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atinybitofau · 5 years ago

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S E O N G H W A ⭇ art thief au

WHO COULD PUT A PRICE ON FINE ART?

a/n: had a little fun with this one hehet

• “A little more to the left.. a little more... there! That’s perfect.”

• now I know this sounds boring.

• —you being one of the most elite art exhibit planners in the country.

• except you find it more worth while than anyone else normally would.

• art being more important to you than a menial article of praise.

• art was a gift—

• a skill no less.

• that shouldn’t be auctioned for money hungry fools.

• but for people with a taste.

• though you don’t give yourself enough credit.

• not like anyone gives it to you in any how.

• “Y/n, Mr. Jung won’t be making it tonight. The finalized list of visitors will be printed and in your hands before doors open.”

• you smile your assistant away, fumbling with white tulips in a priceless vase.

• “One less of a burden anyway. We can open doors at 7.”

• things at the exhibit were perfect.

• after all, it was you who planned it.

• artists from far and wide just thieving for your expertise.

• the expertise of setting their art up.

• time was almost near,

• you, yourself presenting like an art piece from the pop up.

• but lights blind you as you check yourself in the mirror.

• halls eerily quiet.

• till you hear a hushed glass shatter over your breath.

• you run on your 5 inch heels thinking,

• how could you have been so unprepared?

• you, a widely known exhibit planner,

• to be robbed minutes before the exhibit even begins.

• you gasp,

• when the lights flicker on.

• a man like Spider-Man hanging lopsided from a rope, only lips shown to you.

• vice and like an art form itself.

• the way it mocked you and your excellence.

• “You’ve done an outstanding job, Ms. y/n. With your over the top art events— I couldn’t help but drop by and steal a glance of my own.”

• your jaw tightens and you’re eye locked with the masked robber.

• “A man like you shouldn’t feel honored.”

• “That may be so. But I’m definitely honored by the art pieces you have put out here today. One in particular I seem to be granted on.”

• he’s talking about you.

• though hiding behind a mask,

• feeling tempted to reveal himself in your presence.

• “My staff... what have you done with them?”

• “Oh? The poorly rooted crew you call your staff? Those little pesks would believe any voice out of your given ear pieces. Even if it were my own.”

• “Of all exhibits, why mine?” you ask the thief, eyes still unruly drawn to his.

• more tempted to pull the mask right off his face.

• if not for the visible gun and knife at his collar.

• “Now, Miss. That’s no way to credit yourself. You’re the most enviable art host in all of South Korea. Not at all tasteless. And maybe a little bit uptight but that’s no ridicule. I would steal your art auctions faster than you could say you’ll spite me for it.”

• “Is it too late?”

• “Depends. Turn around and we’ll see.”

• you reach to slap him when he graces on his rope like a stripper.

• lips smirking at you through his ski mask.

• and you visibly shudder, gulping.

• eyes watering when every single painting, sculpture, and art form disappeared while you had been conversing with the thief himself.

• “Y-you’re gonna pay for this.”

• “Will I?”

• the lights flicker again and you’re left in an empty space.

• no beauty.

• no art.

• no skills left to present.

• you were helpless because of a damn thief.

• and after paying your dues,

• a kind sue despite it being your fault,

• now jobless at the will of the devil,

• close to committing suicide for losing your whole life.

• just from one hell of a heist.

• “Y/n, there’s a check for you in the mail.”

• you look up concerned, letter now in your hands.

• it’s a check for half of a million.

• you noticing the only hint at the corner of the letter.

• an address?

• and a note hidden inside as well.

• ‘though you don’t give yourself enough credit, miss, you did take part in the most successful heist in South Korea’s crime syndicate. here’s your share. if it doesn’t tickle your fancy, why don’t you give my little art exhibit a visit? Maybe we could negotiate a price more reasonable for you.’

• your fingers play with the check.

• all of your debts solved if you do accept it.

• classless money.

• though...

• you had to admit that you were tempted to give yourself the credit.

• after all?

• wasn’t it you who set up the most successful art heist in the world?

• “Woah, girly. You’re at the wrong art exhibit.”

• shakily, you try to make out the lips on this handsome man.

• not the man you’re looking for, you think.

• not the art form you couldn’t stop thinking about for the past months on end.

• not the one who robbed your life away in a light’s flash.

• “Who sent me this?” you ask another man whose lips also had no resemblance to the lips you look for. “I need to beat the shit out of them.”

• one on the stair railing, eyes of glass shards smirks at you poking interest.

• “Brave for someone who rudely walked into a fox’s home.” the blond sings quoting the thief of animals. “As a past art collector, don’t you think you could give the home’s residents a little more class? Like complimenting the art on the wall. The least you could do, Ms. y/n.”

• he’s not him.

• speaks like him.

• acts like him.

• but he’s not.

• “I know you’re trying to deceive me. But I’m here to thank your little boss. Someone a little less tasteless.”

• he’s impressed.

• thinks you’re as graceful as they come.

• no doubt the woman his boss has been pining for.

• an art that he’d insist on stealing if it didn’t come to him fatefully.

• “What makes you think I’m not him?”

