It’s Canadian tradition during the last Sunday of November. It’s Grey Cup Sunday. This will mark the 105th contesting of this momentous event. Once again, the final is East vs. West. Interestingly it’s like a rematch of the 2012 Grey Cup. It will be the Calgary Stampeders vs. the Toronto Argonauts.
First Time For TD Place; Seventh Time For Lansdowne Field
This will be the first time the TD Place Stadium, which was completed in 2014, will host the Grey Cup. This will be the seventh time for the field. It hosted five times before as Lansdowne Park between 1925 and 1988. It hosted once as Frank Clair Stadium in 2004. The older stadium was able to field more spectators in the past. TD Place normally has a capacity of 24,000 but it will expand to 36,000 for the Grey Cup. Shaw Cable is the main sponsor for the event. Freedom Mobile will be sponsoring the halftime show which Shania Twain is slated to perform.
And Now The Game
For the second straight year, the Calgary Stampeders will represent the West while Toronto will represent the East. It’s easy to predict the Stampeders to win, but don’t forget they were the heavy favorites last year. The Argonauts could pull the same upset the RedBlacks pulled last year.
WEST: CALGARY STAMPEDERS
Last year, the Stampeders led the CFL in game stats and entered the Grey Cup as the clear favorites, only to be surprised by the Ottawa RedBlacks in overtime. That’s considered by many to be the biggest upset in Grey Cup history.
This year, they find themselves in the same position: the best team in the regular season and the favorites to win.
Despite leading the regular season, they did show some weakness in the team such as losing the last three season games. Some say they simply gave it away since they knew they’d be tops anyways. Even their 32-28 win in their West Final against the Edmonton Eskimos would be in question as they had a convincing lead at the start of the final quarter only to give nine points away.
Calgary has their strengths and their weaknesses. Their strengths were the most present throughout the season. On top of that, they won both their games against the Toronto Argonauts. I know there are no guarantees in sport, but it’s hard to see Calgary losing the Cup this time around.
EAST: TORONTO ARGONAUTS
Calgary had the best performance this CFL season. Toronto’s, on the other hand, was nine wins and nine losses. Actually all but one team from the West had better win-loss stats than Toronto. It’s hard to believe Toronto came out on top of the East. That just goes to show how far ahead most of the West was this season.
Many people predicted that the Grey Cup would be an all-West game, but Toronto prevented this from happening by beating the Saskatchewan RoughRiders 25-21 in the East Final. Admit it. We all want the Grey Cup to be an East vs. West affair.
Even Toronto’s win in the East Final showed they do have some issues as they almost gave it away thanks to some strong last-quarter play from Saskatchewan. It took a last-minute touchdown from Cody Fajardo to save the Argos. If they look to win against the Stampeders, they can’t give anything away and play like they’ve never played before this year.
I feel that Calgary will win the Cup 40-15. They’ve been the best team this season. Plus I feel after the shock and humiliation of losing to the RedBlacks last year, I think they will want this more than ever. Plus I feel winning on the RedBlack’s home field will make this extra-sweet.
And there you go. That’s my preview of the 105th Grey Cup. Kickoff is 6pm Ottawa-time Sunday. May the best team win!
This year, I’m late again in wrapping up my experience at the VIFF. Actually I’m way earlier than last year. This time, I publish my wrap-up just three weeks after it ended.
The 2017 Vancouver Film Fest ended on Friday, October 12th. Crowds came again and again. There was a lot to offer with over 300 films from 69 countries. There were 19 films that are official entries for the Academy Awards category of Best Foreign Language Film for this year. Eleven films made their World Premiere at the Festival, nine their International Premiere, 37 their North American and 46 their Canadian Premiere.
The VIFF again offered Hub events and special lectures on film making topics from various professionals in its many fields. There was the Buffer Festival dedicated to the topic of online film making which included lectures on such filmmaking and even a Q&A featuring a lot of top Canadian YouTube personalities.
