Cannes 2013: Last Days on Mars Review

Director: Ruairi Robinson

Writer: Clive Dawson

Starring: Liev Schreiber, Romola Garai, Elias Koteas, Olivia Williams, Johnny Harris

Synopsis: A research team in their last few hours on Mars discover a deadly enemy that soon dangerously jeopardizes their lives.

Since Ridley Scott’s Alien many space exploration films have focused on perils and perdition in lonely atmospheres. Ruairi Robinson’s first feature, Last Days on Mars, is one such film clearly influenced by Scott and other works such as Event Horizon and Sunshine. It does not offer much more than what has come before it yet is an extremely impressive debut that hits all the right notes for fans of the sub-genre.

Centred on Mars explorers with a few hours left until returning to Earth, the first half of Last Days on Mars is a measured analysis of an alien terrain shot and crafted through CGI beautifully. The second half then amps up the pace once the crew become infected – still well-shot but certainly less artistic. The style that swaps from a measured character and landscape study to a fast-paced horror/thriller is not so jarring, thanks to Robinson’s clear direction and an expectation from this type of story.

How Robinson constructs the film is incredibly mature and knowing; he clearly understands genre and the parameters of CGI and practical filmmaking. For what would imaginably be a CGI-heavy and clichéd Hollywood version, Robinson’s independent production has allowed a more solemn and realistic (and therefore more frightening) take on astronauts and aliens.

The lead astronaut is Liev Schreiber, brilliant throughout though somewhat overshadowing actors like Elias Koteas and Olivia Williams, regrettably. This could alter Schreiber’s career and provide him with less supporting roles, and perhaps more leading material, as he’s a great hero to follow. He stands out as the least passé character of the group, instilling some originality.

Some parts may seem predictable and there are examples of stock characters, yet they are truisms of the genre that cannot always be side-stepped. For what Robinson is hoping to achieve (an accomplished, entertaining entry into the sci-fi horror genre) he should not be faulted; his mise-en-scène is impeccable, creating a-near flawless ambience. It is, in sum, a smartly-written, elegantly executed genre-piece. It may not inject much new blood into the catalogue of space-exploration horror but it will deservedly find its audience.

Last Days on Mars was competing in the Director's Fortnight Selection at Cannes 2013. Also published in Nisimazine Cannes 2013 (page 23)

A Conversation on Canadian Cinema

While the big studios of Western filmmaking are usually associated with America, more and more filmmakers flock to Canada. In the biggest cities – Montreal, Toronto and Vancouver – an increasing amount of films are being shot in and around the Canadian epicentres. With all the success the three big cities have had with industry business it does not affect the filmmakers born and raised in Canada. On the contrary, the work of contemporary Canadian filmmakers has gone against the fierce American tide and is always unique and personal. This year’s 66^th Cannes Film Festival brings two Québécois directors (Sébastien Pilote and Chloé Robichaud) and one Saskatonian (Jefferson Moneo), all with work inherently native.

For years Canadian cinema has been criticised for not embracing its culture and roots. The Apprenticeship of Duddy Kravitz starred American-born actors, The Statement in 2003 was lead by Michael Caine and a film like Porky’s is unrecognisable as a Canadian product. Some directors are clearly interested in venturing out but this year’s group of Canadian directors at Cannes are wonderfully in favour of their homeland for shooting. Robichaud stated, “I wanted my first feature to be set in my hometown. I wanted to show that landscape – it’s part of what I see every day” Moneo and Pilote added to this impulse with the former saying “I’ve zero interesting in filming in a city or in America.” Additionally, Pilote supplied his thoughts about the advantages of his country’s film industry - “I was at Sundance at one point and standing beside an American filmmaker [and] I felt like a king because our country has such easy access to funding (even if it’s not always easy to get it). It’s a public investment in Canada (as it’s from taxes) but in America it’s all private and you have to pay it back or else you lose your house!”

During one Canadian talent panel talk at Cannes all three directors discussed and highlighted their shared experiences with community filmmaking and funding. They all praised the financial support available whilst also mentioning the difficulties. Robichaud talked about the “struggle getting financed”; the young filmmaker also shed light on the independent side of things whereby she used her own money when funding might have been too tough to acquire. In spite of occasional problems, Moneo recognised the benefits of Canadian funding. He asserted that, “Financing is difficult in Canada but I go to film school in America and it’s lot more difficult for them than it is for us. We know where we need to go to get a film funded but down there it’s all private investment so they’ve got to put a lot more effort into trying to track down funding than we do. We’re definitely looking at a smaller piece of pie.”

