Winnipeg Free Press Newspaper Archives Sep 11 2015, Page 50

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Winnipeg Free Press (Newspaper) - September 11, 2015, Winnipeg, Manitoba C M Y K PAGE D3 winnipegfreepress. com ARTS & LIFE WINNIPEG FREE PRESS, FRIDAY, SEPTEMBER 11, 2015 D 3 Metric Ingredients Imperial 500g ground turkey 1 lb 2 eggs 2 2 carrots, shredded 2 2 small potatoes, shredded 2 1 onion, diced 1 - season to your taste - GROUND TURKEY BURGERS Directions In a large bowl; mix turkey with eggs. Add carrots, potatoes and onions mixing well. Add seasonings. Form turkey mixture into patties. Place on baking sheet and bake in preheated 350 F ( 180 C) oven until no longer pink inside. Serves 4 ENTER TO WIN TICKETS Go to winnipegfreepress. com/ contests for your chance to win! No purchase necessary. Contest deadline is noon on September 14, 2015. Winner will be contacted by phone and must correctly answer a time- limited, skill- testing question. Employees of the Winnipeg Free Press and any participating sponsors are not eligible to win. This information is used only by the Winnipeg Free Press and is not sold, bartered, traded or given to any other parties. If someone you know has Alzheimer’s disease or another dementia, we’re here to help. Call 204- 943- 6622 or 1- 800- 378- 6699 or visit us online at alzheimer. mb. ca I N this nicely observed comedydrama, the task of mastering an automobile is symbolic of getting through life at a time when your selfesteem has just been T- boned. It might seem like a bumpy metaphor. Fortunately, the ride is a smooth one with director Isabel Coixet ( Elegy ) at the steering wheel and Patricia Clarkson navigating around the melodramatic potholes in the script by Sarah Kernochan. ( Two can play at this metaphor thing, y’know.) Clarkson is Wendy, an esteemed New York book critic who has just learned her husband, Ted ( Jake Weber), is leaving her for another woman. Ted has chosen a restaurant as the setting to deliver the news, and their fiery exit leads to a noisy and emotional ride in a taxi driven by horrified Sikh cabbie Darwan ( Ben Kingsley). The breakup has many traumatic implications for Wendy, including her having to learn to drive after years of relying on Ted for automotive transportation. When Darwan delivers a package Wendy left behind in his cab, she notices he is also a driving instructor. It’s the beginning of a beautiful relationship, as Darwan teaches Wendy the art of driving, a process that has its own inherent life lessons. ( Do not be distracted in getting to your destination. Do no harm to others. Keep cool.) Lest the movie patronizingly present Kingsley’s character as an all- wise Indian guru archetype, it emerges Darwan has issues of his own, not the least of which is an arranged marriage to Jasleen ( Homeland ’s Sarita Choudhury), a woman who comes to America essentially paralyzed with fear of leaving their Queens apartment. The movie sets us up to expect a rote love triangle, but delivers something more mature and textured. For one thing, it provides an interesting glimpse into Sikh- American culture, from the beauty of its traditions to the harsh ugliness of the racism turbanned American Sikhs face on a daily basis in post- 9/ 11 America. ( Even a character as imperturbable as Darwan has his limits.) Kingsley acquits himself in the role with considerable grace. He also makes a solid anchor to Clarkson, who relinquishes her own elegant, sometimes frosty screen persona for something a little wilder and decidedly sexier. randall. king@ freepress. mb. ca Mature comedy signals intentions during textured driving, life lesson By Randall King Other voices Learning to Drive is a richly observed, cross- cultural character study that coasts along pleasurably on the strengths of its virtuoso leads. — Michael Rechtshaffen, Los Angeles Times Clarkson develops a push- pull rapport with Kingsley that fills in the blanks — or, rather, mitigates the script’s on- the- nose tendencies. — Michael Phillips, Chicago Tribune Coixet, Clarkson and Kingsley have worked together previously ( in the 2008 drama Elegy ), but this is the Spanish filmmaker’s first crack at comedy. She passes the test, seemingly with ease. — Brad Wheeler, Globe and Mail The film seems to take its method entirely from Darwan’s quiet, methodical patter about how to move safely across lanes and through intersections. It’s good advice for driving, but less helpful for drama. — Mark Jenkins, NPR Movie Review Learning to Drive . Starring Patricia Clarkson and Ben Kingsley . Grant Park . 