The award winners were announced at the closing gala on Friday:
BC Spotlight Awards
Sea To Sky Award
Presented by Telus
WINNER: Never Steady, Never Still (dir. Kathleen Hepburn)
Best BC Film Award
Presented by the Harold Greenberg Fund, Encore by Deluxe
WINNER: Luk’l Luk’l (dir. Wayne Wapeemukwa)
BC Emerging Filmmaker Award
Presented by UBCP/ACTRA & William F. White
WINNER: Never Steady, Never Still (dir. Kathleen Hepburn)
Canadian Film Awards
Best Canadian Film
Presented by Directors’ Guild of Canada
WINNER: Black Cop (dir. Cory Bowles)
Emerging Canadian Director
Presented by Directors’ Guild of Canada
WINNER: Never Steady, Never Still (dir. Kathleen Hepburn)
Best Canadian Documentary
Presented by the Rogers Documentary Fund
WINNER: Unarmed Verses (dir. Charles Office)
Short Film Awards
Best BC Short Film
Presented by CreativeBC
WINNER: Rupture (dir. Yassmina Karajah)
Best Canadian Short Film
Presented by Lexus
WINNER: Shadow Nettes (dir. Phillip Barker)
Most Promising Director of a Canadian Short Film
Presented by Delta Air Lines
WINNER: The Crying Conch (dir. Vincent Coi)
VIFF Impact Award
Presented by The Lochmaddy Foundation
WINNER: BLUE (dir. Karina Holden)
Super Channel People’s Choice Award
WINNER: Indian Horse (dir. Stephen Campanelli)
VIFF Most Popular International Feature
WINNER: Loving Vincent – Poland & UK (dirs. Dorota Kobiela & Hugh Welchman)
VIFF Most Popular International Documentary
WINNER: Faces Places – France (dir. Agnes Varda Jr.)
VIFF Most Popular Canadian Documentary
WINNER: Shut Up And Say Something (dir. Melanie Wood)
#mustseebc Presented by Storyhive
WINNER: Shut Up And Say Something (dir. Melanie Wood)
As for my volunteer experience, this was a unique experience in doing driving for the VIFF for a change. It wasn’t all about driving VIPs or those involved in film. There was one Friday just days before the VIFF where we had to bring two cars, an SUV, a moving van and a hauling truck from a Langley rental agency over to the VIFF theatre. It was crazy because this was my first time learning on how to drive an automatic car. All my life, I’ve started cars by turning the key. This was completely different and even had me freaked out. Nevertheless things got easier over time.
Our shifts were mostly simple. We’d wait at the Sutton Hotel to find out who we’d be picking up and from where. My first day was a Tuesday and it was confusing as I was getting used to driving the downtown Vancouver streets for the first time. Believe me, Burrard St. has very limited left-turn options and it was annoying. The second trip on my first day driving was crazier as we had to drop some people off at the back entrance of a hotel. The entrance is located at a ramp to a parkade and there was a car being us trying to enter the parkade as I was dropping the people off. vacating the hotel was a headache. The days after were easier as I mostly had to pick people up either at the Sutton Hotel or at the theatres and drive them to the airport. There were even a couple of times I had to pick people up from the airport and bring them to the Sutton Hotel. One of which I was transporting an orchestra’s musical instruments in the moving van. That was definitely interesting. On closing Friday, I was with five people who had to bring five of the ten vans back to the auto dealer’s headquarters. I thought I knew my way, but Surrey’s highway system is extremely confusing and I got lost. I did make it there, half an hour late.
As for films, I feel I saw a good variety of film. I saw thirteen feature-length films and at least one shorts segment. I was lucky to see at least three Canadian features. I saw a lot of foreign films. I saw two films that were official Oscar entries for the Best Foreign Language Feature category. I even saw an African film for the first time. I saw at least three Altered States films that were either bizarre or ridiculous. The biggest standout for this year’s films I saw had to be experimental films. I saw three such films: two Canadian. One was good while the two others came off as either a failed experiment or just something ridiculous. That’s one thing about experimental films. You have to welcome them first and then make your own judgement after.
