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While documentaries and feature films tend to get the lion’s share of media attention at any film fest, one of the more enjoyable aspects of the Victoria Film Festival for me has always been its mix of full-lengths and shorts. Some play as part of a collected program, others appear before the feature presentation. (Just like the old days!)

This year, you’ve got a variety of short subjects to choose from. If you’re keen to catch the next-next generation, the FilmCAN program offers micro-movies from kids, tacked onto screenings of the features To Be Heard (grades 9-12, 7:00pm Friday, Feb. 10 at the Odeon) and Mrs. Carey’s Concert (grades 8 and under, 6:45pm Sunday, Feb. 12, at the Capitol 6).

Work by more legitimately emerging filmmakers (at least, those over the age of 18) can be found in the VFF’s collected shorts programs: “A Human Touch” (2:45pm Sunday, Feb. 12, Odeon), “Segues Most Strange” (2:30pm Saturday, Feb.4, Capitol 6), “Beyond the Playground” (9:45 Tuesday, Feb. 7, Capitol 6), “Cruel Worlds” (7:15pm Friday, Feb. 10 at the teeny Parkside), “Dangerous Days” (7:15pm Thursday, Feb. 9, Parkside) and “Animations Alive!” (12:15pm Saturday, Feb. 11, Odeon). Each promises between six and a dozen short films for all tastes and emotional tones.

Don’t know what to see? If the themes don’t grab you, go for the local content—”A Human Touch”, for example, includes the 14-minute A Brief Moment by Katherine Walkiewicz, which was selected earlier this year to screen at the Cannes International Film Festival; “Segues Most Strange” offers the six-minute Bye Bye Birdie by local photog Arnold Lim, whose film work has been popping up in places like CineVic’s Reel to Reel Challenge. Meanwhile, over in “Beyond the Playground,” you can see Jeremy Lutter’s 15-minute charmer Joanna Makes A Friend, and “Dangerous Days” includes Brian MacDonald’s six-minute quickie “A Brief History of the World” (ideal if you’ve got your own Tardis).

Then there are the gems that just take you by surprise, such as Montreal director Faisal Lutchmedial’s Mr. Crab. Buoyed by its brevity, in just eight minutes Mr. Crab explores the complex relationship between a 10-year-old and his father, where fear and hero worship realistically interweave with vivid moments of childish (and child-like) imagination as the boy tries to translate his father’s tales of growing up in Trinidad & Tobago with his own decidedly urban surroundings. As a father of a young boy myself, I found a lot to relate to in these scenes where love and anger intermingle in the eyes and mind of a child; were it a longer film, things might veer off into less warm waters but, as it stands, this is a brief but effective exploration of male emotions . . . and who doesn’t love a dancing crab? Reminiscent in some ways of Julia Kwan’s 2005 Chinese-Canadian charmer Eve and the Fire Horse, Mr. Crab is a delightfully insightful bit of filmmaking that local audiences would never have the chance of seeing were it not for the VFF. (Mr. Crab screens as part of “A Human Touch” on Feb. 12.)

Also worth noting is the “Behind the Scenes: Victoria” program. The result of a partnership between the VFF and the Victoria Foundation to commission short films exploring the connection between arts and other aspects of our community, each of these eight mini-movies are attached to feature presentations throughout the festival. Expect works by such rising talents as Dan Hogg, Scott Amos, Rachel Moore, David Parfit, Liam Sherriff plus two other shorts by Arnold Lim and Brian MacDonald and an entry by Victoria’s newest poet laureate, Janet Rogers.  (See program guide for specific dates and times.)

—John Threlfall

Article 12 ……………………………… reviewer E.G Anderson
Cerro Rico, Tierra Rica …………….. reviewer: E.G Anderson
Donor ………………………………… reviewer: E.G Anderson
Farts of Fury …………………………. reviewer: Chris Felling
La Vérité ……………………………… reviewer: E.G Anderson
Lloyd the Conqueror ……………….. reviewer: Chris Felling
Lone Twin …………………………… reviewer: Chris Felling
Tatsumi ……………………………… reviewer: John Threlfall
To Make A Farm ……………………. reviewer: John Threlfall
Vigilante Vigilante ………………….. reviewer: John Threlfall

Victoria Film Festival: Screen Scenes for Movie Movers

Back again for its 18th year, the Victoria Film Festival is set to brighten dark theatres and damp spirits around town from February 3 to 12—and CVV Magazine will be there! With coverage provided by CVV regulars John Threlfall, E.G. Anderson and Chris Felling, we’ll be reviewing films, appearing at screenings and munching popcorn throughout the fest. CVV’s Leanne Allen will also be hosting the Feb. 6 screening of Girls in the Band—what promises to be a fascinating look and listen to the stories of women jazz and big band instrumentalists—and John Threlfall will be moderating the Feb. 9 post-screening discussion of the graffiti doc Vigilante Vigilante with director Max Good. 

Watch for us too when CVV presents the local premiere of iconic Canadian director Guy Maddin’s latest, Keyhole, Feb. 11 at the venerable Vic Theatre. Starring Isabella Rossellini and Jason Patric, this stylish film noir-with-a-twist from the director of The Saddest Music in the World recently picked up the best Canadian feature prize at the Whistler Film Festival. We’ll be giving out some freebie tickets to the screening in the days ahead, so check back in during the fest. 

