Starring Nicole Kidman, Aaron Eckhart, Dianne Wiest and Sandra Oh
Becca: I like that thought. Somewhere out there, I'm having a good time.
There are times in our lives where we all find ourselves falling down a hole we didn’t see coming.We are just merrily making our way through the world we know when suddenly, and when we’re not necessarily paying attention, we find ourselves plummeting.While falling alone can be horrifying enough, tumbling down the same hole with your partner can be incredibly difficult and alienating.Nicole Kidman and Aaron Eckhart play parents who have recently lost their young son, Danny, to a car accident, in the delicate drama, RABBIT HOLE.Fortunately for them, director John Cameron Mitchell is there to catch them before they hit the ground.
Mitchell made a name for himself when he first wrote, directed and starred in the film adaptation of his own Off-Broadway show, HEDWIG AND THE ANGRY INCH(click title for review). His exploration of the marginally sexual not only continued its prevalence in his second feature, SHORTBUS, but it would go places most would never dare.In his third and decidedly most accessible work to date, RABBIT HOLE, Mitchell almost abandons sexuality entirely and turns his focus on grief and loss.I use the word, “accessible” loosely, as there is nothing easy about going down this particular hole.David Lindsay-Abaire’s adaptation of his Pulitzer Prize-winning stage play, looks at a couple suffering the unbearable loss of their only child, a story that we have seen a number of times before, and makes it feel like the individual experience it has to be.
Joining Kidman and Eckhart along their journey towards catharsis feels like a privilege, like we don’t really have the right to be there.Each of their experiences is so separate from the other’s, but you can always feel that they are fighting somewhere deep underneath their own hardship to find their way back to each other.Eckhart is strong as a husband who is struggling with doing everything he can not to forget but Kidman is just plain unforgettable.She is doing everything she can to heal, including reaching out to the young boy who was driving the car that killed her son, but she can’t tell if anything is actually working.After all, what level of sadness is needed to let go and see the world the way it once was?That’s the thing about rabbit holes though, both in metaphoric terms and in regards to this film, you’re not the same for having gone down them.
Today is a very big day for me at TIFF and Day 6 starts rather soon so I can't chat long. I have John Cameron Mitchell's RABBIT HOLE at 9:00 at the Bell Lightbox theatre, followed by interviews with Xavier Dolan, the Quebec writer/star/director of LES AMOURS IMAGINAIRES and Rodrigo Cortes and Ryan Reynolds, the director and star of BURIED(click title for review). The latter has its big show tonight at Ryerson theatre while the former is today's only TIFF Bit.
LES AMOURS IMAGINAIRES Varsity - 6:45 I first fell in love with Dolan's work with his heartbreakingJ'AI TUE MA MERE (I KILLED MY MOTHER). His latest was written while he was at TIFF with his first last year and now, just one year later, he has returned with a lovely film that also made its premiere at Cannes. HEARTBEATS, as it is known in English, follows two friends, a guy and a girl, as they both fall for the same guy. The direct translation of the title means the imaginary loves and Dolan's sensitive and charming film explores the places we go to in our hearts and minds when we are falling down that inexplicable road called love. It was truly enchanting and I urge you to see it.
Last night's big gala was for Darren Aronofsky's BLACK SWAN. Be sure to not miss the Black Sheep 5-star review!
HEDWIG AND THE ANGRY INCH Written and Directed by John Cameron Mitchell
I can still remember how I felt after seeing HEDWIG AND THE ANGRY INCH for the first time. It was raining but the only reason I noticed that was because I was wet when I got home. I didn’t feel a thing while I walked outside; I was far too stunned. What had I just seen? I certainly couldn’t say that I had ever seen a rock opera about a transsexual singer/songwriter from East Berlin who had a botched sex change operation and who had immigrated to America only to have all of her music ripped off by a pretty little white boy. The only reassuring thing about this state was that I was fairly certain no one else could say they had seen that before either.
Well, plenty of people had seen the Off-Broadway hit but that is still a pretty paltry faction of people. Yes, HEDWIG got its humble beginnings in New York City. It was written by John Cameron Mitchell and Stephen Trask and the title character was performed by Mitchell himself. After the show concluded its run, Mitchell had bigger plans and bigger wigs in mind for both Hedwig and himself. He had never directed a film before but must have felt comfortable enough with this material to take that risk. The risk most certainly paid off and to watch Hedwig, you would never know he had never directed before. Mitchell took a play that was grand in scope but limited in size and eradicated any notion that it had to be contained on a stage. His direction of Hedwig goes from town to town following the former lover who stole all his songs while simultaneously moving back and forth between time and space to tell Hedwig’s incredible story. His performance of Hedwig earned him a Golden Globe nomination and to watch it, you cannot imagine anyone else filling those gigantic platforms.