• “I’m an art collector, didn’t you say?” you taunt the petty thief, other’s joining in on the show. “I have a knack of weeding out the grotesque virtues.”

• “It’s a wonder why you haven’t joined us yet.” the blonde jumps off nodding towards the highest level of the building. “Doing quite well stealing the hearts of men, why not the art on people’s walls that they don’t deserve?”

• he makes one hell of a statement though.

• for someone who knew very little of you.

• that you’d have a knack of doing what they do.

• “Go on then. The art piece you’re looking for’s up there.”

• you shove the cash check into his chest before storming up,

• for the moment,

• for the first time in your life ignoring the paintings on the walls.

• sighted on a more particular object of beauty.

• “Ms. y/n.”

• you stare at the curves of his back.

• as he stands in front of clear glass panes that face a city.

• like a truly priceless art form.

• “Finally giving yourself the credit you deserve?”

• you take a deep breath before saying, “Depends. Turn around and we’ll see.”

• so he does.

• and you think you need to give yourself more credit too.

• for finding the most beautiful art piece in the world more definitely being a vice you shouldn’t be shameful for. but proud of.

• “Yeah.” your lips twitch. “I should give myself more credit.”

• his eyes spoke more than it should.

• like something out of a museum.

• history of unspeakable truths.

• you wanted to keep it for yourself.

• an art you didn’t want to sell even if your life depended on it.

• “Ms. y/n. I hope you didn’t show up here to return what you insisted I’d pay for?”

• you let him enjoy mocking you.

• heels locked in place when he’s towering you the way he did on a rope not even a year ago.

• his head cocks in interest. “What’s this? You don’t seem unhappy. More enticed to see me actually. Now of all exhibits, why mine?”

• you’re in a time lapse.

• of hand crafted beauty at your disposal.

• but no one’s asking you to auction anything but yourself and your life.

• fully committed to using your skills for his bidding.

• “What you did to me deserves more than just a payment from selling you out the largest art heist in the world. I deserve more credit than that.”

• he’s bought.

• the way you look.

• the same way he did when he was robbed of his own life years ago.

• the vengeance and the vice.

• “That you do.” he glances to your lips. “Is this your way of saying you’d like to plan one of my heists, ms. y/n?”

• if this is how everyone feels about winning an auction.

• maybe you were wrong about the tasteless rejectables of high society.

• “Do you doubt my skills, fox thief?”

• “Give me none of that,” he chuckles lowly. “I am no fox. Just a man who craves the best art in the world.”

• “And I’m just a woman who came here to beat your ass.”

• he smiles at you.

• thinking you’re definitely the one art piece he left behind that day he should’ve stole over anything else.

• “And now?”

• “Now I just want kiss your ass. For giving me the credit I’ve always deserved.”

• you think he’s the greatest creation.

• for knowing true art and what’s valuable—

• the recognition.

• not the fame.

• “Did you get to look at the art downstairs? My exhibit that’s been needing a skillful planner like yourself.”

• your eyebrows frown. “More stern on finding you.”

• he smirks. “How sweet. Though... why don’t we take a second glance at them, shall we?”

• you follow him out.

• his hands interlaced with yours.

• as your greeted to 7 other smirking men at not only your disposal, at the bottom of the staircase.

• thieves in their natural habitat.

• surrounded by paintings that none other than you had painted years ago.

• that you thought you had sold to an anonymous collector.

• “Now about that heist we talked about. Let’s start by stealing what you really deserve.”

• he spins you around.

• arm locked up with yours.

• “How’s my heart sound? What kind of a price would you put on that?”

• “A price only I could afford, I’m sure.”

@atinybitofau

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letterboxd · 3 years ago

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The Eyes of TIFF.

Programmers for the 46th Toronto International Film Festival chat about the degrees of intensity they look for in a festival film, and help us zoom in on the gems from TIFF’s 2021 program, by genre and region.

“Intensity can be achieved in so many different ways. I know it when I feel it. You feel it in your gut.” —Cameron Bailey

It’s almost business as usual for TIFF this year. In-person events and red carpets return, but a healthy virtual program is also available for Canadian-based folk unable to travel, as the Covid-19 pandemic continues its onslaught.

TIFF co-head and artistic director Cameron Bailey has been with the festival for just over half its life, and says while some of the technology has changed in that time—“you’re no longer sitting in front of a TV monitor with VHS tapes… or waiting for 35mm prints to be spooled up and projected for you”—the “basic process of falling in love with movies” has not.

It’s a challenge, Bailey says, to winnow down the films he falls in love with for the final TIFF lineup. And even then, it is an annual challenge for film lovers tight on time to narrow down their own selections. So, ahead of the fest, Bailey joined fellow TIFF programmers for a Twitter Spaces conversation with our editor in chief Gemma Gracewood, in order to help Letterboxd members make some watchlist decisions.

Joining Bailey were Thom Powers (TIFF Docs), Peter Kuplowsky (Midnight Madness), Robyn Citizen (senior programming manager), Diana Sanchez (Special Presentations, Spain, Latin America, Portugal and the Caribbean), Diana Cadavid (International Cinema) and Nataleah Hunter-Young (Africa, “the Middle East” and the Black Diaspora).

