Month: April 2018

April 2018 – Read interview with TOP upcoming directors.

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Read interviews with top filmmakers from around the world today. By Matthew Toffolo.

Interview with Filmmaker Adriana Falcinelli (DYING FOR A LIVING)
Interview with Filmmaker Adriana Falcinelli (DYING FOR A LIVING)

Interview with Filmmaker Anuj Gulati (THE MANLIEST MAN)
Interview with Filmmaker Anuj Gulati (THE MANLIEST MAN)

Interview with Director Elen JI (DINNER FOR TWO)
Interview with Director Elen JI (DINNER FOR TWO)

Interview with Director Leslie Aldana (THE WRITER’S WOMAN)
Interview with Director Leslie Aldana (THE WRITER’S WOMAN)

Interview with Filmmaker Hollis Sherman-Pepe (TO QUIET MY MIND)
Interview with Filmmaker Hollis Sherman-Pepe (TO QUIET MY MIND)

Interview with Filmmaker Anna Southgate (I SEEK ASYLUM)
Interview with Filmmaker Anna Southgate (I SEEK ASYLUM)

Interview with filmmaker Linnea Ritland (VIOLET AND JUNE)
Interview with filmmaker Linnea Ritland (VIOLET AND JUNE)

Interview with Screenwriter & Executive Producer Mark Renshaw (THE SURVIVOR)
Interview with Screenwriter & Executive Producer Mark Renshaw (THE SURVIVOR)

Interview with Filmmaker Sara Zia Ebrahimi (THE FBI BLEW…

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April 2018 – Interviews with Film Festival Directors

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Read 4 interviews with some of the top Film Festival Director’s in the world today.

Interview with Festival Director Eric Morgret (Crypticon Seattle Horror Film Festival))
https://festivalreviews.org/2018/03/30/interview-with-festival-director-eric-morgret-crypticon-seattle-horror-film-festival/

It’s a great service! I think we were the 4th festival to sign up for them a few years back and since day one they have been responsive and helpful with any questions we have had. They also work hard to improve the service and are always adding useful services and tools.

Interview with Festival Director Terra Renee (African American Women In Cinema)
https://festivalreviews.org/2018/03/26/interview-with-festival-director-terra-renee-african-american-women-in-cinema/

It’s really simple and to the point, not much of an issue.

Interview with Festival Director Amanda Drewniak (Ardor Creative Media)
https://festivalreviews.org/2018/03/17/interview-with-festival-director-amanda-drewniak-ardor-creative-media/

I personal feel the FilmFreeway process has definitely made receiving submissions easier. It helps me organize submitted films into subcategories and helps me stay organized for the Best Of at the end of the year.

Interview with…

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April 2018 – Interview with TOP Cinematographers working today.

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Enclosed are 5 interviews with some of the TOP Cinematographers working in the Film & TV industry today. By Matthew Toffolo

Interview with Cinematographer Rasmus Heise (I KILL GIANTS)
Interview with Cinematographer Rasmus Heise (I KILL GIANTS)

Interview with Cinematographer Christophe Graillot (A Bag of Marbles, La Garde)
Interview with Cinematographer Christophe Graillot (A Bag of Marbles, La Garde)

Interview with Cinematographer Dan Stoloff (Suits, The Americans, Zoo)
Interview with Cinematographer Dan Stoloff (Suits, The Americans, Zoo)

Interview with Cinematographer Tristan Oliver (Isle of Dogs, ParaNorman, Fantastic Mr. Fox)
Interview with Cinematographer Tristan Oliver (Isle of Dogs, ParaNorman, Fantastic Mr. Fox)

Interview with Cinematographer Frank G. DeMarco (Hedwig and the Angry Inch, All is Lost)
https://matthewtoffolo.com/2018/03/16/interview-with-cinematographer-frank-g-demarco-hedwig-and-the-angry-inch-all-is-lost/

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Film Review: FINDING YOUR FEET (UK 2017) ***

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Finding Your Feet Poster
Trailer

On the eve of retirement a middle class, judgmental snob discovers her husband has been having an affair with her best friend and is forced into exile with her bohemian sister who lives on an impoverished inner-city council estate.

Director:

Richard Loncraine

Writers:

Meg Leonard, Nick Moorcroft

Stars:

Timothy Spall, Joanna Lumley, Imelda Staunton

 

(Warning: This review contains a spoiler which is highlighted in bold italics at the end.  Skip it if you intend to watch the film.)

