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Cinefranco 2018

CINEFRANCO 2018 (from October 2018)

 

Now in its 21st year, Cinefranco is one of the longest running film festivals in Toronto.   One must give praise and credit to the ever cheerful and tireless directrice du festival, Marcelle Lean who is always present to say ‘bonjour’ to Cinefranco fans.  It is hard to survive in this festival eats festival world, but Cinefranco has got a loyal base of sponsors that come back year after year not to mention a good selection of films from France, Quebec, Belgium and Africa.

 

The films this year will be screened at the Carlton Cinemas at Carlton and Yonge right downtown in a very central location.  The emphasis this year is the ‘thriller’ while in the past comedy and romance were the favourite.

For complete program information, ticket pricing and bookings, please check the Cinefranco website at:

http://2018.cinefranco.com/en/

And don’t forget to say ‘Bonjour’ to Marcelle.

Bon Cinema!

CAPSULE REVIEWS:

(Trailer links provided at the end of each review)

 

 

CARBONE (CARBON) (France 2017) ***

Directed by Olivier Marchal

 

The title of this dark thriller CARBON comes from the fact of France trying to limit carbon emissions by industrial companies.  One such company that meets the quota belongs to the protagonist of the film, Antoine Roca (Benoît Magimel),  Unfortunately the firm is in huge debt and he cannot meet the daily cash flow.  It is a family business from his in-laws who treat him as a loser.  His father-in-law is played by no less than Gerard Depardieu who is a real meanie in the story, belittling Antoine and cutting him off from his son.  Antoine’s wife is not sympathetic either.  Faced with the threat of losing his firm, Antoine mounts a scam which will become the burglary of the century.  Entangled with gangsters, he must cope with betrayal, murder, and settling of scores.  The selling of carbon is a bit confusing but the film still works as an entertaining thriller.  Depardieu shows his star power stealing every scene he is in.

Trailer: https://www.imdb.com/title/tt6183834/videoplayer/vi859944985?ref_=tt_pv_vi_aiv_1

COMMES DES GARCONS (LET THE GIRLS PLAY) (France 2018) ***
Directed by Julien Hallard

 

This definite crowd pleaser set in the late 60’s is the story of how the first all-female football team was formed in France.  (Other European cities like Italy, England and Ireland already had theirs).  The film centres of Paul Coutard, a 30-year-old sports journalist sporting the Betales-like haircut of the 60’s at daily newspaper Le Champenois. Charming, childish and a womaniser, he does exactly what he pleases.  When his boss forces him to plan the newspaper’s annual fair together with Emmanuelle Bruno, the discreet and beautiful executive assistant, Paul has the crazy idea to organize a women’s soccer match for the first time.  A romance begins between Paul and Emmanuelle.  The film has nothing that audiences have not already seen before, including the current degrading of females by male chauvinist administration.   But the comedy should be taken in all good fun, entertaining as it is.

Trailer: https://www.youtube.com/watch?v=YqVD-XL67EM

LE FINALE (IN THE GAME) (France/Belgium 2018) ***
Directed by Robin Sykes

The final game referred to in the film title is the FIFA 1998 World Cup in which France won.  Trouble is that this is the year 2018 and for Roland (Thierry Lhermitte) who suffers from Alzheimer’s, that game is still to be played.  The whole Verdi family is caring for Roland, the grandfather, who is affected by Alzheimer’s disease.  JB, the family teenager (Roland’s grandson) has only one goal: to go to Paris to play his basketball final.  But his parents want him to give it up and keep an eye on his grandfather as they are busy this weekend. JB decides to take him with him.  During this trip, nothing will happen as planned.  The film is better than it sounds.  It is quite funny with slid humour on the disease as well as some racists jokes throne in for good measure.  Excuse is that Roland with memory problems can make them.  The Chinese  have it the worst, but me, being Chinese still find it laugh-out loud hilarious.  Truthfully, they are quiet harmless.  A sweet segment in the film involves two Alzheimer’s patients, falling in love.

Thierry Lhermitte (DINER DE CONS, ZEBRA, RIPOUX CONTRE RIPOUX) is excellent.  This is the kind of French comedy that calls for a Hollywood remake.  But who could tell that France would win the World Cup again this year in 2018?