Top picks so far: the saucy Belle Époque era French feature House of Pleasures (Feb. 3 & 12), a special showing of creepy classic The Exorcist (with an appearance by head-turning star Linda Blair, Feb. 10 & 11), a quote-along screening of The Blues Brothers (with director John Landis in attendance for a live interview by noted Canadian film critic Richard Crouse, on Feb. 4 ), the ever-popular Sips ‘n’ Cinema wine & cocktail pairings (Feb. 11 & 12), the mainstay Victoria Independent Film Professionals Association screening (this year featuring the revamped Saving Luna doc, now narrated by Ryan Reynolds and renamed The Whale, on Feb. 5), the industry-specific Springboard sessions (Feb. 3 & 5)—and, of course, dozens of movies for your popcorn pleasure. Check back in with CVV in the days ahead, as we’ll be having all sorts of VFF coverage for you.       

Pick up a program guide, start circling your top picks, book your tickets and we’ll see you at the movies!

THE REVIEWS! 

We will be adding reviews as they come in throughout the festival so check back often! Reviews are listed alphabetically by show title.

Article 12 …………………………….. reviewer E.G Anderson
Cerro Rico, Tierra Rica …………….. reviewer: E.G Anderson
Donor ………………………………… reviewer: E.G Anderson
Farts of Fury …………………………. reviewer: Chris Felling
La Vérité ……………………………… reviewer: E.G Anderson
Lloyd the Conqueror ……………….. reviewer: Chris Felling
Lone Twin …………………………… reviewer: Chris Felling
Tatsumi ……………………………… reviewer: John Threlfall
To Make A Farm ……………………. reviewer: John Threlfall
Vigilante Vigilante ………………….. reviewer: John Threlfall
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Article 12

Directed by Juan Manuel Biain, 75 minutes
Capitol 6, 7:15 Feb. 5, 4:30 Feb. 11

A documentary about our increasing lack of privacy raises some interesting questions. Do we have to choose between privacy and safety? What are the costs of a loss of control over personal data? How has “terrorism” affected our willingness to give up our privacy and how will living more and more of our lives online affect our anonymity?

The strongest aspect of Article 12 is the impressive interviews with passionate people. Big names like Brian Eno and Noam Chomsky speak alongside a journalist, sociologist, lawyer and cryptographer. As a diverse group, these speakers share intelligent perspectives, based on their areas of study. They also represent the international nature of the problem, with speakers from Israel to the UK; the documentary does an admirable job examining privacy as a global concern.

These professors, activists and experts believe a crisis is at hand in terms of our ability to safeguard our privacy. As we lose our privacy to governments and corporations, it stands to reason that we also lose our ability to fight them; it’s easier to hold onto something you have than to get it back when someone takes it.

As a film, Article 12 is less strong. In between interviews with its eclectic group of experts, it splices faux voyeuristic footage and staged assaults on watchdog facilities that don’t add any additional insight or understanding. Though informative and intelligent, it would benefit from more hard data and evidence.

The documentary demonstrates the importance of this issue and provides a few factual nuggets, it doesn’t tackle how people can protect themselves. The call to rise up and demand our rights is important, but without even a basic jumping off point for action, it isn’t terribly helpful.

The issue of privacy and its erosion is crucial, something Article 12 effectively captures. Engaging and enlightening, it’s worth seeing if not an outstanding example of the genre.

—E.G. Anderson

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Cerro Rico, Tierra Rica

Directed by Juan Vallejo, 110 minutes
Odeon, 7:00 Feb. 7 

This documentary takes a contemplative look at the mining and salt-harvesting in Polosi, Bolivia. For centuries, mining for silver has been a mainstay of life for the people of Polosi, but what does the future hold?

Split between the salt flats and the mountain mining operations, the film begins by showing the brutal work before expanding to the men, women and even children who do it. Once an industry spawned of slavery, mining continues to be the only option for many in Polosi. Hard labour, illness and uncertain revenue are just a few of their challenges.

The filmmakers go deep into the mines to observe and talk to workers. At times, the workers seem unaware of the camera and only snippets of speech are translated into subtitles. This gives the film the perspective of an outsider on the inside; an intimacy forms within the mine, but when interviews are conducted, people seem aware of—and even mystified by—the camera.

Restrained and unobtrusive, Cerro Rico effectively captures the life of the miners and their families. The stories and voices of the workers are unfiltered and shown without commentary, yet the film also has a structure and evolution. Especially effective is the footage of tourists visiting the mine while the miners continue to work inside.

Cerro Rico provides a powerful, unsparing picture of life in one small part of the world, but it makes a universal statement on the life of labourers and the history behind our demand for earth’s wealth.

Both breathtaking and troubling, this documentary presents a subdued portrait of a long-held way of life. Cerro Rico quietly raises questions about the past and future through engrossing, provocative filmmaking.

—E.G Anderson

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Donor

Directed by Mark Afable Meily, 84 minutes
Capitol 6, 9:15 Feb. 8

One of the things I like best about the VFF is the heart-shattering movies it brings. Indie films, like last year’s When We Go or As If I’m Not There, do stark tragedy amazingly well.

