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LAVAZZA Drive-In Film Festival 2021 [Italian Contemporary Film Festival (ICFF)]

THE LAVAZZA DRIVE-IN FILM FESTIVAL 2021 (ICFF)

The second edition of the Lavazza Drive-In Film Festival (part of the ICFF - International Contemporary Film Festival) will present a selection of films celebrating Canada’s multiculturalism with a special 'Focus Italia’ series from June 27th - July 17th, 2021.

The ICFF presented by Lavazza has teamed up with multicultural media company CHIN Radio/TV once again, in partnership with Ontario Place and the Embassy of Italy in Ottawa, for the second edition of the Lavazza Drive-In Film Festival, from June 27th – July 17th, 2021! This exciting event, presented in collaboration with Rogers Communications and Christie Digital, and funded by the Government of Ontario, offers Canadians an opportunity to reintegrate into society through a safe and socially engaging event. Multiculturalism is at the core of the Lavazza Drive-In Film Festival, which this year will stay true to its International program with a thoughtfully-curated selection of films representing Canada’s cultural mosaic from variety of communities including: Americans, British, Koreans, Latinx, Africans, Chinese, French, Jewish, Japanese, Turkish, Indians, Iranians, Indigenous Peoples and Russians with a special ‘Focus Italia’ series.

The festival will open on Canada Multiculturalism day, and will maintain its focus on diversity and expand its reach to engage a wider range of communities and minorities. The film selection will guarantee to shed a light on the intricate texture of Canadian society, bringing forward a vast collection of multicultural stories which will reflect the values of inclusivity and acceptance. The festival will bring the best of contemporary International cinema along with immersive entertainment for guests with red carpet appearances, special guests, celebrity hosts, unique concessions, special events, brand new theatre venues and so much more!

All movies will be screened in their original language accompanied by English subtitles.

For the complete list of films, check the website at icff.ca

Capsule Review of Selected Films:

LUCA (USA 2021) ***

Directed by Enrico Casrosa

LUCA is new new Pixar film that opens the ICFF festival directed by Enrico Casarosa (in his feature-length directorial debut) and written by Jesse Andrews and Mike Jones.   The film is dedicated to Italian musician Ennio Morricone (the famous composer of the Italian spaghetti westerns), who was originally considered to compose the soundtrack, but died before he was asked to do so.  Set on the Italian Riviera between the 50s and 60s, the film centres on Luca Paguro, a sea monster boy with the ability to assume human form while on land, who explores the town of Portorosso with his new best friend Alberto Scorfano, experiencing a life-changing summer.  The film tries to be everything Italian including an Italian-like soundtrack with an Italian song and Italian dialogue as the film opens.  The film is described as paying homage to classic filmmakers like the Japanese Hayao Miyazaki who himself made a similar LITTLE MERMAID film called PONYO.  The animation in the film is similar to Hayao Miyazaki’s, of hand-drawn and stop motion works.  One scene has an image of Italian star Marcello Mastroianni, again a nod to old Italian classics like those made by Fellini (like 8 1/2 that starred Mastroianni).  Luca is charming summer fun in the sun - Italian style.

Trailer: poIXr72IQ9A

 

OK! MADAM (South Korea 2019) ***
Directed by Lee Cheol-ha

 

OK! MADAM starts off pretty badly.  It begins with a Martial-Arts fight sequence that no one can tell what is going on, except that there is a lady that fights kick-ass.  The film then moves to a silly family type comedy where a married couple (Uhm Jung-hwa and actor Park Sung-woong), a computer geek and a Chinese donut seller bicker abut not having money but still wish to go to Hawaii.  Add their little daughter who gets into fights in school.  They really need a vacation.  Thankfully, this slapstick action family comedy gets much better once they board a plane for Hawaii and encounter bad guys from yes, North Korea.  The plot contains surprises which makes up for the movie.  The slapstick comedy works like DIE HARD on a plane where a hole is blown in the plane, the hero clambers the vent shafts and fights occur in the plane’s economy aisles.  The film progresses to quite funny and oddly this Korean film is the best in its middle portion before getting a bit too silly towards the end.  Actress Uhm, a single is winning as the Martial Arts kicking heroine, looking very sexy in her flight attendant red uniform.

