BeatRoute Magazine AB print e-edition - April 2017

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April 17-23,2017 MONDAY, APRIL 17 7:00 PM OPENING NIGHT FILM & PARTY! THE LITTLE HOURS United States, 2017, 90 min TUESDAY, APRIL 18 7:00 PM MY ENTIRE HIGH SCHOOL SINKING INTO THE SEA United States, 2016, 77 min 7:30 PM FREE FIRE United Kingdom, 2016, 90 min 9:15 PM SOME FREAKS United States, 2016, 97 min 9:45 PM ALIPATO: THE VERY BRIEF LIFE OF AN EMBER Philippines / Germany, 2016, 88 min WEDNESDAY, APRIL 19 6:45 PM NATIONAL CANADIAN FILM DAY FREE SCREENING! PONTYPOOL Canada, 2008, 93 min 7:15 PM LOVE AND SAUCERS United States, 2017, 62 min 9:30 PM COLOSSAL United States / Canada, 2016, 100 min 9:45 PM HOUNDS OF LOVE Australia, 2016, 108 min THURSDAY, APRIL 20 6:45 PM FUBAR 15TH ANNIVERSARY SCREENING Canada, 2002, 76 min 7:15 PM PEOPLE THAT ARE NOT ME Israel, 2016, 77 min 9:15 PM 78/52 United States, 2017, 91 min 9:30 PM LOST SOLACE Canada, 2016, 106 min 11:45 PM A DARK SONG Ireland, 2016, 99 min FRIDAY, APRIL 21 6:45 PM THE SPACE BETWEEN Canada, 2016, 90 min 7:15 PM G FUNK United States, 2017, 83 min 9:15 PM THE UNTAMED Mexico / Denmark / France 2016, 100 min 9:45 PM BLOOD MOUNTAIN Canada, 2017, 87 min 11:59 PM LAKE BODOM Finland / Estonia, 2016, 85 min SATURDAY, APRIL 22 10:00 AM THE SATURDAY MORNING ALL- YOU-CAN-EAT-CEREAL CARTOON PARTY! 1960s-1980s, 180 min 1:45 PM SHORTS: STICKY SITUATIONS Various Countries, 2016/17, 81 min 3:30 PM GREEN THE SCREEN - PANEL & NETWORKING ON FILM PRODUCTION (FREE EVENT) 120 min 4:00 PM DAVID LYNCH: THE ART LIFE United States, 2016, 90 min 6:30 PM ARE WE NOT CATS United States, 2016, 78 min 7:00 PM BAND AID United States, 2017, 94 min SUNDAY, APRIL 23 11:00 AM MY ENTIRE HIGH SCHOOL SINKING INTO THE SEA United States, 2016, 77 min 11:30 AM LAKE BODOM Finland / Estonia, 2016, 85 min 1:30 PM THE UNTAMED Mexico / Denmark / France 2016, 100 min 2:15 PM A DARK SONG Ireland, 2016, 99 min 4:00 PM LOVE AND SAUCERS Canada / United States, 2017, 62 min 4:45 PM SHORTS: AIN’T MISBEHAVIN’ Various Countries, 2016/17, 84 min PLEASE NOTE THAT SOME FEATURES ARE PRECEDED BY SHORT FILMS, WHICH WILL IMPACT THE TOTAL RUN TIME. 9:00 PM DAVE MADE A MAZE United States, 2017, 80 min 9:45 PM BERLIN SYNDROME Australia / Germany, 2017, 116 min 11:59 PM ASSHOLES United States, 2017, 73 min 6:30 PM GORAN Croatia, 2016, 86 min 7:00 PM THE UNTOLD TALES OF ARMISTEAD MAUPIN United States, 2017, 89 min 9:15 PM TONY CONRAD: COMPLETELY IN THE PRESENT United States, 2016, 96 min 9:45 PM DAVE MADE A MAZE United States, 2017, 80 min Tickets and more infoRmation at calgaryundergroundfilm.com licensed event-18+evenings-matinees all ages $10 regular screenings - $8 cuff members / students / seniors |5 Film Multi-Pack $40 / $120 festival pass
HOUNDS OF LOVE difficult thriller doesn’t stray from under-discussed, troubling issues To put her parent’s current separation as far out of her mind as possible, young Vicki Maloney (Ashleigh Cummings) sneaks out of her mom’s house late one night. All she wants to do is let loose at a raucous party for a couple of hours to forget her daily troubles. Her night of intended drinking is interrupted when she’s picked up by a seemingly kind couple driving down the very same road. Evelyn (Emma Booth) and John (Stephen Curry) appear to be normal folk at first, but they carry an uneasy darkness with them wherever they go. Their offer of marijuana and an empty booster seat in the back of their car convinces Vicki that they’re relatively untrustworthy people. After drinking a glass of water that’s been drugged, Vicki is subsequently chained up to one of their beds. It’s clear that Evelyn and John have done this kind of thing before. Vicki’s quickly degraded, as she becomes the victim of a horrifying game of sexual control. While her freedom is visibly right through the front door, taunting her at every single moment, Vicki’s mind begins to race and turn for a way out. She becomes privy to not only the horrors of her situation, but also the inner workings of her kidnappers’ collectively deranged psyche. On the surface, Hounds of Love may at first appear to be just another run-of-the-mill Australian crime film. Underneath the basic set-up is a small-scale character-focused chamber piece. The performances of the three leads are what truly make the film THE SPACE BETWEEN director Amy Jo Johnson makes her touching feature film debut Don’t miss this all-Canadian indie dramedy at CUFF. Mitch (Michael Cram) is a pretty insecure middle-aged guy. He has an unambitious job at a go-kart track (yet has a surprisingly nice home for such a career path) and seems to wallow in self-pity. So when he receives a letter explaining that his red-haired newborn is not his, he does not take the news well. Angry and betrayed, he sets out to find the baby’s true father and to exact his revenge. Mitch’s plans are tenuous at best, however. He doesn’t even know what the FILM Best bring a blanket to this intense, dark thriller. work. They’re faultless and feel genuinely authentic throughout. We feel completely awful for Vicki as she goes through the trauma of being kidnapped, raped and tortured. We entirely loathe John for being the most despicable human being imaginable. Our hearts absolutely break for Evelyn because she’s also a victim in her own right. We condemn them and hate them real father looks like. Meanwhile, his wife, Jackie, (Sonya Salomaa) regrets her actions, so she piles her dysfunctional group of