As the title of the film implies FINDING YOU FEET refers to finding ones footing in life with dancing helping along the way.

When the film opens Sandra Abbott (Imelda Staunton) is about to become a Lady, thanks to the success and fame of her husband, Mike (John Sessions).  They have enjoyed a good long marriage together till this party, where she catches him red handed kissing her friend in the dark.  She abandons him, distraught and shows up at the council flat of her bohemian sister.  No need to guess that she is then taught how to behave like a less haughty human being as well as to enjoy the simplicities of life, which includes attending the sister’s dancing class.  She also gives love a second chance, in the form of Charlie(Timothy Spall), who’s wife Lily (Sian Thomas) is suffering an advanced stage of Alzheimer’s at a nursing home.

Three great performances to be entertained here by Oscar Nominee Imelda Staunton (Mike Leigh’s VERA DRAKE), Timothy Spall and Celia Imrie .  These performances distract from the facts that the film is not really funny nor are there many funny parts, nor is the script particularly bright. But the charm of the actors come across quite effectively for the audience not to notice the film’s shortcomings.  Absolutely Fabulous’s Patsy (Joanna Lumley) lends her hand in the role of a five time divorcee offering advice for Sandra.  Lumley is the only real comedienne in the cast.  Staunton and Spall are known more for their serious comedies.  Director Loncraine has made comedies in the past as in Michael Pailin in THE MISSIONARY but also more serious films as RICHARD III and in one of my favourite films, BRIMSTONE AND TREACLE with a young Sting making his acting debut.

The dance performance supposedly shot at Piccadilly Circus is sufficient spirited.  London is shown in her Christmas splendour as Sandra ad Charlie take on the London lights during a romantic fling.  The two make a believable couple coming to terms with their own personal troubles.  It is this human feature of the script that makes the film work despite the script’s flaws.  The film obviously leads towards the typical happy Hollywood ending which is a real shame, since it is so manipulative and obvious as to what is going to happen.  (Spoiler alert:  But the last straw, almost unforgivable is the literal leap of faith Sandra takes to be with Charlie.)

The dance metaphor which reflects Sandra getting on back to her feet after her matrimonial disaster works quite well, though it can hardly not be noticeable.  Sandra gets back into the dance groove, together with her old cronies with a few solid but simple choreographed numbers to old tunes like Rockin’ Robin and newer numbers like La Freak.

FINDING YOUR FEET is an old folks Harlequin romance that goes through all the usual obstacles and predictability of finding true love lifted slightly by the presence of both Imelda Staunton and Timothy Spall.

Trailer: https://www.youtube.com/watch?v=6-Cp6ba2Y0g

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Capsule Review Hot Docs 2018: CHEF FLYNN

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Chef Flynn Poster
Ten-year-old Flynn transforms his living room into a supper club using his classmates as line cooks. With sudden fame, Flynn outgrows his bedroom kitchen, and sets out to challenge the hierarchy of the culinary world.

Director:

Cameron Yates

Stars:

Flynn McGarry, Meg McGarry, Paris McGarry

 

Documentary CHEF FLYNN picks 10-year old Flynn as is subject when Flynn first transforms his living room into a supper club using his classmates as line cooks. With sudden fame, Flynn outgrows his bedroom kitchen, and sets out to challenge the hierarchy of the culinary world.  

Like most docs on a subject that runs out of material, it gets distracted with other issues such as, in this case, the mother’s filming obsession, Fynn’s relationship with his family (father and sister) and his new restaurant’s opening night.  But when the camera is on the young chef prodigy, it gets the most interesting.  To director Yates’ credit, he ties the other issues to Flynn’s culinary duties. 

 Flynn’s culinary creations look marvellous on screen though this fine dining experience may only be suited for the rich and wealthy.  Still, it is a rewarding experience to see a talented youth (seen through the ages of 10-15) experience both the highs of his talent and pains of growing up too quickly.

Trailer: https://www.youtube.com/watch?v=OvaouhB0qzc

 

 

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Interview with Festival Director Frances-Anne Solomon (CaribbeanTales International Film Festival (CTFF))

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The CaribbeanTales International Film Festival (CTFF) celebrates the talents of established and emerging filmmakers of Caribbean heritage who practise their art across the Caribbean Diaspora worldwide – including Canada and the Caribbean, Europe, the Americas, Africa, China, India and the Middle East. CTFF presents a multi-ethnic mix of exciting and dynamic films that showcase diverse shared stories and cultures.