Sure, it’s all a little jarring at first but then at ten minutes in, a song starts. An animation takes over the screen and tells the story of how love began. The song is called, “The Origin of Love” and the drawings are nothing more than stick figures shaking almost elegantly on parchment but it doesn’t matter. They capture exactly what the complex song is saying so simply. The song details how all of us were once connected with another. There were boys attached to other boys, girls with girls and even girls attached to other boys, if you can believe that. Until one day, the gods decided that too much fun was being had and split all of these perfect unions into halves that would then have to scour the world to find their counterparts. Before this moment, there was no need for love, to search for it, to crave it because it simply didn’t exist. Hedwig is not a man or a woman and certainly not whole. Her search is bold, empowered and unfailing … and will likely never be over.
I think its fair to say that there are still too few people who have seen anything like HEDWIG AND THE ANGRY INCH and I think its fair to say, too few people ever will. Thanks to John Cameron Mitchell though, a select group of fortunate people can now fell a little more open minded and hopefully a little more whole.
Black Sheep's 2001 Top 10 (in alphabetical order)
DONNIE DARKO, directed by Richard Kelly LE FABULEUX DESTIN D’AMELIE POULIN (Amelie), Jean-Pierre Jeunet GOSFORD PARK, Robert Altman HEDWIG AND THE ANGRY INCH, John Cameron Mitchell IN THE BEDROOM, Todd Fields L.I.E., Michael Cuesta MEMENTO, Christopher Nolan MOULIN ROUGE!, Baz Luhrmann MULHOLLAND DRIVE, David Lynch PRESQUE RIEN (Come Undone), Sebastien Lifshitz
An interview with actor/singer/songwriter, Jay Brannan
I first noticed Jay Brannan in John Cameron Mitchell’s controversial exploration of sex and love, SHORTBUS. He played Ceth, an aspiring musician who falls into the middle of a troubled relationship between two men named Jamie. His charm was winning, his smile was soft and his singing voice was soothing. I couldn’t help but fall in love with him right there and then.
I took to the internet, a place where Brannan has carved out a sizeable home for himself. His part in SHORTBUS led many people to his humble, self-made website. Brannan decided it was the right time to capitalize on his notoriety and did what he had to do to get himself into a studio to lay down as many tracks as he could afford. The tracks went up on iTunes and sold well enough over time to get Brannan the money he needed to record a full-length EP. “Goddamned” became available online this past July and immediately debuted in the Top 30. That’s pretty impressive for an unsigned independent.
Brannan is a new kind of artist. He is a modern success in every sense possible. He has utilized social networking sites like MySpace, YouTube and Facebook to the best of his advantage. Roles in films like SHORTBUS and the 2008 independent feature, HOLDING TREVOR, have raised his profile but it is his 21st century grassroots approach to self-marketing that has found him thousands of fans around the world, of which I am proud to count myself amongst.
I had the distinct pleasure of catching up with Brannan on the phone in New York the day before he left the country for his first European tour. I quickly found out that he is as multifaceted as his music.
Joseph Belanger: First off, I cannot start this without offering my congratulations. I love your album and I am a big fan. I will try not to gush throughout this interview. Jay Brannan: Thank you.
Belanger: I know you’re busy right now but I have a few questions for you. Hopefully they aren’t too personal but I figured seeing as how your album is fairly personal, you wouldn’t mind. Brannan: If they are, I’ll let you know.
Belanger: That sounds fair. I’ll just start by asking a bit about yourself. If you visit your website, one of the first things you read on the main page is a disclaimer you wrote claiming you’re not sure why anyone would want to know, see or hear anything about you. Yet, here we are having this interview. You’re about to go on a European tour. Clearly, people are interested in Jay Brannan. Has this sunk in? Brannan: I can see that is happening now. It just really surprises me. I can’t imagine why anyone would care. I just like writing songs and playing them for people. I always feel really grateful when people show up at the shows or send me e-mails or buy the CD. It’s nice but it’s hard to believe that I’m playing shows around the world. People shout out and request songs by name or sing along. It is kind of shocking to my brain.
Belanger: Hopefully your humility will stay with you. I feel like your path to success is this modern, grassroots approach, which is suitable considering you’re a self-professed folk singer. How did you make this all work? Brannan: Obviously, the era plays a huge part in this. I would be nothing if it weren’t for MySpace and YouTube. Even just my own website was constructed with some templates and HTML stuff but there’s a mailing list and all of this has been completely invaluable for me. Of course, being in SHORTBUS, was a big part. It was distributed around the world and being in that film as well as having a song in the film and on the soundtrack was the equivalent of going on a world tour without actually having to leave New York. Once the film was released, it just drove all this traffic to these sites where I just tried to maintain activity, keep putting music out. It was like all of a sudden I had 2000 MySpace messages.