family and friends into a limousine to stop Mitch and try to save their marriage. Mitch, however, not the vengeful type, meets an unusual and adorable girl named Emily (Julia Sarah Stone), and forms a strange yet humanizing relationship with her. It’s a quirky, funny, and emotional film, and we were able to speak with writer/director Amy Jo for their actions, but also unfortunately understand why they do what they do. First-time feature writer/director Ben Young wisely keeps the film focused on the victim and her kidnappers. The audience fully understands the perverse and complex power struggle at work here. Young also smartly eschews the stock rape revenge tropes that Johnson about it, which also happens to be her first feature-length film. “I was super lucky with that cast,” she said. “Michael Ironside was amazing. Jayne Eastwood is such a legend.” The film’s characters feel real; they are all eccentric, of course, yet entirely believable. “For the characters… I definitely pull from people in my life,” she admitted. “Emilia’s dad, Nick, I wrote sort of based on my own father, but when Michael Ironside showed up on set he was no longer Nick. That’s what so great about seeing things come to life, the actors bring their own thing.” The teenage girl Emily is the emotional heart of the film, hiding deep-rooted pain behind an air of cheeriness. Complementing the emotional Mitch, a wonderful father-daughter relationship emerges. Johnson stresses that Emily needed to look innocent so that there could be no mistaken romantic relationship. “Mitch’s journey is to really figure out that he can be a good father, so we really needed whoever to play [Emily] to not have a sexy thing that they give off, and that’s hard to find. But when Julia sent in her tape I was like, ‘Oh, that’s perfect.’” Themes are what give a story depth, and the recurring notion throughout the film is that pain creates passion. “Ultimately the main theme throughout the movie is acceptance and forgiveness,” Johnson explained. “Each character has to go through their journey to find love in a way. To do that, everybody had to let go from what they were holding onto.” We asked Johnson if this theme was close to her. She stated that it wasn’t the initial intention in early by Philip Clarke audiences are most likely expecting to unfold in the last act. So many films of its ilk all go down the same path, by giving both the victim and the audience the instant gratification of a fantastically hyper-violent finale. The ending, while certainly violent, is never taken to over-the-top or unnecessarily stylized extremes. The film never shies away from any of the ugliness that the real world has to offer, without ever becoming overly gratuitous. Young leaves the scenes of sexual assault up the viewer’s imagination by having very little of the acts ever shown on screen. Most of the atrocities are just heard though Vicki’s terrified screams. The film is undoubtedly a difficult watch from the very beginning. Not only does the film discuss the horrific nature of sexual assault, but it also delves into a deconstruction of toxic relationships. Evelyn utterly worships John when she clearly shouldn’t. On top of being a serial rapist and kidnapper, John’s also an alcoholic who’s prone to violent outbursts towards animals and treating his wife like his own personal slave. Hounds of Love is not a film to be casually watched on a lazy Sunday afternoon. However, it is definitely an important film to watch and discuss afterwards. That way we can help educate and create awareness on real mature themes that are sadly all too real in the world today. Hounds of Love screens at the Globe Cinema on April 19th as part of CUFF. by Jonathan Lawrence drafts of the script, but that by the end of the writing process, it suddenly became very apparent. “I figured out that that was everybody’s journey, and I think in life that’s probably the hardest lesson and the biggest thing we all have to do is figure out how to let go and accept where were at or what’s happening and not try to control everything.” One of the film’s strong points is its comedic undertones, which nicely balance out the film’s dramatic moments. “The heavy subject matter that I was dealing with, I try to find the levity within it, [to] be able to laugh at the situations.” To bring levity to the script, Johnson knew that the film’s lead needed to have an understated comedic side. “I wrote the movie for Michael [Cram], I worked with him on Flashpoint. I think he is just the funniest guy, but he doesn’t even know how funny he is. He is Mitch, but I think more sophisticated. I remember being on set and he’d be like, ‘I don’t understand what you’re saying.’ He’d get a bit insecure. ‘What do you want?’ he’d say.” Johnson affects a panicky voice for Cram. “There he is, that’s him,” she joked. “One day he just showed up really confident and a whole different Mitch and I was like ‘who is this confident guy on my set?’” “What are you talking about?” he responded anxiously. “There you go, there he is,” Johnson said, laughing. The Space Between will be shown on April 21st at the Globe Cinema as part of CUFF. Star Michael Ironside will be in attendance. BEATROUTE • APRIL 2017 | 35
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Page 43 and 44: ROOTS TIMBER TIMBRE creepin’ in r
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Page 51 and 52: musicreviews Father John Misty Pure
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