Donor, a film about a Filipino twenty-something, contains tragedy of a different kind. The life of protagonist Lizette involves selling porn illegally while struggling to save money and find a real job. Surrounded by bureaucracy, corruption, laziness and a stunning lack of opportunity, she tries to find her way to a better existence.

The film starts slowly, highlighting the colorful, crowded life in the city. Street views and wide shots show the commonness of Lizette’s plight and aptly highlight the gap between living wealthy and living poor.

At first, Lizette seems inscrutable and fairly unsympathetic. Her boyfriend seems to have no redeemable qualities, making it hard to empathize with the hardships she endures because of him. For a smart girl actively looking to improve her life, and who doesn’t seem particularly emotional, it’s a strange pairing.

From the gentle malaise around her, Lizette stands out as the most relatable character. She is looking out for herself, but she is also kind and industrious. When a friend connects her with an opportunity to sell her kidney to a wealthy foreign man, she is unsure of what to do, even as setbacks large and small bear down on her.

Ultimately, her frustrating situation creates an undertow of suspense. Will donating her kidney give her the better life she craves or will it leave her even poorer than before? Will she be able to break away from her boyfriend before he wrecks her life?

The meandering pace and multiple possibilities allow for an open-ended plotline that leads to a remarkable ending. An unusual drama, Donor finds its understated power balanced between small dreams and lifetimes of disappointment.

—E.G. Anderson

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Farts of Fury

Directed by Andres Maimik and Rain Tolk, 115 minutes
Odeon, 9:30 Feb. 8

In an Estonian bar, 50-something ex-rock singer Kaiser (Guido Kangur) laments the music the kids these days listen to. Estonia’s young people—universally portrayed in this film as American Apparel-wearing androgynes who preen in every reflective surface—just don’t appreciate rock and roll anymore, so Kaiser dons his fishnet shirt, hops on his motorcycle and sets out to put The Cormorants back together. He pawns his mother’s silverware for a guitar, bets the local barkeep that they can break into the radio’s top 10 in two months and—presto!—we’ve got a movie.

The film’s humour is a mix of slapstick and middle-age perviness. Kaiser’s boorish antics and rotund belly play wrecking ball with every set they swing through, while his washed-up bandmates make a balding and awkward addition to the children’s shows, oompah bands and churches they now populate. We are introduced to the band’s manager, Ben (Enn Klooren), watching him shoot commercials for 1-900 numbers using his own comely young daughter, Liisi (Elena Pahklimagi), who quickly becomes Kaiser’s love interest. The comedic money shot involves a watermelon being literally fucked to pieces; this makes an excellent litmus test for your sense of humour—if you don’t laugh out loud, you don’t have one.

That’s not to say there aren’t smarter moments in the film. By midway through I was quite curious about The Cormorants’ guitarist, Taisto (Roman Baskin). Outside the band he lives under the thumb of his squeaky clean control freak wife (Ene Jarvis) and it is suggested that she might be cheating on him. As Kaiser’s failures start piling up and his lack of talent becomes more obvious, Taisto just seems to be more sympathetic. Of course, he lacks the damn-the-critics belief in the power of rock that makes Kaiser hero by default, but in a different film Taisto could easily take the spotlight. Also, in a strange directorial flourish for a comedy, Farts of Fury has some genuinely artful shots. When the band is on the ropes we’re treated to a touching scene of Ben stoically filming an ad for tombstones. There’s plenty of scenes whose opening shots knocked me for a loop with their composition. The film clearly wants to be more than just dirty old men playing blues solos.

Altogether, however, things feel a bit jumbled. While the films parts are quite good the plots and subplots get a bit muddy. The ending, aside from a last-minute twist, was a standard declare your love and rock the house down finish. Getting there was fun, though. For the most refined film palates, Farts can be skipped. If you’re at film fest to have some good unclean fun, though, then The Cormorants will hit all the right notes for you.

—Chris Felling

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La Vérité

Directed by Marc Bisaillon, 91minutes
Odeon, 9:30 Feb. 9

In La Vérité (translation “The Truth”), a complex story emerges from a standard set-up: what happens when someone takes a life and then tries to go on as if it never happened?

Gabriel, a budding photographer, has a tight friendship with football star Yves. The unlikelihood of their pairing and the intensity of the bond adds an unusual underlay to the story as it unfolds. Equally relevant is Gabriel’s closeness to his mother, a single law enforcement officer who dotes on her son.

After a night of partying goes awry and ends with the death of an old man, Gabriel and Yves each react differently. Gabriel finds himself isolated from those around him and his approach to the tragedy veers between recalcitrance and fear; Yves doesn’t want to talk about the affair. Will these two teenagers be able to let go of an unintended tragedy or will one of them fold and tell the truth?

Many small, unexpected details add veracity to the film, elevating it from a standard piece of dramatic tension to a genuine depiction of a handful of lives. From the grieving widow to the investigating officer, every character adds an unexpected dimension.

La Vérité also stands out from standard fare by its genius use of music, incorporating it into the action rather than using it as background. The film’s characterization of Saint-Hyacinthe, Quebec, and complete cast of strong performers give a unique, believable edge to the familiar plotline.