Canada may be a much larger country than the USA but its film industry is far smaller. The aforementioned pie cannot feed all of the young new Canadian filmmakers as America’s often can. Not able to produce as many features, shorts and programmes as the US, Canada has therefore continually struggled with getting a wide audience. So close to a country famed with releasing thousands of box-office successes, Canada is still slightly overshadowed by its US neighbour. Despite this, however, every year Canadian cinema brings forth a new and well-received gem. As Sébastien Pilote was keen to point out, “For three years we’ve been at the Oscars for Best Foreign language film [War Witch, Monsieur Lazhar, Incendies] which is amazing for us being such a small province [Quebec]. So it’s an amazing time for Canadian cinema right now.” This string of critical triumph is not just limited to awards ceremonies either, and festivals all over the world are supportive of the country’s work. Cannes is one such festival, with this year bringing back Pilote, Robichaud and Moneo from previous years there, as well as several other shorts directors. Taking a trip to the Canadian pavilion in the International Village you are among not just two or three visitors, but scores of guests and talent.

At the 66th Festival de Cannes the Canadian work aims to highlight the bountiful landscape and artists. All wanted to show their hometowns in their new films. Robichaud and Pilote within the Quebec region offer French-speaking dramas, straight-forward with their presentation of their homeland. Moneo, on the other hand, wants to shake impressions up as he ruminates that “people often think of rural Canada as this beautiful, pastoral landscape yet I’ve always thought of it as very strange and the people (even though my family’s there) very odd...[There’s] a slight mystery in that landscape that’s fun to shoot and fun to explore.” Showing or subverting the land of their country will doubtlessly aid Canada’s commercial and critical push forward – showing people the various environments for education and entertainment. In the end, the three directors (and more) are doing so exceptionally well with their respective films, extending the path Canadian cinema is taking to reach out to a huge audience.

Published in Nisimazine Cannes 2013 (page 37)

Cannes 2013: O Sunce [Ham Story] Review

Director/Writer: Eliska Chytková

Synopsis: An old woman heads out one afternoon to buy some ham. On her way to the butchers she walks past a religious fountain, whereupon the angel and devil sculptures come alive. The devil reaches Heaven and starts toying with the world below him from a board of levers.

When animation is hand-drawn in this century of prevalent CGI ‘toons the archaic style is nicely refreshing and nostalgic. Eliska Chytková’s O Ŝunce [Ham Story] is a scratchy, exuberant and crazy short, etched with a rawness seldom seen nowadays.

Two of the film’s most noticeable facets are its animation and its bonkers story. The former includes bright and bold aesthetics, with emphasis on shape and colour. As the palette and dimensions are experimented with, so is the basic basis of storytelling. The film follows a little old woman who heads to the butchers to pick up some ham. On her way there she walks past a fountain whereupon two stone angels become alive and fly up into the sky. Up there, one angel – slightly devilish – starts playing God with levers controlling matter which, back down on earth in and around the butcher are altering frantically.

In the 6 minutes there is a ton of action happening; to think of the effort gone into the art is mind-blowing. The mishap at the hands of the mischievous “angel” is funny to watch, and the idea is quirky and cute. It’s not a seminal piece of work and exists purely to make you chuckle.

It’s more of a funny-looking experiment and given the expanse of action it was only going to be possible to record it all meticulously with years of work. The overall product looks like a series of mad doodles – from a cow with giant udders, milk flooding the streets and cats dropping down to slurp it all down (this only a minor instant in amongst the chaos).

As well as looking energetic, the sound mixing pounds through the speakers. The stereo recording of odd sound effects and voices is obviously less painstaking than the drawing, leaving all the technical proficiency to be found in the sound.  

Observations about everyday life have been captured humorously by Eliska Chytková. Elderly women trotting along, silicon-injected models parading through the streets, and scrawny slinky salesman all have such character even if they’re only seen for a split second. Chytková is playful with every figure in the frame; imagination clearly courses through the director and artist’s veins.

O Ŝunce as competing in the Cinefondation Selection at Cannes 2013. Also published Nisimazine Cannes 2013 (page 58)

Cannes 2013: Seon [The Line] Review

Director/Writer: Soo-Jin Kim

Starring: Kyu-Young Choi, Myung-Ha Lee

Synopsis: A young woman, home while her parents are away, takes her adolescent neighbour in after she finds him deserted on the stairs of her apartment. He claims a turbulent family situation has left him alone but as she spends more time with him she begins to think there is another reason for his desire to enter her home.

