Auschwitz, Autumn, 1944. Saul Ausländer (Géza Röhrig) is a Hungarian-Jewish prisoner and member of the Sonderkommando, one of the cursed work gangs selected by the Nazi genocide machine to assist in the industrial slaughter of undesirables and perceived enemies of their genocidal regime.
THE 59TH BFI LONDON FILM FESTIVAL ANNOUNCES FULL 2015 PROGRAMME …
It was 2004 and I was fifteen years old when I read Charles R. Cross’ Heavier than Heaven. I remember finishing the last chapters, sprawled on the floor of my family’s cottage as I cried so hard I started to dry heave. At the time I was unaware of the controversy that surrounded the adaptation, both in how Cross took liberties in certain facts (some information was later disproved, or at least not substantiated) and the decision he made to create what was ultimately a fictional take on Kurt’s final days up until the point he killed himself. Like many teenager before and since, Kurt Cobain represented a romantic and ultimately tragic figure to look up to – for better or for worse.
Canadian cinema seems endlessly intertwined with the fringe appeal of horror genre. The first boom of horror happened in the 1970s when Canada’s tax policy allowed producers to take a fee of production costs before the film earned back its production costs (which is not allowed in the States), driving many low quality projects into theatres. Horror was always a safe bet because it was particularly cheap to make, and if they happened to land on a success the return on the investment would generally be a lot higher than for more “prestige” pictures. As that tax-shelter eventually closed up, there still remained a rather strong legacy of horror in Canadian cinema and to this day Canadian horror leans towards the adventurous and the innovative.
The dark unforgiving waters of the Atlantic Ocean and the mouth of the St. Lawrence river provide the backdrop to Les Loups, a beautifully crafted melodrama. Set in a small island Quebec town during the spring thaw, a stranger arrives during the height of the controversial seal hunts. Vibrant and mysterious, many suspect that Elie, the young woman from Montreal, is not who she says and is likely a reporter or an activist bent on portraying the townsfolk in a bad light.
Backstreet Boys: Show em’ What You’re Made of
Directed by Stephen Kijak
At the height of their face The Backstreet Boys represented with their harmonious voices and cherub good looks a newfound idealism in the American landscape. Not without talent, their selling point as much their image as their sound: they were chosen to be branded. Offering context to the tumultuous early years and how their experienced shaped their identity and worth over the years, the new documentary Backstreet Boys: Show em’ What You’re Made of documents the production of a new album from the former boy group.