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    • Matthew Toffolo: What is your film festival succeeding at doing for filmmakers? 

    Frances-Anne Solomon: CaribbeanTales International Film Festival is the only annual Caribbean film festival in Canada. We focus on promoting filmmakers of colour and celebrating the talents of established and emerging filmmakers of Caribbean heritage worldwide. Over the past 13 years we have built an incredible community of filmmakers through not only our festival but our various support programs such as the CaribbeanTales Incubator that now has a 5 year production deal with Flow, our accelerators that take place around the world in places like south africa, belize and cuba , our short film challenges for emerging talent, our production slate, and our year-round screening series and partnerships. We love to watch our filmmaking community grow — and know that we have had a part in helping to build careers and talent.

    What would you expect to experience if you attend the festival this year (2018)? 

    Our festival theme this year is ‘Light It Up’. We are programming films that inspire change and push boundaries, films that are speaking to the changes we want to see in the world. It’s a call to action. A call to arms. A call that’s been ringing out for a long time and Caribbean filmmakers are answering that call in force. We’re asking them to focus their light on all the changes in the world, to showcase their vision of change and spread their message, to lead the way. The world can be a dark place, but we can look at that darkness and say ‘Light it Up.’ Our festival runs across 10 days and cinema-goers will have a chance to see a broad spectrum of films from around the region and the diaspora, with themes ranging from legacy and culture, women of colour creators, revolution, environment, LGBTQ plus many more.‬

    What are the qualifications for the selected films? 

    The director, producer, writer or lead character in the film needs to be be of Caribbean heritage. We accept feature-length films, short films or web-series and the project can be any genre, including documentary, fiction – drama, thriller, comedy, scifi/horror or animation. Filmmakers can submit through our website www.caribbeantalesfestival.com

    Do you think that some films really don’t get a fair shake from film festivals? And if so, why? 

    Programming is a complicated and difficult task, and yes often certain films may never be seen because they don’t fit into the program or the programmers aren’t in touch with the issues of various communities. However, the world is changing and we are thrilled to see more focus on filmmakers of colour, especially women. CaribbeanTales was founded and is run by women of color so this issue is close to our heart. We started the festival at a time when there was a need to focus on people of colour and we have been working steadily for 13 years to change the way festivals are programmed and what films get to be seen by a wide audience through not only our festival but our distribution platform www.caribbeantales-tv.com. 

    What motivates you and your team to do this festival? 

    It’s the absence of a platform for our work and realizing that the way to solve the problem was for us to create that platform ourselves and to show the work that we believe in. One year, someone approached me and suggested that since I had so much content they would work with us to set up a film festival. After that first festival experience, I thought, this could solve all of our problems – of visibility and access. We were making films and they were not being shown anywhere. So we created the platform and we solved our own problems. I like to think that we started a movement. It’s about being inspired by work that reflects different expressions of our reality.  

    How has your FilmFreeway submission process been? 

    As a programming team it has been wonderful, in that, our comments and thoughts are very visible and accessible. We aren’t necessarily finding an audience on Film Freeway but those who have submitted have noted that it has been a smooth process.

    Where do you see the festival by 2023? 

    Our festival has been blessed with an incredible, dedicated community of Caribbean diaspora, who attend regularly. What we’d like to see in the next few years is to expand our audience into the younger diaporia community both in Toronto and around the world. We are so inspired by the change that is occurring and we feel we have a voice in that. We’re hoping to partner with more top media and corporate sponsors who understand our mission. We’d also like to expand our Short Film Challenges so that we can provide enhanced funding and support to the film community and eventually create a feature-film fund for emerging filmmakers.

    What film have you seen the most times in your life? 

    The Piano by Jane Campion just blew my head right off. It’s an epic post-colonial female-driven story, just the kind of film I see myself making really. A heroic journey, in which the hero is a woman who traverses wild and challenging terrains and triumphs in the end. A mother daughter story in which each saves the life of the other. A complex tale. I loved how interior and quirky the story was. The only thing I’d change is of course the ethnicity of the central character – I seek to tells stories of women of color. But it was a great starting point for me in my own journey.

