sparks still seem to be there, but so is the distance…

By the time Nora and Hae Sung finally do meet again, in New York, Nora is married to Arthur, a perfectly decent guy who is a good sport about the whole thing.

This is a very low-key, gentle movie—too understated for Jean, who gave up partway through. But I quite enjoyed this exploration of the paths not taken, of the forces beyond your control, and what you do with that knowledge. It was lovely.

Magnetic North magnificence

Another thing I like is having Good Seats when I go to any kind of live performance. It’s to the point where I will avoid going completely if I Good Seats aren’t available—or are outrageously priced. Because I’ve tried, and I just know that being too far from the stage really does diminish my enjoyment.

Hence it was that we ended up at a performance of Norman last night.

Norman was playing locally as part of the Magnetic North theatre festival. I had never heard of this festival before, but apparently it’s been running for a number of years now. Every other year it goes to a new Canadian city; otherwise, it’s put on in Ottawa. This year is Kitchener-Waterloo’s turn.

When I heard about it, it sounded like something interesting and that I wanted to support. I was especially excited that Rick Mercer was doing a show as part of the festival. But when I finally remembered to try to get tickets for Rick’s show, the seats just weren’t that Good. Row M, kind of off to the side. It was dimming my enthusiasm.

So I looked through the program for what else might work, and Norman sounded interesting:

Most of us grew up with the work of Norman McLaren. Between slick Saturday morning cartoons or on clunky classroom projectors, McLaren’s mesmerizing work slid unexpectedly into the lives of generations of Canadians.

In the internationally acclaimed Norman, ground-breaking projection technology allows a performer to physically interact with the cinematic universe of award-winning Canadian film pioneer Norman McLaren. Join us as they delve into the vaults of Canada’s National Film Board to combine technology, animation and theatre in an unforgettable visual experience.

Seats were not actually being assigned for this, which made me think they weren’t expecting a big crowd. Smaller crowds always greatly enhance your chance of Good Seats. So I got tickets for that.

The performance was at 7:00. We arrived around 6:35 to find the Centre in the Square looking eerily empty, with maybe 10 other people there at that point? So yeah, no problem getting Good Seats!

As the performance approached, fortunately, more people showed up. The crowd was still one of the smallest I’ve seen at the Centre, but at least had swelled to filled all the best seats in the house (though all the bad ones were empty).

I wasn’t terribly clear on what we were about to see, Jean even less so—he had no idea who Norman McLaren was, and had been telling people he was going to something called Daniel that night. After a short announcement, which concluded with the reminder to turn off your cell phones, the lights dimmed, all went quiet, and…

Someone’s cell phone started ringing. Couldn’t believe it!

That is, until I realized that this was part of the show. The single performer, dancer Peter Trosztmer, talked on the phone on his way to the stage, then addressed us about his obsession with Norman McLaren.

The 90 minutes that followed are really hard to describe, but were completely riveting. Peter would talk about McLaren, show parts of his films, but also interact with them in dance movements. He would dance between the intersecting lines. He would bat away the assembling and dissembling balls. He pulled away Norman’s chair in the well-known Chairy Tale, then interacted with his own. He became one of the dancers in the beautiful Pas de Deux.

I don’t know how they did it all, but it was absolutely brilliant.

Intersected with these film/dance pieces were documentary bits, in which holographic images of various people who worked with McLaren spoke about him. Also shown were some interviews with McLaren himself. It all gave me a much deeper appreciation of McLaren’s genius, particularly his skill at making music visual. It makes me want to go watch a bunch of his movies—which, fortunately, the NFB makes easy to do. (And isn’t it fabulous that staid old Canada funds a film board where an eccentric genius can spend a lifetime producing abstract short films?)

Much as I was taken with the whole thing, I wasn’t sure how Jean would react, but I needn’t have worried. Though he opined that it could perhaps have been a tad shorter, overall, he was in awe. He loved it.

So thanks to all you people who quickly snapped up the Good Mercer Seats, thus leading me to one of most intriguing live performances I’ve ever seen.