For a simple storyline, director Soo-Jin Kim piles on the mystery and a handful of themes to add quality to the lack of quantity. Within the parameters of short filmmaking, he is clearly not fazed by the limitations of what can be explored in under 30 minutes. Seon will warrant multiple viewings, when each watch will notify you of another motif and suspicion.

In Seon’s 27 minute runtime it achieves more tension than many recent theatrical thrillers. Perfectly storyboarded and edited, the film glides through its humble length, leaving you yearning for more. Had the film been developed into a feature the only change that may be needed is the boy’s casting – Kyu-Young Choi is unsubtle at points, muddying the restrained ambience. Myung-Ha Lee, on the other hand, excels at portraying the confused carer, balancing fear and good will with finesse.

Despite the acting being an integral aspect to what makes Seon great, it is more about the execution and craft of the film that sets in high regard. Not only does the film have the aesthetic attributes of a feature, it’s also advanced in its mise-en-scène and construction. Kim finely threads the fabric of his short, giving it a maturity and value way beyond its small genus.

Whether the budget prohibited Kim from hiring a composer, the lack of diegetic and non-diegetic music actually aids the atmosphere. The silence that often permeates the scenes intensifies the awkwardness of the situation. Not knowing what path the story may take is therefore enhanced by no musical cues. What’s more, the aforementioned mise-en-scène gives no clues apart from promoting the girl’s persona (“Salvation” printed on her t-shirt to clarify her Good Samaritan nature). The boy has no discernible features apart from his jittery disposition, altogether adding to the ambiguity of his intentions. You can create your own theories and pick apart certain shot; the puzzle of the boy’s being there is, by the end, wonderfully vague.

Seon was competing in the Cinefondation Selection at Cannes 2013. Also published Nisimazine Cannes 2013 (page 58)

Cannes 2013: Going South Review

Director/Writer:  Jefferson Moneo

Starring: Coral Aiken, John Brodsky, Shana Dowdeswell

Synopsis:  Martha wants to escape her rural life. When a mysterious drifter shows up on her farm, will she finally get her chance?

Jefferson Moneo’s love for his local landscapes is the unmistakable heart of Going South. There are elements that feel borrowed or imitated but the pictorial projection of his homeland is strikingly unique.

The story concerns a young woman, Martha (played by the late Shana Dowdeswell – to which the film is dedicated) dulled by the rural, monotonous life she’s leading. One afternoon a mysterious man drives up to her asking for directions south. Seeing him she is overcome with lust and a desire to ride away with him.

With Moneo juxtaposing the notion of “home sweet home” with his location work and then the protagonist’s yearning for escape, Going South is slightly confused with its message. The negative representation of the area is undoubtedly revolved around the people that inhabit it – the Canadian version of rednecks – yet contrasted with the sheer beauty of the surroundings. In the end it seems to largely promote Canada, rather than just devaluing one province.

You instantly feel the isolation of the prairie town, with some static shots that hold you within the barren environment. Further to that, the cinematography that includes dazzling shots of skylines, envelope the frame in whiteness or darkness (depending on day or night) always firmly planting you in the moment.

Taken as a negative or positive point, the characters also enable you to feel familiar to the trashy and unexciting Saskatchewan locale. Some are clichéd (such as the father figure and odd characters seen wandering around at the start of the film) which aren’t aspects of creative writing, but are helpful in establishing a connection early and quickly. Martha isn’t one of these clichéd characters but you can tell right away from Shana Dowdeswell’s eyes that Martha is tired of her home. Opposed to Martha, the man she eventually falls for – dressed in black with slicked back hair – is unoriginal. So for whenever Going South seems lacklustre you notice something fresh like the photography or Martha, before feeling a sigh at the tedious parts like the stereotypes or cartoon types (the man in black).

As an auteur (however early it may be to use such a term for a young short film director) Moneo is building up an interesting collection of country-based stories. Going South is nothing special in narrative terms but it is well edited and beautifully shot. The main attraction of the piece is Shana Dowdeswell but tragically this film becomes a memorial piece for what would have been an exciting career.

Going South was competing in the Cinefondation Selection at Cannes 2013. Also published Nisimazine Cannes 2013 (page 65)

Cannes 2013: Chloé Robichaud Interview

For Sarah préfère la course (Canada) in Un Certain Regard

Why did choose the subject of running?

