The Sweet Hereafter play set.
Atom Egoyan’s Adoration and Catherine Breillat’s Bluebeard.
Made for German television and with a budget of only $100,000, Calendar is one of the most compelling and stylistically inventive films I’ve seen this year.
It’s something about that bass line and the way that Gord Downie unleashes the line, “Armed with will and determination / And grace, too,” that rips me up.
There’s a scene in The Sweet Hereafter in which Mitchell Stephens — a big city ambulance chaser played to perfection by Ian Holm — sits in a cramped airplane seat, telling the passenger beside him a story from when his daughter, Chloe, was a child.