
Films to remind residents of 'Canadian pride,' on offer at WIFF special movie weekend
Social Sharing
Imagine if Canada-U.S. relations became so chaotic and adversarial that a cold war suddenly developed between the two neighbouring nations. Wouldn't that be entertaining fiction?
The makers of the 1995 comedy Canadian Bacon thought so. And 30 years later, it's one of the featured films in a special movie weekend in Windsor meant to make viewers think about the region's most enduring international relationship.
"We firmly believe that film creates conversation," explained Vincent Georgie, executive director and chief programmer of the Windsor International Film Festival, which is organizing the special showings.
"Let's come together and see some films that are meaningful, and show what that Canada-U.S. relationship is."
From March 28 to 29, five films will be screened at the Capitol Theatre in downtown Windsor, each involving Canada and the U.S. in different ways.
"The world is in a funky place right now," Georgie said. "I think people are looking for things that are positive, compassionate, and also — in all these cases — that remind us of our Canadian pride."
Canadian Bacon (1995)
The cast of this movie is an ensemble of comedy legends: John Candy, Rhea Perlman, Alan Alda, Kevin Pollak, Wallace Shawn and others.
The absurd plot about Canada and the U.S. becoming enemies is celebrating its 30th anniversary. The movie's narrative has the U.S. president declaring Canada an enemy as a way to boost his popularity.
"(Director) Michael Moore does a really good job of satirizing that relationship," Georgie said. "And it's made the film oddly timely right now."
Argo (2012)
Ben Affleck's award-winning thriller portrays what was known as the Canadian Caper: A real-life mission to rescue diplomats during the Iran hostage crisis of 1979, with C.I.A. operatives posing as Canadian filmmakers.
Despite winning the Oscar for Best Picture, the movie has come under criticism for downplaying the role of actual Canadians in the mission — especially Canadian ambassador Ken Taylor.
But Georgie feels the tale making it to the big screen in the first place is important: "The story is ultimately about how Canada and the U.S. worked together to actually save people. That's really the core of it."
You Are Here: A Come From Away Story (2018)
This documentary shows how the community of Gander, N.L., provided temporary shelter for more than 6,000 passengers of planes that were diverted during the Sept. 11, 2001 terrorist attacks on the U.S.
Brian Mosher, a Gander resident who appears in the documentary, and Bill House, one of the film's producers, will be attending the Windsor screening.
Georgie said he considers the story a demonstration of "Canadian compassion... an important moment of strangers from both sides of the border coming together through a common crisis, and finding a humane solution."
The Best of the Best: Jazz From Detroit (2024)
This recent Detroit documentary highlights both the history of the city and its legacy of great jazz musicians.
Although the film doesn't have direct Canadian ties, Georgie believes it's fitting, given the proximity of Detroit and Windsor.
"Culture goes beyond borders," he said. "One of the many interesting things with Detroit is its music scene — specifically its jazz scene. And it shows how that border of ours is actually quite porous. That culture transfers."
Bergers (Shepherds) (2024)
Canadian director Sophie Desrape's most recent film tells the story of a Montreal executive who abandons his over-stressed workaday life to move to Provence, France, and raise sheep.
Featured during WIFF 2024, the drama doesn't involve the U.S. But Georgie considers its theme universal, transcending its French language.
"The core message of that film is finding happiness, finding your bliss in a peaceful way," he said.
Aside from special events like the March 28 and 29 movie weekend, planning is underway for the 2025 edition of the Windsor International Film Festival this fall.
Although WIFF has attracted plenty of cross-border patrons in the past, Georgie isn't particularly concerned that the current Canada-U.S. trade war will hurt attendance.
