The Criterion Collection, a continuing series of important classic and contemporary films presents Bait.
Martin (Edward Rowe) is a cove fisherman without a boat. His brother has repurposed their father’s vessel as a tourist tripper catering to vacationers and stag parties. Their childhood home has been sold for London money and transformed into a summer getaway, displacing Martin to public housing above the harbor. As Martin resists the erosion of local traditions and industries, the summer season brings increasing tensions between the locals and newcomers to a boiling point, leading to tragic consequences. Stunningly shot on a vintage 16mm camera using monochrome Kodak stock, Mark Jenkin’s Bait is a timely and funny, yet poignant film that gets to the heart of a community facing up to unwelcome change.
- 4K digital master, approved by director Mark Jenkin, with 5.1 surround DTS-HD Master Audio Soundtrack on the Blu-ray
- Alternate score performed by Cornish musician Gwenno, with introduction by Jenkin and Gwenno
- Audio commentary with Jenkin and critic Mark Kermode
- Bait Q&A with director Mark Jenkin, a conversation with Jenkin and Kermode recorded at the BFI Southbank in London
- New interviews with Jenkin and star Ed Rowe
- A behind-the-scenes film shot by students of Falmouth University’s School of Film & Television
- Dear Marianne, Jenkin’s 2016 short film about a Cornishman’s travels in Ireland
- The Essential Cornishman, Jenkin’s 2016 short film set in the mythical Cornish west and paying tribute to the spontaneous prose of the Beats
- The Road to Zennor, Jenkin’s 2017 short travelogue to a small coast near St. Ives
- Two archival short films set in the Cornwall region, Scenes on the Cornish Riviera (1912) and The Saving of Bill Blewitt (1936)
- PLUS: Jenkin’s Silent Landscape Dancing Grain 13 Manifesto and an essay by film critic Chloe Lizotte
MMC! returns to the work of Ben Maddow, this time with him in the role of writer/director and working in collaboration with Helen Levitt as producer and Sidney Meyers as editor. Maddow’s short film The Steps of Age (also known as The Stairs, 1950) was sponsored by the National Association of Mental Health, produced by the Department of Mental Health for the State of South Carolina, and organized by the Mental Health Film Board, and it focuses on the strain of aging and retirement through the figure of Mrs. Potter (Rose Spencer), a 62 year-old woman challenged with a listless husband forced into retirement and then the difficulty of moving in with her daughter’s family. The short ultimately promotes the need for empathy, respect, and appreciation by Mrs. Potter and her daughter (played by James Agee’s younger sister Emma), along with an acceptance of old-age and the changing roles that accompany it. The Steps of Age garnered a Documentary Short Oscar nomination, losing to Edmund Reek’s Why Korea? (1950).
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.
The banner event for Day 4 of the Saskatoon Fantastic Film Festival was the Drunken Cinema screening of Wes Craven’s A Nightmare on Elm Street (1984), described by Drunken Cinema‘s attending creator Serena Whitney as “the scary one.” Audience members had rules to follow, glow sticks to shake, and themed cards with personalized drinking rules to enhance their interaction and to get soused in the process. The event seemed an ironic success considering that nearly all the screenings at the SFFF are licensed and the Broadway Theatre’s concession stand was ready to make every screening drunken if patrons were so inclined. Still, the appeal of endorsed booze and rowdiness cannot be underestimated and Saskatoon movie fans can expect to seen more Drunken Cinema events between now and the next SFFF.
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.
The Criterion Collection, a continuing series of important classic and contemporary films presents Shoplifters.
On the margins of Tokyo, a band of petty thieves take in an abandoned and abused child stranded in the cold. Incorporating the girl into their family, they find new happiness amongst each other, however their tenuous, below-the-radar existence is threatened when their son is arrested and their makeshift family is questioned. Shoplifters is Hirokazu Kore-eda’s latest masterpiece, winner of the Cannes Film Festival’s Palme d’Or and a quintessential expression of filmmaker’s love for marginalized lives, complex families, and domestic dramas.
- 4K digital master, approved by director Hirokazu Kore-eda and cinematographer Ryuto Kondo, with 5.1 surround DTS-HD Master Audio Soundtrack on the Blu-ray
- New video interviews with Kore-eda and cast members
- Documentary on the making of the film, featuring on-set footage
- Trailers and TV spots
- PLUS: Essays by critic Imogen Sara Smith and Japanese film scholar Mitsuyo Wada-Marciano