Calgary Cinematheque’s Annual Focus Series puts spotlight on actress Tilda Swinton

CALGARY — This season, the Calgary Cinematheque has made British actress Tilda Swinton their centre of interest for its Annual Focus Series.

Four films featuring Swinton were carefully selected: the British arthouse film The Last of England, directed by the late English director Derek Jarman; I Am Love, the Italian drama by director Luca Guadagnino; the thriller Young Adam by Scottish director David Mackenzie; and finally, 2008’s Julia, a French crime drama directed by Erick Zonca.

Most are likely to be familiar with Swinton’s current role as the “Ancient One” in Marvel’s Doctor Strange or perhaps her role in the mainstream series The Chronicles of Narnia as Jadis, the White Witch.

However, Swinton’s extensive portfolio of cinematic work extends beyond the mainstream, and into arthouse, world and British cinema – all with extremely powerful performances that make her one of the most versatile, idiosyncratic and influential actresses of our time.

Felicia Glatz, programming director at Cinematheque, says that the programming committee has been sitting on the idea of having a Tilda Swinton series for years. She also shares that this season seemed like the perfect opportunity to turn their usually director-driven spotlight onto the performer who sits on the other side of the camera.

“…[I]f I had to distill our reasoning down to a few characteristics [to why we chose Tilda Swinton as our focus for our spotlight series], it would have to be her dexterity as an actress and collaborator, and the humble studiousness that she maintains across all of her projects,” writes Glatz in an email.

Furthermore, Glatz says Swinton is immediately “recognizable” and is “indefinable”.

“Somehow, she never overshadows herself and embodies each character fluidly,” she adds.

Professor James Ellis, who currently teaches 16th and 17th-century poetry and prose at the University of Calgary, has taught British Cinema in the past. He says he first encountered Swinton while doing research for his book on film director Derek Jarman. It was then that Ellis was able to explore in-depth Swinton’s performances in Jarman’s late-70s to early-90s films.

Ellis says that Swinton has been famous for a long time within the alternative art film community and world cinema and is recognizable for her striking androgynous looks and her complete devotion to her art.

“I think part of it dates back to her association with Jarman who was [a] fiercely political, non-commercial artist who believed strongly in collaborative work and experimental art,” he says.

“And now, she’s in Doctor Strange. I think a ton of people are going to see her in that role and hopefully they’ll wonder, ‘who is this person,’ and actually come out and see these films,” he says of the Cinematheque’s Focus Series.

Arthouse film The Last of England (screening come and gone as of writing time) is the perfect example of Swinton’s close collaboration with Jarman.

“[It’s] a very personal and visceral retaliation to political sanctioned homophobia during the Thatcher era and endures as an essential component of New Queer Cinema,” writes Glatz.

In I Am Love, Swinton learned to speak Italian with a Russian accent, the perfect example of her collaborative spirit and fruitful dedication to her art and her strive for more “sensational cinema.”

In Young Adam, Swinton plays opposite Ewan McGregor. Set in 1950s Scotland, she plays a “hard and unforgiving” woman who negotiates a husband and a lover. The film was chosen for her severity in her role of Ella.

Finally, the French crime drama Julia was chosen for this series as it is a type of role rarely portrayed by Swinton, ultimately demonstrating her multifaceted performance capabilities.

“From full-blown calamity to a last hope, Swinton truly epitomizes a woman clawing her way toward some sort of atonement,” shares Glatz.

Calgary Cinematheque ultimately chose films of comparative texts, “in the hope of conveying our own admiration of her craft,” states Glatz, “but mostly to showcase her contribution to what we feel are some powerful and dense films.”

Showtimes (as of press time):
“I Am Love” (2009) – December 1, The Globe Cinema
“Young Adam” (2003) – December 8, The Plaza Theatre
“Julia” (2008) – December 15, The Globe Cinema
For more information, visit http://calgarycinema.org/. 

Story published here

Archive: Calgary indie songstress Samantha Savage Smith releases sophomore album

photo courtesy of cbc.ca

January 12, 2015

CALGARY — It’s hard not to love local heroine Samantha Savage Smith. Her persona is down-to-earth, she sings sweetly and strums gently, releasing feel-good, gentle indie rock songs that more often than not leave you with chills.

When she’s not jamming in her basement or recording an album with local producer Lorrie Matheson, she’s jamming in Nordic nations with Icelandic songsmiths or touring with her band. Despite all this, she remains easy to talk to; she emits a completely genuine love for music, one that is deeply rooted. Indeed, Smith began singing at age nine and playing guitar at 11. She says once she figured out how to play a few chords together, she started writing “bad crappy songs” and playing them for her mother and brother. Although Smith went on to play in bands in high school, her self-doubt became crippling until Matheson stepped in: he heard some of Smith’s demos and worked with her to develop and record her debut. She was just leaving her early 20’s when her debut Tough Cookie was released, first on Western Famine, then by Toronto’s Arts & Crafts for wider distribution.

