AD eva VIFF 2021 Highlights » Local movies, relevant work, and resurrected videotapes Jerrison Oracion Senior Columnist nother edition of the Vancouver International Film Festival is now in the books, and this year was very special being the 4oth anniversary of the festival. With in-person screenings coming back, the many venues were almost filled, and audiences were able to engage in Q&As with the cast and crew of some of the films. I watched a few films—mainly Canadian films and mainly in-person—during the festival this year. While there, I got to talk to movie lovers as I was volunteering during the festival; many told me about what they watched and liked. I also spent time talking with the organizers about their pandemic experiences. When my family and I were cleaning up our house recently, I was able to look at the video cameras that we have including a vintage one from the 1990s. Both use old VHS tapes and the picture quality of these tapes is reminiscent of scenes from the local BC film Portraits from a Fire. The film is kind of autobiographical of first-time director Trevor Mack making homemade movies in his reserve of TYetinqox where a boy named Tyler (William Magnus Lulua) finds a video recording tape containing footage of his mother whom he barely knew. He uses it to make his most personal film departing from his other low-budget science-fiction efforts. It was mind-blowing and it can be used as laugh medicine to heal from devastating discoveries while also showing the hardships of living in a reserve. One documentary that also uses video camera footage is Daughter of a Lost Bird, a film like Boyhood in that it was shot over seven years, and it involves a reunion. In it, an Indigenous actress named Kendra Mylnechuk Potter tries to answer hard questions about her identity while reuniting with her birth mother, April. The process was both filmed and helped by director and frequent collaborator Brooke Pepion Swaney. It showed the wrongs of kidnapping Indigenous children from their parents and putting them up for adoption and the way it impacted Kendra and April. Then, I watched another Indigenous documentary related to the National Day of Truth and Reconciliation called Returning Home which explains the history of Orange Shirt Day as created by Phyllis Jack-Webstad. Orange Shirt Day later become a national holiday with its inaugural day occurring last month. The movie also spends time addressing the salmon shortages in the Fraser River and victims of residential schools. The film that got Best Canadian Film in the festival this year was Kaveh Nabatian’s Sin La Habana. The movie involves a Cuban ballet dancer trying to make his dreams come true in Montreal. The film was shot beautifully and made good use of cultural exchanges but ended up being an international affair. Nabatian, who is also a music video director made the score for the film as well. During the last day of the festival on Thanksgiving, I watched two films at the same time on VIFF Connect. The first one was Spaghetti Code Love which was essentially an ensemble comedy about ¢ Local movies, relevant work, and resurrected videotapes ¢ The Severity of Where We're Going review ..and that's everything! Illustration by Udeshi Seneviratne stories of everyday people in Tokyo and the Vinyl sequel Records which made me appreciate collecting music even if they are CDs. While most of the films in the festival will be released in movie theatres and available on digital and streaming services, you still have a chance to see some of them right now at the VIFF Centre as part of the VIFF Repeats series. Despite the pandemic still happening, this year’s VIFF was a success and maybe next year when international travel is open again, the real celebration happens. The Severity of Where We're Going review >» Generous Thieves’ new EP offers a laidback and wholesome ride for all those Keen to listen Jonathan Pabico Senior Columnist f someone asked you about reggae, Bob Marley would probably come to mind. However, Vancouver’s Generous Thieves aims to challenge that longstanding image. The group proves with their new EP, The Severity of Where We're Going, that Canada has incredible reggae artists too. The band’s music benefits from easygoing energy, diverse themes, and reassuring compositions that we should tune into immediately. As described in an artist profile provided to the Other Press, Generous Thieves consists of musicians Devon Martin, Andrew Conroy, and Sugah Candiah. Their EP, released October 15, features five tracks enriched by the musical fusion of genres with a focus on reggae. Despite the fresh release, the band has no plans to slow down anytime soon. They're already gearing up for future endeavours, including recording sessions for their debut album. Simple lyrics convey straightforward themes enriched by resonating reggae beats. Each song Cover of 'The Severity Of Where We're Going' by Generous Thieves is imbued with eclectic soulfulness and psychedelic undertones. The EP gives you a wondrously enjoyable time while discussing aspects of the world that affect us today. The EP’s upbeat lyricism, lively vocals, and an ultra-positive atmosphere across most of the tracks help you feel excited about life. The track “Sleep”, for instance, balances cymbal crashes with the most vibrant guitar chords you'll ever hear. The listener is greeted by heartwarming themes about having hope for the future and using our voice to enact change in the world. The goal of someday uniting cultures, peoples, and nations is rekindled through this optimistic track. The Generous Thieves also use their music to explore how consumerism shapes our material lifestyles in concerning ways. The EP’s second song “Flick a Match” tackles the economic inequalities associated with price hikes, our compulsive need to be wealthy someday, and the plights of marginalized communities. These topics are evoked by moody reggae vocals mixed with distorted segments and subdued drums across the track. The fifth and final track, “Up in Smoke” builds on the theme of our socio- economic plight. The piece creates an irony that disarms us by employing jovial reggae vocals that clash with the song’s more distressing social theme about money. We’re shown how dominated and absurd our lives have become in struggling to meet the rising costs of living. A bit more experimentation could’ve been imbued into the tracks to push the musical fusion even further. I think the band could expand into more genres from jazz to R&B to see what other synergies they can create with their reggae sounds. However, despite these personal preferences, the group’s music immerses you in their simple yet riveting stories. The Severity of Where We’re Going is a relaxing art piece that’s worth settling into during peaceful days or your solemn afternoons. Anytime you need something for emotional support, Generous Thieves is there for you. Their music is a fantastic addition to the playlists of devout reggae fans and Canadian music lovers looking to experience the genre for the first time. If I were you, get listening, and prepare to be swept away by the world of reggae.