A meta study of grief and self-expression, “Mouthpiece” takes a novel approach to one woman, played by two actresses, Amy Nostbakken and Norah Sadava, and her reaction to the death of her mother Elaine (Maev Beaty). “Grief can manifest itself in unexpected ways,” says a mortician, a line that is as good a tag line as any for this engaging film.
Adapted from Nostbakken and Sadava’s play of the same name, the film essays the 48-hour period in which Cassandra takes care of the business of death, choosing flowers, picking out her mother’s dress for burial and informing friends and family while dealing with the sting of loss. Despite her family’s objections she wants to do the eulogy but struggles to come to grips with her mother’s legacy. Was she a “rock star; a woman who didn’t need a man to get through life” or “a doormat who laid out for people to walk all over?” Did Elaine sacrifice a promising career as a writer in favour of her family, the patriarchy or did she just give up?
Cassandra’s journey includes musical numbers, flashbacks, dark comedy and despite the experimental framing device—two people simultaneously playing one character—a very grounded feeling of connectedness between the Casandri. Nostbakken and Sadava do not play twins, imaginary friends or flip sides of the same coin; they are Casandra’s internal and external psychological conflicts made physical. It creates a tension that constantly questions the complexities of the situations and the attendant emotions.
Director Patricia Rozema opens up the play, allowing the characters to roam the streets of Toronto and perform production numbers without losing the intimate power of the story. Interesting visual style from cinematographer Catherine Lutes cleverly emphasizes the connected quality of the characters.
“Mouthpiece” is unconventional but does something important. From the a cappella score by the two leads to the sparkling dialogue, it gives voice to its female creators, presenting the story from a contemporary point of view while ignoring stereotypes. It’s a personal film that embraces all aspects of its humanity, from vulnerability and strength and everything in between.
“We hadn’t met before at all,” says Elliot Page of his Into the Forest director Patricia Rozema, “and you would think we would have.”
A big screen treatment of one of Robert Munsch’s children’s books brought them together.
“I was in L.A. and checked in to go back to Toronto,” says Rozema.
“Someone said, ‘Are you available to meet with Ellen Page about Paper Bag Princess?’ because we were both circling around it. I said OK and unchecked in and we met and sat in a café.”
“We just really connected,” says Page. “It was so immediate. Then I sent her (Jean Hegland’s novel) Into the Forest.”
The Paper Bag Princess is still on the back burner, but the director says once she got to know Page she wanted to work with her as an actor and producer on Into the Forest because, “I felt she had integrity.”
“After you have done a few (movies) you start thinking, I only want to work with people I want to have dinner with. Seriously. I really look much more closely at who I am working with now.”
There are no hoards of marauding zombies or planet eating black holes, massive solar eruptions or robots involved in their new end-of-the-world drama.
Instead it’s an anti-Michael Bay apocalypse film; a dystopian story focusing attention on the aftermath of disaster and the ties that bind one family together.
“It seemed to have so many things,” says Rozema on why she was drawn to the project.
“It had urgency. It had poetry. It had political import. It seemed to be intimate. It seemed to be really emotional. It seemed like it would be a visual feast and have action and suspense. I thought, ‘What doesn’t this have?’ And it was doable for not that much money because it was basically two girls in the forest.”
The “two girls in the forest” are Page and Evan Rachel Wood. They play sisters living with their widower father deep in the Pacific Northwest forest. It’s an isolated, quiet life, made quieter when a massive blackout knocks out their power. As the days turn into weeks it becomes clear the power may never come back. The closest grocery store has run out of food and the hand-cranked radio suggests terrorism is responsible for the outage.
Violence is in the air, and when tragedy strikes the sisters are forced to become self-sufficient while living off-the-grid.
“I have always loved post apocalyptic stories, films and survivalist stuff,” says Page, “and this really encompassed a lot of stuff I was thinking about at the time in terms of my relationship to the environment and society. What does that mean? What does our future look like?
“To be able to tell that story through the relationship (of the sisters), who are so powerful and so resilient, attracted me.”
Rozema, who also wrote the film’s screenplay, says the approach to the dystopian story isn’t the only unique thing about the movie. She points out that two female leads in a film is “a rare event.”