"Film attendance tends to go up (in strange times)," Georgie said. "We have an audience that is Canadian, we have an audience that is American. If those people are able to hang around and talk to each other — that's the mission."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


CBC
14 minutes ago
- CBC
How Brian Wilson's legacy will live on
Brian Wilson died yesterday at the age of 82. Best known as the visionary behind the Beach Boys and their iconic surfer sounds, his work has deeply influenced pop, rock and many other genres of music. Today on Commotion, host Elamin Abdelmahmoud remembers Brian Wilson and discusses his legacy with Jay Ferguson, a member of the Canadian band Sloan, who says he wouldn't be the musician he is today without Wilson.


Winnipeg Free Press
25 minutes ago
- Winnipeg Free Press
Career coda
Rocking out on a kid-friendly guitar as a four-year-old Elvis wannabe, Larry Desrochers could never have imagined he would go on to helm one of North America's leading regional opera companies for a quarter-century. The arts leader announced today he'll be stepping down in May 2026 as Manitoba Opera's general director and CEO after 25 years. He's Canada's longest-serving general director and one of the longest-serving general directors on the continent. His tenure includes producing and casting over 50 productions showcasing nearly 400 artists — more than 90 per cent Canadian with a 'Manitobans first' policy — with world-class performances grounded in savvy, eclectic programming. RUTH BONNEVILLE / FREE PRESS Manitoba Opera's Larry Desrochers is Canada's longest-serving general director. 'Not in a million years did I ever think I would be working in the arts. It never crossed my mind at all; however, I think it all worked out just fine,' says the famously down-to-earth director, 66, who studied theatre at the University of Winnipeg during the mid-1980s and once nursed a passion to become a journalist. Upon recommendation of an ongoing leadership transition committee, his dual roles will be divided into two distinct full-time positions: artistic director and executive director. Desrochers, who hails from Baldur (population: 320), is currently putting the finishing touches on the 2026/27 season. He will become interim artistic director in early August, working in tandem with the company's newly appointed executive director, whose name will be revealed in July, while continuing to support the 52-year-old company until his successor is in place. A new artistic director will be announced next season following an extensive search, with Desrochers taking his final curtain call when his five-year contract officially expires on May 31, 2026. 'This is a pivotal moment in the evolution of Manitoba Opera,' MO board of trustees chairwoman Judith Chambers says in a press release. 'For 25 years Larry Desrochers has led with vision, creativity and a deep commitment to our community, helping to elevate the company's standing as one of Canada's leading opera companies. 'The new leadership model builds on the strong foundation Larry has established, and we are confident it will bring a reinvigorated focus, new ideas, and will position the company to grow and thrive in a changing arts landscape.' Desrochers's multifaceted 40-plus-year career has spanned opera, theatre and film as both artist and administrator. He's served as associate artistic director for the Royal Manitoba Theatre Centre, was the founding executive producer of the Winnipeg Fringe Theatre Festival and executive director of the Winnipeg Film Group. JEFF DE BOOY / FREE PRESS FILES Larry Desrochers was the executive producer of the Winnipeg Fringe Festival in 1988. Among the many feathers in his cap is producing and directing the opening and closing ceremonies for the 1999 Pan American Games, watched by a live stadium crowd of 30,000 and a televised audience of 1.93 million. For the games' grand finale, he helped organize a reunion of legendary Winnipeg band the Guess Who — there's that rock influence again — that also featured the Winnipeg Symphony Orchestra and Royal Winnipeg Ballet. His numerous awards and accolades include the University of Winnipeg's Distinguished Alumni Award (2000), Opera America's Distinguished Service Award (2010), Lifetime Honorary Membership from the Winnipeg Film Group (2011), and the Winnipeg Arts Council's Making a Difference Award (2012). His departure has already garnered fond words from colleagues: 'A steady, generous and wise presence in the Canadian opera sector for over two decades' said Association for Opera in Canada (AOC) executive director Christina Loewen, while Opera America president and CEO Marc Scorca called him a 'great colleague and cherished friend.' Desrochers admits he only planned to lead the company for an initial five years after being invited in early 2000 to help brainstorm ways to help the then-struggling troupe, which had a skeletal six-member board and ballooning deficit. Under his watch, Manitoba Opera currently boasts a $2.9-million operating budget and a healthy subscriber base of 1,842, with the decades-old deficit retired in 2019. His Midas touch has also been instrumental in raising money for a $10-million endowment fund that will help ensure the organization's future in perpetuity. 