For the end of the VIFF, there was a volunteer party held the Saturday after closing. Volunteers were treated to films shown at this year’s VIFF. Three of the best. After that, they were treated to a Mexican buffet and to karaoke singing. It was fun and I even sang three numbers. I always sing at least one Elvis number at a karaoke party!
So there you go. The 2017 Vancouver International Film Festival ended very well and it was another good year of films and volunteering for me. Next year’s VIFF is anticipated to be from September 27th to October 11th, 2018 and should offer a lot, if not more. I may end up being an usher or I may end up driving again next year. I’ll see what they have to offer me. In the meantime, see you next year!
It’s my tradition to end the VIFF by seeing the very last film they show. It’s always on the final day and at the Rio Theatre at 11pm. This year, it’s Housewife: a horror-thriller from Turkey in English. It wasn’t just the last showing at the VIFF, but its only showing at the Festival and a Canadian Premiere too.
The film begins on a snowy day 20 years ago. Seven year-old Holly lives a quiet life with her family until one day, her sister menstruates. Her mother reacts chaotically as if it’s a curse and kills both her sister and her father. Flash forward twenty years later. Holly is married, but the memories still haunt her from that horrific night. Her husband wants to start a family, but she pops birth control pills without him knowing.
One day, a childhood friend meets up with Holly again. They reconnect after all these years. The friend even invites Holly to an event her and her husband will be attending called ‘Umbrella Of Love And Mind.’ Holly comes to the event with her husband. The two couples are having a nice time together. Then the event starts. The event gives an impression it’s like a bizarre cult. The audience is introduced to a charismatic mastermind by the name of Bruce O’Hara. Bruce picks Holly right out of the audience as the first person he ‘demonstrates’ on. He’s able to get her mind to travel to another level and even into her fears. Holly and the crowd are impressed, but her husband is unhappy and mistrusting.
Holly carries on with life after the event, but the memories are now mixed with bizarre visions of murder. Holly goes back to Bruce for help. He continues to put her under his mind control. Meanwhile the husband is getting upset. He feels this is all a hoax. Finally Holly goes back one last time. The dreams are now of Bruce committing murder on Holly, ripping off her face and even wearing it! The movie ends on a bizarre, if not ridiculous, note that makes the film look like it’s incomplete or missing a lot of stuff to make sense.
The thing about the film is that it attempts to create the intrigue of a thriller it should create, but later comes across as confusing and even clumsy at the end. The opening looks promising as the opening scene shows some elements of Carrie in it. Actually even before you go to see the film, you’d get a sense that this would be a horror film, or something close to it. The master-of-the-mind who comes off like a cult leader is where you first start thinking if this will help the story or make it look ridiculous. Especially when he comes dancing onto the stage with ‘I’m Your Boogie Man’ playing in the background. It’s as the story moves into the second half that it starts treading into areas that are either confusing or ridiculous. The film even ends on a bizarrely ridiculous note that gets you wondering what the point of this story is.
It even gets you wondering what is director Can Evrenol trying to do as far as it being a thriller movie? Is he tapping into common thriller elements? Is he trying to create new thriller elements for the cinema? What is he trying to do? I left thinking he didn’t accomplish too much in the 80 minutes of the film, except add a lot of bizarre gore that makes you wonder what its point is. Maybe if he and co-writer Cem Ozuduru gave the film more time and better script, we’d get a better understanding of it, possibly even a decent understanding of it.
The acting was not the best. This is Can’s first English-language feature and he hires either Turkish or European actors for the roles. You can notice the accents. Lead protagonist Clementine Poidarz did well with her role, despite noticeable imperfections. David Sakurai looks awkward and even wooden in his role as Bruce O’Hara and even looks like he isn’t fully in character at times.
Housewife is Can Evrenol’s first attempt at an English-language feature and his first feature-length horror film. It’s not much of an accomplishment since its imperfections are very noticeable.
And there you have it! This is the fourteenth and last review of all the films I saw at this year’s Vancouver Film Festival. Quite the experience. My wrap-up is coming soon.
