Award winning director Sturla Gunnarsson's latest production, Monsoon, is an epic film, both beautiful and tragic, that takes you to the heart of the phenomenon of the Indian monsoon. 

Spectacularly shot in 4K with Red Epic cameras, renowned director of photography Van Royko utilizes every opportunity to capture the minutest detail, instilling an intimacy and palpability that draws you to the centre of the experiences you are witnessing.

Today we had the great pleasure of talking with Gunnarsson about his film.

tV: Monsoons, typhoons, and hurricanes happen all over the world. What is it about the Indian monsoon that sets it apart from the other phenomenon?

SG: People in India will tell you that there is only one monsoon: the Indian monsoon. What appealed to me about it is that it's life itself. It provides India with all of its water. It brings water, it brings life, it governs the conditions of existence for the people living there. It affects every aspect of living. It affects the artists, the religious, scientists, fishermen, farmers. It affects filmmakers. Indian culture is built around the monsoon. Some people say that it's the soul of the country. I love India and I've been there many, many times and I've always thought of the monsoon as being such a big spectacle and such a romantic thing that I wanted to experience it. That's why I made the film.

tV: You say that life comes from the monsoon. Have you noticed the effects of climate change on this over the years?

SG: The monsoon is a chaotic system and it's constantly changing anyway so the biggest impact of climate change on the monsoon is that it makes it that much harder to predict: it makes a chaotic system more chaotic. In a country where prediction is the key to survival that's where there is the most profound impact. In the long range the scientists that are studying it believe that it will result in hotter, drier monsoons: so less water and more heat and all that implies.

tV: There are some areas in India that get an overwhelmingly large amount of water during the monsoon, and other areas that get none at all. Did you discover any systems the government might be working to implement in an attempt to disperse the water more evenly: pipelines, reservoirs etc.

SG: Yes. They have water management systems in places. 20 to 25% of the agriculture works off of irrigation and aquifers but probably 70 to 80% of the agriculture relies directly on the rains. Even the farming that functions under a water management system still requires the rains and then it becomes a question of capturing the rain and diverting it, but that isn't possible without the water actually coming.

tV: You showed quite a wide range of people who were affected by the monsoon. The monsoon has been called the soul of India and to many is a spiritual thing. Did you find a similar perspective among the richer classes?

SG: No. Richer people never suffer. The wealthy are always insulated from the visitant life and the poor are always more affected. That's just a fundamental rule of life.

tV: Sure, but there was a lot of ceremony during the monsoon: a lot of people felt almost a religious connection to it. Was that something that resonated with wealthier people? Were they also believers in the monsoon as being a spiritual thing?

SG: There are so many dimensions of the monsoon. In the movies it's about romance and everybody goes to the movies. And the people who make the films are sophisticated people. The idea of romance, and love, and monsoon, cuts across everything. The gambler (Bishnu Shastri), his experience with monsoon is that of destiny: for him it's like a race horse. Everybody's experience of it is different. For the farmer it's something different again, for the fisherman it's a question of having the opportunity to do well at sea but the ocean is so stormy that you're taking your life in your hands. All of the religious festivals are built around the monsoon and around planting and harvest. I think people relate to those religious festivals in much the same way as they do in Canada, where are some people who are true believers and there are other people for whom it's more of a cultural event.

tV: There were a lot of very devastating things that happened, such as people losing there homes. For you as a filmmaker witnessing all of that, how did that affect you and how did you manage to film through that? It must have been such a moving experience?

SG: It was. These are people who we're close to. There's a conflicting emotion. On the one hand, as a documentary filmmaker, these are the events you are hoping for because it's dramatic and it's cinematic, and you know that you have a story. But on the other hand you have this incredible sense of loss and a terrible feeling of empathy for people who you care about losing their homes and losing their livelihoods. It's very conflicted.

tV: It's unfathomable to understand what it must have been like to be in the middle of all of that. As a filmmaker, what did you take away from this journey that you never expected?

SG: I think that anytime you engage with chaos, which the monsoon is, it's exhausting, it tries your patience, and tries your confidence, and it also tries your faith. I think probably what emerged for me from the film more than anything else, was a realization that I actually do have faith: not a religious faith, I'm not a believer in God, but I have faith that things are possible. I have faith that things will work out and I think that feeling of faith that emerges in the midst of this chaos was what I found surprising.

tV: You were obviously very prepared to shoot in extreme weather conditions with very high-tech but stripped down cameras (Red Epic cameras shooting in 4K and utilizing from 14mm to 800mm lenses). Were there any substantial hiccups during the shoot?

SG: We lost two cameras to water.

tV: Oh, my go...