    In one sentence, what makes a great film? 

    For me a great film is one where  the audience can dive into the lush emotional world of memorable characters, and a central character who dreams and dares passionately. A great film is one that packs an unforgettable emotional punch. 

    How is the film scene in your city? 

    Toronto has a truly vibrant and engaged film community. There are so many outlets for filmmakers to connect with the film scene here, from screenings, workshops, panels and more year-round. In the last couple of years we have seen a dedication towards gender parity from the top down, which has really increased the amount of female filmmakers being seen and heard. There is a strong filmmaking community of colour as well, we have festivals dedicated to every country and ethnicity you can think of. We all interact with one another, creating a wonderful community of support. 

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    _____

    Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every single month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 3 times a month. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Film Review: BEIRUT (USA 2017) ***

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Beirut Poster
Caught in the crossfires of civil war, CIA operatives must send a former U.S. diplomat to negotiate for the life of a friend he left behind.

Director:

Brad Anderson

Writer:

Tony Gilroy

Stars:

Rosamund Pike, Jon Hamm, Mark Pellegrino

 

Set in the 1980s during the Lebanese Civil War, BEIRUT is a fictional action film centring on a former U.S. diplomat who returns to service in the city of Beirut in order to save a colleague who is held hostage by the group responsible for the death of his family.

Unlike films dealing with hostage situations like 7 DAYS IN ENTEBBE and ARGO, BEIRUT deals with the next best thing.  It is a fictional story based on a true event – the hostage taking during the Olympics in Munich.   While the lead is no super spy like James Bond, he is the next best thing, a diplomat that has revenge on his agenda, as in the Liam Neeson TAKEN films.  BEIRUT benefits from a script by Tony Gilroy who penned the BOURNE films and more important, also directed one BOURNE film and the excellent MICHAEL CLAYTON.  There are shades of MICHAEL CLAYTON in BEIRUT with the main character similar to the George Clooney character and a strong supporting female character here played by Rosamund Pike.  

The film opens in 1972 at a posh party thrown by  Mason Skiles (Jon Hamm), a U.S. diplomat living it up in Beirut with his wife Nadia (Leila Bekhti).   They have no children of their own, and so they adopt and treat 13-year-old orphan refugee Karim (Yoav Sadian Rosenberg) as family.  Karim serves hors d’oeuvres.  During a posh cocktail party, however, uninvited guests bring unwelcome news: Not quite so alone in the world as he’d pretended, little Karim has an older brother.  Things never go as well as planned – especially not in movies.  Mason is then informed that Karim is the brother of Abu Rajal (Hicham Ouraqa), a notorious Palestinian terrorist linked to the recent Summer Olympics massacre in Munich as well as other attacks.  Just as Mason is about to say, “I don’t believe it,” the party is stormed by gunmen under the orders of Rajal attempting to spring Karim.

To cut a long story short, Mason is sent home, takes to the drink but later asked to return to Beirut,  There he learns, that his friend Cal of the CIA (Mark Pellegrino) is held hostage by the now grown Karim.  Karim wants his brother Abu Rajal freed.

Despite the long story, it is an interesting one and one that allows a mild mannered man to resume his glory days and save the day or in this case, his best friend Cal.  The subplot between Mason an cultural attache Sandy Crowder (Pike) makes a good diversion.  The film feels like a mix between MICHAEL CLAYTON and the BOUNRE movies.  Morocco, where the film is shot stands for war-torn Beirut.

Unlike most action films where the heroes spurt out funny one-liners, the dialogue here is more subtle and at times a bit cynical, which suits the mood of the film.  Hamm makes a good reluctant hero.  

The film has had complaints of being racist.  The film’s trailer ended with voice-over from Mr. Hamm’s character: “2,000 years of revenge, vendetta, murder. Welcome to Beirut.”  It does not help too that Beirut looks nothing like the real Beirut since the film was shot in Morocco.

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

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Film Review: BORG/McENROE (Sweden/Denmark/Finland 2017) ***

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Borg vs McEnroe Poster
Trailer

The story of the 1980s tennis rivalry between the placid Björn Borg and the volatile John McEnroe.

Director:

Janus Metz

Writer:

Ronnie Sandahl

Stars:

Sverrir Gudnason, Shia LaBeouf, Stellan Skarsgård

 

BORG/McENROE is one of two tennis films that played at the 2017 Toronto International Film Festival, the other one being BATTLE OF THE SEXES that had already opened.