Edited highlights of the conversation follow, so have your watchlists close at hand.

‘The Eyes of Tammy Faye’, written by Abe Sylvia and directed by Michael Showalter.

Thank you all for joining me today. You watch a lot of films as you’re going through the selection process. How does one make itself stand out to you? Cameron Bailey: For every programmer it’s going to be something different. For me, it comes down to an intangible quality of intensity. That can be emotional intensity, it can be the intensity of formal elements, the cinematography, the performances, the writing. Some sense of concentrated emotion and momentum, where you get the sense that a filmmaker is trying to find a way to distill the essence of what they’re trying to do and communicate it to an audience through all of the tools that cinema provides. That doesn’t mean the movie has to be fast-paced or have a lot of dramatic jolts, as intensity can be achieved in so many different ways. I know it when I feel it. You feel it in your gut.

What would you say are some of the performances that have struck you the most this year? CB: Jessica Chastain is the lead in a film we’re premiering called The Eyes of Tammy Faye, directed by Michael Showalter. If you were watching TV in the ’80s and ’90s, you will remember Tammy Faye Bakker, and her husband, Jim Bakker, who were TV televangelists. You couldn’t miss Tammy, as she had these giant eyes and makeup with giant eyelashes, and this is essentially her story. It’s hard to know at first that it’s Jessica Chastain underneath all of that makeup, but she gives a performance that’s not just about the exterior. It’s about a woman who is shaped by a difficult upbringing, shaped by this incredibly deep need she has for affirmation, to be on TV, to be in front of the camera, and that guides her decisions into extremes. She’s fantastic in it.

Benedict Cumberbatch is back with two films. He is the lead in Jane Campion’s The Power of the Dog. It’s an understated, slow-burn performance in some ways, which he can do so well. He’s also in a film that’s on the opposite end of the dramatic spectrum, The Electrical Life of Louis Wain. It’s based on a real person, and when you watch the film you will be amazed that this person actually existed. Wain, in the early part of the twentieth century, was a prodigious painter who turned his talent towards painting thousands of cats. Cute cats, big eyed cats, fuzzy, adorable cats. He’s largely responsible for cats becoming as big as they are as domesticated pets. It’s a wild story.

I’m still recovering from watching The Power of the Dog’s trailer earlier today, and had to promise myself that I wouldn’t take up this entire time talking about Jane Campion’s obsession with hands. The Spencer trailer dropped as well, which has a lot of buzz around it. CB: Yes, Spencer is a remarkable portrait. Some of us remember Princess Diana, some of us have watched The Crown, and so have a very recent image, but this is a completely different performance that Kristen Stewart gives. She’s remarkable in it. I think everybody’s going to want to see this film.

‘Charlotte’, written by David Bezmozgis and Erik Rutherford, directed by Tahir Rana and Éric Warin.

Are there any other titles you’d like to get the buzz started for, Cameron? CB: On the animation side, I would say people should look out for a film called Charlotte, by Tahir Rana and Éric Warin. It’s a Canadian film telling a story based in World War II Europe about a woman in a Jewish family [exiled] in France during the occupation of France by the Nazis. She can feel what is coming. She decides to paint everything about her life, and her family’s life, trying to document what she feels is going to be very fragile, and what she might lose altogether.

As it turns out, before the end of the war she was taken away to a death camp by the Nazi regime, and she didn’t survive, but her paintings have survived and they were turned into a book, along with the story of her family. The animation is just gorgeous. I think that’s one that awards bodies are going to be paying attention to. It’s one of the best animated films I’ve seen in quite a while.

Thom, what are some of the documentary titles that you and the team think those awards bodies will have their eyes on? Thom Powers: A big one to pay attention to is The Rescue, by Chai Vasarhelyi and Jimmy Chin, who won the Oscar for their last film, Free Solo. Their new film is looking at the Thai cave rescue [in 2018], when a group of young soccer players and their coach got trapped by monsoon floods in a cave. When we were watching the news, we were seeing the journalists reporting from outside the cave. What this film does is bring you inside that rescue using footage that’s never been seen before. Chai Vasarhelyi and Jimmy Chin are masters at the documentary adventure genre, and also [at] bringing a real human side to the people involved, which they do again here.

I’ll also mention Becoming Cousteau, by Liz Garbus, and Julia, a film about Julia Child, directed by Julie Cohen and Betsy West, who made the Oscar-nominated documentary RBG a few years ago. So many of us during the pandemic had to rediscover ourselves in the kitchen, and Julia Child’s life was about making people feel more comfortable in the kitchen, which makes it a terrific film to watch at this time.

‘Saloum’, directed by Jean Luc Herbulot.

Peter, what’s a movie from this year’s Midnight Madness lineup you’d love to recommend? Peter Kuplowsky: We’ve got a lot of firsts at Midnight this year. We have Saloum, the first time a West African film has ever been in Midnight. We’ve also got Zalava, which is the first Iranian film to play in Midnight. Our opening film for Midnight Madness is Julia Ducournau’s Titane, which is playing at the Princess of Wales theater, and will be a spectacle to behold. When I’m looking for Midnight Madness, I like hearing the audience make certain noises in the room, whether that’s a gasp or screams or laughter. I feel that every note on the scale is going to be played during Titane by the audience.