14A . 90 minutes š š š out of five LINDA KALLERUS / BROAD GREEN PICTURES Ben Kingsley stars as Darwan and Patricia Clarkson as Wendy in Learning to Drive. SOMEWHERE between “ euphoria and melancholia”: That’s the music favoured by the fictional young Parisian DJ in co- writer/ director Mia Hansen- Love’s Eden , a fragrantly atmospheric portrait of a time, a place and a restless state of romantic yearning. Hansen- Love’s fourth feature also serves as a reminder. Few of us in this life monetize our passions on a grand scale. Mostly there are those who glide along, doing their thing, doing what they can to support their thing, becoming neither legends nor failures. This isn’t the usual terrain of movies devoted to music. We meet skinny, shy, charismatic Paul, played by Felix de Givry, in 1992. He’s a teenager on the make, navigating his first illegal rave somewhere outside Paris. He and his affable friend Stan ( Hugo Conzelmann) absorb all the new sounds like sponges. In the early morning light along a river, Paul enters a converted submarine decorated to look like a party lounge. The mood is quiet, but the air is charged with creative and sensual possibility, just as it was for the river dwellers of Jean Vigo’s 1930s classic L’Atalante . Paul and Stan form a duo called Cheers, and their DJ skills point the way forward. They, and the film, roll through the years to the new century. Eden follows after these two, as well as their friends and colleagues. Paul’s American girlfriend, played by Greta Gerwig, drops into his life for a time, and then out again. Inhabiting a parallel section of the same fertile Paris club scene, the members of Daft Punk become local heroes, and then international ones, while Paul and Stan enjoy reasonably steady work, taking them to New York early in the new century. Eden is a sideways kind of story, its levels of fame and disappointment distinct but not melodramatic. Paul struggles with cocaine, debt and, in his 30s, the creeping sensation that the beat is going on without him and it’s not really his beat anymore. His stormy, years- long affair with Louise ( terrific Pauline Etienne, a tough- willed “ Cosette,” as Paul calls her) fades but there’s an intriguing postscript, a scene in the seaside town where Pauline has relocated with her new man and their two kids. Earlier, in a New York sequence, Paul reconnects with the Gerwig character. Fireworks? Not really; more like flickers of old, fond feeling. Hansen- Love wrote the script with her brother, Sven Hansen- Love, basing it on his DJ experiences. Eden empathizes with everyone on screen, from the moody graphic novelist Cyril ( Roman Kolinka) to a freelance music journalist/ scene- maker/ riddle ( Vincent Macaigne) who hosts late- night viewings of Showgirls . Hansen- Love’s camera captures the hours and days and years spent on the road through young adulthood. Photographed in gorgeous, supple widescreen by Denis Lenoir, Eden comes alive as cinema most vividly on the teeming dance floors of the venues Paul and Stan fill with their smooth, hypnotic brand of electronica, “ like house but more disco,” as Paul calls it years later. Eden has drawn comparisons to the Coen brothers’ Inside Llewyn Davis . That film was about the guy ( fictional) who didn’t quite become Bob Dylan. Eden presents the guys ( also fictional) who didn’t quite become Daft Punk. The Coens’ film is a wisenheimer, a mordant black comedy. Eden is utterly different, more muted and humane in tone. It won’t be enough for some audiences. Hansen- Love treats Paul’s story, unremarkable in many aspects, as a study in forward motion — on the turntable, on the dance floor, on motorcycles. By 2013, the time of the film’s final chapter, Paul has begun to change, and to process what he has been through. It’s not a euphoric ending, nor a melancholic one. It’s in the middle. — Chicago Tribune Fame fades, love moves on in muted story of musicians By Michael Phillips Movie Review Eden . Starring Felix de Givry and Greta Gerwig . Cinematheque . 14A . 132 minutes š š š out of five On the make: Felix de Givry D_ 03_ Sep- 11- 15_ PP_ 01. indd D3 9/ 10/ 15 3: 05: 29 PM

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