Guy Laliberté left the earth’s atmosphere at 3:00 a.m. in the morning. We’ve said it here before, Woolf + Lapin’s Gilles Brien has written the scientific text that Guy Laliberté will be reciting in space for his Poetic Social Mission whose crux is to heighten awareness about water.
Bit of name dropping those who’ll be participating in the social misson: Salma Hayek, Bono, Julie Payette, Yann Martel, Al Gore, David Suzuki…
Il crachait sur les morts. Il déflagrait tous ceux qui n’étaient pas de son camp. Il traitait les journalistes d’amuseurs publics (sauf ses dieux mortels Olivar Asselin et Jules Fournier). Il avait honte de son gouvernement. Honte de son peuple mou.
Oui cracher sur les morts, mais aussi cracher dans ses mains, hisser le drapeau noir, et trancher des gorges. Et pour ça, il pratiquait la haine comme Gandhi pratiquait la non violence, dans ses écrits comme dans son œuvre cinématographique.
Comme tout écrivain de conséquence, Falardeau a été contraint. Il en a développé une écriture rythmée à l’ironie brûlante qui, de son propre aveu, venait de la nécessité. Donc, malheur à ceux qui devenaient sa cible. Falardeau, on le sait, ne lâchait pas son homme que démoli, abattu, écrasé et souillé dans des billets souvent câmiques et tout le temps ben l’fun. Ces écrits nous amènent à cheminer à travers son cerveau fumé à l’Export’A. Un cerveau prêt à tout dynamité. Parce que tout comme H.L. Mencken, Falardeau ne poussait jamais un nom contre un verbe sans vouloir faire sauter quelque chose. Il a ainsi créé son propre mythe.
Il avait foi en un idéal, la réalisation de quelque chose d’illogique et purement improbable. Ce matin, Luc Picard disait de lui à LCN qu’il “…était un Don Quichotte à qui seul le combat comptait.” Au-delà de la bataille politique il y avait le Pierre Falardeau qui émulait les poètes Pier Paolo Pasolini, Gaston Miron et Pablo Neruda. Sa plume y va à grandes claques dans son chef d’oeuvre “Temps des bouffons”. C’est, en passant, un slam assez efficace. Et son Gratton restera toujours. En plus d’être un classique, il est aussi un mythe fondateur à la Oliver Twist, à la Sherlock Holmes et pourquoi pas, à la Terminator ?
Mais à la fin, sur son lit de mort se rendait-il compte du constat de sa propre tragédie ? La tragédie Falardienne? Mourir sans pays. Pourtant, la grande gueule, espèce de Voltaire fâché, continuait de vouloir rendre service à un peuple qui ne l’écoutait plus. Qui se zappait vers d’autres ailleurs à la Loft Story, loin de la complaisante Big Business du PQ et d’un fédéralisme English sans lustre.
Un poète de plus de trente ans est un grand enfant. Mais un enfant, où qu’il soit, quoi qu’il pense, c’est l’avenir. Salut, Falardeau ! Dort bien dans les fleurs de lis, les deux mains sur la poitrine. Tranquille.
Woolf + Lapin’s Yannik Larivée just finished design work on a mixed programme that will open the American Ballet Theater’s fall season. He designed the costumes for Canadian choreographer Aszure Barton’s new show. On October 7th, her company will premiere the new ballet at the Lincoln Center for the Performing Arts. The work is inspired by a Violin Sonata composed by Maurice Ravel.
Mon pays c’est l’apocalypse ! Trop hot ce film sur la survie post-apocalyptique.
C’est un aperçu de Tête blanche, le tout nouveau court de Patrick Boivin, de chez Woolf + Lapin, qui aura sa première mondiale au Festival du nouveau cinéma le 9 octobre prochain. Le programme de la soirée comprend trois films présentés dans le programme Short Cuts Canada du Festival international du film de Toronto. En plus de plusieurs autres courts, dont Danse macabre de Piedro Pires, d’après un concept de Robert Lepage. La soirée marquera aussi les dix ans de Prends ça court !
It’s the video clip for “Ensemble” directed by Jérémie Saindon. Coeur de Pirate is getting a lot of air play in France right now and so is the video. It’s based on the doppelganger principle. It’s nominated for best video clip of the year at L’ADISQ.
Also, Jérémie’s We Are Wolves clip “Coconut Night” is in competition at Namur. It’s probably Jérémie at his experimental best with some pyro work and wicked after effects! It’s also in an art show at 107 Shaw in Toronto where the gallery is presenting works from other filmmakers. “The point is to present music videos as an artistic product and a unique medium of filmmaking.”
Christian Lalumière gagne un prix Gémeaux pour Réalisation : jeunesse – variétés/information pour l’émission Les Pieds dans la marge 3, “L’importance d’innover”. Il gagne ce prix avec les réalisateurs Félix Tanguay, François Lachapelle, Jean-Sébastien Busque, Mathieu Gadbois, Mathieu Pichette et Paul Carrière. Producteur : Groupe Pixcom inc.