“It’s ridiculous how rare that is,” she says. “I said that to a friend of mine who is so progressive. He said, ‘Aren’t there many?’ What planet are you on? I said, ‘Name one.’ He said, Thelma and Louise. I said, ‘Name another one.’ That was it.”
There are no hoards of marauding zombies or planet eating black holes, massive solar eruptions or robots involved in Patricia Rozema’s new end-of-the-world drama “Into the Forest.” Instead it’s a dystopian story that focuses attention on the aftermath, and the ties that bind one family together. It’s riveting stuff, survival boiled down to its essence, without the bells and whistles that tend to clutter CGI driven “apocalypse wow” movies.
Adapted from the novel by Jean Hegland this is the story of widower Robert (Callum Keith Rennie) and his daughters Nell (Ellen Page) and Eva (Evan Rachel Wood) are a family who live deep in the Pacific Northwest forest. Miles away from their nearest neighbours, Nell studies for school while Eva rehearses for a dance competition. It’s an isolated, quiet life, made quieter when a massive blackout knocks out their power. As the days turn into weeks it becomes clear the power may never come back. The closest grocery store has run out of food and the hand-cranked radio is suggesting terrorism was responsible for the outage. Violence is in the air, and when tragedy strikes the sisters are forced to become self-sufficient while living off-the-grid.
There’s no big bang in “Into the Forest.” It’s a slow burn that builds in intensity as we get to know the characters. As Nell, Page is studious, responsible and headstrong, while Wood’s Eva is tough, a fighter with a lyrical side. Both are resilient in the face of hardship, but more importantly their sibling dynamic is, well, dynamic. This isn’t a disaster film; it’s a parable about survival in the face of disaster. It’s a study of human nature, willpower and the unbreakable bond that exists between sisters.
The film also contains a subtle but undeniable eco-message. Set against the lush backdrop of British Columbian woodland, “Into the Forest” makes a strong case for the kind of resourcefulness and skill set that seems lost in the age of Apple.
“Into the Forest” is the anti-Michael Bay apocalypse film. It’s a human story, and what it lacks in bombast it makes up for in emotional pyrotechnics.
Richard hosted an intimate Q&A with “Into the Forest” star and producer Elliot Page and director Patricia Rozema at the Varsity Theatre in Toronto. Here’s some info from IMDB: In the not too distant future, two young women who live in a remote ancient forest discover the world around them is on the brink of an apocalypse. Informed only by rumor, they fight intruders, disease, loneliness & starvation.
Richard will host a Q&A with “Into the Forest” stars Ellen Page and director Patricia Rozema at the Varsity Theatre on Tuesday May 31, 2016 at 7 pm. Later in the week keep your eye on “Canada AM” to see Richard’s sit down interview with Page and co-star Evan Rachel Wood!
For the third year in a row, Telefilm Canada and Birks have partnered to celebrate Canadian women in film during the Toronto International Film Festival (TIFF). Nine Canadian women, film directors and actors who have made their mark this year have been selected by a pan-Canadian jury of arts, culture and entertainment journalists. The 2015 honourees of the Birks Diamond Tribute to the Year’s Women in Film are directors Sophie Deraspe; Anne Émond; Patricia Rozema; Kari Skogland; and Ingrid Veninger, as well as actors Katie Boland; Suzanne Clément; Catherine O’Hara; and Karine Vanasse. The recipients will be honoured on September 15 at the Shangri-La Hotel in Toronto.
“2015 is another great year for Canadian women in film! These are remarkable individuals with major talent, who are much admired and who bring honour to our country,” said Carolle Brabant, Executive Director of Telefilm. “They have greatly distinguished themselves across the country and around the world in a variety of genres. We are proud to continue our partnership with Birks in order to spotlight the important contribution of Canadian women to the film industry.”
“It is an honour for Birks to highlight the talent and important contribution of Canadian women in film again this year,” said Eva Hartling, Vice President, Marketing & Communications of Birks Group Inc. “Much like Canadian diamonds who allow our country to shine beyond its borders, the nine women we recognize this year are a great example of Canada’s talent and leadership in the arts.”
Katie Boland, actor, was one of four Canadian actors named a TIFF Rising Star at the Toronto International Film Festival in 2011. In 2013, she appeared in Gerontophilia by Bruce LaBruce, which had its world premiere at the opening night of Venice Days (Venice Film Festival), and in the award-winning comedy Sex After Kids by Jeremy LaLonde. In 2015, Katie most notably appears in Born to Be Blue by Robert Budreau, which has its premiere at TIFF.