The Altered States series at the VIFF provide for a lot of films that cross into the genres and subject of horror, paranormal and the supernatural. Animals is a Swiss film that taps into the supernatural with mysterious results.
The film begins with a suicide outside an apartment building in Austria. A young woman falls to her death. Soon after, a couple by the name of Nick and Anna are to leave on a long trip in the Swiss Alps. Nick rents his suite out during the trip. The taker is a woman named Mischa, who looks very similar to the woman from the floor above.
The two then go on their vacation. Nick is a celebrity chef and Anna is a children’s book author. You can tell the marriage has been going through a lot of difficulties. Some things, like how Nick doesn’t want to have children, are said, but some aren’t. Then all of a sudden, Nick accidentally hits a sheep on the road. The collision kills the sheep and damages the car, but the two aren’t hurt seriously. Later that night, Nick receives the dead sheep wrapped up.
Back at the apartment, a man comes knocking to win back the love of Andrea. He keeps insisting in tears that he wants her back terribly and that his life is nothing without her, but Mischa keeps insisting: “I don’t know you.”
Nick and Anna try to go on with their lives and their marriage after the collision. However Anna is very suspicious of infidelity. Especially after she sees Nick get too friendly with a waitress by the name of Andrea. An attack by a robber on Anna from their car late at night seems to reconfirm Nick’s love to Anna. However Anna had a dream days earlier that Nick was the one who pulled her out, which is why she’s uncomfortable. Nick keeps notes of recipes that he is to use for some of his shows, but Anna is suspicious. Anna gets what she suspects; there is another woman in Nick’s life. When she tells him the news, it appears that Nick hears something completely different. It’s like he’s deaf and in another world.
Back at the apartment, Mischa is in love with another man. Two men are outside her apartment how they were both loved and neglected by her. Days pass and Nick comes across a news article about a ‘horrific sheep collision’ on a country road. The picture of the incident shows Nick looking distraught with a woman being carried away in an ambulance. Nick is shocked. That can’t be since they both survived the incident. They next day, another collision with a sheep happens. This time Anna is taken away in an ambulance. The film ends with a surprise, albeit too rushed.
The film focuses on a wide variety of common themes in a thriller. It focuses on the supernatural, a case of image versus reality, the power of dreams, and even the foretelling of the future. Nick and Anna are living out a slow but intense personal drama in their lives. However things intertwine right after they rent the house to Mischa. There are images of the future, not all pleasant. There is a barrier of communication, or Nick could be in another world of his own. There is a housesitter who either looks like a person who used to live at the apartment or is the same person with a completely different identity. Plus there are the animals that appear to tell something about what will happen in the future. There’s the sheep on the road, the birds that hit the house, and the cat that talks in French. The film can often be seen as including many thriller elements Alfred Hitchcock included in his films. It’s not just the birds reminding one of The Birds. It’s even the feel of the unknown, the mysterious and even the feel of being chased down that adds to the Hitchcock feel in this film.
The problem with this thriller is that it sometimes moves too slowly. The film has a lot of moments that create suspense, but it drags on in a pace that can be too slow for a thriller of such. I can understand why directors would want to slow scenes down for the sake of creating the intensity of the moment, but it appeared to take too long. The film creates intrigue, but it doesn’t keep its feel of the thriller consistent. It also seems like Swiss-born Polish director Greg Zglinski is trying to pack too many elements into the film. It’s impressive that it uses a lot of common thriller elements like the supernatural, the power of dreams, and the future happening in the moment, but it gives a sense that something’s missing. On top of it, Zglinski and co-writer Jorg Kalt appear that they don’t have the story stitched together properly. It’s a film that like a puzzle set that needs to be pieced together, but it doesn’t feel like it’s pieced together well. Even the ending that shows two completely different emotions on Nick gets one wondering.
The film’s actors are the highlight of the film. Birgit Minichmayr does a very good job of playing the wife caught between a fading marriage and this mystery happening before her eyes. Philipp Hochmayr is not given very much range in his role, but he does a good job in what he is given. Mona Petri also does a good job with her multi-personality role as Mischa/Andrea. In addition, the music by Bartosz Chajdecki adds to the drama of the film when it’s there.