As the action unfolds, La Vérité questions the very nature of relationships. Are we ever truly close to each other or do we just believe we are because the bonds have never been challenged? Do events change who we are or just show us what has always been there?

Haunting, bittersweet and unpredictable, La Vérité shines out as a fine piece of cinema.

—E.G. Anderson

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Lloyd the Conqueror

Directed by Michel Peterson, 95 minutes
Capitol 6, 9:45 Feb. 4

Deep in the barbarian wastes of Southern Calgary, Lloyd (Evan Williams) and his manchild buddies decide to hit the vidya instead of pass their medieval literature class. To keep a C average and their financial aid, they enlist in the local LARP league so their professor, Derek the Unholy, can beat them and keep up his winning streak. LARP, for the unenlightened, is live action role playing. Think Dungeons and Dragons mixed with a renaissance fair.

If you saw 2009′s dark LARPing drama The Wild Hunt (also Canadian) you’ll find a goofy, lighthearted counterpoint in Lloyd the Conqueror. Under the droning tutelage of Andy, Son of Chester (Brian Posehn), a 80th level White Wizard, Lloyd becomes a leader, gets the girl and rolls a critical miss on a thousand-sided die. Everything along the way is in good, dorky fun. Sidekicks Patrick and Oswald (Jesse Reid and Scott Patey) destroy the living room with foam maces, a trio of half-naked Danes blog their deaths in fantasy combat and Lloyd spoons a plump, neck-bearded unicorn into battle. Posehn and Mike Smith, who plays the villainous Derek, roll natural 20s on their acting: Ham checks and make delightful arch-nemeses of old. Costumes and sets are bright, busy and colorful and build the fantasy game into an ever more epic undertaking. The final battle is on par with any other film’s, foam swords or no foam swords, accomplishing the most important thing for a movie like this: getting the audience to buy into the serious business of hobby gaming.

The weak point in the writing is Cassandra (Tegan Moss), whose motivations lack any explanation outside of her being an awkward nerd’s fantasy girl: confident where he isn’t but submissive nevertheless. Her I-can-take-care-of-myself confidence is belied by the ease with which Lloyd convinces her to LARP and have sex. There’s one scene where she brings roleplaying into the woman’s self-defence class she teaches that made her jock/nerd odd-coupling with Lloyd feel complex and quite special, but this was an exception. And having her conveniently injured and demoted to cheerleader for the championship battle on top of this . . . why not just have her make Lloyd a sandwich? I liked Cassandra’s gutsy, casually homicidal attitude (who knows what this says about me) and I was disappointed to see it melt so easily under Lloyd’s dorky charms.

As a fun slacker comedy, though, Lloyd and company offer everything you need. Lloyd the Conqueror’s humor is a little sweet, a little crass and very geek chic. Even if you haven’t rolled your share of d20s Lloyd’s party of underdogs will easily pass their charisma checks and win you over.

—Chris Felling

Note: Director and co-writer Michael Peterson will be attending the festival, along with producer and co-star Brendan Hunter, plus actors Evan Williams, Scott Patey and Jesse Reid

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Lone Twin

Directed by Anna Van der Wee, 75 minutes
Odeon, 2:45 Feb. 4

Lone Twin’s pitch would probably be one of the most interesting I could imagine: what happens to twins after one dies? Director and star Anna Van der Wee lost her own twin, Dirk, when they were only 20 and her sense of incompleteness drives her from continent to continent, investigating the connections other twins have shared and lost.

Unfortunately, Van der Wee’s own grief metastasizes like a tumour on the rest of the film. The twins she interviews, coming from a smorgasbord of countries and backgrounds, feel under-utilized because they are all more interesting than her. There’s a photographer obsessed with twins who discovers his twin died in childbirth, an academic estranged from her brother for decades who still feels “double” at heart, even a young filmmaker with a replica Boba Fett costume who always wanted to make movies with his twin.

Van der Wee always finds a way to bend things back to her missing brother Dirk, though, to the point that the interviews feel more exploited than explored. It’s as though the film spent 45 minutes setting up a more interesting film. We spend most of this time going from ex-lover to expert to daughter to ex-lover again just to hear “Anna, you were trying to replace your dead brother with me,” over and over again. The intimacy thrust on us by Van der Wee made me genuinely uncomfortable and the film feels not only slow but also a bit creepy and sad. Van der Wee’s distant, sleepy, Jacques Cousteau-esque narration does not help this in the slightest.

If you liked Eat, Pray, Love then Lone Twin will give you those sentimental feelings that you enjoy so much. If not then you’ll probably find yourself where I did afterwards: feeling guilty that you find Lone Twin more vain than tragic.

—Chris Felling

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Tatsumi

Directed by Eric Khoo, 98 minutes
The Vic, 9:30 pm Feb. 3
Parkside, 7:15 Feb. 8

Chinese director Eric Khoo offers a somewhat confusing biography of iconic Japanese manga artist Yoshihiro Tatsumi, seen here in its Canadian premiere. Perhaps something got lost in the translation; not only are the parameters of the film never really made clear—it eventually becomes evident that what we’re seeing is an illustrated biography of Tatsumi’s own life interspersed with animated excerpts of his comic artistry—but this documentary lacks any real context for manga, or its impact on both society and art (Japanese and internationally).