Trailer: 

OUT OF MY LEAGUE (Sul Più Bello) (ITALY 2019) ***
Directed by Alice Filippi

Marta — a young woman suffering from a lethal genetic disease, cystic fibrosis since birth — hopes to meet someone who will accept her.  Despite her family and friends dissuading her from ‘aiming too high,’  Marta desires the unattainably handsome Arturo — who has also caught the eye of her rival Beatrice. Regardless of her loyal friends (one a lesbian and the other a gay male, the male looking like a you replica of Romain Duris) preparing her for disappointment, Marta overcomes expectations and gets closer to Arturo.  She eventually is forced to face her toughest challenge: telling Arturo that time is not in their favour.  Thee has been two other notable films about a not-so-good looking ir l chasing after a handsome beau.  There is the French classic Francois Truffaut’s 1975 L’HISTOIRE D’ADELE H. and the Italian 

Ettore Scola’s unforgettable 1981 PASSIONE D’AMOUR.  Director Filippi does not strive for the great heights achieved in those two classics, aiming lower but still achieving an entertaining piece of young romantic comedy.

Trailer: (problem attaching trailer)

PEACE BY CHOCOLATE (Canada 2021) ***

Directed by Jonathan Keijser

After the bombing of his father's chocolate factory, a charming young Syrian refugee struggles to settle into his new small-town life in Halifax, Canada, caught between following his dream and preserving his family's legacy.   Tariq arrives in the middle o winter followed soon by his befuddled parents.  The Canadian hosts are only too nice and helpful and even more so in aiding Tariq’s father setting up a chocolate business.  Based on a true story, it seems.  PEACE BY CHOCOLATE shows Canada at her best, helping Syrian refugees re-settling s well as telling their story.  There is also one scene with Prime Minster Justin Trudeau (on tv) giving a speech on what Canadians can do to help.  It is all charming and at times too much overcharging for its won good.  Are Canadians that nice?  At its best, besides the artificially looking feel good movie supposedly true, the film does include what it is the plight of a refugee is like how one can lose their home, family and even ones dignity.  The film is dedicated to the recently passed Hatem Ali, who played the father.

Trailer: (unavailable)

THE PEANUT BUTTER FALCON (USA 2019) ***
Directed by Tyler Nilson and Michael Schwartz

Written and directed by Tyler Nilson and Michael Schwartz, THE PEANUT BUTTER FALCON gets its inspiration from Mark Twain’s THE ADVENTURES OF HUCKLEBERRY FINN.  The setting is around the Mississippi River where crab fishing is common and boats motor around the high grown reeds.   Tyler (Shia LaBeouf) is a crab fisherman who is upset with his work and lifestyle and acquaintances.  The other character is Zak (Zack Gottsgen), a teen with Down’s Syndrome.  He is sent to a home under the care of a sympathetic social worker, Eleanor (Dakota Fanning). Zak escapes with the aid of a resident (Bruce Dern) with Eleanor in pursuit.  Zak dreams of becoming a wrestler and hopes to travel to a wrestling school conducted by his hero, with the professional name Salt Water redneck (Thomas Haden Church).  Gottsgen as the Down Syndrome kid is utterly winning and charming in his naive and goofy way, holing his own and often stealing the limelight from LaBeouf and his other co-stars.  The impressive and authentic setting soundtrack brings together bluegrass, folk songs, and spirituals, for a mix of contemporary and timeless. 

