A multilayered look at Indigenous issues in Canada, one family’s painful fight for justice, and emboldened racism in the age of social media, Hot Docs’ 2019 opening film nîpawistamâsowin: We Will Stand Up looks at the bigger picture behind one of the most controversial murder trials in recent memory.
Densely packed with the intricate details surrounding Brazil’s current political nightmare (and, by natural extension and comparison, similar governmental scandals playing out around the world), The Edge of Democracy is a lot to take in during a single sitting, but also one of the most vital and cautionary documentaries of the year.
Thrilling throughout, occasionally heartbreaking, and sometimes even darkly comedic, Midnight Family, director Luke Lorentzen’s verite look at Mexico’s broken healthcare system, is a modern day parable about the dangers of increased privatization and the corruption that takes root where governmental oversight used to be.
First time feature documentary director Rebecca Stern’s humorous and empathetic Well Groomed takes a look at the niche world of creative dog grooming; the art of dying the hair of pooches different colours and shaving intricate designs and characters into their fur.
This year’s Canadian Film Festival closes with Jaren Hayman’s well rounded documentary, This is North Preston, a look at what rightfully and wrongfully is one of Canada’s most maligned, feared, and somewhat misunderstood communities.
Limp, frustrating, and trying laboriously to sound as edgy and transgressive as possible, Pond Life is a stage-to-screen adaptation that not only can’t escape its roots, but will likely make viewers question if the material was ever that good to begin with.
Aaron Abrams delivers a towering and commanding lead performance in writer-director Jesse Zigelstein’s debut feature, Nose to Tail, the story of an egotistical and stressed out business owner who’s about to reach his wit’s end.
This year’s Canadian Film Festival – an annual celebration of independent Canadian cinema – kicks off with the solidly constructed and emotionally endearing high concept “meet cute” Red Rover.
A predictable, but well executed and paced procedural thriller, Taiwanese director Ching Shen Chuang’s High Flash balances genre conventions with a healthy and relevant dose of political and environmental subtext.
Never blurring the line between reality and fiction, but instead poignantly and thoughtfully considering where that division exists, Shehrezad Maher’s documentary This Shaking Keeps Me Steady examines how recreations of tragedies could never approximate the immediacy of an emergency.