Those who know my film watching during the VIFF know that I try to watch at least one segment of short films. I saw a segment of seven films by Canadian directors entitled To Live In Infamy. In each of the films, there is some element of crime or taboo. Even some things that don’t qualify as a penal code may be seen as a crime of some sort, or even a simple wrongdoing. All of them are interesting in their own way.
Delphine (dir. Chloe Robichaud): A woman named Nicole looks back to a girl she only encountered for two brief times in her childhood. Her name was Delphine and she was a Lebanese immigrant to Quebec. The first flashback is in a private grade school where Delphine could only say one word in French: ‘oui.’ The other classmates make fun of her. Nicole, who is Lesbian-Canadian, doesn’t participate with her peers, silently shares in Delphine’s ostracism. The vice-principal of the school however does scold Nicole and the girls for lewdness. The second meeting between Nicole and Delphine is at sixteen in a public school. Delphine has a bully named Aminata who appears to try to dominate over every female. She attempts to dominate over Nicole too, but Nicole is physically resistant.
The story leaves us with the necessary questions. Some may ask were Nicole and Delphine lesbians? However the story is reflective of childhood. It reflects on fun memories like of some mischief and of family warmth. But also of upsetting memories like of being made to feel different and facing nemeses either violent or non-violent. We all have those moments in our childhood where we’re reminded how the world is a cruel place. It’s a story many can connect with, even if they didn’t live it exactly.
I’ll End Up In Jail (dir. Alexandre Dostie): A woman named Maureen is frustrated with her life. She tries to cover it up from her son and his boyfriend, but she can’t take it no more. One day, she drives off on an icy hilly road hoping for an escape but crashes into a parked car. It appears the car is parked so that a teen boy and his girlfriend can get stoned in the trunk of a car together. The girlfriend is dead. The boy learns she’s the mother of his classmates. They work to hide the body of the girl, but while Maureen is stuck underneath a tree, she learns a truth. She acts out in a way where she really has to be on the run from the law.
This film is a dark comedy that makes a lot of humorous situations in crime and personal problems. Even the uncovering of a dark truth appears humorously surprising, if not disturbing. The ending however feels a bit incomplete or doesn’t appear clear enough. I know it’s about Maureen’s escape and how it doesn’t go as planned, but it still looks like it’s missing something.
Shadow Trap (dirs. Damien Gillis and Michael Bourquin): In 1909, a white bounty hunter is out searching for Gitxsan business man Simon Gunanoot who is wanted for murder. The bounty hunter stocks up with a lot of supplies ready to find Simon, a reputed trapper and fur-trader, for a big reward. However the frontiers of Okanagan B.C. prove too much for him and he is in danger of freezing to death, until he’s rescued and sheltered by an Indigenous man. Is it Simon in hiding? He returns to the town with hides to trade.
This is a fictionalization of a true incident in Canadian history that says a lot. The message I seemed to get from the story may be about the common perception of Indigenous peoples by whites at the time as ‘savages,’ and how wrong they are. Even now as we’re trying to make reconciliation happen, I feel this story has a lot of value.
The Beach Raiders (dir. Tyson Breuer): A teen couple– the boyfriend having photography ambitions– is savoring the last days of summer at an Ontario beach. They have one last summer goal: steal some beer. They try to get it from the kitchen of a restaurant. However their attempt is not only in danger of being stopped by the owner, but their own relationship as both have differing goals. However their pursuit ends with a bang!
This film is a bit of an ode to the ‘young and stupid’ days. What starts with stealing one beer leads to a chance for something bigger. The film does however focus on a reality, though it is resolved in light fashion at the end.
Main Squeeze (dir. Brendan Prost): It’s Christmas. Benjy and Kiersey, a couple in an open relationship, are having fun in their apartment. However the fun is threatened when a young drunk woman smashes their window. It’s not just any woman, but Jacqui: Kiersey’s ‘other woman.’ He is not comfortable about having Jacqui in, but Kiersey insists. Benjy had every reason to be nervous because Jacqui says things making it clear she’s his rival. This not only threatens the relationship but the Christmas spirit too.
It’s a story that makes good use of a single location. It consists of a lot of moments where you don’t know what will happen next. It surprisingly ends with all conflict over.
Ghoulish Galactic Grievances (dir. Josh Owen): Wanna have some weird fun? A ghoul lives in a swamp, but she has a desire to pursue her friends in outer space. Her swamp friends want her to stay.
This is a fun and entertaining story of ghouls and aliens and creatures. It is definitely a fun comedic story to watch, but it succeeds in delivering a smart message within the theme.
Finding Uranus (dir. Ivan Li): This is the one short of this segment that is animated. A man is lost in a sea of internet porn and desires to find real sexual satisfaction. He pursues it through a very unorthodox trip.
This was entertaining, but bizarre at the same time. However I admire how the animator is not afraid to go crazy and let his creativity tread in territories many would not touch!
