BANG BANG BABY, THE AMINA PROFILE, VENDETTA - Reviews By Greg Klymkiw - Canucks make cool movies y'all can see this week and I be tellin' you why y'all should see them

3 Canucks Make Cool Movies 2 C now!

BANG BANG BABY

Bang Bang Baby
Dir. Jeffrey St. Jules
Starring: Jane Levy, Justin Chatwin, Peter Stormare, David Reale

Review By Greg Klymkiw

Bang Bang Baby is easily one of the strangest movie musical romantic comedies ever made. Of course, it's Canadian. No surprise here, given that le pays de castor, l'orignal et le sirop d'érable, has already generated filmmakers like John Paizs, Guy Maddin and David Cronenberg.

Set in some perversely accurate 50s-60s studio musical version of rural Canada (basically, anywhere above the 49th that isn't Toronto), this is one lively, imaginatively-directed bonbon of a picture, if you, that is, think of yummy candies as multi-coloured Haribo gummies meeting Monty Python's "Whizzo Quality Assortment" featuring delectable sweet-meat comestibles described by company owner and everyone's favourite sweetie purveyor Mr. Milton (looking not surprisingly like Terry Jones) as "Spring Surprise", in which steel bolts spring out from the chocky to "plunge straight through both cheeks" or "Crunchy Frog, the finest baby frogs, dew picked and flown from Iraq, cleansed in finest quality spring water, lightly killed, and then sealed in a succulent Swiss quintuple smooth treble cream milk chocolate envelope" and, lest we forget the chocky featuring "fresh Cornish Ram's bladder" that's been "emptied, steamed, flavoured with sesame seeds whipped into a fondue and garnished with lark's vomit.

Yes, the bonbon is that tasty.

Indeed Bang Bang Baby, in the parlance of "high concept" (Canuck-style, 'natch), is a kind of cross twixt Mario Lanza-Elvis Preseley-Gidget-Tammy-with-dashes-of-David Byrne's True Stories with a few generous dollops of Orgy of the Blood Parasites (an early title of Cronenberg's Shivers).

Lonely Arms, a magical, mythical town in a Canada we no longer know (but desperately want to) is the sleepy-time Canuck home of high-school senior and car mechanic Steffy (the drop-dead gorgeous Canuckian Kitten-with-a-whip, Jane Levy), who lives with her bitter, alcoholic former musician Dad (Peter Stormare, the man who shoved Steve Buscemi into a wood chipper in Fargo).

Steffy has the voice of an angel (as does actress Levy) and her dream is to enter an American "Ingenue of the Year" Contest. When she's selected as a finalist, Dad fears her virtue will be at stake and he unfairly (but well-meaningly) scuttles her shot at stardom. Our gal resigns herself to a life of provincial Canadian mediocrity, pumping gas for her tender-loving-lying-in-puddles-of-his-own-vomit Dad, grudgingly heading off to a school dance and drunkenly going against her otherwise good judgement and eventually accompanying a creepy rich boy (David Reale, proving again why he's one of Canada's best and funniest character actors) for a late-night drive to his family's forbidding factory on the outskirts of town. A mysterious purple-fogged chemical leak leaves poor Steffy alone on a dark country road.

Out of the mist, appears, the Elvis-like American superstar Bobby Shore (Justin Chatwin) whose car has broken down after missing a turn to Omaha and ending up in Canada. (Our American neighbours are not always too bright.) Not only is she the lad's biggest fan, but she can fix his car.

Once she starts belting out her show-stopping tunes, it doesn't take Bobby too long to realize that she's quite the catch. Crooning and dancing against a plethora of gorgeously fake old-movie-studio-style backdrops, our made-for-each-other couple look like they're going to find happiness and live happily ever after.

However, I hope you haven't forgotten the aforementioned chemical leak from the factory. If you think this movie is weird, I can assure you, in the words of Al Jolson, "You ain't seen nothing yet!"

Without spoiling the rest of the picture for you, I will only say this: icky parasites begin to grown within the bodies of the citizenry of Lonely Arms.

And they are mutating.

Oops, mutants on the way.

Bang Bang Baby won last year's Best Canadian First Feature Film Award at the Toronto International Film Festival (TIFF 2014). Clearly the Awards Jury were swept away by director St. Jules's cornucopia of imagination. And yes, said mad vision runs gloriously rampant through the picture.