True, we do get the idea that, prior to Tatsumi, most manga was aimed at the children’s market; and we do hear how he and his colleagues helped establish the gekiga movement, which brought more dramatic imagery and subject matter to the page (much like what was happening in the American comic scene around the same time, when underground artists in the ’50s and ’60s were challenging the dominant youth paradigm . . . although there’s no mention of that here).

But Khoo’s reliance on what is clearly an audio interview with Tatsumi to provide the voice-over, combined with the curious decision to slightly animate what were originally intended to be still images (which, to me, rather defeats the artistic sensibility of manga by making it move like anime), makes for a somewhat ho-hum film. There’s a nice contrast between the colour biographical sections and the starker black-and-white stories, and we do get a great sense of life in post-WWII Japan, but even for a lifelong comic book reader like me this was tough going at times.           

Simply put, the more you know about Yoshihiro Tatsumi and his work—especially his acclaimed 2009 illustrated autobiography A Drifitng Life—the more you’ll enjoy this interesting but uninspiring documentary. It’s nice to have a Japanese-language entry in the festival, but I was honestly hoping for more.   

—John Threlfall

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To Make A Farm

Directed by Steve Suderman, 80 minutes
Capital 6, 11:30 Feb 5, 9:15 Feb. 6

Am I surprised to see an earnest, Canadian documentary about the challenges facing three sets of idealistic young people during their first season of organic farming among the fare at this year’s film fest? Not in the slightest; in an age when “organic” has become synonymous with “eating,” it’s exactly what I’d expect to find on the menu. As one of the farmers says, “I wanted to save the world, and I became a farmer.”

Shot over the course of one complete season, director Steve Suderman—himself the product of a now-landless Canadian farming family—visits two farms in Ontario and one in northern Manitoba, each of which is run by farming newbies with slightly different rows to hoe: one is planning a customers-order-in-advance growing season, one is tackling livestock and the third features a guy who’s doing it all himself. Yep, from ploughing,  planting, fencing watering, harvesting and marketing, the Manitoba back-to-the-lander wants to prove he can do it solo.

While an interesting premise featuring engaging subjects, Suderman’s doc suffers from two main problems: one, we don’t get enough backstory on these people (how did they afford their land? who’s paying for the equipment? have they hired help?) and two, there’s a lack of actual drama here. Without spoiling the story, farming can be a brutal way to make a living—rain, drought, disease, blight, bugs, market demand and the simple hours needed to make it all work—but what we get here is a fairly simple, basically successful story. Not that I was wishing ruin on anybody, but a bit more bite would have made this a more memorable story.

By limiting his scope to only a single season, we also have no sense of whether these farmers made it for more than one year. More of a national focus (what, no BC story from this BC filmmaker?) would have helped put it things into better perspective, and it wouldn’t have hurt to have had a few veteran farmers offer their take on how things are being done today. Also, Suderman’s wrap-around narrative about his own family’s farming history never really goes anywhere, failing to make the narrative connection he’s clearly trying to achieve.

That said, To Make A Farm stands as a well-shot look at emotionally engaging subjects that leaves us feeling hopeful about our future food security. 

—John Threlfall

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Vigilante Vigilante

Directed by Max Good, 86 minutes
The Vic, 9:30 Feb. 9

Subtitled “The Battle for Expression,” writer-director Max Good goes guerilla-style for not just another look at the life and art of graffiti artists (yawn), but a far more engaging tale of concerned American citizens who have made it their mission to paint over graffiti in their own neighbourhoods—thus engaging in exactly the same kind of illegal painting they’re trying to eliminate. But who’s doing more damage—the taggers or these self-styled “buffers” who indiscriminately paint over every graffitied surface they find? It’s a fresh look at an urban problem with no easy solutions, and Good has found a few great kooks to follow around.

Sporting their own street names—the Grey Ghost, the Silver Buff—Good mixes a nice blend of traditional talking heads with some reality-style manhunt footage as they attempt to identify one mysterious buffer in his Berkeley home town. Along the way we get opinions from both sides of the spray can in cities like LA and New Orleans: the domino theory of how graffiti leads to drugs, crime, gangs and murder—and how this kind of “abatement work” can prevent a neighbourhood’s downward slide—and the more Banksy-styled impermanent street-art-as-valid-expression approach. (There’s even a great moment when a piece by the touring Banksy gets buffed over, much to the horror of all graffiti-is-art proponents.)

Full of delicious ironies (“I would never vandalize someone’s property” says one buffer, as he rollers paint all over someone’s property leaving it more of a mess than when he arrived), it’s hard not to come out of Vigilante Vigilante with an opinion one way or the other, even if it’s different from what you thought going in. It’s far from a perfect doc, though, lacking any voice from the people caught in the middle—property owners, business owners, everyday citizens walking down the street—and scant few appearances by women. (It seems graffiti, and its removal, is a man’s game.) But the personalities on display here offer an engaging slice of America kookiness, and offer a good contrast to the coolier-than-thou types so often seen in most graffiti documentaries.

