Latest news with #HoldingSpace
CBC
14-04-2025
- Entertainment
- CBC
Now, more than ever, let's come together as a country and hold space for Canadian movies
Holding Space is a joint column by Anne T. Donahue and Peter Knegt that "holds space" for something or someone in popular culture. This is its second edition. Peter: Anne, we're back for a second round! Anne: This the truest thing I've ever read in my life. We are indeed back, and this time we're holding space for — pause for dramatic effect — Canadian film! In part because, on April 16, it's National Canadian Film Day. I'm not going to lie to you, Peter: I've absolutely been a part of the problem in terms of the way we talk about Canadian film. Growing up, "Canadian film" wasn't really a genre I considered outside of the National Film Board's animated short about the guy avoiding his piano practice (also known as my life story). Then, as a kid in the '90s, the only "real" Canadians in the arts I learned about were the ones who broke through in the U.S. Like, I knew about Michael J. Fox and Mike Myers and Alex Trebek and William Shatner -- the roster you tend to flip through to add a "did you know?" period on a pop cultural-oriented conversation. But I think that's because "Canadian film" was framed as less-than compared to American blockbusters. The teachers in school weren't concerned about Cancon, my parents weren't film buffs in any capacity. Also, I was a literal child: if it wasn't by Disney, I probably wasn't watching it. It was easier to consume what everybody else was, especially since I could only go on the internet for an hour a day at the library. Peter: I could really go for a life where I can only go on the internet for an hour a day at the library. I guess that's available to me… in prison? But I don't want to go to prison. And I'm also getting off topic, because we are not holding space for my dreams of an internet-limited prison existence are we? We're holding space for Canadian cinema! Which sometimes does take place in prison, like in one of my all-time favourite Canadian films, John Greyson's Lilies. But seriously, I too am guilty of being part of the problem when it comes to properly appreciating Canadian movies. I suspect 95 per cent of people in this country are. And we have a reasonable excuse: we've spent our lives next to a country that is pretty much inarguably the world's leading exporter of popular movies, which makes it really hard to pay proper attention to what we're creating up here, especially during our often Disney-fied formative years. But that country I speak of is kinda imploding right now, and doing so via a government that is expressing some pretty unhinged vitriol towards us. So maybe we can view this as an opportunity to not just buy Canadian, but also watch Canadian? Anne: Or even just de-centre Hollywood as the pinnacle of cinematic culture. Is it even the pinnacle anymore? I don't think it's been for a long time! Especially since the internet — our dear friend, our most ruthless enemy — has kicked open the door via Mubi and Criterion and made movies made from all over the world accessible to anybody who wants to watch them. Which challenges the idea that the U.S. star and studio systems are the only ones worth paying attention to. Like, not to hate on Daredevil —but I will happily hate on it—and I will also say that yes, it stars a Canadian actor, but "starring a Canadian actor" does not a Canadian film make. I guess this is where I ask you the question: what makes "Canadian film" Canadian? Movies made in Canada? Movies starring only Canadian actors? Movies made by Canadian directors and producers? I mean, technically Anne of Green Gables from the 1980s was a TV miniseries, but goddamn: it is cinema to me! What do you look for when designating a film as "Canadian"? Outside the obviousness of funding and locale, of course. I don't want to hold space for fiscally-based discussions now or ever. Peter: I mean, if we're going by the standard of the recent Canadian Screen Award nominations, the D*****d T****p biopic The Apprentice (which they nominated for best picture) is apparently Canadian, so definitions can certainly be murky. But I say keep it simple and don't overthink it? If the 1980s Anne of Green Gables miniseries feels like Canadian cinema to you, then it's Canadian cinema! Personally, I've been holding space for much more contemporary examples in the last few months. I do genuinely think that besides the whole America situation presenting an impetus to "watch Canadian," there's another really great reason in the fact that Canadian film is going through a really interesting, perhaps even exciting, moment right now. The most obvious example is Matthew Rankin's Universal Language, a wildly original absurdist comedy that was one of my favourite films of 2024 from any country. So if you haven't seen that (or his wonderful 2019 debut film The Twentieth Century), I highly advise it as a great place to start. But there's also Sook-Yin Lee's Paying For It, Karen Knox's We Forgot To Break Up, Naomi Jaye's Darkest Miriam and Karen Chapman's Village Keeper, which are all fantastic and all playing in movie theatres across this country right now. I am a huge proponent of seeing these or any movie in theatres if you can, not just because it's the best way to support them but also just because movie theatres are wonderful places we must protect! This all said, not every Canadian film you want to see is playing in a movie theatre (particularly older