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On this page: GRAND THEFT HAMLET | SUGARCANE

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See also: SHADOWS FILM FESTIVAL | Last update 29.Dec.24

Grand Theft Hamlet
Review by Rich Cline | 3.5/5

dir-scr Sam Crane, Pinny Grylls
prd Julia Ton, Rebecca Wolff
with Sam Crane, Mark Oosterveen, Pinny Grylls, Jen Cohn, Tilly Steele, Dipo Ola, Lizzie Wofford, Gareth Turkington, Jeremiah O'Connor, Sam Forster, Nemonie Craven Roderick, Philip Jones
release UK 6.Dec.24,
US 17.Jan.25
24/UK 1h29

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Shot entirely inside the virtual world of the videogame Grand Theft Auto, this animated documentary is an inventive response to the bleak situation for actors during the pandemic. The way this plays out is riotously ridiculous, especially as colourful characters turn up unexpectedly to do outrageous things. The quality of the imagery makes this unusually involving, although deeper thoughts and feelings only rarely emerge through the voices.

Looking for something to do during lockdown, actors Sam and Mark roam around inside the world of the murderous videogame, playing slot machines at a casino and crashing their cars. Then they discover a huge empty outdoor amphitheatre and come up with the idea of staging Hamlet there. When they invite other players to come along, figures begin to turn up. The trick is getting the audience members to stop killing the actors. Then Sam's partner Pinny decides to join the game, playing a filmmaker documenting the production. And more actors join their cast.

Hilariously, the film captures the mindless grisly violence that is the whole point of Grand Theft Auto, and for some reason blowing stuff up and shooting people feels appropriate for Hamlet. Although as one person notes, there aren't many Grand Theft Auto players who also like Shakespeare. Indeed, they're genuinely surprised when talented actors turn up to audition.

Aside from the brutal killings, mounting a virtual show here isn't much easier than in the real world, with issues including pressures from the outside, such as leading man Dipo getting an actual job. And they also have to get to grips with Hamlet in this environment, with its life-and-death themes. This involves considerable irony, including finding an appropriate setting for the Shakespeare's most famous soliloquy.

The odd juxtaposition in settings are strikingly visual, from grubby back streets to a hot tub on a fabulous yacht. And placing Hamlet's harshest violence in such oddly beautiful locations creates some new ideas. Unsurprisingly, Sam and Mark become a bit obsessed with creating this show in the coolest way possible, and they start to miss real-world events. But as they persevere through it, they definitely deserve their epic after party.

themes, language, violence 29.Dec.24

Sugarcane
Review by Rich Cline | 4/5

MUST SEE

dir Julian Brave NoiseCat, Emily Kassie
prd Emily Kassie, Kellen Quinn
with Julian Brave NoiseCat, Charlene Belleau, Rick Gilbert, Willie Sellar, Ed Archie Noisecat, Whitney Spearing, Kye7e, Jean William, Rosalin Sam, Larry Emile, Louis Lougen, Justin Trudeau
release US 9.Aug.24,
UK 20.Sep.24
24/Canada 1h47

SUNDANCE FILM FEST

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Taking on a topic that's difficult to discuss let alone watch a film about, documentarians Julian Brave NoiseCat and Emily Kassie never flinch from either the facts of the story or the emotions that remain. Intimately shot and beautifully assembled, the film skilfully captures the mix of traditions and modern realities for North America's indigenous peoples. This is a stunner of a documentary; it's urgent, moving and essential.

To "get rid of the Indian problem" in 1894, Canada's government started sending indigenous children to special schools, mostly run by the Catholic Church. Horrific abuse were rife for more than a century, but were almost entirely ignored. Mysterious deaths went uninvestigated and infant bodies disappeared, covered up by politicians, the church and even the families themselves. On the Sugarcane reservation, Julian's father Ed was born in one of these schools, and is reluctant to revisit his experience. Working with local chiefs Rick and Willie, investigators Charlene and Whitney find some unexpected answers.

Julian's grandmother Kye7e recalls how the school forced children to speak English rather than their own languages. Jean remembers young girls having priests' babies that were taken away immediately. Rosalin, told everyone what was going on, but no one listened. Her father beat her, so she ultimately turned to alcohol. Meanwhile, Ed is startled to learn some unthinkable details about his own background.

By so honestly following this story, the filmmakers report the chilling truth while maintaining a balance of earthy emotion in the deeply personal reactions of survivors and their families. Sp when Julian confronts his father about abandoning him as a child, their conversation is intense and brutally frank. Each scene, each discovery, each conversation is revelatory because of the film's internalised approach.

It was never lost on these children that the people preaching to them about sin were the worst offenders, people designated as "guardians of the children's morals". The generational fallout of their evil actions is deeply upsetting to see so painfully remembered on-camera (thankfully without detail). But this truthfulness also has a cathartic effect in their lives. There is no simple solution to these kinds of crimes, but an apology is at least a start.

themes, language 29.Dec.24

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See also: SHADOWS FILM FESTIVAL