Trailer: https://www.youtube.com/watch?v

SEPTET (HK 2020) ****

Directed by 7 different Hong Kong directors


A septet is a formation containing exactly seven members.  It is commonly associated with musical groups but can be applied to any situation where seven similar or related objects are considered a single unit, such as a seven-line stanza of poetry.  The film, SEPTET is an anthology of 7 films made by 7 directors - all world renowned Hong Kong filmmakers.  It is a tribute to the history of Hong Kong cinema and the city itself.  Seven masters of Hong Kong cinema and seven stories set in the successive decades from the 1950s until today.  The idea was conceived by Johnnie To, a remarkable creator of action cinema, who invited the other 6, Sammo Hung, Ann Hui, Patrick Tam, Yuen Woo-ping, Ringo Lam and Tsui Hark to collaborate.  Of the 7 Ringo Lam is no longer with us, having passed away in 2018.  Filmmakers returned to their artistic roots as “Septet” was shot entirely on 35mm film. The artists look with nostalgia at factors that influenced history of the region and shaped their own biographies.  SEPTET combines traditions of Cantonese dramas and the boldness of Hong Kong New Wave with appreciation of action movies that gained so much love around the world.  The anthology is amazing filmmaking and a must-see for those who love Asian, particularly Hong Kong cinema.

The 7 films are shown in order from the 50’s to the 60’s  to the most recent decade.  Though a few are better than others, SEPTET is a celebration of Hong Kong cinema with  most of the directors offering their best.

EXERCISE - Directed by Sammo Hung   

(see image above)

The first and my favourite of the 7 is a light hearted comedy that shows Martial-Arts training by a super strict Master.  Likely based on Hung’s personal experiences as he is well versed and has made several really superb Martial-Arts comedy flicks in his past, the film is about discipline and time.  A nice surprise occurs at the end where Hung appears as himself talking about time.  EXERCISE is a wonderful exercise on nostalgia.

HEADMASTER - Directed by Ann Hui

The only female director of the 7. Hui is a well respected serious director who here sets her featurette in 1962 with a classroom of rowdy boys.  They learn to respect their teacher Miss Chan who eventually passes away due to illness.  The film ends with the headmaster and students all grown up visiting her ashes.

TENDER IS THE NIGHT - Directed by Patrick Lam

The story takes place in the span of one night.  The two young lovers are about to separate for the rest of their lives never to see each other again as the girl is emigrating with her parents.  Very romantic, very real and very sad.

HOMECOMING - Directed by Yuen Woo-ping

The story follows an elderly man and his grand-daughter, he fondly calls ‘Baby’.   The man is a Martial-Arts expert and practises his art daily.  When both are attacked by some youth, the man shows off his skills to the amazement of Baby.  The two reunite years later.  The film is an homage to Wong Fai-Hung, the legendary Martial Arts fighter who has appeared in countless films and TV series.

BONANZA  - Directed by Johnny To

My least favourite of the lot sees a couple playing the stock market in Hong Kong with their naive broker.  This story is linked to the decade when the market goes up and down and director To researches his story in detail.

ASHTRAY - Directed by Ringo Lam

This story pays tribute to Hong Kong where many old buildings and architecture have been demolished to make way for the new.  As the words verbalized in the film: There are many places better than Hong Kong but nothing can replace home.

CONVERSATION IN DEPRESSION - Directed by Tsui Hark

The most playful of all the segments, displaying the crazy nature of director Hark that is softer found in his action films, the story is a clever nod on several levels on THE CABINET OF DR.  CALIGARI where the patient and doctor roles are blurred.  The setting is a mental hospital where a doctor and patient is observed by two doctors who are observed by an audience.

Trailer: 

YOUR EYES TELL (Japan 2020) ***
Directed by Takahiro Miki

If tearjerkers are your favourite film genre, this very romantic romantic tale is right up your alley.  Almost guaranteed to bring tears to your eyes unless you are a hardened critic like me.  Still, one cannot help but root for the two hapless lovers, a kick boxer and his blind girl who might just regain her sight, and when she does, might not recognize him.  In this Japanese remake of the South Korean film Always (2011), Rui — an ex-kickboxer and mob debt collector — is a perpetual loner. While at work, he meets a bright young woman named Akari, who had lost both her parents and eyesight in an accident years earlier. With each subsequent visit, Akari’s optimism begins to rub off on the downtrodden Rui — pushing him out of his shell. As the two get closer, Rui’s history begins to unravel, finding out that he is connected to her in more ways than one.   Wonderful authentic performances from the young leads help the story’s credibility.  A bit longer at 2 hours running time, the film could have been trimmed.  Be auctioned that this romance contains a few violent scenes because of the kickboxing element.