SG: Two Red Epics got destroyed. One was eaten by a wave and the other got rain water damage. The big challenge was trying to dance with the monsoon because you're trying to cover a place that's over three million square kilometres and you're one little spec on a map trying to capture a story. So you may be in one place and it's not raining and you're studying satellite imagery and the weather forecast and trying to decide weather to get on a plane and go to where it's raining. There's this constant process of being the subject of the rain gods. Those were the real challenges: chasing the storm over three million square kilometres in a chaotic environment.

As far as the mechanics of it we came with all kinds of rain gear but at the end of the day we didn't use it. You just end up being like everybody else: you wear your quick-dry shirt and quick-dry pants and sandals and you wade into the water and just don't think too much about what's in it (laughs). Shower real quick when you get back to the hotel.

tV: What were you hoping to show the world with this film? What was the message you were hoping to give?

SG: I wanted the audience to experience the mystery, the awe, and the spectacle of the monsoon, and to meditate on that.

Gunnarsson's film delivers on all accounts in its stunning look at the phenomenon of the Indian monsoon.
Watch for your opportunity this October to see it on the big screen during the Vancouver International Film Festival.

Fred Schepisi's Words and Pictures opens in Vancouver July 4, 2014

Fred Schepisi (Six Degrees of Separation, Roxanne ) directs Gerald Di Pego's (The Forgotten, Message in a Bottle) romantic comedy, Words and Pictures, starring Clive Owen (Jack Marcus) and Juliette Binoche (Dina Delsanto) about a washed up writer (Markus) and a renowned artist (Delsanto) who is gradually losing the ability to create as her health declines.

Marcus and Delsanto are two artists who have both turned to teaching at a prep school as their abilities fade. Marcus teaches Honours English while Delsanto teaches Honours Drawing and Painting, and the two become instant rivals when Delsanto challenges the legitimacy of words over pictures as a dominant means of communicating and connecting. Marcus responds by staging a school-wide war where the students are challenged to debate and ultimately decide which is more powerful.

This film was baffling for many reasons. Owen and Binoche, while brilliantly cast, do not have suitably fleshed-out characters or storyline to work with. Owen's character is such a one-sided, dysfunctional misfit that instead of cheering for the romance, you end up crossing your fingers for the opposite. The cast of students are amateurish and one-dimensional in both dialogue and acting, the closing dialogue and interaction between Marcus and Disanto is boring and repugnant, and the camerawork itself was bland and uninteresting.

The secondary story thread of harassment overpowers the main storyline of the film and feels like it popped out of an entirely different movie altogether. The perpetual harassment of the young woman goes entirely unaddressed by anyone in a position to do something, until things escalate to something that is apparently much worse than anything that has lead up to it and huge enough to take notice: a rude cartoon drawing. This is a film about art and words so it is understandable that the writer would try to find some way to link that: it just doesn't work, in fact, it frightfully diminishes the severity of the ignored experiences she's endured up to that point.

The story ends with the much talked about debate between the words people and the pictures people. It's never clear throughout the film who is on which side of the debate, but the room appears to be equally divided. As the camera moves over to two of the confused looking teachers, one of them say to the other, “just smile and clap”, and that about sums it up. This hugely anticipated debate is supposedly what the film is all about, but we don't get to see or hear anything. There are a few opening statements made, and that's it: no pay off.

Schepisi is an otherwise wonderful director, Di Pego's talent for writing is evident, and the lead actors are proven talents, so it's not clear how this ended up the way it did. 

The Lunchbox is a film that took the VIFF by storm last year. It was one that was very high on the list but unfortunately, one that was unable to fit into our schedule. The expression, “good things come to those who wait” never held truer as it did the other night when at long last this film opened at Park and Tilford theatres.
The Lunchbox is an intricately woven, delightful story of love and opportunity. It touches on many familiar themes and ideas only with a fresh take, and remains but long enough to deliver the goods and moves quickly onto something meatier and clever. 
Irrfan Khan (Life of Pi) is brilliant and subtle as Saajan Fernandes and Nimrat Kaur shines as brightly as the woman who shakes the cobwebs from his otherwise forgotten life.

Oculus is the story of a possessed mirror with a taste for human blood. It's a creepy, cringe-worthy tale starring Katee Sackoff, Rory Cochrane, Brenton Thwaites, and Karen Gillan. Right up there with the sinister mirror from hell however, are the equally sinister editors who spliced this next-to-impossible-to-follow film that left you wondering whether a little of the possession didn't seep out from the screen onto the workers sitting in the dark. Were we supposed to be paying attention? Did this oculus have a history of some sort: a reason to be trapped in a mirror instead of say, the carpet. And who named it Oculus? If you really want to scare us, why not Oblongus? A pure and simple reflection of ourselves. We'll chew on a lightbulb without your help.