Brilliant. Now, we’re going to bring in some audience questions. First up is Vincent, who says that one of their favorite films is Georges Franju’s Eyes Without a Face, and asks if there are any films in this year’s TIFF lineup you could recommend for a fan of that film? PK: I’ve really been encouraging people to check out the films I just mentioned, Zalava and Saloum, and I think Zalava especially would fit here, as it’s more of a horror-drama. It begins as something that is steeped in the supernatural, but as it escalates it becomes something of a pitch-black comedy while still maintaining a gravitas to it. I think it’s one of the most fascinating discoveries in the genre space this year.

CB: I’d also add Good Madam, by Jenna Bass, from South Africa. It is a chilling movie, with a bit of an Eyes Without a Face vibe. If you like that sort of approach to cinema, I think you’ll like that.

PK: Vengeance Is Mine, All Others Pay Cash just won the Golden Leopard at Locarno. With a title like that, this is a film that feels like it’s going to be sort of a strictly pulp crime film, but it’s so much more. It’s deeply romantic, incredibly eclectic, and beautifully shot on 16mm film. It feels like a film that was hidden away, shot in the late ’70s or early ’80s. It’s a throwback to 1980s Hong Kong action films, while also, I can’t stress this enough, being one of the most romantic films in the festival. You’ll fall in love with this relationship while it’s also working in fight sequences and magical realism.

Nataleah, what’s something you would recommend from your TIFF selections from Africa, “the Middle East” and the Black Diaspora? Nataleah Hunter-Young: One I’d highly recommend is Costa Brava, directed by Mounia Akl, from Lebanon. Even amidst what’s going on in Lebanon right now, the film offers a beautiful and engrossing portrait of a family that includes a grandmother who’s a non-actor, but has impeccable comedic timing (that travels through the subtitles if you don’t speak Arabic).

‘Snakehead’, written and directed by Evan Leong.

Robyn, what’s a movie that surprised you most during your selections this year? Robyn Citizen: I always recommend that people check out our Discovery section because that’s where we find new talent and nurture new voices. The film that really surprised me this year was Snakehead, by Evan Jackson Leong. Some people will know him from a documentary called Linsanity, and he did another documentary about evangelism in Korea. Snakehead has been a ten-year labor of love for him. He had to do a Kickstarter for the film, which is loosely based on the life of a woman named Sister Ping, who had a human trafficking ring that was the biggest trafficking ring for about 20 years.

The film tackles what’s going on now with vulnerable populations being trafficked into America, in particular Chinatown in the US, and the main character, played by Shuya Chang, has to fight to find her daughter. It’s an exciting film, and very moving. It’s extremely tightly edited, and it looks fantastic.

We’ve got our next question here from a member who says their favorite genre is science-fiction. While Dune is at the top of their watchlist, are there any other sci-fi selections you could recommend? PK: I would recommend After Blue (Dirty Paradise), which is a perverse science-fiction by Bertrand Mandico. It reminds me a lot of the French animated film Fantastic Planet. This one is about a planet which is inhospitable to men because of the way hair grows. The plot follows a young teenage girl who accidentally unleashes a notorious criminal that she and her hairdresser mother have to stalk through the alien landscape that is full of bizarre creatures and liquids and gases. I feel it’s kind of like the inverse of Dune, and an opportunity to explore a bizarre ecosystem.

NHY: I would totally insist that this member see Neptune Frost, from Saul Williams and Anisia Uzeyman. It’s a difficult film to put into words, but I’ve been summing it up by calling it an Afro-sonic sci-fi musical.

Whoa, that sounds like a whole new subgenre. NHY: That’s just the beginning. There’s a lot to experience in this film. It’s a cosmic romance that follows an intersex hacker and a coltan miner who make their way to this kind of dream space where they connect with others as they travel through these lush mountainous regions of Rwanda and Burundi. It’s a beautiful anti-narrative that is impeccably colored and totally consuming. It’s a must-see for anybody who loves cinema.

Diana, what would you say is the best debut feature that you’ve seen among this year’s international selections? Diana Cadavid: There are so many wonderful new talents, but I think I’ll go with an Argentinian filmmaker named Agustina San Martín. Her film, To Kill the Beast, is a co-production between Argentina, Brazil and Chile, and she worked for nine years to put this all together. She started working on it when she was 21, and we were actually having a conversation yesterday about her process, and how it’s a film that deals with the growth of a woman, and female desire. There’s this idea of the beast, something that’s either from inside or from outside forces, trying to control the human mind and body. It’s a very interesting film, gorgeously shot and very atmospheric.

‘Yuni’, written by Prima Rusdi and Kamila Andini, directed by Andini.

We’ve got another question here from David, who says their favorite films are humanistic dramas, citing Hirokazu Kore-eda as one of their favorite directors. Would anybody have any recommendations for David? CB: I can recommend at least one film, called Yuni, an Indonesian film from Kamila Andini. This is a naturalist drama about a high-school girl who is one of the top students in her class, and has a great group of friends. We slowly begin to see that her life is being constrained by one man after another, and then something happens at school, which begins to narrow her possibilities for her future. She’s trying to figure out things like sexuality and romance and what she wants to do with her future, and all of these obstacles keep getting placed in her path. It’s told in a very gentle way, but very incisive as well. Each scene really matters, taking you deeper inside this girl’s life.