Trailer: http://www.allocine.fr/video/player_gen_cmedia=19577015&cfilm=257438.html

UNE PART D'OMBRE (THE BENEFIT OF THE DOUBT)

(France/Belgium/Switzerland  2017) ***

 

A woman in a  car is murdered.   David is a happy young father who has a wife he loves, two adorable young children, and a tight-knit tribe of friends who David and his family always go away on holiday with.  However, on returning from their last trip away in the Vosges, David is taken in for questioning by the police as part of the woman’s murder investigation.  Before long the investigation reveals that all is not what it seems behind the happy and respectable facade of David's life.   David has been having an affair in Poland unknown to his wife.  Davids character is not perfect.  He often loses his temper that results in arguments with his family and friends.  The ultimate is whether David is guilty, the answer to which director Tilman keeps the audience guessing right to the very end. The audience wants David to be innocent, but his character is questionably and annoying, so that his innocence is also doubtful to the audience.  This way, Tillman’s film works best as a psychological thriller.  Though Tillman is a male director, he captures very well the feminine points of view in all the events.  The film ends with the court’s decision on David whether guilty or not guilty, but this not not mean that he committed the deed or not.  Lots of clues for those who love mysteries.

Trailer: http://www.allocine.fr/video/player_gen_cmedia=19577040&cfilm=262688.html

 

 

 

 

 

PLACE PUBLIQUE (France 2017) ***

Directed by Agnès Jaoui

At one point in the film one character tells her husband: “Lay off the cynicism.”  But the film is full of cynicism.  A grand open daylight housewarming party that goes into the night is held in the magnificent grounds 35 minutes drive from Paris (or more or as the crow flies as a guest remarks after taking an hour and a half drive) is the setting of PLACE PUBLIQUE where dysfunctional friends and guests gather together.  There is an orchestra band with cello, two violins, base and drums with hors d’oeuvres where the olives have sticks inserted in each.  The party is filled with lots of pompous and pretentious guests making sarcastic and insinuating remarks who annoy each other completely while unshy to bare their emotions.  If the guests are unbearable, the staff fare no better.  A waitress pines over one of the guests, a has-been successful talk show who reveals everything about his guests through his questioning.  This is classy French comedy occasionally smug and brilliant though manipulatively so.

Trailer: https://www.youtube.com/watch?v=xjVFqIXNnkE

 

 

PRENDRE LE LARGE (CATCH THE WIND) (France 2017) ****

Directed by Gael Morel

CATCH THE WIND is a personal look at what happens when companies second source to a cheaper country.  The story concerns Edith (Sandrine Bonnaire) informed that the job she's held for her entire adult life is being relocated to Morocco.  She refuses to accept a healthy severance package.   Against the advice of her colleagues, her self-absorbed son and even the consultant hired to fire her, Edith instead opts to follow her job to Tangier.  Arriving with the naïve energy of a teenager on their first overseas trip, Edith realizes before long what she's up against: the expected subpar working conditions and subpar pay, but also an adjustment to new social and cultural realities — nuances that her failure to grasp would mean her job and, more importantly, her dignity.    The film works for two factors.  One is the detailed account by director Morel on what living is like in Tangier - the factory corruption, the poverty, the strife to support families and the danger on the streets.  The second is Bonnaire’s calculated and worthy performance.  Brutal yet sensitive, PRENDE LE LARGE finally gets Morel’s characters a happy ending but not without sheer determination and strong will. 

Trailer: https://www.youtube.com/watch?v=LsfAPoCk5AA

 

TUEURS (KILLERS)(ABOVE THE LAW) (Belgium/France 2017) ****

Directed by  François Troukens and Jean-François Hensgens

 

The new English title of the film is ABOVE THE LAW though the old title and direct translation of TUEURS is KILLERS.  The film follows a master criminal, Frank Valkan (played by Belgian actor famous for his Dardennes Brothers films like Le Fils) escaped from prison and framed for killing a judge investigating political corruption.  So Frank and another cop join forces to expose the guilty in this very slick and classy cat-and-mouse detective crime action thriller.  The film takes a while to get its footing but once the plot is in place and the story becomes clear, the action moves full throttle all the way.  Outstanding too is the way the film captures the agony of what it is like to face (as in Valkan’s case) a prison sentence,  The story is unpredictable and no one can guess who is going to be killed next.  An otherwise good but surprising ending closes this highly entertaining and tense thriller.  Both the leads Gourmet Lubna Azabal, Olivier Gourmet are superb!

Trailer: https://www.youtube.com/watch?v=OS0qb0R0enw

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Film Review: Ma Vie Avec James Dean

MA VIE AVEC JAMES DEAN (My Life With James Dean) (France 2017) ***
Directed by Dominique Choisy

The first thing to note about MY LIFE ABOUT JAMES DEAN is that there is no James Dean in this movie.  He does no appear in the film (except in a poster and a cut up figure in a dream sequence) or is this an American film.  MA VIE AVEC JAMES DEAN is the title of the fictitious French film that the director brings to a small town in picturesque Normandy.

