September: 15, 2004 A&E Page 12 Canadian film: overlooked and marginalized Exceptional domestic films exist and deserve to be seen by Gina Choi >> The Peak, University BURNABY, B.C. (CUP) — The term “Canadian film” contains a certain negative connotation that leaves a cold, stale taste in most people’s mouths. Although this statement may be a bit trite and miscalculated, it certainly cannot be denied. When one thinks of Canadian film — and its attendant pre- scribed character traits and deso- late landscapes — which films does one actually think of and refer to? The concept of a strong, confident Canadian film identity is definitely uncertain, and Canadian films suffer from stereo- typing which even Canadians themselves are guilty of. Some people exude outright disinterest and apathy towards their coun- try’s films. This is problematic for a country that obviously has the necessary talent to establish a mar- ketable film industry that respect- fully bypasses American film mar- keting and star power. I recently went to. the local video store to rent some Canadian films in order to write this article. 1 was both surprised and annoyed when ‘ Simon HONS RENT PNT GIF Plager I discovered the absence of the very two films I was looking for: The Barbarian Invasions and Falling Angels. Not only did the former title win for best foreign language film this past year at the Academy Awards, but it is also the pride of Canada, so to speak, in the film world. How is it that they do not have these films in the video store? Why aren’t Canadians interested in their own movies and, further- more, why is there no government implemented quota established in our movie theatres to promote and support Canadian films? Is it because they are assumed to be too “artsy” or one-dimensional? These are fruitless questions, espe- cially when the answer is quite clear: People simply are not eating up what Canadian films have to offer. This does not mean loyal Canadian film devotees do not exist. Rather, it means that films such as My Life Without Me and The Saddest Music in the World are not going to beat out The Day After Tomorrow and Troy at the box office. This leads to another question: Does anyone actually care? I have seen some of the Canadian’ films that were consid- ered a “success” in the last year — some of them are good, some of them are crap. Let’s start with the aforementioned film, My Life Without Me. It stars Sarah Polley, the Canadian equivalent of Hollywood’s Charlize Theron, Britain’s Keira Knightly, and France’s Vanessa Paradis. The film, though weak and nauseating at times, tells an intimate story. Everything seems scaled down and, in contrast to the typical blockbuster, dialogue as well as silences are prevalent in each scene. Falling Angels, starring another “famous” Canadian actor, Callum Keith Rennie, tells the story of a dysfunctional family in 1960s Ontario. This film is superior to the first, but the mood is similar. The identity of Canadian film is changing and like all other world cinemas, it has ventured into dif- ferent realms. Take this year’s The Corporation for example, consid- ered by many to be a brilliant doc- umentary, focusing ‘on the trouble- some role of corporations in our society. Another film I desperately want to get my hands on is Fix: The >> photo by bea Booth Talented UNBC student, Ping adds a little bit of melodious music to our environment as he plays his guitar between classes. Take a note from Ping, and make UNBC a fun place. However, the playing of Bon Jovi’s “You Give Love a Bad Name” on the tuba between classes is strictly prohibited Story of an Addicted City, set in Vancouver. The budgets of these kinds of films are quite low, and the presumption is that story and dialogue take priority over special effects and synchronized “glory shots” of actors walking down streets, 4 la Bad Boys, with ‘huge explosions and cars flying every which way. Instead, we see more close-ups, more domesticity and dialogue that is certainly more coherent. We see our own neigh- bourhoods, cities and national markers, on the screen, and some- how it can make a film more per- sonalized and significant. Iam not a huge fan of Canadian films, but perhaps that is because I have also carried pre-conceived notions into theatres, and those ideas have manifested in a fero- cious search for another nation’s struggle and victory. against Hollywood. Most of the Scandinavian films I have seen are excellent, as well as * French, Korean, Scottish, Japanese and Russian films, among others. This is also not to say that Hollywood films — especially when homogenized into one gen- eral category — are terrible and worthless, either. We all have our favourite genres and interests, and I’m sure if Canadian films are given a chance, they will also con- tinue to attain international respect. Furthermore, we need to actually carry some of these films in our video stores — even in small towns — and to promote efficient marketing and strategic theatre releases, so that a Canadian film industry can actual- ly exist without compromise and what seems like inevitable Americanization. Not all Canadian films are guar- anteed to be fabulous, nor will they reflect Canadian culture in the place of a bland, cinematic (North) American one. However, there are exceptional films out there that are Canadian, and they should not be overlooked because they exist within a category that is neglected and arguably marginal- ized on the world stage. If you want to view other recent Canadian films, start with these: Atanarjuat: The ‘Fast Runner, The New Waterford Girl, The Barbarian Invasions, Jésus de Montréal, The Sweet Hereafter, Flower and Garnet and Dead Ringers. Tomorrow's professionals apply today! Apply on-line! 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