The two films by inevitable comparison show vast differences in approach.  BORG/McENROE takes its subject of tennis very seriously capturing all the fear, all the glamour and all the stress each player faces of the matches, unlike the other film relying on comedy to stir its audience.  The results of the tennis matches are crucial for both films.  In BORG/McENROE, they are exciting and competently shot while the matches in the other film is laughable and boring.  The actors also here sport tennis bodies while Emma Stone is too skinny and Carell too bloated.

The best thing about the film are the filmed tennis matches.  The camera shows each player as they stride across the courts, their muscles often shown quivering in slow motion.  Those who are tennis aficionados will recall who won which game.  For the majority, one will definitely remember because of all the media frenzy that McEnroe beat Borg.  This is true but they did not play only one match.  So in the film, it will be unknown to many who would win the 1980 match depicted in the film.  (I play tennis and I got it wrong.)

Director Getz shows the punishment and pain each player goes through.  Though Borg is set as the stable reliable player the Swedes can count on, the film also shows Borg at his most vulnerable, buckling too under pressure.  On the other hand, McEnroe is shown as a player that strives on pressure and one that performs well on stress.  The film also shows more of Borg’s relationship with friends, coach and family then McEnroe, the reason likely being that the film is Scandinavian.

But the key to Borg/McEnroe is the story of the epic rivalry between Swedish tennis legend Björn Borg (Sverrir Gudnason) and his greatest adversary, the brash American John McEnroe (Shia LaBeouf).  The film devotes almost equal time to each player,  and shows them as two totally opposite human beings, despite the fact that both compete in tennis.  But the common thing is that both know that they have been pushed to the limit to get where they are.

Gudnason and LaBeouf deliver believable performances as the tennis stars.  LaBeouf probably played himself, the angry controversial person himself in real life.  Great performances elicited by Getz all around.

BORG/McENROE is what a tennis film should be.  It celebrates the game of tennis, delivers exciting matches and teaches the audience a thing or two about the game while offering some insight of what tennis professionals go through.

The film was chosen as the Opening Gala for the Toronto International Film Festival last year and garnered generally favoured reviews. A super watch for tennis fans, especially.

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

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Film Review: BIG FISH & BEGONIA (China 2016) ****

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Big Fish & Begonia Poster
It is a world within our world, yet unseen by any human, and the beings here control time and tide and the changing of the seasons. On the day Chun turns sixteen, she is transformed into a …See full summary »

Directors:

Xuan Liang (as Liang Xuan), Chun Zhang (as Zhang Chun)

Writers:

Xuan Liang (story by), Xuan Liang (as Liang Xuan)

Stars:

Guanlin Ji, Shangqing Su, Timmy Xu

China produces quite a few animated features every year, though only a few reach North America.  BIG FISH & BEGONIA, made in 2016 has achieved tremendous success both critically and financially, thus finally making it to North American screens.  It plays and looks at times like the Studio Ghibli films as the film shares common trays like fantasy in alternate universes as well as young innocent true love.

The film’s universal appeal lies in human being’s love for fairy tales.  BIG FISH & BEGONIA has all the elements of an epic fantasy with magic, romance, sacrifice, monsters and a coming of rites passage that involves a long journey filled with wonders and danger.

For an animated feature, the story is quite complicated and requires a bit of concentration to follow.  The story is set in a mystical realm that exists beneath the human world, populated by magical-powered beings.  The protagonist is a girl named Chun and when the film opens she undergoes a coming-of-age ritual where she is transported through a portal of water to experience the human world in the form of a red dolphin.  She is warned several times never to engage but to stay away from those dreaded human beings, which means she has to fall in love with one – shades of THE LITTLE MERMAID.  In the human world, she encounters a human boy who lives by the sea and reveres aquatic creatures.  During a storm, Chun in the form of a red dolphin is tangled in a fishing net near the boy’s house, and the boy drowns while freeing her from the net. Chun returns to her world, taking the boy’s ocarina with her.