Dom Hemingway showcases Jude Law and Richard E. Grant at their finest. Just look at the poster. That really says it all. Written and directed by Richard Shepard with a very Guy Ritchie feel to it. The story is nicely written and well-paced: a nice blend of humour and tragic disfunction. The opening scene alone is worth the ticket price. The drunken partiers racing down the road scene very reminiscent of the brilliant Canadian film C.R.A.Z.Y. (Jean-Marc Vallée). Limited distribution left viewers chasing this film down at obscure theatres around town, but the effort was well worth it. Fast becoming a cult favourite.

Canadian gem Afflicted, starring Vancouver's Derek Lee and Cliff Prowse, will surprise even the seasoned film-goer. Two best friends' dream trip around the world fast turns into a nightmare when one of them becomes "afflicted" with a voracious disease. Nicely shot, perhaps too nice for a supposed on-the-fly travelogue, but wholly appreciated: it actually holds the viewer much better this way. Without giving too much away, this film is a fresh spin on an otherwise exhausted genre. Believable acting, surprising outcomes, and gorgeous settings set this film apart and help solidify it in the Canadian psyche.

Draft Day stars Kevin Costner in this methodical, behind-the-scenes look at the politics behind the football industry on the eve of the draft. You've got to love football (or Kevin Costner) to like or understand this movie. It's kind of a rom-com for sports fans, the players - the lovelorn male, and the team - the sought after woman. There were some strong performances from some of the cast members like Chadwick Boseman, but over all the energy and chemistry simply wasn't there. Having said that, it was far from disappointing.  

Brent Butt announces his “Almost a Movie Star” comedy tour.

Tickets will be going on sale Friday, November 22 at 10am for Brent Butt's comedy tour that will include one exclusive Vancouver show at the Vogue theatre February 6, 2014.

In advance of the release of his comedic mystery thriller and first feature film, NO CLUE, our favourite Emmy Nominee, comedian, actor, writer, Brent Butt plans to travel across Canada with his hilarious new show, “Almost a Movie Star.” You are going to want to catch this show while you can. Once NO CLUE hits the theatre, he's going to have to re-write the show: at least the title.

"It is extremely rare for me to do a long, extended tour like this, and I am super pumped to hit the road,” says Butt. “A different town and a different stage every night. This is what being a stand-up is all about. This, and poor late-night snacking choices." *

“Brent Butt discovered at a young age that being funny was a good way to get attention. He pursued a career in stand-up in his twenties and within months, was headlining the top clubs in Toronto. Within a couple of years, he was touring internationally and appearing at major festivals. Butt’s television specials quickly secured his reputation as one of the funniest people in Canada. He received numerous Canadian comedy awards, including “Best Male Standup.”

Butt went on to create his own sitcom, Corner Gas. The television series was an instant hit with unprecedented ratings and numerous accolades, including an International Emmy Award nomination. Broadcast in over twenty-six countries, including the U.S., and on air for six seasons, Corner Gas went on to become Canada’s #1 comedy and Butt was named “Favourite Male Performer” by TV Guide readers.

In addition to Corner Gas, Brent Butt created yet another sitcom called Hiccups, which aired for two seasons and garnered multiple LEO awards. Corner Gas and Hiccups are the two highest rated Canadian shows in the history of the Comedy Network.

Recently, Butt has made the transition to movies, having completed production on his feature film NO CLUE, which is scheduled for release on March 7, 2014. Written by and starring Brent Butt, NO CLUE is a comedic dark thriller that combines the best elements of traditional murder mysteries with a gritty, contemporary feel as it follows an unwitting hero who is in a bit over his head.

NO CLUE is being distributed in Canada by Entertainment One and internationally by Myriad Pictures.” *

Brent Butt can be found on Twitter or Facebook, but says he prefers Twitter because, “it's easy and requires little commitment and most people on there actually seem quite cool.”
You can always check out his blog and get in on the conversation about NO CLUE.

Brent Butt's Canadian comedy tour is presented by Paul Mercs Concerts.
For tickets click on the link or call the numbers below.

Jan 30 - Ottawa, Centrepointe Theatre 613.580.2700 or 1.866.752.5231
Feb 6 - Vancouver, Vogue Theatre 604.569.1144 or 1.855.551.9747
Feb 13 - Thunder Bay, Thunder Bay Comm. Aud. 807.684.4444 or 1.800.463.8817
Feb 14 - Kingston, The Grand Theatre 613.530.2050
Feb 15 - Toronto, Winter Garden Theatre 1.855.622.2787
Feb 16 - Sudbury, Theatre Cambrian 705.524.7317
Feb 17 - Halifax, Dalhousie Arts Centre 902.494.1758 or 1.800.874.1669
Feb 19 - Kelowna, Kelowna Comm. Theatre 1.855.985.5000
Feb 21 - Victoria, McPherson Playhouse 250.386.6121 or 1.888.717.6121
Feb 22 - Nanaimo, The Port Theatre 250.754.8550
Feb 25 - Calgary, EPCOR CENTRE 403.294.9494
Feb 26 - Red Deer, Memorial Arts Centre 403.755.6626 or 1.800.661.8793
Feb 27 - Yorkton, Anne Portnuff Theatre 1.800.970.7328 or 306.938.7800
Feb 28 - Winnipeg, Burton Cummings Theatre 1.855.985.5000
Mar 1 - Edmonton, Winspear Centre 780.428.1414 or 1.800.563.5081
Mar 3 - Saskatoon, TCU Place 306.975.7799 or 1.888.639.7770
Mar 4 - Lethbridge, Yates Memorial Theatre 403.329.7328

*Brent Butt interview courtesy of Paul Mercs Concerts.