Animals is a thriller that shows a lot of potential at first, but comes off as slow, not all together and even incomplete at the end.
I was lucky to see a lot of Canadian film this year at the VIFF. The last Canadian film I saw was Indian Horse. It touches on a dark moment of Canada’s history, but it also gives a ray of hope.
The story begins with Saul Indian Horse in a rehab clinic for alcoholism. He is around other First Nations people who tell of their experiences being raised in a Residential School. It’s there where Saul needs to make sense of his past.
His first memories come back to 1958: before he was taken to the School. He had a grandmother who spoke in her Ojibway language and still practiced Indigenous spirituality. Her daughter, Saul’s mother, was raised in the School. It changed her terribly. She called the mother’s religion blasphemy and would only speak English. The grandmother would be undaunted and would comment on how she was drinking the ‘white man’s drink.’ Their first son, Saul’s older brother, was to be home from the School temporarily, but was terribly sick. Eventually the brother died. Saul never saw his parents again.
It was just Saul and his grandmother shortly after. The grandmother took Saul to a remote location to try to hide Saul from being taken by authorities to the School, but she died. The authorities did find Saul and took him to the School. The first day was terrible. Saul was joined by a boy named Lonnie who spoke nothing but Ojibway. They were told how they would be made to speak English, revoke their ‘pagan Indian religion’ and not act like ‘savages.’ It all started with the cut of Saul’s ponytail.
The School was where the First Nations children were ‘schooled’ and ‘raised.’ They weren’t taught much in school as far as education went, but they were taught a lot of the Catholic religion. As far as ‘raising’ the children, the priests and nuns ‘raised’ them through abuse and humiliation, even keeping them captive in the basement cage at times. Saul witnesses it all and is even victim to the abuse. He witnesses Lonnie constantly beaten for speaking Ojibway, Lonnie’s failed escape and being held captive for punishment, one girl held captive for behavior and even dying in the cage, and her sister later committing suicide.
Saul did find a way out of the horror. There was one priest, Father Gaston, who appeared to be less strict than the others. He introduced the boys of the school to the sport of hockey. The school had a hockey team and the boys were allowed to watch Hockey Night In Canada. Saul wanted to play but he was too small at first. Fr. Gaston allowed him to tend the uniforms and clean the ice. That time allowed Saul to learn skating for himself and to learn hockey…using frozen horse turds as pucks. Fr. Gaston is astounded by Saul, but the head priest is reluctant to let Saul on the team. After a year, Saul is allowed on. It was a smart decision as the team came the surprise winner at many games with Saul outpowering and outplaying players way bigger than him.
Saul improves so much over the years in hockey, he’s allowed to leave the school early to play for a team on a nearby reserve. Before he leaves, he promises Lonnie he’ll see him again. He’s given a rooming home by an Indigenous couple who are empathetic to what he went through. He even blends well with his new team: The Moose. The Moose are not just a team that plays well, but a team with a brotherly bond. Whenever they win, they celebrate together no matter who the big star is. When they go to a bar to drink, they stand their ground against any bigoted white men why try to fight them.
Years later, Saul is offered a big opportunity to play with a team from a big city, and play professionally for money. The coach, Jack Lanahan, makes an offer in from of Saul’s teammates. Saul refuses at first, but his teammates encourage him to go for it. Saul accepts. Saul is the only member of the team that isn’t white and the team makes him feel like a misfit. On the ice, things aren’t any less discomforting. The crowds taunt him and whenever he scores a goal, they throw Indian figures on the ice. The media isn’t any kinder as a drawing depicts him as a warrior and even the journalist writes him as a warrior. Saul can’t take it anymore and he quits the team, and hockey as a whole. Years later, Saul is doing menial jobs like dishwashing for a restaurant. As he walks the streets of the town, he sees so many First Nations people with drinking problems. Then one day he notices Lonnie on the street with a bottle in his hand. That leads to Saul dealing with his own bout of alcoholism.