RC: Our senior programmer Giovanna Fulvi programmed a film called Aloners, a South Korean film by Hong Sung-eun. This is her first feature, and it’s very much a film of our time. It is about a woman who works in the gig economy at a credit-card customer-service call center. It’s a very transient existence. She doesn’t talk to anybody, she eats by herself, she doesn’t really want to associate with the people in her apartment building. One day, one of her neighbors who has tried to talk to her many times passes away, and she has to re-interrogate the way that she’s been living her life, and figure out if it’s worth starting to form some human connections.

Next up is a question from Matt Neglia, from the Next Best Picture podcast. Matt says that he’s a massive fan of epics, whether they’re three hours long or just telling an expansive story with lots of world-building. Apart from Dune, are there any other films in the lineup that you would describe as epic? CB: While Joachim Trier’s The Worst Person in the World might not strike you on reading its synopsis as an epic, I think it actually is an emotional epic. It’s the story of a young woman who’s trying to figure out her life. Her romance with one boyfriend doesn’t quite fit the bill for her, and she begins this looking and exploring. Trier and his writer and lead actor do remarkable work, blowing open the idea of a person trying to define who they are at this turning point in their life. They make these stakes massive and they have all kinds of interesting, innovative, formal elements in [the film] as well. It’s incredibly cinematic. If you’ve seen Joachim Trier’s other films, this is kind of the conclusion of a trilogy that he’s made.

‘Listening to Kenny G’, directed by Penny Lane.

Next up, we have Sarah, who is looking for movies about music, and also some body horror. CB: We’ve got a number of great music docs this year. I have to mention Dionne Warwick, the queen of Twitter, who is the subject of Dionne Warwick: Don’t Make Me Over. It tells the story of this incredibly talented, determined and glamorous musician who broke so many barriers. She toured in the south during the Jim Crow era, making gains as a Black woman in the music industry and in the pop-music industry, not the so-called race-record or Black-music industry, which simply wasn’t done at the time. This documentary tells that story, and also shows her later work in the ’80s contributing to the fight against stigma and hysteria during the AIDS crisis.

PK: I’ll follow up Cameron by mentioning the Alanis Morissette film Jagged. We’ve also got a film about the great jazz pianist, Oscar Peterson, called Oscar Peterson: Black + White. Lastly, there’s a film about Kenny G, called Listening to Kenny G.

Diana Sanchez: For the body horror, I’d like to mention the debut film by Ruth Paxton, titled A Banquet. It’s about a young woman who insists her body is no longer her own, and is a service to a higher power. Her mother has no idea what to think. She stops eating, and her mother doesn’t know [whether] to believe her or not. I love Ruth Paxton’s work, the way she shoots the film, the way she shoots the food. It’s almost, as she refers to it, pornographic. It looks delicious and gross all at the same time.

I’d also like to flip to comedy quickly to mention Official Competition. The film stars Penélope Cruz, Antonio Banderas and Oscar Martínez. Cruz plays a filmmaker who puts together a well-known theater actor and a well-known box-office glamor guy, played by Banderas. The film speaks to the tension between high art and more popular art, testing those boundaries. It’s incredibly funny.

We’d love to squeeze a few more films out of everyone for our watchlists. Could you each recommend one film and try to sell it in ten words or less? CB: Let me try. Sundown, by Michel Franco. Tim Roth falls apart beautifully in Mexico.

TP: I’m going to go with the Mexican documentary, Comala. Filmmaker Gian Cassini explores the legacy of his father, who was a Tijuana hitman.

PK: I’ll go with Saloum, which is basically From Dusk Till Dawn in West Africa.

RC: I’m going to say The Wheel, a movie by Steve Pink. If you like Who’s Afraid of Virginia Woolf?, this is like that with a younger couple in a much more humane, intimate key.

DS: I’ll say I’m Your Man, a sci-fi where Maren Eggert dates a robotic Dan Stevens.

PK: I know Diana has been recommending a film called OUT OF SYNC, about an artist who begins to experience the sound of the world going out of sync. She starts hearing sounds from the past because people and things are out of sync with their surroundings.

NHY: I’ll go with The Gravedigger’s Wife, directed by Khadar Ahmed. It showcases the horn of Africa unlike you’ve ever seen it on screen.

Finally, for Cameron: with fall coming, what is the best TIFF 2021 movie to watch under a blanket, either because it’s cozy or because you’re terrified, or both? CB: Great question, which gives me a chance to talk about Earwig, the new film by Lucile Hadžihalilović. If you’ve seen Innocence or Evolution, her two most recent films, you’re prepared in terms of tone, but you’ve not even seen Lucille make a film quite like this. It’s eerie, disturbing, hypnotic, mesmerizing. You can’t stop watching, but you’re always afraid that something awful and horrifying is about to happen… and maybe it might.

‘Night Raiders’, written and directed by Danis Goulet.