When soft-spoken film director Géraud Champreux (Johnny Rasse) arrives on France’s Normandy coast for screenings of his latest art-house movie, there’s nobody there to greet him.  But he somehow manages to attract a motley crew of locals who bring their own drama along on his little tour.

There is the cinema projectionist (Mickaël Pelissier) who falls besides coming out for 

Géraud.  Nathalie Richard plays a lovelorn cineaste who is supped to organize the event but falls apart when her fame lover god with a man instead.

The film contains some quirky insights common to French films.  “Love is a burden, I hate being in love,” says the woman who organizes the film event.  But that makes life exciting, is Géraud’s retort.  She likens love to getting gum stuck on the sole of ones shoe and continues that there are hundred of gums on the street.  One scene later on shows a woman walking along the street trying to get the gum off her shoe.

Choisy’s film is also typical of the old gay films that teases with promising gay love or gay sex.  The audience gets a first glimpse of Géraud without his shirt on - displaying a nice chiseled upper body.  Later when he is drunk, the female hotel receptionist and male projectionist take off his clothes to let him sleep (as he is dead drunk) in his underwear.  Thee is also a nice shot of the projectionist and Géraud in one frame as they watch his film through the projectionist’s window, a gay film where two naked men indulge in the act of sex.

Choisy plays his film with Kafka-ish touches.   Géraud asks a resident where the Hotel de Calais is, right outside the hotel.  The hotel receptionist tells him that there is no working telephone in room 5 in which he is put in.  She then gives him the hotel telephone from under the counter.  A resident Géraud first meets when he enters a bar speaks with fish metaphors.

Choisy’s film is a small production, very much like the film Géraud has brought to Normandy.  It is well made and well-though through and immensely entertaining in its own odd way.  It still shows the freshness of first love and coming-out.

One segment that occurs out of nowhere has a band in the night outdoors performing a song with spectators all sporting sunglasses.  The scene is reminiscent of Aki Kaurismaki’s films where bands often perform and his characters often wear shades.  One wonders if Choisy is paying a bit of homage to Kaurismaki considering that quite a bit of the humour is deadpan.  The film could also be considered a nod to the Woody Allen classic PLAY IT AGAIN SAM  where Humphrey Bogart nudges Allen’s character towards romance, in which case it is James Dean 

nudging the projectionist on with his love or Géraud.

MA VIE AVEC JAMES DEAN is an entertaining sweet little quirky gay comedy with likeable characters with sufficient inventiveness to make it a good watch.  Availanle on VOD and DVD August 28th

Trailer: https://www.youtube.com/watch?v=Oc7zun7Ft6I

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Toronto International Film Festival 2018 Capsule Reviews of French Films

Toronto International Film Festival (TIFF) 2018 Capsule Reviews of French Films

The Toronto International Film Festival 2018 version runs from Thursday6th September for 11 days till the 16th with the whole list of Gala Presentations and smaller films to whet very moviegoer’s appetite.  Stars will line the red carpet following their films.  So expect Bradley Cooper and Lady gaga to be seen with their film A STAR IS BORN as other stars and directs who are only too pleased to do a Q & A with the audience.

Ticket pricing is getting more complicated with a different tier in prices depending on whether a screening is evening or day or rush or for a regular or e capsule reviewed.premium feature.  Best to check the website at:

tiff.net

Below are capsule reviews of selected Frenchfilms that are screened at this year’s TIFF.  This article will be updated daily as new films are capsule reviewed.

French films are those shot wholly or paryially in French or films with France listed with a co-production credit.  For a more complete set of capsule reviews inclduing non-Frecnh films, please chck our sister website at:

https://afrotoronto.com/index.php?option=com_content&view=article&id=1793&catid=67

 

 

CAPSULE REVIEWS:

CLIMAX (France 2018) ****
Directed by Gaspar Noe

Gaspar Noe (CARNE, SEUL CONTRE TOUS, ENTER THE VOID) shows what genius can be done with a troupe of dancers obsessed with their art.  The film begins with interviews of individual members followed by an incredibly executed dance in synch to the amazement of the audience.  Third segment has the camera following the dancers as they interact with each other, speaking about their aims, fears or just plain flirtation.  This is followed once again by dance, this time with the camera placed permanent,y overhead of the dancers as they now individually dance into the frame, showing their prowess.  The dancers now drink the sangria which is spiked with LSD.  They never find out the culprit though the suspected get violently attacked.  They last segment leading to the film’s CLIMAX has them indulging in sex and violent acts.  The film’s dance sequences alone are more than worth the price of admission but the film delves more deeply into man’s tortured soul including the concept of death.  CLIMAX is not a film for everyone but is nothing one has seen before for those who can take it.