ones), and movie theatres aren't always an option for everyone. So I also should use this as an opportunity to plug the streaming service run by the very company publishing our words, Anne, because they legitimately have a pretty incredible selection of Canadian films on offer (and for free!). So consider heading to CBC Gem's "Spotlight on Canadian Film" subsection, which includes dozens of recent Canadian films, including the last four films to win best picture at the Canadian Screen Awards (our equivalent of the Oscars): Tracy Deer's Beans, Shasha Nakhai and Rich Williamson's Scarborough, Clement Virgo's Brother and Matt Johnson's Blackberry. But I don't want to just hold space for Canadian movies that came out in the 2020s. There's over a century of cinema produced by this country for us to dig into, and we're already approaching our word count. I know you have a special place in your heart for Anne, Anne, but what are some other classics that are near and dear to you? Anne: Okay, well you mentioned Blackberry which means I am legally obligated to mention that Nirvanna the Band the Show the Movie is coming out which I'm beyond psyched for. And I know it's also a 2020s release, but Shiva Baby by Emma Seligman is funny and thoughtful and sharp, and I think about Rachel Sennott yelling, "It's not a career, it's a lens!" about feminism at least 600 times a semester. And Chandler Levack's I Like Movies really touched my heart. Additionally, under current Canadian legislation, I have to mention David Cronenberg. But my pick might surprise you: I really liked Eastern Promises, which I know is dark and also not considered his best, but this is my column and I say what I want. But going further back in time, and away from everything Eastern Promises is and purports to be, I love The Big Snit and The Cat Came Back — both of which you can stream on NFB's official site, and absolutely should. And Getting Started is the animated short I inhaled as a kid who, like Richard Condie's main character, would rather do absolutely anything else other than practice the piano. And speaking of musical instruments and the NFB, may I remind us all about The Magic Flute! I'm also a documentary-watching nightmare, which I'm sure surprises nobody. Last year's Disco's Revenge is an excellent deep dive into disco and disco culture, which is perfect for me, an insufferable history major (and proud of it). I also recently watched Tasha Hubbard's Birth of a Family for one of my classes, which was beautiful, and I've got to recommend In the Shadow of the Pines, which is thoughtful and poignant -- and under ten minutes, so you have no excuse not to watch it. What directors do you hold space for the most? And is this a safe place to admit I still haven't seen Dune?. Peter: It is absolutely a safe place to admit that. While I have seen the Dunes (they're fine!), I'll use this as an opportunity to admit something perhaps just as controversial: I only recently watched Cronenberg's Dead Ringers for the first time, and I did so because the TV miniseries remake starring Rachel Weisz compelled me to. And while I deeply appreciate Cronenberg's original and Jeremy Irons's wildly committed performance in it, I gotta say I kinda prefer the Weisz version!? Which feels safer to say because multiple episodes were directed by not one but two very talented Canadian filmmakers: Karena Evans and Sean Durkin. (If you haven't seen the latter's film The Nest you are missing a Carrie Coon performance on the same level as what she just did on The White Lotus). As for directors I hold space for the most, I have lots of obvious answers like Cronenberg (I too love Eastern Promises, though my number one is forever The Fly), Sarah Polley (Take This Waltz is deeply underappreciated Toronto-centric cinema!) and Guy Maddin (My Winnipeg forever). But I'd also like to shout out some classics from the history of queer Canadian cinema that I hold very close to my gay heart: Richard Benner's 1977 film Outrageous! (starring the late and legendary female impersonator Craig Russell), Lynne Fernie and Aerlyn Weissman's 1992 documentary Forbidden Love: The Unashamed Stories of Lesbian Lives (essential viewing for all Canadians!), and John Greyson's wild and wonderful 1993 AIDS musical Zero Patience (which I must now mention features numbers performed by both naked male chorus lines and literal singing buttholes). I could honestly go on and on, but I feel like we are already giving people a hefty viewing list for National Canadian Film Day, Anne! Anne: Peter, your fluency in Canadian cinema is beautiful! I still find myself going back to the Greatest Hits like Strange Brew because it reminds me of being little, and it's so closely tied to SCTV which I obviously have an allegiance to. (I say "obviously" because Catherine O'Hara and Andrea Martin are my two best friends which I intend on informing them about one day.) Also, Wild by the late Jean-Marc Vallee because the book resonated with me so much and I wept audibly in the movie theatre when I saw it. (A rarity!) I think one of the biggest problems with "Canadian film" as a concept is the meaning it's been assigned: instead of celebrating the artistry and talent of Canadian filmmakers, the genre's been framed as an extension of patriotic duty. Like, "You should watch this movie because it's Canadian." But that's nonsense! Watch good, inspired, thoughtful, interesting, creative, funny, fantastic movies. You might just discover that a number of them happen to be Canadian.