Chun bargains with the soul keeper, a resident of her world who collects virtuous departed souls from the human world, to return the boy to life. The soul keeper, a real businessman takes half of her lifespan in exchange for giving her the boy’s soul, which has manifested in this world in the form of a baby dolphin. He advises her that she must nurture the dolphin to adulthood in order to return the boy’s soul to the human world. Qiu, Chun’s childhood friend, discovers her undertaking; since beings from the human world are forbidden, he promises to help her keep her task secret. Together, they name the dolphin Kun, after a massive fish of legend.

The romances are between Chun and Kun and between Qiu and Chun.  But Chun treats Qiu as an older brother which makes him really sad.  Still, Qiu will do anything for Chun including sacrificing his life for her.

The adventures take the audience through many wondrous as well as frightening places including a big sewer filled with shit and rats where they encounter the rat matron.  She is scary to Qiu and Chun but hilarious to the audience.

The animation is nothing short of spectacular, the animators unafraid to include scenes of snow, fire and water which are difficult to animate.  The fairly tale atmosphere with Chinese architecture add to the film’s beauty.

BIG FISH & BEGONIA is the third largest grossing Chinese animated feature ever after KUNG FU PANDA 3 and MONKEY KING.  On a budget of 30 million Chinese Yuan, it grossed, up to the time of writing CN¥565 which translates to a profit of 1800%.  Hopefully, the box-office success will spurn more animated features from B&T Studios.

Trailer: https://www.youtube.com/watch?v=2w1n1FX3eUA

 

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Film Review: INDIAN HORSE (Canada 2017) ***

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Indian Horse Poster
Follows the life of Canadian First Nations boy, Saul Indian Horse, as he survives residential school and life amongst the racism of the 1970s. A talented hockey player, Saul must find his own path as he battles sterotypes and alcoholism.

Director:

Stephen S. Campanelli

Writers:

Dennis Foon, Richard Wagamese (based on the novel by)

Stars:

Sladen Peltier, Forrest Goodluck, Ajuawak Kapashesit

 

INDIAN HORSE is a Canadian drama that premiered at the 2017 Toronto International Film Festival, based on author Richard Wagamese’s most famous novel of the same name. Wagamese and yes, Clint Eastwood both executively produced this native Indian film.  

INDIAN HORSE tells the fictional story of Saul Indian Horse but surrounded by real life non-fiction events such as the forced attendance of native children in Indian residential schools and Canada’s love for ice hockey.

Saul Indian Horse is played by different actors at different stages in his life.  Sladen Peltier plays Saul at age 6, Forrest Goodluck at age 15 and Ajuawak Kapashesit as Saul at age 22.  The only known actor in the cast is Martin Donovan who plays Saul’s Toronto hockey father.  To the credit of director Campanelli, the transition of the actors playing Saul is smooth with no big jolt in the story telling.

The story and film is at its most exciting during the first half, especially at the Indian residential school where the Indian children are mistreated and punished.  Saul’s love for hockey is what saves him.  After cleaning the stables, he practices hockey on his own and gets the attention of Father Gaston.  He eventually gets into big league hockey.  But Saul also discovers racial prejudice and ends up disheartened by life.  There is a twist to Father Gaston’s good intentions later on in the film that has shocking consequences.

The film stresses the importance of family.  Saul’s foster mother tells him in one of the film’s sweetest moments: “You ware part of our family now, and you always will be.”

The film’s starting with Saul as a boy, surviving the Northern Ontario wilderness is also magnificent to watch.  The beauty of Canada as seen in the lakes and rivers, the rooks and terrain, the forests and trees and the wild animals needs to be seen as captured on screen.  Saul and his grandmother also escape on a rowboat that unfortunately capsizes in the rapids, excitingly captured on camera, leading to the grandmother’s death.  As expected, the first part of INDIAN HORSE is the most captivating and young Peltier who plays the young Saul is most adorable.  

After giving up hockey, Saul Indian Horse hits rock bottom.  His last drinking binge almost kills him, and is a reluctant resident in a treatment centre for alcoholics, surrounded by people he’s sure will never understand him.  But Saul wants peace, and he grudgingly comes to see that he’ll find it only through telling his story.  He embarks on a journey back through the life he’s led as a northern Ojibway, with all its joys and sorrows.  The last part where he tells his story is not seen in the film and Indian Horse’s life story and the film unfortunately loses its impact, despite all good intentions.  Still, audiences get to see what natives (Canadian First nations) go through, despite the non-Hollywood ending.

Trailer: https://www.youtube.com/watch?v=02cyFlnvA4s

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