Still, its period and post-modern details only partially work. Many of the film's oddball touches are stunning, but an equal number of them feel forced and even occasionally anachronistic in many of the wrong ways. The usually reliable Stormare feels like he's sleepwalking through his role (looking aimlessly for the punch-clock and pay cheque) and though Chatwin makes for a decent romantic lead, I was a bit thrown off by his look, especially the Elsa Lanchester Bride of Frankenstein-like hairdo.

The film's inherent silliness is always a treat, though, and wisely, St. Jules never plunges into the kind of over-the-top that might have been swathed in globs of horrendous whimsy. Besides, leading lady Levy delivers a knock 'em dead performance and the genuinely great song-score has the kind of hum-ability to annoy you in all the right ways - as in, you can't get the bloody tunes out of your noggin, especially the title number.

Oh, and there are mutants. As a Canadian, I accept this.

THE FILM CORNER RATING: ***½ 3-and-a-half-stars

Bang Bang Baby is a Search Engine Films release that plays from August 21 at Toronto's Varsity, Vancouver's Fifth Avenue and Montreal's Forum, with expanded release in other Canadian cities to follow.

*NOTE* In an earlier version of this article, I reported how shocked I was that Bang Bang Baby won the Best Canadian Feature Film prize over Albert Shin's In Her Place. This was a huge error as BBB was the recipient of the Best First Feature Film Prize, which makes total sense. (Shin's film is not a first feature.) I had successfully managed to repress all knowledge of the ever-so-slight Felix and Meira which did win the overall best feature prize. Pardon the brain fart, but I do tend to shuttle some films deep into a dark closet - not because they're bad, but because they're so egregiously unmemorable.

THE AMINA PROFILE

The Amina Profile (2015)
Dir. Sophie Deraspe

Review By Greg Klymkiw

Set against the turbulent backdrop of war-and-revolution in contemporary Syria we meet Sandra Bagaria, one hot French-Canadian babe in Montreal and Amina Arraf, one hot Syrian-American babe in Damascus. They meet online. They're young. They're in love. They're lesbians. Okay. That's it. Go see the movie.

READ THE FULL REVIEW of The Amina Profile from Hot Docs 2015 HERE

THE FILM CORNER RATING: **** Four Stars

The Amina Profile is a Les Films du 3 mars presentation opening theatrically August 21, 2015 at the Bloor Hot Docs Cinema. For dates, times and fix, visit the cinema's website HERE

VENDETTA

Vendetta (2015)
Dir. Jen and Sylvia Soska
Scr. Justin Shady
Starring: Dean Cain, Paul "The Big Show" Wight, Michael Eklund, Kyra Zagorsky

Review By Greg Klymkiw

Let's get to the meat of the matter in this kick-ass prison picture by everyone's favourite Beautiful and Talented Hungarian-Canadian twins in Beautiful British Columbia - the action and violence. The Soska Sisters (American Mary) do not disappoint in this regard. Their direction goes far beyond just covering the thwacks, whacks, kicks, testicle-twisting and gore in a perfunctory manner, nor do they resort to the usual wham-bam with no sense of spatiality. I was delighted that they placed a fair degree of faith in actors who could clearly fight, some superb stunt choreography/coordination and a few occasional frissons like the makeshift "brass" knuckles Danvers creates and uses with sweet abandon.

As a side note, it is incumbent of me to point out that the one prison movie cliche sadly missing from Vendetta are a few instances of forcible sodomy and blow jobs. Most disappointing. What gives? Even a dull, inexplicably beloved piece of crap like The Shawshank Redemption had a decent anal rape scene.

But, I digress.

READ THE FULL REVIEW of Vendetta HERE

THE FILM CORNER RATING: ***½

Vendetta is now available on BLU-RAY via Lions Gate.

3 Movies playing at the 25th Anniversary Inside Out Toronto LGBT Film Festival 2015 that I saw at other film festivals - Reviews By Greg Klymkiw of THE AMINA PROFILE ****, GUIDANCE *** and A SINNER IN MECCA ****

The Amina Profile (2015)
Dir. Sophie Deraspe

Review By Greg Klymkiw

Set against the turbulent backdrop of war-and-revolution in contemporary Syria we meet Sandra Bagaria, one hot French-Canadian babe in Montreal and Amina Arraf, one hot Syrian-American babe in Damascus. They meet online. They're young. They're in love. They're lesbians. Okay. That's it. Go see the movie.

