All posts by Raymond Tomlin

About Raymond Tomlin

Raymond Tomlin is a veteran journalist and educator who has written frequently on the political realm — municipal, provincial and federal — as well as on cinema, mainstream popular culture, the arts, and technology. View all posts by Raymond Tomlin →

VIFF 2019 | Award Winners & More at This Year’s Film Festival

August 30, 2019A & E, Cinema, Vancouver, VIFF 2019Raymond Tomlin

In the 11½ months between the annual Vancouver film festivals, festival programming staff spend their year attending film festivals across the globe identifying for patrons the best in world cinema to bring to our shores, the vast majority of scheduled films set to screen each year only two or three times in Vancouver, never to be seen again in local cinemas. The Vancouver International Film Festival, then, affords appreciative audiences with the singular opportunity to participate in a venture that, during the 16-day running time of the festival, provides viewers with an utterly unique and gently humane window on the world, a not-to-be-missed artistic endeavour.

VIFF 2019’s Contemporary World Cinema programme this year is composed of 47 films from 28 countries, and as the programme suggests, represents:

” … a sprawling collection of award winners, new discoveries, and noteworthy premières, be they offbeat comedies, deeply humane dramas or progressive cinema that pushes both boundaries & buttons, this series is a showcase of the best new work from international filmmmakers.”

Today, four award-winning films worthy of your consideration, films that will screen at the 38th annual Vancouver International Film Festival in 2019, sometime between Thursday September 26th and Friday, October 11th …

Rigorously charting the fracturing of a grieving former police detective’s world as he comes to suspect that his late wife, who died in a strange car accident, was having an affair with a younger colleague, this deeply unsettling and grimly hypnotic second feature by Icelandic writer-director Hlynur Palmason, A White White Day won both the Louis Roederer Foundation Rising Star Award and Critics’ Week prize at Cannes 2019.
As Lisa Nesselson writes in her review of the film in Screen Daily …

A White White Day is an exquisite, complex, visually arresting and emotionally rewarding film, the tug of the splendidly varied landscape in this film both internal and external in a manner that would be hard to pull off in a dense urban setting, the pleasingly off-kilter string score a plus, and the trajectory of the film percolating from tender — the protagonist’s relationship with his granddaughter — to robustly no-nonsense, offering the viewer throughout with a flesh and blood catalogue of ways to be masculine, to be human, and how to grieve.

The film’s title refers to an Icelandic proverb suggesting that on days so “white” that the earth meets the sky, the dead can communicate with those still living.

Winner of the Golden Bear (the top prize) as well as the FIPRESCI Prize (the critics prize) at Berlinale 2019, in early February of this year …

Nadav Lapid’s third feature, Synonyms, emerged (as critics wrote) as …

… deliriously unpredictable, brilliant, maddening, enthrallingly impenetrable and breathtaking in the way it careens from one scene to the next in a whirlwind of personal and political meaning, the film an excoriation of Israel’s militant machismo and a self-teasing parody of Parisian stereotypes, embodied by actor Tom Mercier in this nakedly hypnotic and astonishingly audacious début, which sees Mercier often naked, clothes only a superfluity, his raw physicality the only pure expression of control as he see-saws the imbalance between power and helplessness.

A sui generis work of tormented genius, Synonyms is not to be missed.

This year’s Cannes’ prestigious Un Certain Regard winner, here’s what VIFF 2019’s programme has to say about The Invisible Life of Eurídice Gusmão:

Karim Aïnouz’s (Madame Satã) stylish, colour-saturated “tropical melodrama” tells the story of two sisters, proper Eurídice (Carol Duarte) and freedom-loving Guida (Julia Stockler), in 1950s Rio de Janeiro who are divided by their father’s duplicitous misogyny. Pure pleasure for the eyes and told from a decidedly feminist slant, this is a tale of “high emotion articulated with utmost sincerity and heady stylistic excess, all in the perspiring environs of midcentury Rio de Janeiro.”

Thus far, then, contemporary, award winning cinema from Iceland, Brazil and France / Israel. Let’s now take a look at Queen of Hearts, the Denmark / Sweden co-production that won the Audience Award in the World Dramatic Competition at the Sundance Film Festival earlier this year.

