For his last project, late political filmmaker Magnus Isacsson spent 18 months capturing the daily lives of four youths from Montréal-Nord. Ma Vie Réelle details the reality of growing up in a tough neighbourhood, rife with drugs, poverty, and broken families. Despite their difficult situations, Isacsson’s subjects show incredible spirit and an undying drive to escape. Cinema Politica presents the screening of this documentary, and the evening will include appearances by POV Magazine‘s Marc Glassman and other special guests.
This Magazine wants to take you back to the ’80s, when life was simple and teenagers got pregnant, developed eating disorders, and landed themselves in jail for drunk driving. Okay, maybe “simpler” is the wrong word, but we loved the world of Degrassi nonetheless. Now your encyclopedic knowledge of the show is required for a good cause. Degrassi Trivia Night will pit teams of four against each other, to compete for prizes and glory. Proceeds from the night will support independent journalism and publishing.
Margie Gillis is celebrating her 40th year as a dancer in the most appropriate fashion—with the unveiling of a new dance production. The Light Between explores the idea of transformation throughout time, touching on themes of joy, pain, and knowledge. Choreographed by Gillis herself, along with collaborators Holly Bright, Marc Daigle and Paola Styron, the show features all three performers in a series of solos, duets and trios.
While the Toronto International Film Festival may have shifted into a more relaxed mode, it’s still offering plenty of opportunities to gawk at movie stars—they’re just a little more spread out. Midweek, fans could catch the premieres of Good Kill (Ethan Hawke as a drone pilot), Maps to the Stars (David Cronenberg’s new bit of oddness), The Imitation Game (Benedict Cumberbatch as World War II cryptographer Alan Turing), Jauja (Viggo Mortensen, and we don’t know much else really), Laggies (Sam Rockwell and Keira Knightley in a comedy about people taking their sweet time to grow up), October Gale (Patricia Clarkson and Scott Speedman in a thriller/drama set in a remote cabin), Pawn Sacrifice (about the chess duels between Boris Spassky and Bobby Fischer), The Cobbler (Adam Sandler’s latest) and Escobar (Benicio Del Toro is the famous drug kingpin).
Since its humble beginnings in the back room of Toronto’s Tranzac club back in 2003, Evil Dead The Musical has steadily risen in infamy as a ridiculously fun, tongue-in-cheek, gore-soaked musical experience. From those earliest shows, the musical has gone on to make an off-broadway debut, to win and be nominated for several Dora awards, and to play in dozens of cities around the world, from Montreal and Vancouver to Tokyo and Madrid. It was high time that the show make a triumphant homecoming to a stage in Toronto, and it finally has, at the Randolph Theatre.
It’s not every day that a media tour opens with the injunction not to photograph “the sex blob,” but so began TIFF’s preview of “David Cronenberg: Evolution,” the organization’s first large-scale touring exhibition (for now, it’s stationed at the TIFF Bell Lightbox’s HSBC Gallery). It’s an exhaustive, stunning look at some of the wildest, most perverse creations of a pioneer of the body-horror genre—who also happens to be Canada’s most internationally renowned filmmaker.
Since its inception in 1993, the Rendezvous With Madness Film Festival has delivered on its complex mandate: presenting cultural representations of mental illness and addiction and then contextualizing them through post-screening discussions. This year’s lineup might be the festival’s most stacked yet, with screenings on a range of issues and in a variety of genres.
Like the company’s recent triumph, Angels in America, Soulpepper’s newest show, The Norman Conquests, requires multiple trips to the theatre—or a hearty constitution for a full day of marathon attendance. Unlike Angels in America, the three instalments of The Norman Conquests—Table Manners, Living Together, and Round and Round the Garden—are comic in nature and small in scope, with each instalment taking place in a different part of a couple’s house. Written by prolific British playwright Alan Ayckbourn, the three-part series features veteran members of the Soulpepper ensemble, and can be “enjoyed individually or in any combination.”
“Telling: An Audio Survey of Parkdale,” curated by Phil Anderson and Tara Bursey, gathers site-specific audio clips that relate to spaces across Parkdale. The opening reception and panel discussion (where the public will get the chance to discuss the different works) are on November 7th and November 13th respectively (both at 7 p.m.).
Every revolution needs a leader. And though the movement to bring the classic 1980s musical Les Misérables back to Toronto is markedly different than the quest for political accountability and social equality, it has its hero just the same. After the official opening performance at the Princess of Wales Theatre, the audience likely would have followed London-based, Richmond Hill-raised performer Ramin Karimloo (as the story’s golden-hearted protagonist, Jean Valjean) anywhere he would lead.
When we go to the theatre (especially if the plan is to write about the experience), we try to leave everything going on in the world offstage in the lobby. But sometimes, that’s easier said than done. This was the case when we went to see Moss Park just a few hours after the mayor of Toronto had announced that, while he had indeed smoked crack cocaine, he wasn’t going to do anything at all to atone for his misdeeds.
You might expect a show called We Can Be Heroes to be a send-up of superhero films, but Second City’s new mainstage production is actually a celebration of minor, everyday acts of heroism ranging from giving advice to a bullied child to managing not to be a jackass at your friend’s wedding.
Jamaican-British playwright Debbie Tucker Green isn’t afraid to touch on heavy subjects, bringing them to light with a blunt but poetic voice. Her play dirty butterfly tells the story of three people—two black and one white—living in a poor London neighbourhood. The thin walls of their tenement houses don’t allow for secrets, and so the harsh realities of domestic violence and racial economic divides are exposed. Presented by Bound to Create Theatre, the play features gut-wrenching performances from Kaleb Alexander, Beryl Bain, and Lauren Brotman.