Trailer: https://www.youtube.com/watch?v=Hi69nL_VrTE

 

DOGMAN (France/Italy 2018) ***1/2

Directed by Matteo Garrone

Director Matteo Garrone’s (GOMORRA) latest film DOGMAN begins with an angry dog growling his teeth in closeup, a very appropriate beginning of a very angry film that tells a tale of vengeance by a mild-mannered DOGMAN pushed to the limit.  The dogman is Marcello who owns a dog care shop.  He knows and loves his dogs, just as he loves his daughter who he occasionally sees.  The film does not delve into his family affairs and the audience assumes Marcello is separated from his wife.  He snorts coke and hangs around a big hulk and uncontrollable bully, Simone.  The neighbourhood wants to bring Simone down as he is nothing but trouble but ends up leaving him alone  When Simone fucks Marcello up in a series of events, Marcello eventually gives the bully in comeuppance,  Garrone’s film is attain a difficult watch.  He is a good storyteller that connects the audience to his characters.  He even makes the bully sympathetic, loving his helpless mother and not being too bright. 

Trailer: https://www.youtube.com/watch?v=eum93mpzpE0

GIRL (Belgium 2018) ***
Directed by Lukas Dhont

(in French and German)

GIRL tells the story of a boy/girl (Victor Polster) born a girl in a boys’s body undergoing a sex change to become girl.  As if the body is not under sufficient strain, GIRL is pushing her body to the limit as she suffers in her daily training to become a ballerina.  She has a supportive father and loving younger brother.   GIRL is Dhont’s first film as he goes for realism at the expense of narrative.  His camerawork is nothing short of suburb as one can see the camera focus changing as he tracks his camera.  Often, the audience can tell what is happening by the camerawork from a closeup or camera shift, before being told verbally by the dialogue as to what has transpired.  Dhont also effectively captures the emotions of her characters.  GIRL is arguable the most emotional film screened at the festival.

Trailer: https://www.youtube.com/watch?v=Kdzu26tnUTc

HER JOB (Greece/France/Serbia2018) ***1/2

Directed by Nikos Labot

Direct from current times as heard on the Greek radio about the country’s dire unemployment woes, a husband has been put out of work for far too long.  The wife, as a result takes employment as a cleaner at the newly opened shopping mall.  They have two children, the elder daughter being spoilt and uncontrollable.  Panayiota (Marisha Triantafyllidou) works hard but has a hard time at work, especially driving the new vacuum cleaner as well as a hard time at home, having to cook and have the family complain when she is not around to do chores for them.  Things look as if it is reaching boiling point but director Labot takes his film to a higher level.  Things improve.  After taking driving lessons, Panayiota masters the vacuum.  Her supervisor and colleagues appreciate her hard work and dedication.  Her daughter starts cooking for her and husband cleaning for her.  Director takes his film even one step further.  To reveal more would spoil the film’s twist and enjoyment.  The film works wonders, thanks to actress Triantafyllidou’s performance and the director’s frequent use of closeups that show every expression of joy and regret of her face.  Marvellous too, is the way Labot connects the audiences to the protagonist, family and story.

Trailer: https://www.hollywoodreporter.com/video/her-job-trailer-1137998

L’HOMME FIDELE (A FAITHFUL MAN) (France 2018) ****
Directed by Louis Garrel

Louis Garrel is the son of Philip Garrel who broke into fame as an actor in Bertolucci’s THE DREAMERS and the recent GODARD MON A’MOUR.  Louis proves his directing chops in this light hearted romantic comedy in the adventures of as the title implies, of one faithful man played by Garrel himself..  He loves Marianne who leaves him for his best friend who after passing away moves in with her.  But her son with Tom breaks up the romance and has him now live with Eve who has always longed for him.  The voiceovers change between him, Eve and Marianne.  The film reminds one immediately of Truffaut’s heavier LES DEUX ANGLAISES ET LE CONTINENT where voiceover rules the layered menage-a-trios love story.  Thought not as elegant, Garrel’s film is still smart, insightful while still maintaining its playfulness.  The film bursts in youth and romance.  Thoroughly enjoyable and entertaining and yes, funny!