Director and co-writer May el-Toukhy offers a master class in how to shoot a blossoming physical attraction. From shy touching while trying to find the perfect spot for the “world’s smallest tattoo”, to the frankly explicit sex that actually seems sexy … to confuse matters, though, Queen of Hearts explores the inappropriate relationship involving a middle-aged lawyer’s twisting, highly-charged sexual tryst with her troubled teenage stepson, the film on the one hand an impossibly glamorous, sexually charged and immoral melodrama and on the other a subtle Sirkian, almost Hitchcockian tragedy that explores the wages of familial sin and deceit, all while peeling back the veneer of ultra-civilized Scandinavian society. Not to be missed.

VIFF 2019 | Late Summer Early Autumn Film Festival Season

IndieWire coverage of the Telluride Film Festival, with Editor-at-Large Anne Thompson, and chief film critic and deputy editor, Eric Kohn.

VIFF 2019 | Late Summer Early Autumn Film Festival Season

August 23, 2019A & E, Arts Friday, Cinema, Vancouver, VanRamblings, VIFF 2019Raymond Tomlin

Although many believe that the Oscar season begins in mid-May at the Cannes Film Festival, in fact the Oscar race officially kicks off at the end of August with the Telluride (Aug. 30 – Sept. 2), Venice (Aug. 28 – Sept. 7), Toronto (Sept. 5 – 15) and, at the end of September, both the New York Film Festival (Sept. 27 – Oct. 13) and our very own homegrown film festival (VIFF 2019, Sept. 26 – Oct. 11), where most of the upcoming Oscar contenders will make their auspicious and much-anticipated débuts.

Winner of the Jury Prize at Cannes this year, Ladj Ly’s Les Misérables — débuting at VIFF 2019 as part of the Spotlight on France series — emerged as one of Jeff Wells’ (Hollywood Elsewhere) favourite films at Cannes this year, a film he describes as “explosive, urgent, furious, riveting, breathless and impactful,” and about which VIFF’s festival guide says …

Set in the same suburban Paris neighbourhood, Montfermeil, used by Victor Hugo as the location for the Thénardiers’ Inn in his Les Misérables, débuting director Ladj Ly’s gripping, incendiary police-thriller gives us a young cop, Stéphane (Damien Bonnard), who joins an Anti-Crime Squad team led by loose cannon Chris (co-writer Alexis Manenti, superb) and is soon immersed in a world of poverty and internecine power struggles. When images of police brutality start circulating, the shit hits the fan…

The full VIFF 2019 festival guide will be online two weeks from today, on Friday, September 6th, on the same day the glossy cover programme will be available at libraries and various other outlets across Metro Vancouver.
With the summer silly season of dreaded movie sequels having drawn to a close, with box office down 19% this summer over last, the failed popcorn blockbusters are about to give way to the more serious fare all cinephiles cherish, all of which are ready to elbow their way into the Oscar derby.
At the various film festivals that will unspool future Oscar award winners over the course of the next month and a half, new films from Pedro Almodóvar, Noah Baumbach, Terrence Malick, Edward Norton, and more will launch into the awards season or fizzle out.
In respect of VIFF 2019, as more information about the 38th annual Vancouver International Film Festival becomes available, we’ll publish our idiosyncratic take and insight into the information with which we’re provided. In the meantime, take a look below for films that will début at one or more of the above-mentioned film festivals, including our own illustrious Vancouver International Film Festival …

Writer-director-producer Edward Norton has transplanted the main character of Jonathan Lethem’s best-selling novel Motherless Brooklyn from modern Brooklyn into an entirely new, richly woven neo-noir narrative: a multilayered conspiracy that expands to encompass the city’s ever-growing racial divide, set in 1950s New York.

Portrait of a Lady on Fire

On the cusp of the 19th century, young painter Marianne travels to a rugged, rocky island off the coast of Brittany to create a wedding portrait of the wealthy yet free-spirited Héloise. An emotional and erotic bond develops between the women in Céline Sciamma’s Cannes-awarded subversion of the story of an artist and “his” muse.

In this richly burnished, occasionally harrowing rendering of the persistent scars of war, two women, Iya and Masha (astonishing newcomers Viktoria Miroshnichenko and Vasilisa Perelygina), attempt to readjust to a haunted post-WWII Leningrad.