With much more musical experience under her belt, Smith is now releasing Fine Lines, her sophomore album on Winnipeg indie label Pipe & Hat. The album delivers a more refined, evolved “grown-up” sound that stays true to Smith’s indie folk-rock identity. It’s still very authentic, yet charming and better defined.

“I would say the songs are more complex now. I have personally put a lot more thought and effort into them,” says Smith, admitting the writing process took much longer than that for her previous album.

Fine Lines offers more than love and heartbreak, she says.

“It’s about life challenges, my own personal challenges with myself. It’s grown because I’m older.”

Smith and her band mates recently wrapped up a two-week Canadian tour promoting Fine Lines. It stretched out east as far as Winnipeg, passing through Saskatchewan, going all the way west to Victoria.

“We tour in a mini-van. It [gets] tight,” she says with a laugh. “It’s long drives; you’re driving for eight or nine hours every day at least, sometimes 12.”

Touring, though, is something Smith enjoys.

“The first week is kind of the hardest because you’re not in it quite yet,” she says of the “weirdly” long days that come with touring the vast Canadian landscape. By the time they get to play their set, she says, they wrap up and are on the road again.

Right before touring begun, Smith found herself in Iceland once more for the annual Iceland Airwaves music festival. She was invited back for a second round of a collaborative talent exchange called EMBASSYLIGHTS. The collective includes Calgary musicians Mark Andrew Hamilton from Woodpigeon, Smith, Clinton St. John and Laura Leif, alongside two of Reykjavík’s most intriguing songsmiths Benni Hemm Hemm and Prins Póló. The idea stemmed from Woodpigeon’s Hamilton, who wanted to focus on collaborative song writing.

“We met up with [Hemm Hemm and Póló] in Reykjavík, sat in their room for three or four days and wrote an album. We played a show our first night in Reykjavík and on the Sunday, we recorded all of it [within] the day,” she recalls.

Iceland is all too dreamy, a Mecca for the musically curious and hungry. It was Smith’s second time in the territory. She describes the music scene there as similar to the one we have in Calgary, only much bigger.

“[At Iceland Airwaves]there’s [around] 250 bands and only a small percentage of international bands [who] can only go and play once. They never do repeat acts and showcase mostly all Icelandic bands,” she says.

Back home, Savage Smith took part in the PEAK Performance Project Alberta, a radio competition that saw Edmonton’s The Wet Secrets take home the winning prize of $100,953 after months of boot camps. Although the experience came with some downsides, including a few scathing assessments of her musical approach, it was a learning experience she valued as it forced her to “question quite a bit of things you haven’t been really been forced to think about.”

“The actual competition itself is really hard work. You do the showcases, there’s this crazy final report you have to [hand in]. You have to meet deadline and figure out how to prioritize. It definitely takes it out of you,” she describes.

The experience was ultimately positive as it got Smith deeply considering her focus.

“I’m stoked,” she says. “It [got me] to want to move forward and do my own thing.”

With Fine Lines, Smith went back into Arch Audio, Matheson’s cozy Inglewood recording studio. Two main elements shifted; meaning Fine Lines is a different beast than Tough Cookie.
Firstly, lyrically, Fine Lines moves away from the personal intensity of its predecessor, although Smith swears her songs still come from a very personal place.

“[Although it] may be a disconnected experience from myself, I’m still writing about myself,” she says.

Her song “Kids in the Basement,” for example, is about making music.

“It’s the highs and low of doing that, the grassroots of trying to be a musician, what you give up for it,” she says. “It’s pretty obtuse in what it can mean because it directly doesn’t really need to be about anything. I don’t know if they intentionally do, but I want songs to rather give a sense of feeling than have a direct message,” she describes.

Secondly, although Matheson had quite a bit of studio input on the songs for Tough Cookie, pre-production differed this time around. It was co-produced by Smith and band member Chris Dadge, with whom she demoed the songs at home. The end product features contributions from an array of Calgary indie musicians, including members of Snailhouse, Woodpigeon, Lab Coast, Friendo, Ghostkeeper and Chad VanGaalen’s band.

She says the overall experience was relaxed and “a lot like recording with your pals.”

Being Calgary born-and-raised (as well as clearly having a strong support group from local musicians), means Smith loves cities like Montreal and Toronto but calls Calgary home.

“I had a lot of hometown love and support from people which made a huge difference for me,” she says of her decision to stay in the city. She describes the music scene here as having a great community vibe.