'Even though I listened to opera when I was studying theatre in university, I didn't really know the repertoire, or singers and their voice types and all that. That became a real challenge for me,' he says of the steep learning curve after he was appointed to his position in 2000. 'During those earliest years I just dug in as hard as I could, and saw as much opera as I could, travelling across Canada and throughout North America to build up my knowledge of the art form. I also learned how to manage the risks in keeping patrons engaged, which is particularly important in a two-show season.' JEFF DE BOOY / FREE PRESS FILES Larry Desrochers with Royal Winnipeg Ballet students during rehearsals for the Magic Flute in 2001. Asked for his personal highlights, he mentions the war-torn production of children's opera Jason and Hannah staged in 2008, Fidelio (2014) and the company's inaugural commissioned opera The Transit of Venus (2007), penned by Manitoba playwright Maureen Hunter and composer Victor Davies. He also notes Susannah (2019), which saw award-winning composer/librettist Carlisle Floyd, who has since died, in the house opening night. Another is last season's groundbreaking world première of Li Keur: Riel's Heart of the North, featuring a libretto by Métis poet Suzanne Steele, and co-composed by Alex Kusturok and Neil Weisensel. 'Li Keur was significant for us because of Riel's importance to Manitoba, as such a foundational piece of the province's history. If this opera was going to be done anywhere in the country, it needed to be done here, so that's why we worked so hard to make it happen,' he says of the first all-Indigenous led opera performed on a Canadian mainstage, a $1.1-million production that also led to Manitoba Opera becoming a signatory to the Winnipeg Indigenous Accord in 2024. Desrochers is also rightfully proud of navigating — and surviving — the global pandemic, during which so many arts organizations around the world shuttered their doors forever. Manitoba Opera pivoted to livestreamed performances, including the Sopranos of Winnipeg recital celebrating Manitoba's treasure trove of internationally acclaimed vocal artists. Those years also saw the launch of its hugely successful and nationally recognized Digital Emerging Artist Program. His intuitive leadership approach has forged a robust legacy of flourishing community education and outreach programs, with the company hosting an ongoing series of talks and panel discussions focused on such pertinent social issues as mental health and global strife as reflected in opera, making the centuries-old art form relevant for 21st century audiences. When it comes to his next act — and his own swan song with the company he's called home for a quarter-century — Desrochers says he's keeping his options open for now. ROBERT TINKER PHOTO Li Keur was the first all-Indigenous led opera performed on a Canadian mainstage. Wednesdays Columnist Jen Zoratti looks at what's next in arts, life and pop culture. 'I don't look back very much, but prefer to look forward, ' he says, adding that future plans might potentially include directing, teaching or continuing to serve in his various advocacy and advisory roles. Opera buffs might even spot Desrochers and his writer/producer wife, Laurie Lam in the audience after next May — that early Elvis fan now a diehard devotee of the 'glory of opera' for life. 'Opera creates a transcendent experience, and there will always be a place for that,' he says about the future of the art form. 'While it's always evolved and styles have changed, it creates an immensely human experience, which is why it's so important to see it performed live, and especially in the 21st century. There's nothing like being in the audience. You're all laughing together. You're all crying together, and the interaction between the performers, orchestra and audience becomes a powerful, enriching experience that touches people on such an incredibly deep level.'