Noah Baumbach’s new film is about the rapid tangling and gradual untangling of impetuosity, resentment, and abiding love between a married couple — played by Adam Driver and Scarlett Johannson — negotiating their divorce and the custody of their son. It’s as harrowing as it is hilarious as it is deeply moving.

Pedro Almodóvar taps into new reservoirs of introspection and emotional warmth with this miraculous, internalized portrayal of Salvador Mallo, a director not too subtly modeled on Almodóvar himself and played by Antonio Banderas, who deservedly won Best Actor at this year’s Cannes Film Festival.

A searing exploration of the consequences of upholding one’s convictions in a time of terrifying upheaval, this latest work from Terrence Malick (The Tree of Life) mines the themes of spirituality and engagement with the natural world that have permeated so much of the American auteur’s late-period renaissance. Set in Austria during the rise of the Third Reich, A Hidden Life movingly relays a little-known true story of quiet heroism.

Music Sundays | Angus and Julia Stone | Sibling Folk

June 2, 2019A & E, fixin to die rag, Jude and Megan, Music, VanRamblingsRaymond Tomlin

Julia Natasha Stone was born on the 13th of April 1984 in Sydney Australia.
Julia’s parents, Kim and John Stone, were both well-regarded Australian folk musicians who played locally. Two years later, on April 27th 1986, her brother Angus was born. At family gatherings, it was not uncommon to see the two siblings perform — all was well until, in 2000, their parents split.
After finishing secondary school and while on a holiday with her brother in South America, Julia was impressed by her brother’s musical talent, “Angus was writing amazing songs … he had shown me how to play guitar when we were traveling in Bolivia, and those songs had gotten me through that year (Julia had, earlier that year separated from her boyfriend, from all reports a turbulent relationship, which left Julia emotionally devastated)”.
Within a year, in 2004, Julia began writing her own songs.
By 2005, and back in Sydney, Angus and Julia began to play gigs at open mic nights, with Angus performing backing vocals for Julia, as in time Julia did for Angus, on the songs he wrote. Finally, in 2006, the two formed a duo, Angus and Julia Stone. In March of that year the pair recorded their début extended play, Chocolates and Cigarettes, a remarkably chill amalgam of songs written and recorded live at home.
The EP, released in August, went on to win the ARIA (Australian Recording Industry Association) 2006 Best Album award, with Angus and Julia also taking home the Best New Group prize. The rest, as they say, is history.

Chocolates & Cigarettes directed by Angus and Julia Stone — from their 2006 début EP.

Angus and Julia Stone’s second album, Down the Way (March 2010), débuted at number one on the ARIA Albums Chart and was certified 3x platinum in 2011, It was the highest-selling album by an Australian artist for 2010. At the 2010 ARIA Music Awards the duo won ARIA Album of the Year for Down the Way and ARIA Single of the Year for Big Jet Plane, attaining the number-one position in the Triple J Hottest 100 in 2011, as voted on by radio station listeners across Australia.

Angus and Julia Stone last played in Vancouver on November 28th 2017, to a sold-out audience of 1280 fans at The Vogue.

Stories of a Life | 1978 – 1982 | Chief Cook and Bottlewasher

June 1, 2019fixin to die rag, Jude and Megan, Stories of a Life, Thought for the Day, Vancouver, VanRamblingsRaymond Tomlin

1978. Jude, at age 3½, and Megan at 2 years of age. At the kitchen table for breakfast.

A couple of weeks ago, when I was extolling the virtues of my Instant Pot to a friend, in a lull in the conversation, she turned to me and said, “You like to cook, don’t you?”
The short answer: I derive pleasure from both cooking and baking.
Here’s the story behind my love for the culinary powers of the kitchen.

1616 Semlin Drive, at E. 1st Ave. in Vancouver. One of the homes I lived in growing up.

From my earliest days, I fended for myself. My mother worked three jobs, and my father worked the afternoon shift at the Post Office. When I arrived home, although my father often left a stew bubbling away in the slow cooker, from age seven on, for the most part if I wanted to eat, I’d have to make breakfast, lunch and dinner for myself and for my sister.
So, being somewhat industrious, I learned to cook — well, make sandwiches and, for dessert, Jello, at least for the first few years. I loved turkey growing up (all that triptiphan), so with the help of my mother, I learned to make her delicious turkey, stuffing, gravy, mashed potatoes and vegetables. For the most part, though, my cooking skills were rudimentary — but I didn’t starve, and more often than not there was food in my belly.
When in 1970 Cathy and I moved in together, marrying soon after, I was responsible for most of the cooking. Cathy’s mom sent her out $1000 a month (she didn’t know we were living together), visiting every three months, taking us to the local Woodward’s grocery floor, where she dropped in excess of $300 at each visit. With Cathy’s mother money, we ate a fairly staple diet of generously thick T-bone steaks and baked potatoes.