Trailer: (unavailable)

MARIA BY CALLAS (France 2018) ***
Directed by Tom Volf
 

Tom Volf ’s MARIA BY CALLAS offers fresh insights into one of the great talents of the 20th century via recently rediscovered writings and interviews with the Greek-American soprano.  Maria Callas has been praised by many as the greatest singer of the century.  Callas was born and bred in New York City though many think she is of Italian or European origin.  The film is comprised of beautifully restored archival footage with her own words from her letters and writings as narrated by American opera singer Joyce DiDonato.   The Greek-American soprano rose to fame after World War II and became a star attraction in all the major opera houses. This film offers fresh insights into her public and private lives, especially her long-time romance with Aristotle Onassis, the affair that made headlines as both were still married at the time.  Callas's music is obviously paramount in the film.  The film’s real treat is Callas’ complete performances of the arias from the operas Norma, La Traviata, Carmen, and Tosca.  Also insightful and funny is the footage of the David Frost interview with Callas telling Frost, "If someone really tries to listen to me, he will find all myself there.”  The doc feels longer than its running time and could have been edited to a tighter 90 minutes.

Trailer: https://www.youtube.com/watch?v=tdxBhU46TGM

 

MAYA (France 2018) ***
Directed by Mia Hansen-Love

It’s been frequently on the news about war journalists in Syria being kidnapped with the threat of being decapitated on live televsion.  MAYA, Mia Hansen-Love’s (LE PERE DE MES ENFANTS, EDEN) latest film has one such French journalist recently freed who travels to India on vacation to recuperate.  He meets MAYA, an Indian girl who opens his eyes back to life, though she is too young for him to start a love affair.  The best segment of the film is his re-meeting of his mother  who is working with foreign children, though detached from her own son. This the only serious musings on life by the director.  Lighter fare. otherwise  from Hansen-Love with lots of beautiful scenery of poverty stricken India.  The film does not really go anywhere as deep as her previous films but MAYA is still worth a look.

Trailer: (unavailable)

THE MERCY OF THE JUNGLE (Belgium/France 2018) ***
Directed by Joël Karekezi

The jungle is tough to survive in but the land with the political unrest is almost impossible to live in.  As the Rwanda prisoners proclaim: “The soldiers have raped the wives and stolen the land.”  Set in 1998 at the outset of the Second Congo War, Rwandan director Joël Karekezi’s second feature is a propulsive odyssey about a pair of Rwandan soldiers navigating both wilderness and personal existential crises while lost behind enemy lines.  The two soldiers navigate Kivu, the borderland with its dense forests and hills where the Democratic Republic of Congo and Rwanda meet.  The film is shot mainly with little light during the night, with just enough (light) to see the faces of the protagonists.  Director Karekezi shows that war is hell, made even worse for the sergeant when he falls ill with malaria.  The only saving grace is a group of sympathetic villagers who help him.

Trailer: https://vimeo.com/286503684

NON-FICTION (DOUBLES VIES) (France 2018) ***
Directed by Olivier Assayas

Assayas proves once agin his ‘auteur’ status with this playful yet literary and contemporary take on art imitating life.  Two couples are under examination as each member  having an affair with the opposite sex of the other couple, all still remaining friends.  Set in Paris.   The film begins with a publisher (Guillaume Canet) turning down the work of his friend (Vincent Macaigbe) who is having an affair with his successful actress wife (Juliette Binoche).  There is debate on the decline of publishing revenue compared to the likes of audio books and e-books.  This is a very talky film the most talky of all the Assayas films and shows the director’s intelligence on what is current in the world today - besides showing him a respected director.  Assayas fans will not be disappointed.  Also quite funny especially with the actress referring to Juliette Binoche at the end of the film, again art imitating life.

Trailer: https://www.youtube.com/watch?v=5qMeIhQ5An4

 

LES SALOPES or the Naturally Wanton Pleasure of Skin (Canada 2018) ***
Directed by Renée Beaulieu

Soft porn, art movie or soft porn art in the guise of an art movie?  Marie-Claire (Brigitte Poupart), in her mid-40’s is a professor of dermatology, embarking on a study of how skin cells are affected by desire.  Director Beaulieu also puts in her two cents worth about the sex theory.  Meanwhile, promising student Sofia (Charlotte Aubin) hopes to find tangible proof of love on the cellular level.  Director Beaulieu gives Marie-Claire a loving family, a sexy and loving husband (who still have sex with her) and two children.  Things get to a boil when they find out what mummy is up to.  Beaulieu’s film is more intriguing than it sounds as her subject faces different situations resting fro her sexual promiscuity.  As expected, there are lots of erotic and sex scenes.  Brigitte Poupart is winning as the film’s subject.