To bring it all back home, what would you say is the Canadian film of 2021? CB: It’s always hard to say, but I think in a year where we have Danis Goulet’s feature Night Raiders, that’s got to be the one. Danis has made some exceptional short films over the last few years that people might know. Her feature takes on the horrific, devastating story of residential schools and children torn from Indigenous families and put in institutions where the goal was to erase their Indigenous identity. She takes that terrible, real history that we’re grappling with right now in Canada, and turns it into a piece of speculative fiction, a kind of propulsive thriller.

By turning it into fiction rather than reality she can use all of the tools of cinema to tell a terrific story that’s exciting and has high stakes, but also has this deep resonance of a truth that we are, I hope, coming to terms with in this country.

The Toronto International Film Festival runs from September 9 to 18. This conversation has been edited for length and clarity. Follow TIFF on Letterboxd, and follow our Festiville HQ for regular festival updates.

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bookclub4m · 1 year ago

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15 Pulp Novels & Anthologies by BIPOC Authors

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

Adios Muchachos by Daniel Chavarría, translated by Carlos Lopez

Ring Shout by P. Djèlí Clark

Bad Men and Wicked Women by Eric Jerome Dickey

Four Bullets for Dillon by Derrick Ferguson

The Green Lama: Scions by Adam Lance Garcia

The Banks by Roxane Gay and Ming Doyle

A Rage in Harlem by Chester Himes

Blind Corners by Jemir Robert Johnson

It Came from Del Rio by Stephen Graham Jones

The Blaft Anthology of Tamil Pulp Fiction edited by Rakesh Khanna, translated by Pritham K. Chakravarthy

Vengeance is Mine, All Others Pay Cash by Eka Kurniawan, translated by Annie Tucker

Once Upon a Time in Afrika by Balogun Ojetade

One-Shot Harry by Gary Phillips

Black Pulp II edited by Kimberly Richardson

Trail of Lightning by Rebecca Roanhorse

#genres #pulp #fiction #booklists

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lamiasluck · 4 years ago

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An Eye for Art

Here’s my first non ego story! Set in a high end art auction, one piece differs from the rest. A classic haunted painting with a gruesome story, as well as many past buyers that returned it time and time again. It seems like a lost cause to sell, if not for a strange man with an eye for the spiritual.

@emptynarration @alvie-ashgrove @shy-marker-pliers @juju-on-that-yeet @m4delin @lildevyl @verse2wo @ferociousfangirlofmanyfandoms (sorry if you don’t wanna be tagged uwu)

The lively crowd travelled around the room with an eager attitude amongst all of them. All strangers, for the most part, but all united with the common interest of tonight’s gathering. A love for the arts. Or, more specifically, a love for buying things in an auction. Rich and pompous people throwing away their money and overindulging in fancy champagnes. Nothing more the dull hearts could need.

With numbered auction paddles in hand, the group bid on various works of art from all sorts of mediums. Many artists were getting their hefty dose of recognition from the rich connoisseurs. One spent half a decade carving a detailed statue of an angel and earned enough money to make a stone army. A painting, one of a detailed setting of cultures, was made by a man that almost missed the auction because he overslept. Truly, this was a game for anyone looking for their slice of fame.

All, but one, of the artists showed up to take credit for their hard work and revel in the praise. There was something for all walks of life on this particular night. The group setting it up got lucky with the pieces they could gather. Though, one of the pieces would be concerning to want.

As the night went on and the artworks got new owners, there was one piece left by the podium. An antique, by the looks of it, with beautiful, hand-carved framework and a setting of a valley, with women frolicking through a meadow. On the surface, it seemed lovely, however, the crowd exchanged wary glances amongst each other, like it was hideous. No artist taking credit for it, no one showing any interest. The auctioneer cleared his throat awkwardly.

“I know you must be tired of seeing this thing, folks, but it was recently donated back by the last buyer,” he explained. There was a tight smile on his face as he tried to lighten the mood. “How many does that make now? Two? Four? Maybe six, if you count the guy that could handle it for an hour…” he laughed lightly. Didn’t get many others chuckling with him.

Barely anyone wanted to look at the painting, let alone bid on it. Clearly, no one wanted it, by what the auctioneer saw. All those paddles stayed firmly to everyone’s laps. In a way, it looked like there were more statues for sale. A simple nod of the head could be interpreted as a bid, after all, if the auctioneer is that desperate. And he was.

This painting had a story. Frequent attendees knew it too well by this point. The Valley Girls had a long history of buyers, ignorant or curious alike. Many could only handle the painting for about a week. An old piece with a background of murder and vengeance hiding behind that cheery setting of flowers and sunshine. The auctioneer let out a heavy sigh, shivering even standing near the damn thing. Those valley girls had small, but piercing eyes that seemed to follow whoever looked at them.

“I’ll be easy on everyone. Can I get, say, $50?” The auctioneer scanned the crowd for anything. “Going once…” The crowd stayed silent, which wasn’t surprising. “Twice…” Maybe this painting would be better off burned. It doesn’t matter if it’s made with rare oil paints, or that the frame was carved from the finest oak. Something like this shouldn’t exist.

“Oh, I’m sorry-!” a quiet voice spoke up, followed by a raised paddle to make the last second bid, Number 4, something no one had seen this entire night.