It’s 1989. Saul was hospitalized with liver problems. The doctor tells him any more drinking, and he will die soon. Saul check into a rehab centre specifically for First Nations people. There he hears many residential school stories similar to what he endured or what he saw happen to others. One of the counselors ask him if he ever cried. He never has; Saul has always made himself stoic in emotions. He’s asked to go retrace his past. Saul goes back to all the places he knew. First place he returns to is the residential school. It’s no longer running and is now just a shabby building. As he tours the place, he’s reminded of the memories of the ice rink where he learned to play, of the basement where students were locked up, and even the stairway where we learn Fr. Gaston used to perform ‘abuse’ on him. Saul returns to the land in the woods where he lived as a child before being sent to the school. It’s there Saul cries for the first time. It’s also there where he experiences a reconnection with his family and his indigenous heritage. This time he feels the pride. Then he returns to the reserve and is welcomed by his foster parents and The Moose with open arms.
This film is remarkable because it touches on a subject that remains the darkest blemish in Canadian history. The residential school system was set up with contempt in indigenous culture. The white English-French Canadians who ran Canada over a century ago always saw indigenous culture as ‘pagan,’ ‘wicked’ or ‘demonic.’ They felt they were doing the right thing by ‘whitewashing’ the indigenous people. Instead they created a huge mess that was very hurtful to the indigenous people. I attended high school in downtown Winnipeg and I saw firsthand the social problems the indigenous people endured from the late 80’s onward like alcoholism, drug abuse, homelessness, teenage pregnancies, gang violence and suicides. One scene that stuck out for me was when the white authorities were taking Saul away to the schools as his grandmother lay dead beside him. They only cared about taking Saul: they didn’t care about the recently-deceased grandmother at all. What does that tell you?
It’s only until revelations of abuse at the schools, both physical and sexual, surfaced in the 90’s after the system was dismantled that we finally got our answers why the indigenous had all these problems. It’s only now since the beginning of the 21st century that efforts have been made to reconcile and to clean up this mess. The stories experienced by the children that were put in the schools were echoed in the 2012 novel Indian Horse by Richard Wagamese. The novel has earned huge renown and even won awards since its release. The story of Saul is a story commonly echoed by many indigenous people that were ‘prey’ to this system.
Now adapting Wagamese’s novel into a film would prove to be a challenge. This was a story that needed to be told, no matter how painful the details. However the goal was not just to simply create a film, but create it in a ‘movie’ format so it can be viewed by a wider audience. Direction ended up in the hands of Stephen Campanelli who actually has a reputation in Hollywood as a cameraman, mostly for Clint Eastwood’s films. Campanelli has become Clint’s most trusted ‘camera eye’ since The Bridges Of Madison County. Scriptwriting was given to reputed Canadian scriptwriter Dennis Foon, but not without consultation with Wagamese himself.
The film had to include a lot of important elements of what happened both in the lives of the protagonist and what the indigenous peoples endured over the decades. However if this was to be a movie, the film had to be made into something watchable. The days back in the 90’s when we used to admire directors like Harmony Korine and Lars von Trier who’d take the unwatchable and shoved it in people’s faces are long gone. Making it ‘watchable’ would be a huge challenge. The subject of child abuse is never easy to write about. Seeing images of bigotry toward the indigenous children makes it additionally harder to watch. I don’t deny that anyone who went through the system will say that the depictions of abuse were ‘light’ in comparison to their experiences. However they were very good in telling exactly what they went through. The priests and nuns insulted them, humiliated them and even tortured them whenever they did wrong or didn’t live up to their standards. I may be Catholic, but I felt a lot of wrath towards the priests and nuns who taught at the schools when I was watching. I even thought: “They’re in hell now!” However the film also pointed to their mindset too. The film gave the impression that the priests felt the using abuse to teach and punish was the right thing to use not just on the indigenous, but in raising children as a whole. We shouldn’t forget there were people back in the 50’s that thought using abuse to raise children and punish them was the right thing.
