“Stellar,” a new film starring Elle-Máija Tailfeathers and Braeden Clarke, now on VOD and streaming on Crave, is about making a connection as a storm—or is it the end of the world?—brews outside.
Set in a Northern Ontario dive bar, the story revolves around two Indigenous strangers, She (Tailfeathers) and He (Clarke), as a storm rages outside. They meet, make a connection, unperturbed by the weather. They get to know one another, trading stories in Ojibwe and English, of lost loves, community and their deepest held feelings, as the bartender (Rossif Sutherland) grows agitated by the unsettling thunder and lightening.
Others come and go, including two Aunties (Billy Merasty and Tina Keeper) who ask if He and She know their way home, metaphorically. Then there’s a windbag professor (R.H. Thomson), in love with the sound of his own voice, who proclaims, “Knowledge is out foundation.”
“Your knowledge. Not required,” He replies.
Outside, the erupting storm is portrayed as another passing apocalypse in the timeline of Indigenous life. He and She are the calm in the face of the storm, resilient with an eye to the future. “I feel like the weather outside,” She says, “changing, challenging.” They are connected to nature, to their heritage, and to one another.
Strong visuals tell “Stellar’s” tale. Anishinaabe director Darlene Naponse blends the lyrical beauty of the love story inside the bar with cut-a-ways of the pollution and waste that mar the world beyond the bar’s walls. Her experimental, figurative treatment of the material creates a powerful, poetic allegory of Indigenous strength amid the storm of life, wrapped in a touching love story.
Mystical and metaphorical, “Stellar” is experimental in its storytelling, but hypnotic in its effect.
On this week’s Richard Crouse Show I’ll tell you about a new movie playing in theatres right now. “Run Woman Run” is the story of Beck, an Indigenous single mom at a crossroad. Ambitionless, when she isn’t binge eating, she’s hopping in the car to go check the mail… from the mailbox at the end of her driveway. Following a health scare, she decides to change her life through marathon running.
“Run Woman Run” is a lighthearted film with serious messages of recovery from residential school trauma, self-discovery and the erasure of Indigenous languages. It doesn’t shy away from the big topics, but at its heart it is an underdog story about overcoming obstacles and belief in one’s self.
I spoke with the film’s director Zoe Hopkins and breakout star Dakota Ray Hebert in separate interviews, which I have stitched them together to tell the story of the making of this wonderful film.
Then, Chris Hadfield, astronaut, engineer, singer, and fighter pilot and now author of a thriller called “The Apollo Murders” stops by to talk about his book and much more.
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Ethan Hawke, director Brad Bird, comedian Gilbert Gottfried, Eric Roberts, Brian Henson, Jonathan Goldsmith a.k.a. “The most interesting man in the world,” and best selling author Linwood Barclay.
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Richard joins host Jim Richards of the NewsTalk 1010 afternoon show The Rush for Booze and Reviews! Today we talk about Sandra Bullock and Tatum in “The Lost City,” the inspirational dramedy “Run Woman Run” and the poignant “Learn to Swim.” Then, we tell you all about the cocktail named for “Tomb Raider” Angelina Jolie.
On the surface “Run Woman Run,” a new dramedy starring Dakota Ray Hebert and now playing in theatres, is about running but it succeeds because of larger themes examining dissatisfaction, respect, ambition and family.
Hebert stars as Beck, an Indigenous single mom at a crossroad. Ambitionless, when she isn’t binge eating, she’s hopping in the car to check the mail… from the mailbox at the end of her driveway.
She is at odds with her sister and son, but when she falls into a diabetic coma her life comes into focus. She finds motivation in conversations with Tom Longboat (Asivak Koostachin), an Iroquois icon and long-distance runner who won the Boston marathon in 1907, and died fifty years before Beck was born.
Whether Longboat is a spirit or a hallucination, he provides her with the inspiration she needs to change her life and try something new, like marathon running.
“Run Woman Run” does a great job of blending the comedy and drama, the spiritual and the physical, in a story that is specific in its setting but universal in its themes of embracing change, and making better life choices.
Director Zoe Leigh Hopkins creates a vivid small-town world for her characters. It’s a place where Beck’s dreams have gone to die, but it’s also a community that will ultimately support her when she begins a new chapter in life.
Filled with heart and hope, “Run Woman Run” may not have worked so well if the actors weren’t so strong. Hebert is relatable and wonderful and brings Beck’s arc to life. I don’t know anyone who would drive to the end of the driveway to get the mail, but she made me believe people like that are out there.
“Run Woman Run” is a lighthearted film with serious messages of recovery from residential school trauma, self-discovery and the erasure of Indigenous languages. It doesn’t shy away from the big topics, but at its heart it is an underdog story about overcoming obstacles and belief in one’s self.
In “Learn To Swim,” a new film about memories and music, and now playing in theatres, first time feature filmmaker Thyrone Tommy tells the story as though he was creating a jazz riff. The love story may be familiar but he bends the notes just enough to create something new.
The story of gifted sax player Dezi (Thomas Antony Olajide) is told on a broken timeline. His past affair with singer Selma (Emma Ferreira) is shot in warm, welcoming colors as the two create music and fall in love. Interspersed are colder, harder scenes from Dezi’s present day. Bitter and alone, he is isolated from the world, unable to play music because of a jaw infection.
It is a study of Dezi’s relationships, with Selma, others around him and his connection to music. Like real life, those relationships are often messy and chaotic, but even as the disparate parts of Dezi’s story threaten to become obtuse, Tommy brings the story back into focus as the sax player’s pain becomes a common thread between the two timelines.
“Learn To Swim” is a simple story told in a way that adds depth and complexity. Dezi is an interesting character, talented and troubled, yet still, often sympathetic. Olajide brings him to life in a quietly powerful performance that emphasizes not only the character’s talent but the love and loss that shaped his creativity.
Ferreira is an effective foil, but never loses sight of what makes Selma tick.
The real star here, however, is Tommy. He and co-writer Marni Van Dyk create a story palette to paint a portrait of love, loss and beautiful music. It is a very promising feature debut, one that expertly balances performance and feel, just like the best jazz.