Belanger: SHORTBUS received a mixed reaction when it was released. Given its highly sexualized nature, it cannot help but be the kind of film that polarizes people. Despite that, it certainly left its mark and we’re still talking about it now. What was it like being a part of that unique experience? Brannan: Being a part of SHORTBUS was one of the most meaningful things I’ve ever done. It was an incredible experience, just a personal and a creative level, without looking at the professional opportunities it brought to me. We worked on the film for two and a half years. The actors were cast before there was even a script. The thinking was that actors could be more comfortable taking risks like this, like having explicit sex on screen, if they had a hand in creating the characters, the plot, the script. We all became very close and I made some amazing friends. I’m very proud of how the film turned out. I feel like it has this greater cultural purpose.
Belanger: The SHORTBUS DVD actually goes into great detail about the process you’re describing. It sounds like it was much more of a communal effort rather than just something where you sign a contract, show up, shoot and go home. Brannan: It was an actor’s dream. I actually moved out to L.A. to be an actor but ended up quitting just because it is as miserable as everyone says. Once this film came along, it was more about the project itself and it ended up actually being more about what I genuinely liked about acting in the first place. John [Cameron Mitchell], the director, was very good at creating a warm, validating environment. It was like work and play were the same thing. It was just fun and creative and experimental and you don’t often get a lot of that.
Belanger: You mentioned that you had pretty much quit acting but now you’re in another film called, HOLDING TREVOR. Do you think that you might end up doing more acting as your career progresses. Brannan: I definitely have an interest in doing more acting but it’s just a little more difficult to do on your own. Filmmaking is so much more collaborative than music some times. I can write a song in the middle of the night in my apartment and throw it up online. While with film, you need a director and all these people to hire you and buy into you. With music, I can spearhead it myself. HOLDING TREVOR came from because my best friend in L.A., [Brent Gorski], had written a script for us to do together. It was an interesting project that I could make with friends. We had absolutely no money to make the film. It was the director’s first feature and she was willing to give this a shot on a budget that is basically barely enough to make a bad music video. It was just something that came along that would be fun and a way to make art with friends.
Belanger: Clearly, being true to your art is important to you. Your first full-length album, GODDAMNED, was just released last month. It is a very intimate experience. I thought we might chat about a few of the songs specifically in order to get to you the man behind the music. In “Half-Boyfriend” you sing, “You’re the pill I never wanted to take, my anti-misanthrope.” Does Jay Brannan resist love and happiness or is that no one worth it has convinced you of otherwise? Brannan: It’s a little bit of both. I probably do resist happiness to a certain extent because the opposite of that is my comfort zone; it’s what I’m used to. At the same time, I don’t feel like I’m making any of this up. I’ve always been an angsty, sad person. That’s just who I am and there are a lot of reason for that. Part of it might be some sort of chemical imbalance, I guess. People always ask why I’m so sad or why I’m so angry and I just want to shake them as k why they aren’t sad. Look around at this world and what’s going on. The truth is I walk around every day feeling the pain of the world. All these horrible things, they’re so frustrating. The world is the way it is and I’m just affected by that.
Belanger: The title track, “Goddamned” exhibits a certain bravery and honesty in your lyricism that is refreshing but also somewhat abrasive. Do you always say exactly what you’re thinking? Brannan (Laughing): Most of the time, yeah. I’m a pretty honest person. I have a concept of appropriate vs. inappropriate circumstances – when to keep my mouth shut. Just because I’m feeling a certain thing doesn’t mean it is necessarily the right thing to say. I don’t want to hurt other people or cause problems. I’m not always the best at it, like I’ve been fired from jobs before for being too honest in a professional setting. When it’s appropriate, like in a lyrical context, and I’m not going to hurt someone unnecessarily, I’m honest because sometimes you’ve just got to tell the truth regardless of the consequences. I’m actually really not good at the opposite, hiding things or keeping them to myself. It just builds up and makes me crazy.
Belanger: The song, “Can’t Have It All”, asks, “Do you want a lover or do you want a life?” Is it too simplistic to say that we can’t have it all? Brannan: I would like to believe that we can but I think all evidence points to the contrary. I think some people can have it all but I don’t think we all can, particularly in the way of love. For some reason, we’ve all been taught that everyone has a soul mate, then you look around and see how many people don’t. All these people who live out their lives alone or die alone; it just happens.