Another element the film had to include was the common prejudices indigenous people received which helped lead to their lifelong identity crisis. The image of indigenous people has always had a difficult time. I don’t want to get started about all those ‘cowboys and indians’ movies of decades past. Imagine an indigenous child watching one of those. How’s he supposed to feel about his identity? The film does a good job in showing the identity crisis the indigenous continued to face just after Saul leaves the school. They would face prejudice whenever they’d go into a bar or any other place mostly filled with white people. Whenever an indigenous would make news of an accomplishment, they would be subject to journalism depicting them as a ‘warrior.’ That scene of Saul reading over that news story is something very common. There are a lot of white people who think that depicting the indigenous as ‘warriors’ through sports names like Redskins or Tomahawks are doing the right thing. Instead it only adds to their inferiority complex.
I think the purpose of the film is to show Saul’s experience as an indigenous person from childhood to adulthood as difficulties shared by most indigenous people in Canada. Throughout the film, I was thinking that this film is not based on a true story. It’s based on a thousand true stories. I’m sure there are many indigenous people who will see the abuse or bigotry or feelings of inferiority happening to Saul and the people around him and feel that this is their story too. This is a mirror of what happened in their lives too.
However going back to how this film was to be in a ‘movie’ format, it still needed to be watchable. There were certain harsh truths that could not be hidden from the movie, but the story is about finding a way out of the harshness and even finding a feeling of belonging after it all. The story of hockey makes for excitement and gets you cheering for Saul. Those in the audience who never read the novel want Saul to come out the winner. Even after we see all that Saul has been through, we want Saul to come out triumphant after all the ordeals he had been through in his life. The ending is the highlight because the end scene of Saul’s recovery and coming to terms with his past shows a ray of hope. All of Canada has seen the harm the system has done to the indigenous people. Even the indigenous peoples of Canada themselves don’t want to hurt anymore. They want to live their lives and be seen as people deserving of respect. The end scene may be a bit simple and may be seen as ‘sugar coated’ by some, or even a ‘prodigal son’ moment by a few, but it’s also part of the theme of hope. That scene where Saul returns to his foster parents and the Moose greeting him is a reminder of those that will never leave you no matter what. There are people that will find you when you’re lost.
Director Stephen Campanelli and writer Dennis Foon did a very good job of bringing the novel to the big screen in movie format. There were some noticeable imperfections and even a thing or two that could have been done better, but that doesn’t stop this for being an accomplishment for Canadian cinema. As for author Wagamese, unfortunately Wagamese died on March 10th of this year at the age of 61. It’s unfortunate Wagamese didn’t live to see its debut at the TIFF. Many in the indigenous communities say he’s still here in spirit.
The actors did a very good job in their roles. All the actors who played Saul did very well, but the standout had to be Sladen Peltier who played Saul at 9. He never acted before, but he was excellent. Forrest Goodluck was also very good too. The 19 year-old from Albuquerque has professional experience already through roles like Hawk in The Revenant and has two films to be released soon. Even newcomers like Ajuawak Kapashesit and Bo Peltier were impressive. The film shows a lot of good young indigenous talent in Canada that have a promising future. The music was a good mix of original score by Jesse Zubot and modern-day indigenous music or indigenous pop.
I know I’ve often said about Canadian film that there’s two groups: Quebec and English Canada. I’ve often elaborated how Quebec is the class of the field while English Canada is struggling with its identity in film. This is a film that I feel can change that. This is a very professionally-done film about a story that creates a lot of intrigue and gets one hoping for the protagonist. Oh, remember I said that Campanelli was a cameraman on many of Clint Eastwood’s films? Well, Eastwood himself is an executive producer of this film! This film was a big hit at the TIFF and won the Audience Award at the VIFF. I heard during a Q&A that this film will have an American release in April. That could open more doors for Canadian film in the future.
Indian Horse attempts to do something tricky in film making: attempt to make a ‘movie’ out of a hard subject in Canadian history. It succeeds in doing so, albeit imperfectly, and even serves as a ray of hope for the future.