Very much a niche doc that would play nicely with Banksy’s own Exit Through the Gift Shop or the bio-pic Basquiat, Vigilante Vigilante doesn’t hope to change our minds about the ongoing battle for expression happening on most city streets in the world, merely offer another opinion about what’s worse—the problem or the solution? Here’s hoping for a spirited discussion when Good appears at this screening.

—John Threlfall

Note: Writer/director Max Good will be attending this screening, which will also feature a moderated post-screening discussion hosted by CVV’s John Threlfall.

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This round of picks are for the period Feb 1 to Feb 7, 2012.

Girl’s Night Out takes place on the first Thursday of every month in Downtown Victoria. Grab your ladies and come out on the town for deals, promotions, giveaways and entertainment at your favourite shops, restaurants and studios.

There is a list of local participants at www.downtownvictoria.ca! It chsnges a bit, so it’s good to check it out first if you are planning to visit a few places.

Some of my fave stops are Emporia Boutique (1223 Government), Violette Boutique (1303 Government), North of Wednesday (610 Johnson) and Glow Luxe Beauty Boutique (587 Johnson).

- Kai Mundigler
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THE LOLA PROJECTS

This looks like a good night of dance, featuring several artists, local and otherwise.  I am especially intrigued by the premiere of a collaboration between Victoria’s Jung-ah Chung and a Korean artist, Kyung Eun Lee.  It’s described as a work exploring “the cultural heritage the two artists share while defining the underlining differences of experience”.  That sounds interesting and so…Canadian-relevant…eh?

THE LOLA PROJECTS
Sunday, February 5 7:30 pm
METRO STUDIO
(Quadra at Johnson)
$15 at the door
Featuring Artists Jung-Ah Chung, Anne Cooper, Robert Halley, Iris Wing-chi Lau, Kyung Eun Lee, and Treena Stubel

- Pamela Bethel

Chef’s Table at Zambri’s Thursday nights
Join Chef Peter Zambri on Thursday nights for his five-course tasting menu. Served at the bar in an intimate and relaxed atmosphere, the classic Italian courses are created that day, based on the freshest ingredients that arrived that morning. $75 for five courses and wine pairing option available. Reservations recommended email yann@zambri.ca.

- Maryanne Carmack

Normally, the chance to wear a bowtie is reason enough for me to hit the town. This week however, the UVic Global Medical and Dental Brigades have raised the stakes by adding live music, booze, and social activism to an already enticing event.

The Black and White Casino Night is an annual charitable event to raise money for medicines and medical supplies. The recipient this year: poverty stricken Honduras. What does it take to lend a hand? 15 dollars at the door, your finest evening attire (bowtie! bowtie! bowtie!) and a donation or two if you’re feeling extra generous (cash, glasses, clothing, shoes…everything’s appreciated!) After that, you’ll be provided with enough faux-money to go at it Casino Royale style; the guilt of reckless gambling, replaced by your recent act of charity. Also on the docket: Live music from DJ Nims, Snoqualmie, The Pilgrimms, and Victoria freshmen, Woodsmen (who are as charming as they are talented, by the way.) A fully stocked cash Bar. Door prizes. And the biggest winners of the night will get their shot at some pretty lofty prizes: including a cabin stay at Mount Washington, a Horizon Air ticket, and a Kayak voucher.

What, now there’s potential travel involved too? Now you know I’m all in!

Where: The Victoria Event Center
When: Sat Feb 4 7pm – 1 am

- Jeff McAllister

I thought that to welcome our new writer Kai and her style section, I would go with a clothing pick this week. As I was biking by Leche’s Clothing (1541 Fort St, at Richmond/Oak Bay Ave), I saw they are having a buy one, get the second half-off sale. I love consignment shopping and it’s nice to take a break a break from the overwhelming nature of Value Village and get some higher-quality merchandise. They have some designer items and also reasonably priced but cool pieces for the thriftier shoppers. The WIN shops are also great for finding sweet second-hand deals and they are conveniently located all around town.

- Erin Anderson

Victoria Film Festival
Wipe down the spotlights and vacuum the red carpet, it’s time for the 17th annual Victoria Film Festival! Nothing brightens up a dreary February like a mighty fine selection of films, which is what you’ll find onscreen from February 3 to 12. Highlights include the always-popular Opening Gala (hooked to the Belle Époque era French feature House of Pleasures), a special showing of creepy classic The Exorcist (with an appearance by head-turning star Linda Blair), a quote-along screening of The Blues Brothers (with director John Landis in attendance for a live interview), a great selection of special cinematic events and, of course, dozens of movies for your popcorn pleasure. Check back in with CVV in the days ahead, as we’ll be having all sorts of VFF coverage for you.

- John Threlfall

A war is raging on campus at UVic, readers. In fact, as you read this, it’s entering it’s second week.

“Felicitas Campus Pub is hosting a Battle of the Bands every Wednesday night. Shows start at 9pm and cover is a very student-friendly three bucks. Scout them before they’re famous?”
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- Chris Felling

The Kelby MacNayr Quintet Live Recording Sessions

We had the pleasure of emceeing an event that Kelby MacNayr played at recently and now he’s doing a two-night live concert and recording session with a group of internationally acclaimed musicians (including the amazing Miles Black) at Hermann’s. Hope to see you there!
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- Phil Pierce

Sacred Centre Student Showcase

There’s a legend in town that you may or may not know. His name is Nath Keo and what I consider him legendary for is his bellydancing. Nath’s student showcase is coming up Sat Feb 4 at Lynda Raino Dance.

