Negativipeg (Matthew Rankin, 2010)

Welcome to 2020!

MMC! kicks off a new year of imagined releases of favourite movies (and various other miscellany) with one of 2019’s favourite short film discoveries — Matthew Rankin’s Negativipeg (2010). Rankin’s The Twentieth Century (2019) was a favourite of the 2019 Saskatoon Fantastic Film Festival and MMC! happily gorged itself on Rankin’s various short works as well. Both the shorts and Rankin’s first feature are typified with DIY inventiveness, satirical humour, and spectacular visuals that easily inherits the prairie postmodern tradition of filmmakers like Guy Maddin and John Paizs, however this post celebrates an outlier in Rankin’s filmography.

Negativipeg is a fascinating documentary on Rory Lepine’s 1985 encounter in a 7-Eleven with Winnipeg rock legend, Burton Cummings of The Guess Who. Lepine, who was 19 when he put the boots to Burt in that North End Sev’, served 4 months in prison for the beating given to Cummings and the incident became emblematic of the longstanding tension between the musician and his former hometown, neither of whom felt loved enough in the eyes of the other. While lacking the visual wonder of Rankin’s later work, the short is captivating and easily stands as the most Winnipeg-like thing I’ve ever seen on screen – the shuttered homes, the bleakness of winter, Lepine’s particular accent and his code for life in the North End, the love-hate relationship toward Cummings and the ongoing question of his local credentials after getting big, and the Pizza Pops. Rankin dresses Negativipeg in droll Errol Morris-like eccentricity and incisiveness, creating something that is equal parts hilarious, tragic, and perplexing and all conveyed in an exceptionally local vernacular. As wonderful as Guy Maddin’s My Winnipeg (2007) may be, Rankin’s Negativipeg may cut even closer to the bone in revealing the city’s essence.

The Limey (Steven Soderbergh, 1999)

The Criterion Collection, a continuing series of important classic and contemporary films presents The Limey.

Terence Stamp is Wilson, a English ex-con who arrives in Los Angeles to hunt down the man responsible for his daughter’s “accidental” death, a record producer named Terry Valentine (Peter Fonda). Propelled along an increasingly brutal search for the truth, Wilson’s singleminded desire for revenge splinters into a meditation on cultural dislocation, an elegy on fatherhood, and a radical, fragmentary investigation of memory. Conceiving of the film as “Alain Resnais making Get Carter” and featuring throwback casting with Stamp, Fonda, Barry Newman, and Joe Dallesandro, Steven Soderbergh’s The Limey is a modern tough guy classic and a seminal work of American independent cinema.

SPECIAL FEATURES

  • Restored 4K digital transfer, approved by director Steven Soderbergh and cinematographer Edward Lachman, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
  • Audio commentary with Soderbergh and writer Lem Dobbs
  • Audio commentary with Terence Stamp, Peter Fonda, Lesley Ann Warren, Barry Newman, Joe Dallesandro, Soderbergh, and Dobbs
  • New introduction by Soderbergh
  • New conversation with Soderbergh, editor Sarah Flack, cinematographer Edward Lachman, and actors Luis Guzmán and Lesley Ann Warren
  • Deleted scene featuring Ann-Margret
  • Isolated music score
  • Trailers and TV Spots
  • PLUS: A new essay by critic Ashley Clark

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SFFF Day 6 – Into the Unknown

The final day of the Saskatoon Fantastic Film Festival opened with Matthew Rankin’s The Twentieth Century (2019), a fictionalized portrait of Canada’s weirdest, longest-serving, and middlest-of-the-road Prime Minister, William Lyon Mackenzie King. The film side-steps Mackenzie King’s secret spiritualism and instead creates a broader, stranger fantasy of Canada at the dawn of a new era. Rankin’s prerecorded introduction for the film described it as “nightmarishly Canadian” and his words were apt. The Twentieth Century is an Eraserhead/Isle of Dogs-esque imagining of Canadian history and culture, one obsessed with maple walnut ice cream, the scent of fresh timber, passive-aggressive manners, Indian leg wrestling, and medicinal “puffin cream.” Inspiration was taken from the Prime Minister to-be’s personal diary and Rankin connected with Mackenzie King’s tendencies toward vanity, repression, self-righteousness, and self-pity. Played by Dan Beirne with petulant primness, Mackenzie King struggles to achieve his maternally prophesied political and romantic aims (and sublimate his dominating shoe fetish), and the film traces his misadventures through the brutalist interiors of Rideau Hall, the frozen utopia of Quebec, a sunny and freshly logged, new age Vancouver, and a baseless and fetid Winnipeg.