Winnipeg Free Press
25 minutes ago
- Winnipeg Free Press
‘You cannot game it': Celine Song unpacks algorithm-era love with ‘The Materialists'
For Celine Song, some things in life can't be strategized; they must play out on their own terms. The Korean-Canadian filmmaker says 'The Materialists,' the star-studded follow-up to her Oscar-nominated debut 'Past Lives,' wasn't the product of a calculated career move. She'd already begun writing it before her first film even hit theatres. 'I wish I could game it like, 'Oh man, I made 'Past Lives,' what's my next move?'' Song says on a virtual call from her New York home. But the writer-director says the new A24 rom-com was born out of restless energy while waiting for 'Past Lives' to premiere at Sundance in 2023. 'There was a funny six-month period where I was going a little bit crazy. I thought, 'I actually need to use this time to do something productive with my life' because I was just waiting for my movie to come out. So I wrote this thinking about the time that I was a matchmaker.' In her early 20s, while trying to make it as a playwright in New York, Song worked at a matchmaking agency to pay the bills. What started as a side gig became an unexpected window into the spreadsheet logic of modern love. 'When you're talking about dating and who you're looking for as your partner, the list is about height, weight, income, job — all the things you can imagine that are in the specs,' says Song. 'And then you realize none of those things actually have anything to do with what it's like to be in love. I wish it did so that you could game it like you game everything else, but the truth is you cannot game it. Love is just going to be something that happens to you. It's as ancient and holy as it always has been.' In 'The Materialists,' out Friday, Dakota Johnson plays Lucy, a matchmaker catering to wealthy New Yorkers with hyper-specific criteria. When she meets Pedro Pascal's Harry, a rich, charming private equity manager, she sees a dream match — for someone else. But Harry sets his sights on Lucy, wining and dining her with extravagant ease. Things get complicated further when her ex, Chris Evans' John, a struggling actor who still understands her deeply, reenters the picture. Song says the film is partly a commentary on today's swipe-driven approach to dating. 'It's scary!' she exclaims about dating apps. 'It's getting more gamified by the day.' Song sees herself as an old-school romantic. She explains 'The Materialists' explores the tension between checkbox compatibility and that deeper, inexplicable feeling that says, 'I think this is a person that I want to grow old with.' 'Love is the one great mystery of human life that we cannot solve, and we cannot turn it into an algorithm no matter how hard we try.' Song was born in South Korea and moved to Markham, Ont., with her family when she was 12. She relocated to New York in 2011 to pursue an MFA in playwriting, and says she was struck by the city's straight-shooting dating scene. 'The culture of New York City dating is just different than Canada's. And I loved it. It is very blunt and it's not very polite,' she says. Turns out that no-filter attitude was right up her alley. 'I was not polite and it got me into a lot of trouble when I was in Canada,' she laughs, noting she had a propensity for swearing. 'Everybody was like, 'You should watch your language.'' In New York, she not only found the freedom to curse — she also found her husband, screenwriter Justin Kuritzkes, whom she met at 24. She recalls feeling like an outlier among her career-focused circle of friends in the city. 'I was the youngest person in my friend group to get married. And it was years before the second wedding. Most of my friends were having their first child approaching 40,' says Song, now 36. 'In New York, because of how hard it is to pay rent here, I think it is just not tenable to have a casual relationship with your work. It has to be that your work is your life.… Lucy is so obsessed with her work, too, which I think is relatable for so many working people.' Beyond depicting a hustle-happy bachelorette in her mid-30s, Song says 'The Materialists' reflects real life by placing financial considerations at the heart of modern dating. Lucy speaks directly about being money-conscious. 'I feel like so much media is so polite about money, so it was really important to me that in the movie we know what everybody makes, and what kind of place they own,' she says. 'Those numbers are there so that we can talk in the way that modern people actually talk.' Still, despite the film's title, Song views the materialistic approach to love as ultimately 'flawed.' 'There's no amount of money you can throw at it. It's an impossible situation in a way. The only thing that works is the same thing that works in religion, which is it's got to be a leap of faith,' she says. 'You have to jump every day. And it is just a completely beautiful and very brave thing that a person can do.' This report by The Canadian Press was first published June 12, 2025.