Go. Sit in the presence of a master.

- Leanne Allen

Read more about the CVV team HERE!

PHOTOS - click any image then click NEXT or hit “n” to cycle through them…

Susinn McFarlen as the “fashion addict” in on the edge (Photo: Emily Cooper)

on the edge: Ladies night at the Belfry
By John Threlfall

Stereotype suggests that women will enjoy the Belfry’s latest production more than men. And while it’s true that the world premiere of Michele Riml’s Belfry-developed on the edge is definitely female-focussed, it’s also true that stereotypes are frequently wrong. After all, I know guys who love Sex and the City as much as any gal, and I personally prefer tear-jerking romantic comedies over testosterone-fueled action flicks. Besides, since when does good theatre have to have a gender preference? (Do the man-centric Wingfield shows appeal to men more than women? Does she get more out of The Year of Magical Thinking than he?) Bottom line: despite the fact that jokes about Donna Karan outfits and boobs-above-the-ribs will likely hit home more with the dyed-roots set than those with male-pattern baldness, on the edge offers 90 minutes of laughs suitable for any audience.

Written by Vancouver-based playwright Riml (Sexy Laundry, Rage), on the edge features three monologues by three distinct characters: a recovering high-end fashion addict, a cop balancing job pressures with drinking issues, and a stressed-out mom seeking a sense of self via a pay-what-you-can yoga class. There’s no question all of these women are indeed “on the edge” in some fashion—be it emotionally, occupationally or metaphysically—yet whether we’re laughing with (or at) these characters, or quietly considering the societal circumstances that have brought them to their collective brinks, the very capable Riml offers plenty of insights into the world in which we all live.

on the edge is a bit of a comedy sandwich: a pair of very funny stories (the fashion addict, the yoga mom) bookend a middle slice of life that’s just a bit meatier (the cop), giving us something more than just laughs to chew on in this no-intermission production. As with most multi-character monologues, however, not all work equally well; the fashion addict comes on strong out of the gate, and the physical comedy of the mom wrestling with both yoga poses and higher self leaves us with a smile on our faces, but the troubled cop—while the most ambitious, plot-driven and challenging of the three—isn’t quite there yet. A monologue by delivery, we’re actually hearing only one side of a conversation with another officer, and there are times when it’s unclear what we’re supposed to be understanding. And despite being enjoyable and entertaining, none of the three ideas are exactly breaking new ground: comediennes have been cracking wise about shopping, fashion, yoga and finding equal footing in a man’s world for years now.

Fortunately, Riml’s keen ear for character and awareness of (and, obviously, concern for) the social pressures which shape our modern world elevate this material in ways that might not be obvious at first chuckle. Interested in more than just making us laugh, there’s an underlying layer of near-tragedy with each of these characters, who toss off storyline-specific humorous asides that are almost Shakespearean in what they say; while we’re tempted to brush aside the importance of the designer labels the fashion addict drops like so many empty bottles, say, or the one-sided phone conversations that keep interrupting the yoga class (and the search for acceptance of self), these moments say as much about who we’re really seeing portrayed on the stage than the central monologues themselves.

But like any one-person show, the other main factor is the person in said show—and Susinn McFarlen is absolutely the right woman for this job. A seasoned pro and longtime Belfry favourite (Sexy Laundry, Urinetown, Menopositive, The Musical!, A Perfect Ganesh, and Mom’s the Word 2: Unhinged), McFarlen clearly has what it takes to keep this production clipping along as she deftly tackles the shifting emotional terrain. Totally believable as each of these characters, it’s a pleasure to watch such an accomplished actor own the stage; even when the script lags a bit, McFarlen’s performance more than maintains the audience’s interest. Director Andrew McIlroy’s history with both McFarlen and Riml (in both Sexy Laundry and its forthcoming sequel, Henry & Alice: Into the Wild) is evident here, as he knows when to walk softly and when to bring out the big stick; working together, they’ve managed to craft a nuanced production able to shift emotional tone on a glance, a breath, a pause.

Top marks too to the design team who have created a minimalist look that’s both contemporary and multi-faceted. Kevin McAllister’s set features sliding panels that serve triple-duty as a designer logo, an interrogation room and a yoga studio, nicely supported by Bryan Kenney’s evocative lighting (especially the subtle reds-and-blues during the police flashbacks, and the clever 90-degree overhead shift in the yoga studio). Costume designer Erin Macklem is in top form too—while the basic outfits clearly define the three characters, it’s the small details that drew me in: vivid red soles on gleaming black pumps, a pink scrunchy, the clunky authoritarian boots. And nice work too by sound designer Noah Drew, whose electronica score puts this show in the here and now.