Everyone looked to see a young man standing behind the crowd. Short in height, so it was easy to miss him, but he dressed just as proper as everyone else here, in a suit jacket and turtleneck. He fidgeted with his glasses, looking down as everyone stared at him.

“Sorry… I was thinking to myself.” This man kept his paddle raised. The only confident thing about him.

“Are you sure, sir?” the auctioneer asked.

The man nodded. “Yes, that’s in my budget.” Everyone else looked shocked. Such a kind and shy man was about to make the biggest mistake of his life.

It simply wasn’t believable. “Do you know what this is?” Screw making a sale, the auctioneer was concerned. “The history?”

Another nod. “Yes… I’ve done my research,” the man replied, confused. “I know about all that… and a couple interesting facts!” He pointed to the corner of the painting. “Those red dots there aren’t more flowers, actually. It’s the blood… from the murder… um.” He cleared his throat. “Sorry, that’s a bummer fact… ignore me.” He ducked his head again and let his fluffy, black hair hide his embarrassed face.

Well, at this point, couldn’t deny a bid. “You can put the paddle down now,” the auctioneer whispered and was met with another quiet apology. He got the crowd’s attention back to continue, albeit much quicker. “Do I hear 75? Going once, twice- sold! To the man that shares too much.”

Very hesitant applause followed. Everyone gave the man odd looks, before talking amongst themselves as they dispersed. The last piece had been sold and the night was coming to a close. Not necessarily leaving on a high note, but overall it was a fun night. The auctioneer guided people who purchased artwork to pay and find ways to carefully bring it home. The odd man stayed by the side lines to let everyone pass by. Better not draw any more attention, especially with the judgemental glances he was getting.

Once everyone paid for their things and the artists began bidding their goodbyes with their pieces, the man went over to collect his painting. That auctioneer was still around, watching over things and keeping a curious eye for the haunted painting. Such a timid man bought the damn thing. He was small, not just height wise, but he carried a demeanour that didn’t want to be seen. Hands that constantly fidgeted with his glasses, shoulders slumped to make his posture tinier, nervous expressions. God, this man was going to die by whatever demons plagued the Valley Girls.

“Can I get your name, sir?” a receptionist asked.

“Xander,” his voice was still as quiet as ever, “Collins… Xander Collins. Sorry…” He gave a shy smile. “Should I spell it out or…?” “That’s alright, mister Collins,” she reassured. “I think I got it. Enjoy your painting, if you can.”

It was cheap enough that Xander could pay for it with cash. Looked like she, and many others, were rushing the process to get it out of here as soon as possible. Still, it was packaged nicely and the perfect size for him to carry himself. Now to give everyone a peace of mind and be on his way.

“Excuse me.”

Xander flinched, looking back and seeing the auctioneer heading towards him. He gulped. “Yes…?”

“Sorry, just wanted to ask a couple questions. It’s scratching at my mind, I suppose,” he chuckled awkwardly. “I’ve never seen someone know the backstory of this thing and buy it. You one of those ghost hunters?”

Ah yes, the classic question. Xander was used to it, but he still fidgeted under the other’s gaze. “I guess I collect art like this… it’s a hobby of mine,” he explained. “I’m an exorcist.”

The auctioneer hummed in curiosity. “Oh~ So you’re gonna kill the ghost! I get it.”

“No-! Never!” Xander sputtered, before clearing his throat and looking down. “Sorry… I just- I don’t hurt the ghosts. Sorry.”

“What? Then what are you doing with them? Playing patty cake?”

Xander shook his head, frowning slightly. “I help them pass on… peacefully. They’re stuck here and helpless.” In a way, the spirits were humans still, and he certainly didn’t want to treat another human with malice. Not with how gently he held the painting against his chest.

“Oh, I see. Kinda.” The auctioneer furrowed his brows and looked at Xander with a puzzled expression. “Well, you have fun with that, then. No refunds.” He turned on his heels, walking away quickly.

Xander breathed a sigh of relief as he’s finally left alone. The trip to his car was easy after that. He placed the painting in the passenger's seat, not crazy enough to buckle it in like a person, thankfully. Though, the idea did make him giggle.

The air was tense with the painting beside him, making a shiver crawl down his spine. Still, he didn’t falter. He was as confident as ever compared to how he acted in front of the others. “I’m glad I finally found you, Mary Ann,” he hummed in content. “That place was scary…” He gripped the steering wheel tightly, before taking a deep breath.

The painting obviously didn’t speak back, but Xander didn’t expect anything. “Everything will be okay… hopefully.” With his research, it should be fine. Doubt was always a tricky problem, though. “I’ll do my best…”

Some may say Xander had a dangerous hobby. The art pieces he collected had very real stories of people getting hurt or traumatized, after all. However, he had his precautions. Be respectful. Be patient. Be helpful. No running away screaming for him, not with a job to do.

Not many would praise the strange boy hunting for ghosts to save, but it was an interesting hobby. Every time a spirit felt at ease and passed on in Xander’s presence, he took pride. Ghosts were simply unfortunate souls that got stuck in a confusing situation. So, he doesn’t mind going the extra mile for their sake, even if he could only make a dent in his effort. One art auction at a time.

