Hot Docs Review: Made in England: The Films of Powell and Pressburger (David Hinton, 2024)

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As filmmakers go, Martin Scorsese is surely one of the all time greats. With a career going back more than 50 years and including films such as Taxi Driver, Goodfellas, The Last Temptation of Christ and Killers of the Flower Moon, there’s no question he’s made his mark on cinema and has been an influence on many a filmmaker. But who influenced Scorsese? Made in England: The Films of Powell and Pressburger answers this question by taking a look at a pair of filmmakers who may not have the same level of name recognition that Scorsese does, but who have also clearly made their mark on the history of cinema.

Michael Powell and Emeric Pressburger, known collectively as The Archers, began their collaboration back in 1939, making a number of films together throughout the ’40s and ’50s and reuniting for a pair of films in the late ’60s/early ’70s before calling it quits. While the film makes extensive use of footage from Powell and Pressburger’s filmography, Made in England largely makes the case for their significance by simply pointing the camera at Scorsese and letting him expound on why he loves their films so much. And he makes a strong case, describing the sophisticated messages in the “subversive commercial movies” the pair made during WWII and the strong artistic vision they presented in films such as The Red Shoes and The Tales of Hoffman.

As Scorsese waxes poetic on the British duo’s work and offers insight into the influence they had on his own work, it becomes clear that this is just as much a film about Scorsese as it is about its titular subjects. What also comes through clearly is just how much Scorsese loves these films and how much they continue to inspire him. Ultimately, Made in England: The Films of Powell and Pressburger is a love letter to cinema itself. Watching Scorsese talk about these films will likely make those unfamiliar with Powell and Pressburger want to familiarize themselves with their work.

Hot Docs Review: So This Is Christmas (Ken Wardrop, 2023)

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Christmas. It’s merry. It’s jolly. It’s happy. It’s the most wonderful time of the year, right? At least that’s what the song says.

Of course, we know this can’t be the case for everyone and in So This Is Christmas, director Ken Wardrop reminds us that Christmas is not always the happiest time of the year for some, but rather a sad reminder of what they may be lacking in their lives.

The film follows several residents of a small Irish town, each of whom is dealing with something that makes the holiday season just a bit harder for them, be it economic hardship, the loss of a loved one, loneliness, or just an uncertainty about which direction they’re headed in life. The sadness in each of their stories is contrasted with random scenes of a more stereotypically festive nature, which really helps to illustrate the divide between what each of them is going through and the ever-present holiday cheer with which they’re bombarded every time they leave the house.

Among those profiled in So This Is Christmas, the most affecting stories come from a widower trying to keep it together and stay strong for his sons as they face their first Christmas without their mother and from an older woman dealing with loneliness and isolation during the holiday season. And though the latter, a self-proclaimed cynic, states that she’s gotten used to the solitude, we get a heartbreaking peek into how it still has an effect on her when she says to the camera, “Loneliness is one thing, but being invisible and forgotten is something else.”

Still, while it can all get a bit downbeat at times, it’s not entirely bleak. The film does offer up some glimmers of hope with each of its subjects working with the cards they’ve been dealt and seemingly making an effort to look on the bright side as much as possible. And that in itself suggests that at least some of that stereotypical Christmas cheer has made its way into their lives after all.

Hot Docs Review: The Fabulous Gold Harvesting Machine (Alfredo Pourailly De La Plaza ,2024)

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On the occasion of his 56th birthday, Chilean gold miner Toto writes a journal entry in which he notes, “There are hardly any miners anymore.”

Given the amount of labour he puts into his work in relation to his comparatively small yield, it’s hardly surprising that Toto is among the last of a dying breed. With some underlying health concerns on top of the fact that this is simply very demanding (and occasionally dangerous) work, it’s no surprise that it’s taking its toll on Toto, who, frankly, looks older than his 56 years at the outset of the film. But he has to keep working regardless because retirement isn’t an option and, really, it’s all he knows.

Starting off in 2017 and continuing on up to 2023, The Fabulous Gold Harvesting Machine follows the story of Toto and his son Jorge, who takes it upon himself to come up with a plan to help his father, eventually settling on the idea of building a device to help Toto with this very taxing labour. As the story unfolds, the film develops into a character study, examining the relationship between the stubborn, pessimistic Toto and his son, who is often frustrated at his father’s point of view. This relationship forms the emotional core of The Fabulous Gold Harvesting Machine, which is ultimately a film about hope.

Song of the Day: Blushing – Slyce

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“Slyce” is the latest single from Austin shoegazers Blushing, taken off their upcoming third album Sugarcoat, which is due out May 3 via Kanine Records. Check it out.