Belanger: So then, is it too simplistic to say that Jay Brannan is a pessimist? Brannan (laughing): Actually, I would say that’s pretty accurate.
For a pessimist, he’s a pretty lovable guy. Brannan is stopping in Toronto (September 19) and Montreal (September 20) before heading back out to Europe to continue his successful trek. If he isn’t careful, he might wake up one morning to realize he’s closer than he’s ever been to actually having it all.
For ticket information or to buy a copy of "Goddamned", please visit jaybrannan.com
I can’t speak for all the ladies out there but there comes a point in every boy’s life when he discovers he has a penis and how good it feels to lavish said penis with much attention. Sadly, the realization that there is more to life than satisfying your penis’ urges does not subsequently occur for every boy. In the opening scene of John Cameron Mitchell’s provocative new film, SHORTBUS, James (Paul Dawson) sits immersed in his bathtub. He has a video camera in hand and it is not long before he turns his focus to his flaccid member. What follows is a pulsating montage that introduces most of the film’s other players and sets the tone, announcing in a barrage of eruptions exactly what to expect. Broken up by sweeping spurts of an animated New York City (strikingly animated by John Bair), James bends over backwards for some good old fashioned auto-fellatio until his boyfriend, Jamie (PJ DeBoy), comes home; sex therapist, Sofia (Sook-Yin Lee) gets busy with her husband (Raphael Barker) all over their apartment before she fakes an orgasm rather convincingly; and dominatrix/prostitute, Severin (Lindsay Beamish), whips her latest John while he asks her views on world events and adds his own, uh, personal squiggles to the Jackson Pollock above his bed. There is no use hiding the sex in a movie about sex and you know instantly whether this is a movie for you or not. Sex controls these people’s lives. It motivates their decisions, stands in the way of their happiness and, for a little while, their frustrations become mirrors unto our own sexuality.
John Cameron Mitchell is a man who clearly thinks about sex very often. That being said, he clearly doesn’t just think about it with the head between his legs but the one on top of his shoulders as well. His previous feature film, HEDWIG AND THE ANGRY INCH (which he also wrote and starred in), smashed walls surrounding gender identification and forced people to see the person and not just the genitalia. With SHORTBUS, Mitchell dives deeper into desire and sexual identity. Characters like lovers, James and Jamie, want to open up their relationship and talk themselves through it to make sure they survive the transition. When they let a third man in on their fun, they blur the lines between love and sex. Like many others, they want to push themselves towards the exploration of their desires but they also ignore the emotional ramifications of being so open-minded. Meanwhile, Severin’s persona is hyper-sexualized to the point of being one-dimensional. She makes sure she comes across as a powerful sexual being but owning one’s sexuality outright means running the risk of having that become the dominant facet of your identity or, as in Severin’s case, it becomes a convenient rock to hide behind. In one of the film’s more touching plot lines, Severin’s rebellion pushes her so far from herself that she can no longer even say her real name out loud.
Serving as the opposing repression to Severin’s expression is the relationship between Sofia and Rob. Given her role as a couples’ therapist, the twosome strive for complete openness but what they maintain hidden are their deepest sexual desires and issues. In one of the film’s more brilliant moments of subtlety, Sofia, locked in her bathroom, is determined to give herself an orgasm, something she has never been able to do by herself or with the aid of someone else. The progression is coming along smoothly until Rob’s music blaring from the living room takes her out of the moment. The funny thing is that his music is purposefully that loud so that Sofia can’t hear him masturbating. When she storms in on him, he hurries to close his laptop so that she doesn’t see the sadomasochistic porn he’s watching. Whereas they seemed earlier to have a very healthy sex life together, it is revealed here that their connection only goes so far. Sofia does not know of Rob’s S&M interests and he doesn’t know she’s never been able to climax. As a result, neither is being fully honest with themselves or with each other causing their hang-ups to transition into actual marital problems.
SHORTBUS is not without its shortcomings. Hiring actors who are willing to do almost anything on camera means potentially not hiring the best people for the roles. While Lee and Beamish exhibit both strength and vulnerability in their roles, creating a quiet intimacy between them, the Jamie’s are merely amateurish. Deboy is devoid of personality and Dawson is meant to be downtrodden but comes off more as passive. Their surface performances lend to the film’s inability to go to the depths it needs to. Given that the film is trying to delineate between the physical and emotional permeation of one’s body and soul, just scratching the surface is not enough. In that sense, SHORTBUS is like mediocre sex – it passes the time and it is enjoyable but it doesn’t make your body ache for more and everything you felt during is gone by the time you get out of the shower.
_de_Xavier_DOLAN_5.jpg)
