By: Trevor Chartrand Canadian films have the unfortunate reputation for being ‘bad’ or ‘poorly produced,’ and as much as it hurts to admit, the generalization tends to be accurate. That’s certainly the case with the latest film from directors Marie-Hélène Cousineau and Michelle Derosierand. Angelique’s Isle tells the true story of a First Nations woman and her wilderness survival during the copper rush of the late 1800s.
Wild Nights with Emily didn’t “click” with me but, then again, I feel like I’m “missing” something.
Hats off to Sophie Cookson, an actor who turns lemons into lemonade to some avail in Trevor Nunn’s tepid period drama Red Joan.
By: Trevor Chartrand There are some unforgettable vast desert vistas in Jirga, a philosophical study of redemption and forgiveness screening at this year’s festival. I had a chance to talk with director Benjamin Gilmour and star Sam Smith to discuss their experience making the film, but I just had to ask about those landscapes.
By: Trevor Chartrand Sparse and atmospheric, writer/director Benjamin Gilmour’s Jirga is a visually stunning entry in this year’s TIFF lineup.
Indian Horse is ingrained with prejudice experienced by Canada’s Indigenous people. Director Stephen S. Campanelli, who is usually hired as a camera operator on mainstream films, gives his audience a firsthand perspective of this chilling history while adapting Richard Wagamese’s award-winning novel of the same name.
Window Horses, Ann Marie Fleming’s feature adaptation of her graphic novel, is an evocative stream of consciousness through history, art, and culture.
By: Nick Ferwerda To my surprise, Bitter Harvest – a film that was supposed to be about the Holodomor Genocide in the early 1930’s – is actually a mediocre love story. I didn’t say it was a good surprise.
By: Jessica Goddard A United Kingdom is a beautifully-made, sincere, and well-acted historical drama. Director Amma Asante (Belle) knows what she’s doing with this story, and hits all the right notes to make this an inspiring and uplifting film that still feels truthful and grounded in reality.
Nazis plundering art has been a subject of much consideration and curiosity ever since the objects began to be recovered. Plenty of focus has been placed on paintings that were lost and found in this way, and the reasons for it are plain to be seen: the paintings have famous, long-deceased names attached and, due to their singular status, they can only be experienced by a limited number of people and can be valued at…