Welcome to GFF EXTENDED RUN!
In order to give our film fanatics even more opportunities to catch some of the films they may have missed at this year’s Festival, GFF has launched GFF Extended Run! Select feature films and short film programs from our 2020 Festival will be available for Individual Ticket purchases from July 27 – August 9th, 2020.
PLEASE NOTE –– GFF Festival Passes are no longer valid after Sunday, July 26 at 11:59pm CST. Only Individual Tickets are available for GFF Extended Run.
GFF Extended Run — Film Lineup!
July 27 – August 9, 2020
$8 to unlock!
In a remote Icelandic town, an off-duty police chief (a chilling Ingvar Sigurdsson, who received Cannes’ Critics’ Week award for Best Actor for his performance) begins to suspect a local man of having had an affair with his late wife, who died in a tragic accident two years earlier. Gradually his obsession for finding out the truth takes over his life and inevitably begins to endanger himself and his loved ones. Combining classic thriller tropes with a distinctly Nordic arthouse sensibility, the second feature from Hlynur Palmason “engages in storytelling that’s both powerful and fresh throughout, marking him as a talent to watch” (The Hollywood Reporter)
From their little house just outside the city of Addis Ababa, Ethiopia, 10-year-old Asalif and his mother look out on rows of newly-built, concrete apartment blocks. From the forest behind their house, they hear the hyenas howl at night. They used to live where the condominiums now stand. Asalif’s mother had a plot of land there, where she grew crops and kept animals. Now, developers already have their eyes on their new home—they’re worse than the hyenas, his mother says.
Luz, from the Emberá Chamí Indigenous community in Colombia, left her home territory for Bogotá when she discovered she underwent female genital mutilation at birth. The Emberá is one of the few communities in South America that still carries out the practice, a brutal byproduct of colonialism.
Far from her family, Luz struggles to make her way in the relentless city, until she meets Claudia, a fellow Emberá Chamí and activist. Through the strength of their friendship, Claudia decides to travel to Luz’s home to start a dialogue with other Indigenous women and encourage them to make critical and urgent changes to end the practice of female genital mutilation. Through her intimate approaches to filming, director Priscila Padilla has crafted a deeply sensitive and breathtaking film that follows the women in their journey to break ties with colonialism and recover their ancestral wisdom of body–earth connection.
- Top 10 Audience Choice favourites at Hot Docs 2020
Bulletproof explores the complexities of violence in schools by looking at the ways in which we try to prevent it. The film travels across the United States, observing the age-old rituals that take place daily in and around American schools: homecoming parades, basketball practice, morning announcements, and math class. Unfolding alongside these scenes are an array of newer traditions: lockdown drills, teacher firearm training, metal detector inspections, and school safety trade shows. Bulletproof weaves together these moments in a cinematic meditation on fear, violence, and the meaning of safety, bringing viewers into intimate proximity with the people self-tasked with protecting the nation’s children while generating revenue along the way, as well as with those most deeply impacted by these heightened security measures: students and teachers.
The new film from Grímur Hákonarson, director of Rams. Set in a small Icelandic farming community, THE COUNTY tells the story of Inga, a middle-aged dairy farmer who rebels against the all powerful local Cooperative. Inga tries to get other farmers to join her in rising up against the Co-op’s corruption, but encounters great resistance, forcing her to confront the community’s dependence and loyalty to this single, dominant enterprise. Inga must use her resourcefulness and cunning to break free of the Co-op’s grasp and finally live life on her own terms.
Dope is Death
dir. Mia Donovan
2020 | Canada | 78 min
Watch on GFF On Demand | July 22 – 26, 2020
**Available to stream in Manitoba
For over 50 years, alternative medicine practitioners have advocated the use of acupuncture as part of treatment for drug addiction. However, few people know that this practice evolved in large part thanks to the Black Panthers, radical liberation politics and Dr. Mutulu Shakur, Tupac Shakur’s stepfather. Dope is Death turns the clock back to 1970, at the height of the heroin epidemic in the South Bronx, where a group of political radicals—fed up with inaction—occupied New York’s Lincoln Hospital. Under the leadership of Shakur, the Lincoln Detox clinic became the first and only politically run drug treatment program funded by the US government. Inspiring and enraging in equal measure, the story of Lincoln Detox and the civil rights organizations that supported it testifies to the continuous need to explore this period in US history—a time that, until recently, has often been misrepresented. – Hot Docs 2020
dir. Andrew Ahn
2019 | United States | 83 min
Watch on GFF On Demand | July 27 – August 9, 2020
Kathy (Golden Globe® Nominee Hong Chau), a single mother, travels with her shy eight-year-old son Cody (newcomer Lucas Jaye) to Kathy’s late sister’s house which they plan to clean and sell. As Kathy realizes how little she knew about her sister, Cody develops an unlikely friendship with Del (Golden Globe®, Tony® winner and acting legend Brian Dennehy), the Korean War vet and widower who lives next door. Over the course of a summer, and with Del’s encouragement, Cody develops the courage to come out of his shell and, along with his mother, finds a new place to call home.