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Film Review: Undine

UNDINE (Germany/France 2020) ***1/2

Directed by Christian Petzold

UNDINE is a take of Hans Christian Andersen’s THE LITTLE MERMAID, German director Christian Petzold’s (TRANSIT) style.

Undines are a category of elemental beings associated with water, stemming from the alchemical writings of Paracelsus.  Later writers developed the undine into a water nymph in its own right, and it continues to live in modern literature and art through such adaptations as Danish Hans Christian Andersen's "The Little Mermaid" and the Undine of Friedrich de la Motte Fouqué.

Director Petzold plays UNDINE with a constant air of mystery.  He keeps the audience guessing as to what is really going on - including the story’s mythical element, which is not disclosed fully until the very end.  To this effect, the film has credibility and succeeds as a mythical love story.  The film opens with what is a break up between Undine (Paula Bee) and her current boyfriend, Johannes.  Petzold also keeps it vague whether the two are just boyfriend or a married couple.  One assumes the former as it is hinted that they are not living together.  “We have to meet,” is one of their dialogue lines.  When Undine threatens Johannes, “If you leave me, I will kill you.” It is unclear at this point whether she really means it or whether these are the words of a somewhat psycho and desperate rejected lover.  Petzold’s film moves at a slow snail’s pace but this is not to say it is not without its rewards,  The answer to the question is revealed to the audience half way through the film, Hitchcockian-style.

Whether UNDINE is a tragedy or not is left to the viewer to decide (not to reveal any more of the film’s plot).  But UNDINE is a terrific romantic drama, similar to, say, Jacques Demy’s LES PARAPLUIES DE CHERBOURG, another incredibly romantic film about mis-matched lovers.

The metaphor of Berlin’s new architecture clearly forms the metaphor of the love story, which is a bit beaten to death by Petzold.

Director Petzold’s characters bear similarities with almost very person in that everyone wants to be happy or live happily ever after, as in fairy tales.  Undine wants to be in love and to be loved forever.  The obstacle of her ‘curse’ on having to give up her human life is a tragedy that affects not only herself but the others she encounters.  So is the real life of many where real unfortunate events prevent happiness.

The film’s shifting of focus from Undine, the protagonist to Christophe in the later part of the film, is a risky play works well in the film’s favour, just as Undine’s lover shifts from one lover to the next.  The use of The Bee Gees hit dog “Staying Alive” is a bit tacky considering the serious theme of the film.  The soundtrack, however, has a steady stream of Bach.

UNDINE is not the first film paying homage to Andersen’s THE LITTLE MERMAID.  Japanese animator Hayao Mizayaki did likewise in his successful animated feature PONYO.  This proves the universal appeal of love stories that overcome great obstacles in the name of love.

Filmed in German, a German-French co-production.

Trailer: 

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Film Review: Les Notres

LES NOTRES (The Others) (Canada 2020) ****

Directed by Jeanne Leblanc

LES NOTRES opens with the 5-year term mayor, Jean-Marc Ricard of the Quebec town Sainte-Adeline giving a speech during a ceremony for the opening of a local park, the Saint Germaine.  He is well respected and has a photo taken of is family, as he claims.  It does no take a genius to guess that something is afoot, and perhaps this mayor is up to no good.  Director Leblanc plays her cards well s her somewhat brilliant small-town drama unfolds.  This opening scene, if one examines carefully after watching the film, is one that takes place after the story not before.

The film is set in the tight-knit community of Sainte-Adeline, Quebec, where everyone knows everyone else and gossip moves around really fast and is deadly.  Magalie (Émilie Bierre) appears as a normal suburban high school sophomore surrounded by friends.  Magalie collapses one day in her dance class and a doctor’s examination reveals his popular teenage girl is harbouring a shocking secret: she’s pregnant. Her mother is informed and word spreads.  When Magalie refuses to identify the father, suspicions among the townsfolk come to a boiling point and the layers of a carefully maintained social varnish eventually crack.  As said, it does not take  genius to guess that the father is the mayor, the fact revealed after the film’s 30-minute mark.  Mr. Ricard is clearly the bad guy in the story, preying sexually on under-aged girls and clearly deserving of no mercy.  Director Leblanc makes that clear and the audience despises this evil sorry excuse of a human being from the first sight of the pudgy man.