“There was a point where you had heard of all the bands in Calgary but now you have to keep up to it, “ she says. “It’s good because that just means the scene is getting bigger.” That being said, she decries the increasingly high rents, which make it difficult for any artist to live in the city.

“ I used to live in Vancouver and the rent was crazy, but now in retrospect, the rent is the same!” she says.

Smith says there’s a certain appeal in moving to bigger cities, but ultimately, Calgary is where her heart (and couch) are to stay, even if it’s for logistical purposes.

“[Calgary] is my home base,” she says. “When it comes down to it, if your band is prepared to tour a lot, it really does not matter where you live. The idea is you’re on the road and are constantly present in all those cities anyway.”

She finishes, “And then you can go back to wherever you want to chill out on the couch.”

The release party for Fine Lines is January 23 at the Palomino Smokehouse and Bar.

Story published here

CUFF’s Tweet List…

AS THE PALACES BURN: @dargott

CALGARY UNDERGROUND FILM FESTIVAL: @CUFF

COMPUTER POTATO: @Computer_Potato (short preceding THREE NIGHT STAND)

DOOMSDAYS: @EddieMullinsXXX

FOR NO GOOD REASON: @FNGRMOVIE

FOUND FOOTAGE FESTIVAL: @foundfootage

FRANK: @lennyabrahamson

JODOROWSKY’S DUNE: @JodorowskysDune

SHORTS PACKAGE: PEOPLE ARE STRANGE Three in a Bed: @jfiliatrault, @mandystobo Person to Person: @dustinguydefa

SWIM LITTLE FISH SWIM : @LittleFishMovie

THE HUSBAND: @TheHusbandFilm

THE SACREMENT: @Ti_West

THREE NIGHT STAND: @patkiely

CUFF ROOFTOP SCREENING SERIES

BeatRoute Magazine

SUMMER CAMP FLICKS AT OAK TREE TAVERN

It hasn’t been much of a summer this year. The weather’s been stormy and most of us are knee-deep in work-related stuff or still dealing with flooding aftermath.

But rest assured, we still have the month of August to make up for it and find some time to relax. Anything to do with a rooftop is usually awesome and it’s even better when it includes beer, a chill flick and a good friend to enjoy it with. Every Monday in August, CUFF and Oak Tree Tavern are hosting CUFF Rooftop Screening Series: Summer Camp Flicks. All screenings are pay-what-you-can and include themed menus and CUFF’s favourite summer camp flicks. Make it a weekly routine or catch your old time favourite! See you on the rooftop!

Wet Hot American Summer (2001)
August 5

Wet Hot American Summer is a satirical comedy that flopped badly…

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HISTORIC CALGARY WEEK

BeatRoute Magazine

heritage2DRAWING THE STORIES OF OUR HERITAGE BUILDINGS

This article was written prior to the floods to draw attention to this annual celebration of historic sites in the city. It will be the first in a series where we look at these areas and trace their development. This piece has been left as it was originally written, to offer added insights.

The community of Inglewood feels wonderfully eerie and is still somewhat isolated, despite new developments and the developing East Village nearby. It has kept its charm of long ago with its mix of old and new, where the old is still very much present. Even Inglewood’s newer buildings have been incorporated smartly into a sea of older, heritage-like buildings. The Atlantic Avenue Art Block, for example, is one of the most beautiful buildings I have ever walked in. And yet, right across, we still have the Hose & Hound, “Calgary’s only…

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Calgary Underground Film Festival

I Declare War, described by the CUFF website as a mix of Full Metal and Stand By Me, explores a group of kids being tempted by human nature's darker side as a game of capture the flag turns serious. The film plays on April 16 at 9:30 p.m.

I Declare War, described by the CUFF website as a mix of Full Metal Jacket and Stand By Me, explores a group of kids being tempted by human nature’s darker side as a game of capture the flag turns serious. The film plays on April 16 at 9:30 p.m.

 

 

 

 

 

 

 

10 YEARS OF UNDERGROUND FILMS

Last night, I was fortunate enough to attend the premiere of Cafe Cafe by Calgary director Pat Downing. CUFF is going on until the end of the week. I strongly suggest going to one of the festival’s featured films. There’s a great selection. Next up for me is Frances Ha tomorrow night at 7:30. Cheers!

Though Calgary tends to not pop up on unsuspecting radars as a hotbed for underground film, legions of canny fans flock to art-house theatres in town each spring to catch another installation of the Calgary Underground Film Festival (CUFF). For those on the pulse of independent films, or willing to take a chance on something new, CUFF provides an entire week’s worth of gems across all genres, including horror, documentary, drama, comedy and cartoons. Led by festival director Brenda Lieberman, CUFF is entering its 10th years as the film festival that could and have their strongest lineup prepared to date. We sat down with Lieberman to talk about the festival’s history, the international indie film scene and the future for film in Calgary.