Jim Donovan wins best director at the Mexico International Film Festival for 3 Saisons and Carinne Leduc best actress at the Salento International Film Festival in Italy.
C’est un peu le “Dormeur du val” de Rimbaud. C’est surtout très beau. Patrick Boivin tourne des scènes sous l’eau… ça coupe le souffle. Et la fin est toute simple et superbe.
As the Toronto International Film Festival draws to a close, we are featuring our last blog on TIFF films. We may even have kept the best for last, but we are by no means overlooking Campion’s Bright Star or Audiard’s Prophet, but Thai director Pen-ek Ratanaruang’s Nymph is a huge visual treat.
In the tradition of I Am Cuba and Touch of Evil, Ratanaruang opens with an eerie scene shot that is as sensual as it is suspenseful. It is one long shot of nature, catching two men in the process of raping a woman. Then begins a long, long series of camera movements with the lens running across tree bark, leaves, forest plants and water. As though Rataranuang were asking nature to make love to the camera. Imagine a really tense FPS hunt inside your favorite porn scene. It is all accompanied by an uncannily sinister soundscape, finally closing (two cranes and a steadycam later) on the two dead men floating in knee-high, murky water.
That is the opening of Nymph. And like Ploy before it, Nymph deals with the intrusion of a third element into the relationship of a blaséd couple. This time, the element is a tree.
“The idea for this film came from the image of a guy doing it with a tree. Then it grew from there,” Ratanaruang says. In old Thai legends tree spirits are personified by vengeful and lustful females. Thus the title.
This is where the cautionary tale begins.
Nop, a photographer, brings May along on a photo assignment in the forest. She’s detached, laconic and can’t seem to pry herself away from her cell phone. We know she has a lover back at the office. Ratanaruang cast lead actress Wanida Termthanaporn, an unknown, because “she has a guilty expression all the time. And that’s what the script lacked—guilt.”
Nop soon meets the fateful tree. Yes it sounds far-fetched and maybe even a little silly. But Ratanaruang has so adeptly prepared us for this that it works. The film never falls prey to the Hollywood trappings à la Lord of The Rings. So no SFX to embody supernatural forces that are seemingly the cause of Nop’s disappearance. Instead, Ratanaruang relies on skillful story telling that is all ambiance driven, banging out a few themes on the way: contemporary angst, alienating technology, illicit affairs and the destruction of nature.
This trailer makes Nymph look like a horror, but it’s more of a suspenseful human drama than anything else. Do check it out for size…
This is Andrea Arnold (middle) during Q&A at the Toronto International Film Festival where she is presenting Fish Tank. A coming-of-age tale about a 15-year-old girl living in the slums of Essex, England. It stars Michael Fassbender and newcomer Katie Jarvis who Arnold cast after she was overheard arguing with her boyfriend on a train platform.
Simply put, Jarvis is the film. The story is told from her unique point of view. It’s more than two hours of Jarvis. And it’s never too much.
She plays Mia, a raw teen who doesn’t want to fit in.
The film opens with Mia headbutting the leader of a group of girls, quickly establishing why she’s a loner and spends her time dancing to the sounds of hip hop blaring from her Ipod earphones in a vacant apartment somewhere in the bleak tower she lives in.
Her mother is a blond party girl who sports short, short denim skirts, drinks beer and enjoys noisy sex. When she brings Connor (Fassbender), her new man, home he is not only irresistible to mommy.
After watching Mia dance in a parking lot after a “make believe we’re a family” outing, Connor encourages Mia to follow her dream of being a hip hop dancer. And from there both their fates are sealed. The chemistry between the two after that is likely to explode… and does.
To better prepare for an upcoming dance audition, Connor introduces Mia to Bobby Womack’s cover of California Dreaming. The song becomes a haunting ode to the dreams of otherness Mia pines for throughout the film.
The film’s atmosphere is as coarse as Mia’s language, but the opportunity for giving love is always present. Especially when Mia tries to free an apparently starving white horse tied to a cement block at some trailer trash settlement beside a highway. The horse scenes have an ethereal quality, almost touching something mythical. But when Mia is brutally attacked for trying to free the horse, she drops her prized Ipod in the process.
Mia’s unharnessed rage takes us to yet more unexpected places. And it all works beautifully.
Andrea Arnold has directed the acclaimed short films Milk (98), Dog (01) and Wasp (03), which won the Academy Award® for best live-action short. Red Road (06), her first feature film, was awarded the Prix du Jury at the 2006 Cannes Film Festival. She has been compared to another British great—Ken Loach. And the comparisons are justified.
Arnold brings rare sensibility to family dysfunction and exhilarated hopelessness.