This was probably the best possible note on which to finish the festival. 

Jason James' film is a hilarious look at the aftermath of contracting a sexually transmitted disease. Adam (Paul Costanzo) is a self-absorbed womanizer who contracts gonorrhoea from one of the multitude of women with whom he has been sleeping. A quick visit to his questionable doctor (Jay Brazeau) lands him up with an even more questionable cocktail of prescription drugs with varying side-effects that alter his personality at the most inopportune times. It is at this point in life when he meets and falls in love with Liv (Ingrid Haas). Adam is forced to abstain from sex and to face the women of his past. As he does so, he learns more about the women and even more about himself. Adam grows, and so does his relationship with Liv. This film looks at the possibility and at times, necessity of change. It is a comical and insightful look at the human condition, and our ability to enrich our lives by simply opening our eyes and hearts.

This is an odd line up of strange films, from funny to just plain weird. 

Night Giant is a cleverly shot, black and white film about battling your inner demons. Der Untermensch is dance piece that speaks to the horrors faced by homosexuals in Nazi Germany. It is a sadly displaced in this line up and its message not nearly as powerful had it been properly coupled with a more appropriate film. We Wanted More is brilliant little film with a couple of cringe moments worth the price of admission; a psychological thriller of sorts. Foxed is a stop animation film about child labour and the blinders that are worn by those who should be protecting the children. Under the Bridge of Fear is a short that was created through Vancouver's Crazy 8s competition. Prepped, shot, and edited in eight days and made with an 800-dollar budget, it is a huge film for such a limited amount of time and money, and well worth the time, money, and effort to watch.

This break out film does not bar any holds when it comes to cinematography. 

It is an extremely sensuous look at a young woman's coming of age and discovery of her sexuality. Blue is the Warmest Colour is highly erotic and emotional with a well textured story brought to life and injected with a warm realism in the performances of stellar actors Léa Seydoux and Adèle Exarchopoulos. Some of the sex scenes in the film are perhaps a bit long, but have a reality and intimacy that asks for more. This film won the Palme d'or at Cannes for both the film and the lead actors, and it is quite clear why. It is well-written, well-shot, well-acted, and well-received. 

Wadjda takes the Vancouver International Film Festival by storm.

Wadjda is a break out film for many reasons: it is the first feature film to be shot entirely on Saudi Arabian soil and the first to by a female director, but also tells a potentially controversial tale of a ten-year-old Saudi Arabian girl determined to own and ride a bicycle, something that is frowned upon for young Saudi Arabian girls. Haifaa Al Mansour weaves a lovely tale laced with humour, devotion, love, and loss, and talented young actor Waad Mohammed heads a list of brilliant performers, as the young and fiercely spirited Wadjda. This film will have you laughing one minute, crying the next. It got an extended, enthusiastic round of applause, and created quite a stir at the ballot boxes in the lobby afterward. Clearly, it is a film that rings true for many.

The second best shorts line up of the festival.

This line up of films starts out with the clever The Lamp, an interesting spin on the perils of online dating. Other highlights include, Going South, a realistic look at a restless, small-town girl that stirs uncomfortable similarities to 
Henry: Portrait of a Serial Killer. In Guns We Trust, looks at a town in the USA where guns are obligatory, Mayfly, asks whether we would choose to know our genetically predisposed lifespan, Roland, a clever and hilarious little film about a confrontation in an art supply store. The films mentioned are joined by several other remarkable stories. If there is one criticism about this festival, it is that not enough people are interested in the shorts line ups, and end up missing some of the best, well-thought-out films of the festival.

This is by far the best line up of short films this year!

This is by far the best line up of short films this year, with the horrifically real, 45 Degrees, about the lengths a man is forced to go to, to support his family; Ellen is Leaving, a story about the difficulty of letting go, no matter how well intended; Genital Extreme Close-up, Prologue to a Romantic Comedy, an amusing look at the dynamics of a one-night stand; Ms. Belvedere, about one woman's unique method of purging emotional baggage; Social Media Anonymous, about a hilarious group of media addicts discussing their addictions; and Sweet Rabbit, a Kafkaesque look at a lonely housewife's adaptation to her new appendages, to name a few. If you catch one day of shorts, this should be it.