While not a flawless production, on the edge effectively captures some of the trials and tribulations faced by women trying to define themselves in this post-feminist, middle-class world. Nicely balancing laughs and insights, and strongly anchored by an outstanding performance by McFarlen, I predict on the edge has a healthy future ahead of it on the greater theatrical scene. And, as much as I hate to perpetuate a stereotype, it also offers the 40-plus crowd the perfect gal’s night out.

-John Threlfall

CLICK HERE FOR SCHEDULE INFO AND TICKETS

Video preview by John Carswell, shine-ola.com

Be sure to check out the photo album from the shoot as well on our Facebook page – http://www.facebook.com/CVVmagazineFP

This round of picks are for the period Jan 25 to Jan 31, 2012.
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As British Columbians, we often take the beauty that surrounds us for granted. It takes the risk of losing our signature coastlines to the toxic grasp of the oil industry to realize that the land we hold so dear is not a right but a privilege.

The Great Bear Rainforest — one of North America’s wildest yet most fragile, eco-systems — is currently caught between Asian oil interest and the ongoing plunder of the tar sands. This Saturday, Pacific Wild makes a call for awareness with Films of the Great Bear Rainforest. Stitched together by MC, award winning author and photographer, Ian McAllister, the four features films– Tipping Barrels, Standup4GreatBear, Cetaceans of the Great Bear Rain Forest, and spOil– may vary in voice (from surf flick to eco-essay) but carry the same potent message:  We’ve been privileged enough to live in one of the most beautiful places on earth. Now’s our time to protect it.

Details: http://sitkasurfboards.com/news/films-great-bear-rainforest

- Jeff McAllister

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I have three picks this week, all about film. One, any avid filmgoers should consider buying tickets online for the Victoria Film Festival (February 3-11) to ensure they can get into the movies they most want to see. Two, I recommend venturing up to the Cinecenta theatre at UVic on Wednesday and Thursday for Miss Representation, a documentary on how women are portrayed in the media. Admittedly, the film is pretty America-focused but the issue is universal. Third, one of my favorite films from last year’s Victoria Film Festival, When We Leave, is now available at Pic a Flic, for those who prefer home viewings.

- Erin Anderson
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on the edge
It sounds like the start of a lame joke: what do a fashion addict, a cop and a yoga mom have in common? Yet in this case, there’s not one answer but three: playwright Michele Riml, actor Susinn McFarlen and the Belfry’s latest production. Not only does on the edge offer one actress doing three monologues looking at the different roles women struggle to maintain in contemporary society, but it also reunites the same team that brought us 2003′s hit play Sexy Laundry. Playwright Riml joins forces once again with McFarlen and director Andrew McIlroy to bring us this funny, touching and thought-provoking Belfry-commissioned world premiere. Trust me, I read the script before interviewing Riml recently—you can read our conversation here http://www.belfry.bc.ca/news/woman-on-the-verge/—and I’ve been looking forward to this production ever since. Whatever your gender, you’re sure to remember going out on the edge.

MORE INFO: CLICK HERE

- John Threlfall
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Oh, hi Readers.

Hi, Johnny!

If you don’t get the reference, let me fill you in. Cinecenta will be screening Tommy Wiseau’s “The Room” this Friday and Saturday. Variety’s Scott Foundas reviewed Wiseau – who wrote, produced, directed and stars in the film – as “one of the most unusual looking and sounding leading men to ever grace the screen … a narcissist nonpareil whose movie makes Vincent Gallo’s “The Brown Bunny” look like the apotheosis of cinematic self-restraint.” Fans hail the man as our generation’s Ed Wood.

The film itself is a mix of dropped subplots, directorial ego-stroking, football in tuxedos and extremely cringeworthy softcore sex scenes between the pallid, droopy-eyed, grease-maned and gargoylic Wiseau and Juliette Danielle, his costar, or perhaps his prey, a pretty young thing of the age Wiseau unsuccessfully pretends to be.

If you don’t have a taste for the so-bad-it’s-good or if you are intimidated by the threat of seeing a creepy man’s naked ass loom over you on a very big screen like a great fleshy moon threatening to end the Earth and all that you love, I’m sure P and L will let me review it for your reading pleasure. For you more stoic souls: Cinecenta is in the Student Union Building at UVic, just across from the bus loop. Show starts at 11pm.

Have fun, guys.

- Chris Felling
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21st Annual Victoria Health Show
Jan 28, 29
Victoria Conference Centre

Ok Victoria, time to get healthy! The 21st annual Victoria Health Show at the Victoria Conference Centre will be packed with experts displaying their wares and demonstrating all the latest health equipment. There’s also a full programme of seminars dealing with health, fitness and nutrition. I can think of a few friends who should definitely check this one out! Yeah, you know who you are.

- Phil Pierce
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Being a bit of an adrenaline junkie, when I heard Sean Casey was coming to town with his IMAX film, Tornado Alley, I knew that was a person I had to meet. I’ve seen “one” tornado and chased “one” storm. Not enough. Sean Casey has been doing this for years and actually built a vehicle that could withstand the physics of the vortex of a twister in order to experience and collect data for scientific research about what it’s like to be in the inside of a tornado. It opens this Friday, Jan 27 at the IMAX here. And click here (as of Friday Jan 27, 8am) for a link to our interview with him.

- Leanne Allen

Read more about the CVV team HERE!