All seven shorts were entertaining in their own way. Some had a story to tell, while some were more about the show. Many were dramatic while some aimed more for comedy. All were good at telling their story, even if told in a bizarre style.
At the end, I can understand why this shorts segment is called To Live In Infamy. All of them had an infamy of some kind, whether big or small. Nevertheless all of them told their story well.
One of the objectives of the VIFF is to show films each year that take us to another dimension or the supernatural. That’s shown in their Altered States film category/ The first Altered States film I saw was Under The Shadow which showcases a supernatural occurrence during a moment in world history.
This takes place in Tehran during the later 1980’s during the Iran/Iraq war. The war has been going on since 1980 with lots of lives lost, everyone in Iran threatened, and no end in sight. Shideh, just recently expelled from her law school for participating in a protest, has returned to her apartment as a housewife. Only she learns her husband has been drafted in the War. She’s left to tend to her daughter Dorsa alone. Her workout tape to Jane Fonda– forbidden under her country’s religious law along with the VCR hidden in a locked box– becomes her one escape from the stresses in her life.
One night, an Iraqi missile hits the apartment but doesn’t explode. There’s only one fatality but he dies of a heart attack. Mysteriously Dorsa won’t stop crying for her doll until she has it despite the wreckage to the apartment building.
Shideh decides to stay with Dorsa despite other tenant leaving the building for a safer place to live one by one. Dorsa mentions of a mysterious man, or djinn, and that’s what keeps her there. It’s not easy for Shideh to deal with this as she’s constantly being left behind by the tenants, worrying about her husband constantly, looking after Dorsa all alone and dealing with authorities in a country under strict religious law. Things take a turn for the worse as this djinn causes things to move out of place. It even rips up her Jane Fonda tape.
Soon the last of the other tenants– the daughter of the man who died in the missile hit– leaves the apartment with Shideh and Dorsa on their own. Nevertheless Shideh is determined to face the djinn before she leaves and despite the threat of a collapsing roof. Shideh does have her moment to finally confront the djinn and deal with it.
There are a lot of stories about the supernatural in the past. The unique thing about this film is that it features a supernatural character traditional to Arabic literature: the Djinn. The djinn are common in ancient Arabic mythology and are even mentioned in the Qu’ran. The most common form of the djinn in entertainment is the ‘genie in a bottle’ or the ‘genie in a lamp’ that’s common in the most popular Arabic stories. Yes, the genie we all commonly know originates from the djinn myth. However the djinn goes beyond the genie most of us commonly know. The djinn can be either good, evil or neutrally benevolent possessing the same free will of humans. In fact the word djinn comes from the primary meaning ‘to hide.’ It’s the ‘shaytan djinn’ that are the most demonic.
Here the djinn Shideh is dealing with is far from a genie that will grant you three wishes. It’s obvious that this djinn has something to do with Shideh’s personal issues. And she has a lot of them as seen in her life. Her education was cut short because she participated in something that’s a right in most other countries. Her husband has to fight in the war. She’s now on her own looking after her daughter. The only place she appears to find relief in is in her Jane Fonda workout tape which is banned by the government along with her VCR. However this is a djinn that goes beyond just appearing to Shideh. It also carries a sense that it’s present in Dorsa’s doll, too. It’s apparent Shideh has to deal with this djinn to the point she refuses to vacate the apartment with her daughter like all the others until she’s finished.
It’s interesting how this story intertwines with both the supernatural and both a moment in world history. You can notice how there are so many things mixed in with this story that tells of the times in Iran during the war. There’s the forbidden Jane Fonda tape, there’s Shideh punished for being in a demonstration, there’s the police threatening to arrest Shideh for not being in a hijab. You even hear it echoed by the police there: “This is not the same country. We now have our values back. We have men fighting for those values.” Sometimes you wonder if the times of Iran have a lot of influence in the djinn Shideh has to deal with. I often feel that’s what the filmmaker is trying to do here.
I will say one of the top things of the film is that it often succeeds at adding horror elements to the film. The djinn is a mysterious spirit but it does a good job at scaring Shideh in her dreams. It also does a good job in scaring the crowds. I know the film succeeded in scaring me a few times.
It may seem odd for the United Kingdom to submit a film in the Best Foreign Language Film category for this year’s Oscars but it can be done since Iranian-born director Babak Anvari lives in London. Anvari was actually born during the Iran/Iraq war so this is an incident in history that really touches upon him and has a lot to do with why he prefers to live in the UK. This is his first feature-length film and it’s an impressive work as it does a good job in capturing a moment in history and incorporating the supernatural into it. It was also successful in scaring me too at times. Narges Rashidi did a very good job of playing Shideh: a woman who’s both scared and angry. Rashidi herself was born in Iran and is familiar with the Iran/ Iraq war she had to endure with before escaping to Turkey. Young actress Avin Manshadi was also very good as Dorsa.
Under The Shadow is an intriguing story of a mysterious spirit that comes to a woman during wartime. It also makes for a fitting scary movie too.