BeatRoute: How would you define CUFF?

Brenda Lieberman: Essentially, we look for international independent cinema that we feel pushes some boundaries, is edgy — maybe more subversive or provocative in terms of form or style or content — and we look to highlight genres, subcultures or niches that we feel audiences want to see more of in Calgary and wouldn’t have the opportunity to see, otherwise. So, you know, if a film comes through, comparing an everyday drama to something that’s got an element in it that we feel is more interesting or provocative, we certainly go [the latter] direction.

BR: Which international film festival does CUFF resemble the most?

BL: I would say Fantasia Film Festival in Montreal. It will be our seventh year attending that one and one of my absolute favourite thing about that festival, aside from their programming and their staff, is that, no matter how big that they’ve gotten – and they’ve gotten huge – they’ve never lost that small festival feel, so the staff are very collaborative and passionate. When you go and attend the festival, guests never feel left out, you meet with the filmmakers, the festival organizers. When you attend that festival, it feels like a very intimate personal experience, even though it’s just ginormous. That is something that was important to us when we started our festival 10 years ago and I don’t ever want to lose that. I think there’s so much positive energy that comes from it and the audience loves it. It allows us to feel more hospitable… it’s one of my favourite things to sort of try to make sure that we don’t lose as a group — never feeling too bureaucratic in terms of red lines of crossing.

BR: What makes a good underground film? What do you look for in the films that you screen?

BL: I like things that are impactful. I like things that will move you or shock you, something that, you know, has some level of impact, visually or story-wise. You know, a lot of the films that we program, they kind of catch you by surprise. You know what you’re going into from the synopsis and the still, maybe from what you’ve read to some degree, but they’re all going to have a powerful impact on you by the time you’ve left. They should all leave you thinking about it later or talking about it.

BR: Where does this passion for alternative films come from?

BL: I like quirky romantic comedies and I always try to find the weird, edgier jams, you know? I just like seeing story creativity, when somebody can tell a story that you’ve maybe heard a hundred times, but you haven’t the way they tell it. I think the passion comes from not only getting excited about something that you’ve seen and you can show, but from being able to discover for somebody else that doesn’t know how to find it for themselves.

BR: Bring that sub-culture to Calgary!

BL: Yeah! We do our best every year and it’s hard: some years, it’s not the right year for certain types of genre or audience for our films, but you know we try to find something for a lot of the subcultures: for instance, we have a bike documentary this year. I think we always kind of keep our eye out for one and we try to keep an eye out for snowboarding, skateboarding or something like that. Some years it works out and sometimes it doesn’t.

BR: The void you see in Calgary, what would that be? What’s missing here mostly?

BL: I’d say it would be great to get bigger audiences out to Korean cinema. We programmed a South Korean film this year. I’ve tried to program some really great Korean films at both festivals [CIFF and CUFF] over the years and there’s always an audience who likes to see more of it, but we’d like to get more of an audience out to it because some of the world’s greatest films come from there — actually, the one we’ve got this year won the big award at the Venice Film Festival. We always try and encourage the audience who’s into that to come out.

A void? Animated features, for sure. People love animated features and they’re really hard for us to program. We had a couple at the International in September, but, for Underground this year, we couldn’t find one that would work and I know that our audience would like to see more of that. Otherwise, we just think there might be more curatorial opportunities that we can involve ourselves with throughout the year to find a way to fill them in. Now that we have a larger programming team, my goal is that we could be more active this off-season when I’m busy with the International or just when our festival is in its downtime, we could do more special events from May to November, or until January. So, it’s been a positive thing that we’ve been able to grow our team and we have some ideas in the works.

BR: Anything you’d like to add?

BL: We always look for new audiences. I think the biggest fear some people have is they don’t come because they don’t have somebody to go with. People get kind of scared to go to a movie by themselves because they think it’s maybe weird, or intimidating, or they’re not motivated. No one will ever feel by themselves at our festival. There’s a lot of people who do it and I think it’s a very social atmosphere, really vibrant, and I feel it’s accessible because of that. My thought is that if you want to come and you want to take a chance on the festival and you’ve never been and you don’t have somebody to go with, to just do it once and, if you hate me for it, I’ll give you a refund. But, I think you won’t, because it’s going to win you over like the audience who does do it. We hope that everyone walks away with a really positive experience.

The Calgary Underground Film Festival will celebrate its 10-year anniversary from April 15 to 21 at the Globe Cinema. Tickets and more information can be foundcalgaryundergroundfilm.org.

By Claire Miglionico

CALGARY UNDERGROUND FILM FESTIVAL.