Simon Fraser University’s Louis Riel House, student family 1 + 2 bedroom residence.

Soon after moving into the Louis Riel Student Residence at Simon Fraser University in 1971, Cathy joined a women’s group, who met every Wednesday evening. Among the decisions that were taken by the women’s group was this: men shall participate in all household chores, and share in all food preparation. As we often ate together with other of the students in the residence, my specialty became salads — all different kinds of healthy, nutritious salads, chock full of vegetables, nuts, sunflower seeds, and more.
At this point, Cathy still hated to cook — there was immense pressure placed on Cathy by her peers to develop culinary skills, but she refused. All that changed in the summer of 1973, which is a story for another day.

2182 East 2nd Avenue, in the Grandview Woodland neighbourhood of Vancouver.

When Cathy and I separated in 1978 — Jude and I lived in the home above, before Jude, Megan and I moved to Simon Fraser University and Louis Riel House, when I began work on my Masters degree — the thought occurred to me one morning when making breakfast that I was now the lone parent, and the sole person responsible for ensuring the children ate nutritious foods at each meal in order that they might grow up into healthy adults. I took on the task of learning the art of cooking (and baking), in earnest.
There was, however, a quid pro quo involved.
After returning from a day of larnin’ and T.A.’ing at SFU, after picking up the children at daycare at 4:30pm, and walking the relatively short distance to our two-bedroom apartment at Louis Riel House, while the children played with their friends on the lawn in front of our apartment, I prepared dinner, calling them in about 45 minutes after dinner preparation had begun. The kids were famished, and so was I.
Here’s where the quid pro quo came in: at the end of each meal, each of the children had to turn and say to me some version of, “Daddy that was a good dinner. It was mmmm, delicious. Thank you for making dinner for all of us, and all the work you put in to feeding us healthy and nutritious breakfasts, lunches and dinners, and all those wonderful desserts we love!”
I needed the incentive provided to me by both children, so their gratitude — which, in time, they came to acknowledge as their own — and the kids felt good about encouraging me, as I encouraged them in all of their endeavours. We were a happy family & all was well with the world for us.
Now, I was an adventuresome cook, and not everything I made turned out to the liking of each one of us.
Being a dedicated democrat, Jude, Megan and I made a deal with one another in respect of dinner. Both children had to eat at least two bites of each food item I prepared: after all the work I put into preparing a dish, the least they could do was try out the dish to see whether they might like it. Most of the time they did, but sometimes not.
One night, I made cream of escargot soup. Honestly, it wasn’t bad. But at the end of the soup entrée, I turned to the children and asked them what they thought, to which they replied almost in unison, “It was all right, tasty enough I suppose, but I’m not sure if I’d ever want to have it again.” I agreed with them. We never ate cream of escargot soup ever again.
Each of us were allowed to have three foods on a list of our creation, foods we did not have to eat, no matter what. Megan had three foods, Jude had three foods, and I had three foods — those foods changed over a period of time. In order to add a food to our individual “nah, I don’t want to eat that food” list, some food on each of our lists had to come off. Took some thought on the part of the children as to whether they wanted to remove a food. Megan, for a great long while didn’t like avocados — but one day, while placing a new food she didn’t like onto her “don’t eat” list, she took out avocados, eventually coming to love avocados, as she does to this day.
Watching me prepare meals all the time he was growing up caused Jude to want to become a chef — he worked in the food industry throughout his late teens and twenties, before getting into teaching, which paid better, and was overall less stressful, with “more honourable people”, he’d say to me.
In her teens, Megan became a vegan — there’s a story there, too, which I’ll leave for another day — and, for the most part, took on the preparation of her own meals, as did Jude over a period of time. After the summer of 1973, Cathy became a great cook — there’s not much I miss about that tumultuous marriage, but I sure miss Cathy’s avant-garde cooking, her culinary craftsmanship, spicing & phenomenally delicious cooking. Ah well.