The story is seen from two points of view - those of Magalie and of her mother.  Director Leblanc dishes out the details, without any judgement with the audience being sympathetic to both sides.  When they argue, one could take either side, as both have the right to feel angry and unappreciated.

There are many moving scenes and these are what makes the movie such a compelling watch.  One occurs when mother an daughter arrive home after the mother discovers the pregnancy.  The babysitter of the little brother remarks: “Your son was very well behaved.”

Or the exchange of words between the social worker, Patrice and the mother: “I am looking out for her best interest.”  Her retort: “I have been doing that for the past 13 years.”  Or the mother to daughter when first told of the pregnancy:”I don’t understand.”  Daughter’s reply: “I am sorry.”

The emotions run wild.  Both  mother and daughter do not know how to deal with the situation.  One moment the mother tells the daughter that she loves her and the next she is screaming at her in order to find out who the father is.  The 13-year old has mixed feelings, too young to realize that the father has no intention of loving her or keeping the baby, while she is doting on him.  All these questions are left to the climax of the film, which I can only reveal as a very powerful one.

The small yet brilliant LES NOTRES gets my vote for Best Canadian film of the year!

Trailer: 

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Film Review: The Mercy of the Jungle

THE MERCY OF THE JUNGLE (France/Belgique 2018) ***1/2

Directed by Joël Karekezi

THE MERCY OF THE JUNGLE premiered at the Toronto International Film Festival back in 2018 but now gets its North American premiere through Film Movement Plus.  (See below).  It is a well-made film from Rwandan director, Joël Karekezi (his second feature) covering many key and current world (the central Africa conflict between the Congolese and fighter rebels) as well as the personal issues of its two main characters.

The film follows two soldiers accidentally left behind by their comrades during the Second Congo War.  One is a seasoned war veteran, a sergeant, Xavier (Marc Zinga) who has lost both his dignity and faith in mankind.  The other is a young Faustin (Stephane Bak) who is a peasant boy, suddenly finding himself stuck in the midst of a bloody war.  Xavier’s wife is dead while Faustin’s (wife) is pregnant.  It is a good concept and the entire film sees the two bonding, thought reluctantly, in order to survive.  Both are put in the hands of the war, or fate if one wants to look at the bigger picture.  The film’s most moving scene has the two sharing a Marie biscuit.

The two have to find the troops while staying off the road, as their enemies will be ready to slaughter them on the spot.  They are at the mercy of the jungle, but not without the jungle’s own threats.  Credit goes to cinematographer Joachim Philippe and director Karekezi for an authentic creation of the jungle atmosphere, complete with both wonder and dangers.  The shots of sunlight shining through the overhead trees are reminiscent of Akira Kurosawa’s  signature scenes in his Samurai epics.  The two face dangerous animals from the sound of trumpeting elephants and a huge ape in the background.  They have to deal with the intense heat, the sergeant coming down with a high fever and hallucinations, while being thirsty yet unable to drink the poisoned water found in some streams.  At one point, the sergeant drinks from Faustin’s water bottle only to spit out what was Faustin’s urine, which Fasutin was drinking to survive.  At the same time, the stunning sights like the natural waterfall and clear streams are also on display in the film.  The two are also forced to fend for themselves.  Fasutin’s boar trap manages to get them a rabbit for a meal.

As the film draws to its climax and conclusion, Faustin’s coming-of-age story is complete as the audience of Karekezi’s film learn more about the life of two solitary human beings who are not as fortunate as them, living in a cruel and unforgiving world.

How to view this film:

The film premieres from FILM MOVEMENT PLUS. Check the website: filmmovementplus.com.

FILM MOVEMENT PLUS (www.filmmovementplus.com) opens up a world of provocative, compelling and award-winning films from Film Movement’s singular library. Priced at $5.99 per month with a free 30-day trial, the SVOD subscription service, currently available on Roku, Apple TV, Amazon Fire, Android TV, mobile (iOS and Android), and Chromecast, offers consumers immediate access to over 400 festival favorite feature films and 100 short films.

Trailer:

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