READ THE FULL REVIEW of The Amina Profile from Hot Docs 2015 HERE

THE FILM CORNER RATING: **** Four Stars

The Amina Profile is playing at the Inside Out 2015 Toronto LGBT Film Festival. For further info, please visit the festival's website by clicking HERE.

A Sinner in Mecca (2015)
Dir. Parvez Sharma

Review By Greg Klymkiw

I think filmmaker Parvez Sharma (A Jihad for Love) wins the grand prize, hands-down, for making one of the bravest films of this or any other year. Sharma is a deeply devout Muslim and required, as all able-bodied Muslims are, to make the pilgrimage to Mecca (The Hajj) in Saudi Arabia at least once in his life. The time for him is now. He needs to affirm his faith by making this Holy journey, but he also needs to address a deeply personal conundrum of conscience. Has he been a good Muslim? Is he a good Muslim? Can he continue to be a good Muslim? Sharma, you see, is gay.

READ THE FULL REVIEW of A Sinner in Mecca from Hot Docs 2015 HERE

THE FILM CORNER RATING: **** Four Stars

A Sinner in Mecca is playing at the Inside Out 2015 Toronto LGBT Film Festival. For further info, please visit the festival's website by clicking HERE.

Guidance (2014)
Dir. Pat Mills
Starring: Pat Mills, Zahra Bentham,
Laytrel McMullen, Alex Ozerov, Kevin Hanchard, Tracey Hoyt

Review By Greg Klymkiw

David Gold (Pat Mills) is a loser. He's a former child star reduced to taking non-union voice gigs, the latest of which he gets fired from because of his haughty, petulant, pretentious attitude. This is bad news because he's way behind on his share of the rent and on the verge of being turfed. He's got serious drug and alcohol problems and he's so deeply in the closet he won't even admit to himself that he's gay. Oh yeah, he's been diagnosed with late-stage skin cancer. None of this phases our hero. For us, the audience, it's one hell of a good deal because Guidance (the feature debut of writer, director and star Pat Mills) is all about David's hilarious decision to bamboozle his way into a job he's not qualified for, but thinks will be perfect for him. Cribbing from a child psychologist YouTube guru, David lands a cushy dream job that will not only pay well, but give him a chance to help teenagers which, for utterly insane reasons, he believes he'll be good at. He becomes the new Guidance Counsellor of Grusin High.

READ THE FULL REVIEW of Guidance from TIFF 2014 HERE

THE FILM CORNER RATING: *** Three Stars

Guidance is playing at the Inside Out 2015 Toronto LGBT Film Festival. For further info, please visit the festival's website by clicking HERE.

HOT DOCS 2015: THE AMINA PROFILE - Review By Greg Klymkiw ****

The Amina Profile (2015)
Dir. Sophie Deraspe

Review By Greg Klymkiw

Set against the turbulent backdrop of war-and-revolution in contemporary Syria we meet one hot French-Canadian babe in Montreal (Sandra Bagaria) and one hot Syrian-American babe in Damascus (Amina Arraf).

They meet online. They're young. They're in love.

They're lesbians.

Okay. That's it. Go see the movie.

Review over.

Oh, that's not fair. Here's a bit more to, uh, chew on:

Yesiree-bob, they're lesbians and they're totally into each other, wholly - in mind (what's some nice sapphic eroticism without a few healthy dollops of intellectual discourse) and in, oh yeah, baby, BODY. And let me tell ya', quicker than you can say "Voulez-vous coucher avec moi (ce soir)?", l'action de yum yum gets going and it's guaranteed to be hot and heavy.

'Nuff said.

No? Okay, check this out:

The rub, so to speak, is that they're separated by continents, culture and physical proximity, so they must create virtual worlds via text messaging and avatars to become one. Yes, it's cybersex, but no matter. This is a movie, so, via the film's director, we have mega-potential for lots of imagined, recreated hot caresses, tongue action, rug cleaning and soft, lithe, supple flesh against flesh to demonstrate for us, the unbridled passion unfurling in their respective loins - I mean, minds. Better yet, as the film progresses, they can well imagine what the real fireworks are going to be like when they finally meet.

So can we.