Exquisitely shot and bold in its metastorytelling approach, director Iryna Tsilyk’s documentary follows single mother Anna and her four children as they document their lives under siege in Ukraine.
Eldest daughter Mira dreams of becoming a cinematographer. As bombs descend on neighboring homes, the family construct, act in, and edit stylized scenes of dangerous predicaments they’ve lived to tell. Mira’s re-creations ratchet up the drama, using local soldiers, tanks, and even her own grandmother to tell terrifying tales of survival. Meanwhile, Iryna quietly captures their more quotidian moments during their shoots and in between takes—scenes that include Mira’s siblings squabbling over line readings, cozy dinners by the fire, and Anna’s compassionate gaze as she watches Mira apply to film school.
Eventually, the two projects fuse into a single vision that gorgeously encapsulates the extremes of war, both its explosive trauma and its mundane peripheral existence in everyday life. With miraculous insight, The Earth Is Blue as an Orange observes a family—and a filmmaker—cope with war using their cameras, working in tandem to create meaning out of a meaningless conflict.
Over a period of 35 years between 1984 and 2019, filmmaker Lynne Sachs shot 8 and 16mm film, videotape and digital images of her father, Ira Sachs Sr., a bon vivant and pioneering businessman from Park City, Utah. FILM ABOUT A FATHER WHO is her attempt to understand the web that connects a child to her parent and a sister to her siblings. With a nod to the Cubist renderings of a face, Sachs’ cinematic exploration of her father offers simultaneous, sometimes contradictory, views of one seemingly unknowable man who is publicly the uninhibited center of the frame yet privately ensconced in secrets. In the process, Sachs allows herself and her audience inside to see beyond the surface of the skin, the projected reality. As the startling facts mount, Sachs as a daughter discovers more about her father than she had ever hoped to reveal.
Medical transport driver Vic is late, but it’s not his fault. Roads are closed for a protest, and no one else can shuttle his Russian grandfather and émigré friends to a funeral. The new route uproots his scheduled clients, particularly Tracy (Lauren “Lolo” Spencer in a breakout performance), a vibrant young woman with ALS. As the day goes from hectic to off-the-rails, their collective ride becomes a hilarious, compassionate, and intersectional portrait of American dreams and disenchantment.
Keyboard Fantasies: the Beverly Glenn – Copeland Story
dir. Posy Dixon
2019 | United Kingdom | 90 min
Watch on GFF On Demand | July 27 – August 9, 2020
Born in 1944 in Philadelphia, Glenn-Copeland was never afraid of breaking barriers. Moving to Canada at 17, the young vocalist was the only Black student in his classical music class at McGill University, and openly lived as a lesbian in the early 1960s before coming out as a trans man. Obsessed with sci-fi and living in near isolation in Huntsville, Ontario, Copeland self-released the electronic album Keyboard Fantasies on cassette in 1986. This collection of curious, visionary folk-electronica tracks went largely unnoticed, until a Japanese rare-record collector reissued it three decades later, bringing it to the ears of raving fans. Finally getting the recognition he deserved, the musical genius found himself catapulted to cult status and embarked on his first international tour at age 74. Featuring refreshingly honest interviews with the generous musician, this time-traveling tale will soothe those souls struggling to find their place in the world.
What do you do as a young filmmaker if you’re not sure what direction to take? You go and ask Miranda July for advice. She seems to do exactly what she wants, and it works out pretty well for her, too: after all, she doesn’t need to translate online hotel reviews to pay the rent, as Sophie Bédard Marcotte does. So she sets off with her camerawoman on a road trip to Los Angeles to have tea with July. Of course, nothing goes as planned.
Their unorthodox journey across the United States results in a lighthearted road movie filled with meditative landscapes, unlikely encounters, animations and a touch of magic. It is a playful quest for a framework in life. A film about friendship, the thirtysomething dilemma and the search for inspiration. In her third film, Bédard Marcotte incorporates references to her cinematic inspirations, and creates a posthumous starring role for Chantal Akerman. She appears on the pink horizon as an oracle for every filmmaker who, for want of a clear path, is looking for the yellow brick road.