CBC
10-03-2025
- Entertainment
- CBC
We could not be more here for the Parker Posey party The White Lotus is serving us
Holding Space is a joint column by Anne T. Donahue and Peter Knegt that "holds space" for something or someone in popular culture. This is its first edition. Anne T. Donahue: Peter! We're holding space! Just try and stop us! (Please don't try to stop us.) How should we describe this new venture? Peter Knegt: A conversational, collaborative column where me and you pick a topic to "hold space" for, essentially? And one that, yes, we fully acknowledge we have decided to questionably name as a tribute to a ridiculous but also wonderful moment in pop culture that came and went months ago. Anne: It's a moment indelibly etched in our minds because we've chosen it to be. Peter: And it's a moment that I'm somehow already nostalgic for (oh how we have further spiralled into hell since November!) and also one that really does speak to what we are hoping to do here. To paraphrase the legendary queer media worker Tracy E. Gilchrist, to "hold space" for something or someone is basically to see them or hear them in a new way, even if you've been familiar with them forever. And to do that without cynicism. Which is what we are absolutely about to do with our first topic. Anne: Behold: our little section of the internet where we, and our like-minded comrades, can revel in something cultural that brings us joy. And this week, fresh out of White Lotus with the greatest southern drawl that's ever been committed to film (please do not fact check that), we're holding space for Parker Posey. Peter: Which, to be clear, is not a remotely difficult thing for either of us to do. Holding space for Parker Posey comes as naturally to me as breathing air or being annoyed by Adrien Brody's Oscar speech. I'm just so grateful Mike White has given all of us such a grand opportunity to do just that. Anne: Now before we really begin, I'd like to additionally hold space for the fact that we're clearly part of a larger moment. Last week, the Gap dropped its latest campaign which stars our best friend, Parker. The only way I'd like it more is if she'd go with me shopping there. But I digress. Peter, Parker Posey is arguably experiencing (yet another) renaissance. But when did you begin heralding her as the second coming? I was late to the party: as a tween, I thought her You've Got Mail character was the foil to Meg Ryan's sweetheart persona and, by design, I really didn't like her. But the older I've gotten, the more I realize that making coffee nervous (the way Tom Hanks' character describes his then-partner, played by Posey) is a reputation I'd be proud of. Also, her character is competent, ambitious, funny, and willing to help Meg Ryan enter the world of publishing. She's a force! Parlaying her into a hero is like realizing Nate's the bad guy in The Devil Wears Prada: I am reborn. Though admittedly, Posey does play the bad guy in Dazed and Confused as Darla, the exact type of teenager I still want to be, but more realistically, fear I will cross paths with at the mall. That's something I really love about her approach to acting: she completely disappears into these people who steal the scene. "Wipe that face off your head, bitch" is such a throwaway line, but I think of it at least six times a week. Peter: I think my arrival to the Posey party was pretty much perfectly timed. I was 11 years old when this review in Entertainment Weekly (my bible at the time) led me to demand my mother let me rent Party Girl. Which is arguably the movie that kicked off Posey's designation as the indie film queen she was primarily defined as for the second half of the 1990s, and also the movie that made me basically scream who is this woman and how can I become her? It's just such an ideal introduction to Posey's charms, and I hope The White Lotus leads some formerly unaware people who have its way. But yeah, I was basically Parker-pilled from that point forward (and also briefly wanted to become a fabulous librarian living in New York City). And Party Girl was my gateway Dazed and Confused, The Doom Generation, Kicking and Screaming, The House of Yes and Clockwatchers, all movies I must have seen before I was 16 years olds? Which, like, what a wild collection of movies to have in your back pocket as you are trying to develop a personality. And Posey was my guiding light to all of them. She's wonderful in every single one, as she is in literally everything she does, even the stuff that's bad! Anne: I agree! Which isn't to say this season of White Lotus is bad — it's not! I like it! It's just a slowburn, I hope! — but there are mixed reviews regarding her southern drawl. Personally, I think it's necessary. I think we're supposed to underestimate her before we ultimately learn that she's the mastermind behind her husband's inevitable downfall. But what I also like about her performance