#oc: xander #my writing

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southeastasianists · 5 years ago

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While some Indonesian authors such as Pramoedya Ananta Toer and YB Mangunwijaya are relatively well known by global readers, many works by contemporary writers are just beginning to gain traction as they have just been translated in recent years. Here are several books by Indonesian authors that have been translated into English, for those who wish to enrich their reading palette.

1. Vengeance Is Mine, All Others Pay Cash

Written by Eka Kurniawan, translated by Annie Tucker

Eka Kurniawan, of Beauty is a Wound fame, tackles the world of street fighting and petty criminals in this book. The story puts Ajo Kawir in the spotlight, along with his impotent genitals and his hopeless romance with female fighter Iteung. Following his break-up with Iteung, Ajo Kawir becomes a fearless fighter with nothing to lose.

The book is written in short, fast-paced chapters with poetic and witty lines that are characteristic of Eka Kurniawan. Through the story of Ajo Kawir, Eka presents hard-hitting jabs on the Indonesian government and society.

2. The Original Dream

Written by Nukila Amal, translated by Linda Owens

Originally published in Indonesian as Cala Ibi in 2003, the novel gained widespread attention after it was shortlisted for the Kusala Sastra Khatulistiwa Nominee that year. The book might put off some readers at first due to its nontraditional plot, which tells a story within a story. However, the lyrical writing and vivid imagery lend the book its strongest appeal.

The book tells the story of Maya/Maia and a dragon named Cala Ibi as they venture into the world of dreams, inviting the reader into a magical realism story.

3. The Adventures of Na Willa

Written by Reda Gaudiamo, illustrated by Cecillia Hidayat, translated by Ikhda Ayuning Maharsi Degoul and Kate Wakeling

Despite being marketed as a children's book, Na Willa also makes an amusing yet nostalgic read for all ages.

The book is told in short stories, as if it is written by Willa herself, portraying the day-to-day adventures of a child growing up in a suburb of Surabaya, East Java. Curious and strong-headed, Willa makes a perfect companion for both children and adults.

4. Paper Boats

Written by Dee Lestari, translated by Tiffany Tsao

Published in 2009, Perahu Kertas was adapted into a two-part movie in 2012 starring Maudy Ayunda, Adipati Dolken and Reza Rahadian. The story centers on a quirky girl named Kugy as she begins her university life in Bandung, where she meets Keenan, an aspiring painter. The book follows Kugy and Keenan's friendship as it takes a romantic turn, complicated by the presence of Remi and Luhde, as well as the diverging paths in their adult life.

5. The Birdwoman's Palate

Written by Laksmi Pamuntjak, translated by Tiffany Tsao

What better way to learn about Indonesia than reading a book about food from across the archipelago? Originally published in Indonesian as Aruna dan Lidahnya, the book was shortlisted for the 2015 Khatulistiwa Literary Award. In 2018, a movie adaptation starring Dian Sastrowardoyo and Nicholas Saputra brought the book to popular attention.

The book follows the story of Aruna, a reporter, as she travels the country for an investigative report. In every local cuisine in the cities that she visits, Aruna discovers so much more than just food.

6. Sergius Seeks Bacchus

Written by Norman Erikson Pasaribu, translated by Tiffany Tsao

The poetry book was the first winner of Jakarta Arts Council's Poetry Competition in 2015, and yet, this is not the most special thing about the collection. Consisting of 33 poems, the book tells the experience of being a minority in Indonesia, in terms of both sexuality and religion. The collection shows the range of Norman's references, from mythology to urban, pop-culture. Consider this poem titled "On a Pair of Young Men in the Underground Parking Garage at fX Sudirman Mall" for instance.

7. The Wandering

Written by Intan Paramaditha, translated by Stephen J. Epstein

In a Faustian story, the protagonist makes a pact with the devil: a pair of red shoes that can take her wherever she wants to go, in exchange for the feeling of belonging and the safety of a home. The novel takes the readers on a journey across the globe, from Jakarta to New York. The novel's original title Gentayangan represents the state of constantly being in-between, as in the book, the journey is more important than the destination.

The Wandering is not just another travelogue, as it allows the readers to make their own story, ala the classic Choose Your Own Adventure series.

8. There is No New York Today

Written by Aan Mansyur, translated by John McGlynn

The poetry anthology is launched near the premiere of hit-movie Ada Apa Dengan Cinta? 2 (What's up with love? 2), as some poems of the book were used in the movie.

The 80-page book also features photographs of the streets of New York, presented as if the pictures were taken by the movie's main character Rangga -- who lives in the Big Apple before going back to Indonesia.

9. Eyewitness

Written by Seno Gumira Ajidarma, translated by Jan Lingard and John H. McGlynn

A journalist cum novelist, Seno Gumira presents history and fiction with a clarity that is more effective than dry, and a somewhat murky story on what actually happened in Timor Leste (formerly Indonesia's province of East Timor).

The short stories focus on individuals that become victims of Indonesia's occupation in Timor Leste, fleshing out the human costs that are often shadowed by the big, nationalistic lens in politics.

#indonesia #literature #translations

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