Trailer: (unavailable)

SEARCHING FOR INGMAR BERGMAN (Germany/France 2018) ****
Directed by Margareth Von Trotta

 

German director Magareth von Trotta pays tribute to Swedish director Ingmar Bergman

in honour of the centennial of his birth. Margarethe von Trotta presents a detailed account of his life and his impact on filmmaking through excerpts of his work and interviews with family and contemporaries (Olivier Assyas, Mia Hansen-Love, Ruben Ostlund).  Her film begins with a segment of THE SEVENTH SEAL with actor Max Von Sydow and explanation of each shot in detail.  Many of his other films are also displayed  and put into perspective by actresses like Liv Ulmann who speak fondly of the man.  His thoughts and inability to love his own children are also revealed.  The film whets the appetite for watching Bergman films, a retrospective of the Master’s work that will be presented by TIFF Cinematheque this fall.  Extremely insightful and a  treasure for cineastes!  Von Trotta’s own film THE GERMAN SISTERS was selected by Bergman as one of his favourite films.

Trailer: https://www.youtube.com/watch?v=CGeHGcKh1KM

 

LES TOMBEAUX SANS NOMS (Graves Without a Name) (Cambodia/France 2018) ***

Directed by Rithy Panh

 (embargoed)

 

Trailer: https://www.youtube.com/watch?v=YnUZsJLY558

 

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Film Review: "Maison du Bonheur"

"MAISON DU BONHEUR" (Canada/France 2016) ***1/2
Directed by Sofia Bohdanowicz

Subjects of documentaries are often famous people, but only a handful have been about ordinary everyday unimportant folk.  MAISON DU BONHEUR (translated in English to House of Happiness), an occasionally brilliant film is one of the latter.

It was not that long ago in 1975 that Belgian director Chantal Akerman stunned audiences and critics around the world with her 3-hour long art house epic on the daily chores of a housewife.   The film was called 23, Quai du Commerce, 1080 Bruxelles.  Though a fictional film that ended with the female protagonist committing suicide as did the director herself  recently, the film repeatedly showed the protagonist eating and cooking not once but repeatedly.  Similarly, in MAISON DU BONHEUR, this one an hour long documentary, Torontonian director Sofia Bohdanowicz shows that the daily chores and thoughts of an ordinary person can be just as interesting as a celebrity.

The doc’s subject is Juliane Sellam is a 77-year-old Parisian astrologer who has lived in the same pre-war apartment in Montmartre for half a century.   In this vibrant documentary, Toronto director Sofia Bohdanowicz focuses on Sellam’s daily life over 30 beautifully shot segments, which are narrated by both Sellam and Bohdanowicz. 

When the film opens, Bohdanowicz (she is revealed as a very young filmmaker) is leaving Toronto to stay in Paris with a person she has never met - Juliane Sellam.  Thus she begins filming Sellam’s life, thoughts and musings.

The matriarch’s life and rich inner world crystallize through her daily rituals of making coffee, applying makeup, and caring for her geraniums. 

Bohdanowicz devotes 10 minutes or so on each ritual.  Sellam describes desiring coffee as a young girl.  Her aunt denies her a taste saying that young girls do not drink coffee.  Her grandmother gives her a taste which she loves, just because she was initially not allowed to have any.  Up to the present, Sallen says she has loved coffee.  Bohdanowicz brilliantly shows, on cue, the slow pouring of steaming coffee into a cup.   Sellam puts on make-up daily, even to just take out the rubbish.  She confesses that she wants to look the best for everyone and that no one needs to see an ugly person in the morning  She goes again to the origin of her love for make up.  Her uncle used to be a nail polish salesman and he lets her try his wide array of samples.  The shot of the samples with dozens of painted false nails on  a platter is something I and not seen for 30 years.  Her ritual with gernaniums is just as interesting.  She waters them either late at night or very early in the morning so that people below her flat will not get wet from the water above.  Bohdanowicz never fails to impress her audience with Sellam and her chores.  And her doc goes on…..

The film has a special engagement run at the TIFF Bell Lightbox with the director present for a Q & A on the films opening day.

Trailer: https://www.youtube.com/watch?v=bInvPokMFH4

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