Well I thought it was a great metaphor for what my character was living. ‘Cause in a way she’s running from life, but she’s also running towards her dream. So the contradiction and the metaphor of running was interesting. And visually, to run is beautiful [opposed] to if she was in administration and wanted to be a doctor or whatever.

How long did you spend researching the running world?


I met a coach one year ago but I wanted to start the writing without knowing about running – to have a naive writing at first and write what I felt was good for Sarah. And then I talked with the coach and helped me add some details. And the actresses had to be with a coach for six months, intensively.

When they were training where you getting some of it on film to experiment with shot types and photography?

Yeah, when they were practicing it gave me ideas and ideas even for the script. Close to the shooting I saw some interesting stuff that I didn’t know about that came after [the research and traning].

Is that a method you’d try again?

At first I just want it to be what I have in my mind and then do the research. I think it’s important to decide what’s the core of it.

How did you do with location scouting? There are many pastoral shots in the film – were they found scouting or had you had those places in mind for a long time?

Some of them come from when I was young and I knew these places and I wanted to---I thought if I would be a filmmaker “this would be a nice place to shoot”. But at the same time, with the DoP, we took several months, since I had the script. It’s been 4 years since I started the work and I wanted to work with her. Even when we were at school we took some days just to see things, and we saw everything we could use for the running part. Everything is chosen.

Those are really well constructed – how they glide along and how they’re edited. Did you spend a lot of time with the editor in order to get sequences as smooth as them?

Even in pre-production I do storyboarding and I think of the editing, before shooting. But I was there for the editing process and I had a really good editor (he’s called Michel Arcand and he’s done many great films from Quebec – one that was in competition called Léolo). He has a lot of experience and that was such an interesting collaboration and he put a lot of his experiences into this film.

You’ve worked with your director of photography, Jessica Lee Gagné, since you were 17 but how did you assemble the rest of your crew? And was it difficult changing from a crew of a short film production to a feature?

The art director I knew from university so he was part of my team – we did several short films together. So it was kind of a family set of people I have known from school. We asked for some names to fill the team, but it overall it was easy getting them together.

You’ve mentioned how Micheline Lanctôt is one of your heroes. With her being a mentor at film school, how did your relationship develop to you casting her in the film?

She gave me a class for a year about directing actors. And she’s also an actor and director and she’s a really strong woman – she knows what she wants and she knows how to get it. And she’s such an amazing actress. She did a lot of work in the United States and she had an amazing career, and she still has. She’s someone I look up to

She must be very proud of your first feature.

She hasn’t seen it yet because she travels a lot but I can’t wait for her to see it in June.

Would you carry on writing and directing or would you be open to direct someone else’s scripts?

I want to write. [My next feature] it’s close to finish, that I would like to direct again.

One of the great lines in the script is the question to Sarah about what she would do without running. What would you do without cinema – if someone took away your passion?

I had to think about that; when I was writing I had to think, “Okay, what would I do if I didn’t have cinema?” And I don’t know – that’s what I like to do in life. And some people have to face that – not being about to do what you want to do – and have to look at plan B. And Sarah doesn’t want to have a plan B. I don’t know what I would do, I’m like Sarah.

With the reception of the film how has it been for Canadian cinema in general? Has your two consecutive years at Cannes helped promote Canadian film?

In these recent few years there have been many success stories with Quebec cinema, including Denis Villeneuve, Philippe Falardeau, Xavier Dolan. And if I can be here in Cannes, also, it says something encouraging for our cinema. It’s good for our cinema and it’s good for financing. Well, I hope it’s good financing for my next feature! But I hope it’s inspiring for young filmmakers from where I’m from, that’s for sure.

Like you said, Quebec has a lot success stories so would you like to stay there or would you like to move around Canada and beyond?

Montreal is always going to be my home and I’ll shoot mostly in my home. But I really want to try—even maybe in France – I’d like to make a film in France. Or maybe Hollywood, why not? But Toronto would be a great place and Vancover, also (there’s a lot of filming there). I love to shoot where we don’t shoot often – like Saskatchewan and Alberta. I don’t even know that much of my Canada so it would be nice to travel and know more about my country.

Have you started on the funding for your next feature?

That’s going to be the next step – the next few months – because I would like to start to shoot next year.

A version of this interview was published in Nisimazine Cannes 2013 (Pages 14 - 15)