Yowza! Yowza! Yowza! Do I really need to keep writing?

I do? Well, okay. Don't mind if I do. Just thought you'd want to dispense with reading this review and just go see the movie (with a handy raincoat to place over your lap for any discrete digital manipulations you might wish to indulge in as the picture unspools).

So, where was I? Oh yes, so our two femmes are tres exotique and maybe, just maybe, the virtual will become a reality. There's danger, though. Sandra lives a fairly normal, comfy life in La Belle Province whilst Amina is surrounded by violence and political unrest during the Syrian uprising as its being quashed by the ruling patriarchy. Oh, and lest we forget, those of the LGBT persuasion are on the top of most Syrians' extermination lists which ups the suspense ante when brave Amina launches a blog entitled "A Gay Girl in Damascus" - a delicious blend of news, politics and ground zero reportage of the Syrian conflicts. The blog goes through the roof - journalists and news agencies from all over the world look to the "Gay Girl" for their news, until, the worst happens.

Amina tells Sandra that the secret police are on to her. It's scary stuff. She aspires to be a novelist and her blog posts and emails to her cyber-love are plenty evocative. She walks the streets of Damascus, attends rallies and protests, and at times, finds herself alone in the shadows of tiny labyrinthian walkways. All the while, she's convinced she's being followed. (The filmmaker delivers a whole lot of hazy dramatic recreations for us - a total bonus). Eventually, Amina informs Sandra that she needs to go further underground and that their communications will be sporadic and brief.

Then, nothing.

Amina completely disappears. The world is watching. Where is the Gay Girl in Damascus? Word travels through various underground and cyber channels that Amina has been kidnapped by the Syrian authorities and languishes in prison. Sandra is desperate. She launches an intense campaign to find and rescue Amina. With the help of Western activists and even American diplomatic channels (Amina is, after all, a dual American citizen), a tense, multilevelled investigation is underway. Mystery upon mystery begins to exponentially pile up and soon Sandra (and by extension, we, the audience) are ripped away like a Harlequin Romance heroine's bodice from a sex-drenched love story and plunged into a superbly complex thriller that keeps us wanting to know more.

And the more we (and Sandra know), the more we become afraid.

Very afraid.

And guess what? We're only a third of the way into the film. There's a lot more thrills and intrigue to enjoy.

AND it's all true.

Aside from the deftly directed dramatic recreations, skillfully edited with a myriad of other characters/subjects and interviews, The Amina Profile is never less than jangling, compulsive viewing. Where it goes, you'll never know until you see it. Once you do see it, as the suspenseful pieces of the puzzle slowly, creepily and shockingly fall into place, you'll find yourself registering surprise at every turn of every corner. You'll be confronted with the deep, dark mysteries of international intrigue amidst violent revolution as well as the strange, dark corners of cyberspace.

The picture's a corker. In fact, The Amina Profile might be one of the most vital contemporary films to examine how loneliness coupled with activism yields a Knossos-like journey to a shocking reality of what all of us face in parallel worlds - those in which we question and alternately, those we do not.

THE FILM CORNER RATING: **** Four Stars

The Amina Profile will have its Toronto Premiere at HOT DOCS 2015. For schedule and tickets, visit the Hot Docs website HERE.

Greg Klymkiw' presents his HOT DOCS 2015 HOT PICKS #2: THE AMINA PROFILE **** and ALL THE TIME IN THE WORLD ***

Greg Klymkiw presents his HOT DOCS 2015 HOT PICKS #2

For the next fourteen days I will only review movies I liked, loved or that totally blew me away during the 2015 Hot Docs Canadian International Documentary Festival in Toronto, Canada. Life is short. I won't bother reviewing movies that were godawful, mediocre or just plain okay. Note my picks, mark your calendars and save some precious hours, days and weeks of your life on planet Earth. Instead, spend it travelling the world via one of cinema's most vital genres.

The Amina Profile (2015)
Dir. Sophie Deraspe

Review By Greg Klymkiw

Set against the turbulent backdrop of war-and-revolution in contemporary Syria we meet one hot French-Canadian babe in Montreal (Sandra Bagaria) and one hot Syrian-American babe in Damascus (Amina Arraf).

They meet online. They're young. They're in love.

They're lesbians.

Okay. That's it. Go see the movie.

Review over.