this season is that it's another element to what we project as her own eccentricity. Like, of course Posey's going all in as this woman, downing large pieces of fruit whole at the breakfast table. Of course she can speak perfect Thai. Of course she's falling asleep at the dinner table. But that eccentricity — or her ability to make eccentric characters seem like an extension of herself — is why I'll watch almost anything she's in. Her characters are certainly not always good people (to say the least), but she plays them in a way that makes even their terrible traits appealing. I would hate her White Lotus character's life! But I love her character's delivery and the way she seems to be completely led by her id, which I attribute to Posey herself, which is a trait I would love to have despite not wanting to have it in a million years. Does that make sense? It's almost like the Scarface effect. All those bros with Tony Montana posters on their wall don't want to be that man, they want to be as interesting as Al Pacino makes that man. Peter: No, no, let me clear: I was not suggesting this season of White Lotus is bad. As you said, it's a slowburn, and I love me a good slowburn. I wish TV executives would allow more people who aren't Mike White the freedom to make slowburn shows. And I feel sorry for anyone who has something bad to say about Posey's performance this season, because as far as I'm concerned it's already proving an absolute masterclass in delivery a few episodes in. Yes, White is providing her with some great dialogue, but it's Posey's take on it that is, for me at least, the highlight of the season so far (although the Carrie Coon/Michelle Monaghan/Leslie Bibb trio are collectively a close second: more of them with Posey please!). I'll admit the one thing about Posey being on The White Lotus that I am a little uncomfortable with is that I don't know if I want adoration for her to become as mainstream as it surely will be by season's end. It's kinda the same thing with when Jennifer Coolidge was on the other seasons, or even when Charli XCX skyrocketed into the culture with Brat: Sometimes it's nice when things are just for us! And by us, I mean me and you and by extension a certain subset of women and gay men of a certain age. To an even greater extent than Coolidge or Charli, I've loved Parker Posey for so long already, and I don't know if I'm ready for everyone and their mom to be in love with her too. But this is obviously an extremely selfish line of thinking, and perhaps anti-"holding space." Embracing this moment for Posey without cynicism means allowing others into an understanding of how special she is. Especially since it's likely going to help deliver Posey the flowers she has very much deserved for so long. Anne: No, I get that too! It's such a double-edged sword: we want our cultural icons to soar but that means everyone will flock to them and SOME OF US (read: me) will revert back to our 2010s-era selves and rush to lay claim in a "Oh yeah? Name five of their albums!" way. I can already feel myself morphing into someone who starts aggressively asking new fans, "Did you even know her You've Got Mail character's name is PATRICIA?" So maybe this column is also an exercise for us to learn that holding space also equates to us expanding said space. To kids who didn't grow up yelling "Fry like bacon!" back and forth to their friends, Parker Posey is going to be the White Lotus breakout who's dancing in a Gap ad. And that should make us happy! And it does! We just want the best for our best friend. Peter: Exactly. And to those kids who didn't grow up yelling "Fry like bacon!" (or "Can I have a falafel with hot sauce, a side order of Baba Ghanoush and a seltzer, please?" for that matter) but now know the bounty that is Ms. Posey's talents, I cannot stress enough how imperative it is that you now expand your own space when it comes to her work. Do some exploring in her filmography! And not just obvious ones like Party Girl or Dazed and Confused or Best in Show (though those too, please). There's so many hidden gems throughout her career, like Personal Velocity and Broken English and Price Check. Not to mention her incredible work on television pre- White Lotus (her guest work on High Fidelity, Search Party and Mr. and Mrs. Smith in particular). You could literally just watch Parker Posey performances for weeks on end and you'd never get bored! Anne: And, if you're anything like me, you would spend those weeks trying to absorb her character's best (see: worst) traits via osmosis because that's the type of unhealthy relationship with pop culture I have. Though that being said, I still don't have the guts to dance atop the tables at the New York Public Library. But at 39, I'm still young. Peter: I think somehow the next edition of this column needs to involve us traveling to New York and holding space for you doing just that.