A former Winnipegger himself, Rankin carries on the prairie post-modernism of Guy Maddin and John Paizs, and like his predecessors, Rankin finds ways to make a hard earned dime look like an eccentrically spent dollar (or loonie). Hand-painted and animated in sections by Rankin himself and utilizing a palette that evokes the colours of Canadian banknotes, The Twentieth Century’s stunning production design recalls earlier film eras with its intertitle chapter cards while it also embraces the fresh Canadianness established in the aesthetics of Group of Seven painters like Lawren Harris and York Wilson and the modernist designs of Expo ’67. Rankin even loads his historical subject with a gleeful perversity and a shameless phallocentricism that would do Ken Russell proud – watch out for that ejaculating cactus and that narwhal horn! The Twentieth Century is an acid trip-take on peace, order, and good government and it is staunchly glorious.

Oscilloscope Laboratories has picked up the rights to Rankin’s brilliant film and we can only hope that its eventual hard media release will not only include The Twentieth Century but also many (if not all) of Rankin’s short films including Negativipeg (2010), the most Winnipeg-ish thing I’ve ever seen committed to film.

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SFFF Day 3 – Dark Places

Short films led the charge on the Saskatoon Fantastic Film Festival’s third day with an eight film block of female focused shorts and another two short films that could have probably fit into the same section. Readers of last year’s coverage might recall my frustration with shorts that offer little more than spooky premises or creepy contexts, however you’ll find few such complaints amongst Day 3’s titles. Yfke van Berckelaer’s Lili (2019), an MMC! favourite at this year’s Buried Alive Film Festival, was screened, as did the Chattanooga Film Festival short, Sydney Clara Brafman’s gory and brief The Only Thing I Love More Than You is Ranch Dressing (2018). Adele Vuko’s The Hitchhiker (2018) was an entertaining blend of female road trip goodwill, real world violence, and well-timed supernatural intervention and was probably the easiest short to enjoy on Day 3. Valerie Barnhart’s Girl in the Hallway (2019) offered a true crime tragedy that powerfully wrestled with guilt, grief, and inaction through pained and worn stop-motion animation. Daniel DelPurgatorio returned to the SFFF with In Sound, We Live Forever (2019), a beautiful short in the agrarian horror mode that finds two young lovers beset by a monstrous killer in the rural American heartland. The short looks gorgeous, contrasting the serenity of its pastoral present against the intimacy and then terror of its past tense soundtrack, and it elegantly pivots into the full present tense to depict a desperate escape and a grim conclusion that posits the monstrous violence of the genre but also a kind of existential smallness that makes its horror seem almost meaningless.

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10 Reasons to Get Buried Alive After Work – The 2019 Buried Alive Film Festival

The 2019 Buried Alive Film Festival kicks off today with its Sinema Challenge screenings. Four days of feature and short film programming commence tomorrow with the “First Shovel in the Grave is Always Best!” Shorts Block and the hits just keep coming after that. In anticipation of BAFF, MMC! offers ten great reasons to get Buried Alive this Thursday and Friday. Laughs, scares, and some stomach-churning content awaits, so don’t miss it!

Check out BAFF’s schedule for screening details and check out my Letterboxd list of the Fest for MMC! reviews.

1. VFW (Joe Begos, 2019)

Full disclosure: I haven’t seen Joe Begos’ VFW (2019). That might make it an odd place to start for recommendations, however reviews for VFW have been uniformly positive. This throwback action film pits a collection of war veterans (and an innocent teen) against a drug dealer and a horde of mutant junkies. Recalling John Carpenter’s Assault on Precinct 13 (1976), Begos offers a intricate plot and a bounty practical effects, creating a gory, siege film spectacle. Word is that VFW is best seen with a crowd and one will surely be waiting at the 7 Stages Theatre on Friday at 8 pm.

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The Green Fog (Guy Maddin, Evan Johnson, and Galen Johnson, 2017)

The Criterion Collection, a continuing series of important classic and contemporary films presents The Green Fog.

Commissioned by the San Francisco Film Society to close the 60th San Francisco International Film Festival, The Green Fog is the latest from Canadian iconoclast Guy Maddin and is an unusually evocative homage to Alfred Hitchcock’s Vertigo assembled from Bay Area footage taken from a diverse array of sources including studio classics, ’50s noir, experimental films, and ’70s prime-time TV. With the help of co-directors Evan and Galen Johnson, composer Jacob Garchik, and musicians Kronos Quartet, this San Francisco fantasia celebrates the city through a century’s worth of assembled film and television, while also capturing the obsessive pull of Hitchcock’s spellbinding classic. The result is inventive, invigorating, and hilariously quirky, offering a “parallel-universe version” of a canonical cinema masterpiece, an unlikely city symphony, and a refreshing document of film history.

SPECIAL FEATURES

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