Oh, that's not fair. Here's a bit more to, uh, chew on:

Yesiree-bob, they're lesbians and they're totally into each other, wholly - in mind (what's some nice sapphic eroticism without a few healthy dollops of intellectual discourse) and in, oh yeah, baby, BODY. And let me tell ya', quicker than you can say "Voulez-vous coucher avec moi (ce soir)?", l'action de yum yum gets going and it's guaranteed to be hot and heavy.

'Nuff said.

No? Okay, check this out:

The rub, so to speak, is that they're separated by continents, culture and physical proximity, so they must create virtual worlds via text messaging and avatars to become one. Yes, it's cybersex, but no matter. This is a movie, so, via the film's director, we have mega-potential for lots of imagined, recreated hot caresses, tongue action, rug cleaning and soft, lithe, supple flesh against flesh to demonstrate for us, the unbridled passion unfurling in their respective loins - I mean, minds. Better yet, as the film progresses, they can well imagine what the real fireworks are going to be like when they finally meet.

So can we.

Yowza! Yowza! Yowza! Do I really need to keep writing?

I do? Well, okay. Don't mind if I do. Just thought you'd want to dispense with reading this review and just go see the movie (with a handy raincoat to place over your lap for any discrete digital manipulations you might wish to indulge in as the picture unspools).

So, where was I? Oh yes, so our two femmes are tres exotique and maybe, just maybe, the virtual will become a reality. There's danger, though. Sandra lives a fairly normal, comfy life in La Belle Province whilst Amina is surrounded by violence and political unrest during the Syrian uprising as its being quashed by the ruling patriarchy. Oh, and lest we forget, those of the LGBT persuasion are on the top of most Syrians' extermination lists which ups the suspense ante when brave Amina launches a blog entitled "A Gay Girl in Damascus" - a delicious blend of news, politics and ground zero reportage of the Syrian conflicts. The blog goes through the roof - journalists and news agencies from all over the world look to the "Gay Girl" for their news, until, the worst happens.

Amina tells Sandra that the secret police are on to her. It's scary stuff. She aspires to be a novelist and her blog posts and emails to her cyber-love are plenty evocative. She walks the streets of Damascus, attends rallies and protests, and at times, finds herself alone in the shadows of tiny labyrinthian walkways. All the while, she's convinced she's being followed. (The filmmaker delivers a whole lot of hazy dramatic recreations for us - a total bonus). Eventually, Amina informs Sandra that she needs to go further underground and that their communications will be sporadic and brief.

Then, nothing.

Amina completely disappears. The world is watching. Where is the Gay Girl in Damascus? Word travels through various underground and cyber channels that Amina has been kidnapped by the Syrian authorities and languishes in prison. Sandra is desperate. She launches an intense campaign to find and rescue Amina. With the help of Western activists and even American diplomatic channels (Amina is, after all, a dual American citizen), a tense, multilevelled investigation is underway. Mystery upon mystery begins to exponentially pile up and soon Sandra (and by extension, we, the audience) are ripped away like a Harlequin Romance heroine's bodice from a sex-drenched love story and plunged into a superbly complex thriller that keeps us wanting to know more.

And the more we (and Sandra know), the more we become afraid.

Very afraid.

And guess what? We're only a third of the way into the film. There's a lot more thrills and intrigue to enjoy.

AND it's all true.

Aside from the deftly directed dramatic recreations, skillfully edited with a myriad of other characters/subjects and interviews, The Amina Profile is never less than jangling, compulsive viewing. Where it goes, you'll never know until you see it. Once you do see it, as the suspenseful pieces of the puzzle slowly, creepily and shockingly fall into place, you'll find yourself registering surprise at every turn of every corner. You'll be confronted with the deep, dark mysteries of international intrigue amidst violent revolution as well as the strange, dark corners of cyberspace.

The picture's a corker. In fact, The Amina Profile might be one of the most vital contemporary films to examine how loneliness coupled with activism yields a Knossos-like journey to a shocking reality of what all of us face in parallel worlds - those in which we question and alternately, those we do not.

THE FILM CORNER RATING: **** Four Stars

The Amina Profile will have its Toronto Premiere at HOT DOCS 2015. For schedule and tickets, visit the Hot Docs website HERE.