Suzanne Clément, actor, won Best Actress for her role in Laurence Anyways by Xavier Dolan at the 2011 Cannes Film Festival. In 2015, she received a Jutra and a Canadian Screen Award for Best Supporting Actress for her role in Mommy. She appears in Guibord s’en va-t-en guerre by Philippe Falardeau, which is screening at TIFF following its world premiere on the Locarno International Film Festival’s Piazza Grande, and in Early Winter by Michael Rowe, which will have its world premiere at Venice Days in September 2015.
Sophie Deraspe, director, recently completed The Amina Profile, which premiered at the Sundance Film Festival in 2015. It has since screened at more than 10 film festivals, including Hot Docs, where it won the Special Jury Prize for Canadian Feature Documentary. The filmmaker also directed Missing Victor Pellerin (2006) and Les Signes Vitaux (2009), which won 15 prizes from around the world.
Anne Émond, director, filmed Les Êtres chers, which recently premiered at Locarno. For her first film, Nuit #1 (2011), she took home the Claude-Jutra Award for best debut feature. It premiered at TIFF, where it received a Special Mention from the jury for Best First Canadian Feature Film, and was named Best Canadian Feature Film at the Vancouver International Film Festival.
Catherine O’Hara, actor, started her comedy career in 1974 as a cast member of Second City Television. An Emmy Award winner (1982), she has more than 90 TV and film credits to her name—including After Hours, Home Alone and Beetlejuice. In 2007, she was inducted into Canada’s Walk of Fame. In 2015, she appears in Schitt’s Creek and What Lives Inside.
Patricia Rozema, director, has directed some 20 films. This year she is presenting Into the Forest at TIFF. Her feature film debut, I’ve Heard the Mermaids Singing (1987), won the Prix de la Jeunesse at Cannes’ Directors’ Fortnight. The film was released worldwide becoming one of Canada’s most successful films, both critically and commercially. Her award-winning films include Mansfield Park (1999), When Night Is Falling (1995) and White Room (1990).
Kari Skogland, director, has more than 40 directing credits, among them the feature films Stone Angel (2007) and 50 Dead Men Walking (2008). Her impressive TV credits include major international coproductions such as Vikings and The Borgias. This year she directed the mini-series The Sons of Liberty and episodes for the Tyrant and Penny Dreadful series.
Karine Vanasse, actor, is popular on both sides of the border. In 2015, she appeared in Forbidden Room by Guy Maddin, which had its world premiere at Sundance. Her award-winning film roles include Polytechnique (2009), which she also produced; Séraphin: Heart of Stone (2002); and Set Me Free (1998). On television, she is well known for roles in the U.S. series Pan Am and Revenge.
Ingrid Veninger, director, began her career as an actor before writing and directing her own shorts and features. Ingrid most notably directed The Animal Project (2013), which screened at some 20 international festivals and won the EDA Award at the Whistler Film Festival; i am a good person/i am a bad person (2011), which won the Toronto Film Critics Association’s Jay Scott Prize; and Modra (2010), which was selected to TIFF’s Canada’s Top Ten for the year.
Jury
The pan-Canadian jury is made up of renowned journalists covering arts, culture and entertainment: Jason Anderson (Cinema Scope), Katie Bailey (Playback), Linda Barnard (Toronto Star), Richard Crouse (Metro), Maxime Demers (Le Journal de Montréal), Manon Dumais (freelance journalist), Noreen Flanagan (Elle Canada), Teri Hart (Entertainment City), Tanya Lapointe (Radio-Canada), Marc-André Lussier (La Presse), Bernadette Mora (Fashion Magazine), Katherine Monk (The Ex-Press), Herby Moreau (herby.tv), Andrea Nemetz (The Chronicle Herald), Ingrid Randoja (Cineplex Magazine), Kiva Reardon (freelance journalist), Johanna Schneller (The Globe and Mail), Cassandra Szklarski (The Canadian Press) and Odile Tremblay (Le Devoir).
The jury selected the women to be honoured based on the impact of their work and their talent, the recognition they have received from respected organizations and their peers, and the visibility they generated for Canada this past year. Nominees were also required to have either directed or appeared in a production during that year.