Lost and found items collected at the Montreal Metro—glasses, toques, gloves, wallets—patiently await their forgetful owners. A wide cross-section of transit users desperately describe their missing possession and look through bins with a hopeful gaze. Elegantly framing black-and-white images in the depths of dark and snowy winter nights, director Jean-François Lesage assembles a mesmerizing city symphony set against a clarinet-led jazz soundtrack. The familiar hustle of a major metropolis is hushed and the anonymity that keeps us separated melts like a snowflake, as strangers reveal their humanity and joyfully reunite with beloved items. This beautifully observed meditation on the nature of loss and memory brings together an eclectic range of subjects from all walks of life. The intimacy of their recollections and the respect with which they’re treated turns the mundane subject matter and deceptively simple premise into something transcendent. – Hot Docs 2020
dir. Sam Soko
2020 | Canada / Kenya | 96 min
Watch on GFF On Demand | July 22 – 26, 2020
**Available to stream in Manitoba
Photographer and activist Boniface “Softie” Mwangi prioritizes his family, country and God, but not in that order. Determined to see an end to political corruption and the British-imposed colonial-era tribalism that has divided Kenyans since before the country’s independence, Softie has placed duty to country above all else, to the great frustration of his wife Njeri, mother to their three children. When Softie decides to enter the regional election, telling Njeri only after the decision is made, he raises the stakes and is quickly brought face to face with the consequences. Attempting an honest campaign in a pay-to-play political landscape, Softie is in uncharted territory and is forced to distill his values and morals to their purest form, while grappling with what is truly important. A complex portrait of an honourable man, Softie raises questions about the demands of activism and the intimate costs of social change – Hot Docs
On the edge of adulthood, Alma leaves her mother’s home in the Netherlands and travels to her native Bosnia to visit the father she’s never met. But from the start nothing goes as planned. Her cousin Emir gives her a frosty reception and mocks her easy life in the West. At the same time, undeniable sexual chemistry leads Alma into a passionate relationship with Emir’s best friend, the troublemaker Denis. As the obstacles mount, Alma stays fearlessly determined to follow her plan and find her father. She just has to figure herself out first.
High on the reckless energy of youth and the rush of adult discovery, the rebellious trio sets off on the adventure together, embarking on an increasingly unpredictable road trip through the scorching Bosnian heartland. Over the course of the journey, Alma will learn to accept and understand herself, embracing all challenges that come her way.
A tragic-comic tale with surrealistic tendencies about a lost 23-year-old who is haunted by her disappointed 13-year-old self. On her 23rd birthday, Kate (Amber Hubert) opens a letter that she wrote as a precocious adolescent to her imaginary grown-up self. The letter asks, “Are you happy?” Knowing the answer is “no,” Kate moves in a dreamlike state, passive and indifferent as Jiffy muffins burn and various men take advantage of her. Throughout, we hear 13-year-old Kate’s voice echo in adult Kate’s thoughts. Eventually, the young Kate character (Marguerite Brown) makes an appearance, leading to a moving confrontation.
The Wolfhouse (La casa lobo)
dir. Jaoquin Cocina / Cristobal Leon
2019 | Chile / Germany | 75 min
Watch on GFF On Demand | July 27 – August 9, 2020
Maria, a young woman finds refuge in a house in the south of Chile after escaping from a sect of German religious fanatics. She is welcomed into the home by two pigs, the only inhabitants of the place. Like in a dream, the universe of the house reacts to Maria’s feelings. The animals transform slowly into humans and the house becomes a nightmarish world. Inspired by the actual case of Colonia Dignidad, The Wolf House masquerades as an animated fairy tale produced by the leader of the sect in order to indoctrinate its followers.
GFF Extended Run – Shorts Film Programs
Please join us for our annual Manitoba Shorts in Competition Program, featuring work by Damien Ferland, Sara Bulloch, Grace Han, Daniel Gerson & Trevor Mowchun, Tiff Bartel, Jeremiah Milmine, Peatr Thomas, Julie Watt, The Ephemerals and Gino Anania + Vincent Tang.
From institutional archives and cultural traditions to family histories and personal tragi-comedies, an exploration of how and what we remember and whose version of events is sanctioned. Spanning moods, settings, and styles, this collection of documentaries situates the personal within the cultural, inviting us to a totem pole-raising celebration in 1969 Haida Gwaii via archival footage and the recollections of the now renowned carver (Now is the Time), to Louisiana’s mythic Crawfish Festival (Acadiana), to Santa Rosa county in the aftermath of the devastating Tubbs Fire (One Thing in Nothing), and a Manitoba summer bible camp (Bible Camp Memories).
With Canadian borders still closed, let us take you on a quick trip around the world, from Iran and Milwaukee to Shoal Lake 40, Bulgaria, South Africa and… the future! The films in this program play with the traditional idea of the road as freedom, as a symbol for movement and mobility and progress, as public spaces where folks of any class, race, gender, etc. are free to travel, interact, and congregate on. Between pandemic-induced panic and widespread protests against police brutality and systemic racism, our experience of the streets, as sites of social encounter and exchange, has taken on new meanings to many in the last few months. These films remind us that not all people are free.
This selection of often meditative films considers our complicated relationship with the land that we live on, take from, and dominate. Closing with the voices of Indigenous women in After Birth and L’eau est la Vie (Water is Life), this program attempts to imagine another relationship with the Earth, one that is playful and gentle and reverent – but to achieve this lovely vision requires a seismic ideological shift and the dismantling of our capitalist, colonial cultural foundations.
Bodily concerns have been top of the newsfeed for months now. The pandemic has required a new awareness of how our bodies exist in public spaces, but for marginalized, disabled, and racialized folks, this hyper-vigilance is nothing new. Bodies have been politically and socially fraught for long before COVID-19 hit. The films in this program reflect on the complexities of our bodily existence.
Featuring animals! Animals are the best company during a pandemic.
Join GFF for an incredible collection of short films by Young Manitoba Filmmakers! Exclusively on GFF On Demand! Featuring the following films:
After Death, comes?
One Falls First
1000 Paper Cranes
Reyna the Fox
Spooky Campfire Stories