All The Time In The World (2014)
Dir. Suzanne Crocker

Review By Greg Klymkiw

A happy, progressive family from Dawson City realize that the stress of modern living is wreaking havoc with their quality of life and creating barriers between honest, real communication in their home. They do what many dream about, but never do - they pack their bags with kids, cat and dog in tow and hightail it up north to the most isolated reaches of the Yukon to live for a year completely off-grid. Mom (Director, Producer and Cinematographer Suzanne Crocker) also decided to document the family's journey and given how much old settler-style toil the family endures (especially during the first third of the picture), she probably deserves some manner of SuperMom Oblation to have made a movie and carried on like Honest Abe Lincoln's Mom must have done in that old log cabin.

Happily, we don't spend too much time in the city, nor are we subjected to what must have been a seeming lifetime of rumination, then planning and finally getting everything ready that they're going to need to live on in the middle of nowhere - a place bereft of any means to communicate with the outside world. We get just enough of the aforementioned so we can get to the good stuff.

And wow! What good stuff! We get to experience the utter drudgery of carting what seems like half the contents of a storage locker warehouse from their boat up to the cabin deep in the forest, building a humungous above-ground storage facility for their food, rigging a platform to pull their boat onto dry ground for the winter and a whole whack of other necessary duties to get themselves set up.

I was especially delighted to note that the family brought along archery gear, big sharp blades and firearms. I know from experience that the wilderness can be home to bears, wolves, coyotes and perhaps, most menacing of all, inbred country cousins. My fingers were crossed. All good storytellers know you don't introduce weaponry into your yarn without making good use of them.

The film has a unique three-act structure which naturally follows the events of the family's journey, but clearly much effort and thought has been placed into evoking more than mere narrative beats. What the film provides us with is the actual tone and almost poetic nature of this lifestyle. The family have no phones, no computers, no radios, no television sets, no walks, no CBs and perhaps most importantly, no clocks of any kind. The sense of time having no meaning is something the film beautifully evokes. We get to experience genuine conversations, the simple pleasures of reading aloud, preparing all the food from scratch, chopping firewood (one of my personal favourites - NOT!) and endlessly hauling buckets of water up and down a steep, rugged hill (double NOT on this for me).

There's fun, of course: skating on rivers, ice-sledding, playing in the snow, building a huge tent which gets covered with snow (becoming a cool clubhouse/fort) and even celebrating events like Halloween and Christmas in ways unique to the isolated setting. There's also a real sense that the family is in on stuff together - the kids often present very cool ideas and contributions to their lifestyle. There's danger, too. (No, the inbred country cousins haven't shown up yet.) There's a humungous snow storm and Dad's out in the wilds on his own, thus injecting a few beats of genuine tension.

What the film does not show (or chooses not to show) is the kind of nasty, verbal sparring that can rear its ugly head when family or friends are afflicted with cabin fever. I longed, with baited-breath for some Edward Albee or Eugene O'Neill-like acrimony - Mom and Dad sloshing back several beakers of rotgut then hurling barbs of verbal abuse at each other while the children cower in the corner.

Oh well, they seem like nice people. I cannot fault them for that.

Finally, what really hits home (at least for me) is the silence and then realizing, life in the middle of nowhere is NEVER silent, but that the sounds of the natural world are not unlike a gorgeous symphony orchestra. I personally know quite a bit about living off-grid (because I indeed do) and certainly found much in the film I was able to connect with, but even I couldn't do what this family did. They're not simply off-grid for most of the picture's running time, they might as well be off the planet. Me, I need my shortwave radio to listen to crazy survivalists and evangelists barking madly into the deep night and while I'm perfectly adept at chopping wood, I much prefer getting one of the locals to dump a few cord of wood every six months or so. I do, however, enjoy stacking it.

Much to my consternation, the inbred country cousins never do show up. Damn! I harboured images of Dad blowing the grizzled, drooling psychopaths away while the kids got into the action with bows, arrows, knifes and axes. (Mom would be filming all this, of course.) I was ready to throw in the towel when the reality of this hit me. However, an unexpected visitor DOES show up and yes, the gun must be fired.

This made me happy. Then again, don't mind me. As James Cagney would always say in Raoul Walsh's Strawberry Blonde, "It's just the kind of hairpin I am."

THE FILM CORNER RATING: *** Three Stars

All The Time In The World will have its Toronto Premiere at HOT DOCS 2015. For schedule and tickets, visit the Hot Docs website HERE.