Whole New Thing

I saw this to a packed audience at the Toronto International Film Festival today with director, lead actor, and producers in attendance.

This film exceeded my expectations and was enjoyable to watch. This film explores sexuality and relationships mainly through a home-schooled boy whose family integrates him into a regular school, coming into contact with students and one teacher in particular. This was an engrossing and very interesting exploration of this topic with tenderness, realism, and an excellent screenplay.

A few outstanding aspects:

1) SCREENPLAY: very intelligent, strong characters, motivations, with some very witty lines that really worked and, at times, got me laughing. Good flow.

2) VERY STRONG ACTING: The lead actor (first film for Aaron Webber) was very well cast, not to mention the performances from all leads was very strong. Kudos to the director for pulling this together.

3) VISUALS: The scenes and visuals are slightly out of the ordinary resulting in something that intrigues and makes it worth watching.

There is, however, one small area that was lacking believability which would make this an otherwise outstanding film: the evolving relationship of the lead character with his teacher. A bit more care with this crescendo is what is needed. With a few tweaks highlighting a special moment, or an additional scene, the movie would be perfect. I was thoroughly engrossed in the characters and story and give this movie a very strong endorsement.

What happens to people who are raised without conventional social boundaries? Emerson Thorsen (Aaron Webber) is a thirteen-year-old boy living with his aging hippie parents in rural Nova Scotia. Even though they clearly love their son, Roj (Robert Joy) and Kaya (Rebecca Jenkins) often act more like Emerson's pals than his parents (they have the annoying habit of querying him about his burgeoning sexuality). After years of home schooling, the sensitive, highly gifted Emerson is enrolled in the local middle school where he immediately stands out from the more conventional members of the student body who have no interest in discussing poetry or reading Shakespeare. Emerson not only has problems relating to the other pupils, but he develops a crush of sorts on his English teacher (Daniel MacIvor, who co-wrote the screenplay), a common enough occurrence, except that Emerson, so long shielded from the societal norms of the outside world, feels no compunction not to act on his feelings, creating complications for everyone involved.

Alternately touching and queasy, "Whole New Thing" is a generally sensitive coming-of-age tale that distinguishes itself with its novel setting and its unusual set of characters. The movie doesn't always feel like it knows where it's going, but that can be as much a recommendation for the film as a criticism of it. There are times when it seems as if it is going to go completely off the rails - particularly in the marital travails of Roj and Kaya - but it always manages to somehow right itself at the last minute. Only at the VERY last minute does it fail to do so, succumbing to an ending that is far too abrupt, upbeat and amicable for what has gone before.

The acting is strong, and there is just enough complexity in the characters and storytelling to make us suspect that MacIvor (who has directed a number of films of his own) and writer/director Amnon Buchbinder, should they choose to collaborate again, will do even more sophisticated work in the future. As it stands, this is a promising early effort for the filmmakers.

Amnon Buchbinder's "Whole New Thing" ranks among the best independent films of the past year. Solid performances, notably from newcomer Aaron Webber, and assured, mature direction bolster an excellent script (co-written by ubiquitous Canuck playwright and co-star Daniel MacIvor) about the vagaries of family, love and sexuality. Buchbinder's sensitive treatment of his characters never falls into cliché and consistently offers resonant insights. The script is well-paced and adroitly mixes comedy and tragedy to present a well-rounded view of humanity in bittersweet glory.

For those of you who thought Canadian cinema was just about Atom Egoyan and David Cronenberg, think again: Amnon Buchbinder is as strong and defined a voice as either of those two, and his soft touch arguably eclipses both in terms of his ability to explore the humanity of his characters.

This is one of those rare, seemingly perfect little movies that takes a specific situation and somehow makes it seem to contain the whole world… a universal story that contains a humor and poignancy we can all relate to. I'm thinking of movies like Harold and Maude, or The Graduate. It has that sheer deliciousness, a meal you find that you want to eat over and over. I saw it at the Toronto International Film Festival sort of by chance, it fit into my schedule and I wasn't expecting much, just another Canadian movie that might be competently made and sincere but somehow would fall short of really being satisfying or engaging or having much to say. Boy was I wrong. In the days that followed, the movie would not leave my head. And then I happened to be in Montreal this week and last night it was the opening night film at the image + nation film festival here so I went to see it again. And it was even better the second time, which is the real test with this kind of movie, by which I mean the kind that has lines of dialog you just want to repeat ("how long does this right of passage thing last?" or dad explaining to his son why masturbation is better than wet dreams, "too much laundry is bad for the environment"), and a cast of characters you wish you knew in real life. They are so complex and real, and the movie sees them with love and acceptance but at the same time humor, in spite of their failings and foolish actions. Its also the nuanced performances; as the teacher Daniel McIvor shows the character's strength and weakness. As the boy Aaron Weber is a revelation, the gutsiness of this kid's performance, from his naked saunas to his simultaneous innocence and calculation, is amazing (and hard to believe its his first film role). The story is consistently surprising, it never sells its characters short, or the audience, respects us enough to not spell everything out. The screenings were filled not only with laughter, but gasps of disbelief at how far the 13 year old main character goes. I still can't figure out how the filmmakers took something that should have been off-putting and weird (13 year old boy putting the moves on his gay 40-something English teacher) and made it something not only consistently surprising but touching and funny and involving. It is not per se a gay coming of age movie, I suppose you could say that it's a bisexual coming of age movie but really it seemed much more than that (as the kid in the movie says, "those are just labels"). Calling it a gay Napoleon Dynamite like one of the other reviews did is kind of silly, because that movie takes so-called *normal* people and makes them seem weird, this movie takes so-called *weird* people and makes us recognize ourselves in them even if we would judge them in real life. And this movie is damn funny but in a way that is at the same time open-hearted and totally unsentimental. After two viewings I feel like there's still so much more there to be revealed in this movie, and I think it's one I will return to again and again. Can't wait until I can purchase it on DVD. If this movie isn't widely distributed it will be a crime.

Canadian director Amnon Buchbinder's coming of age comedy Whole New Thing is an engaging look at an intellectually precocious 13-year old boy who develops a crush on his gay English instructor. Set in rural Mahone Bay, Nova Scotia, newcomer Aaron Webber is outstanding as the quirky Emerson Thorsen whose attraction to his teacher Don Grant (Daniel McIvor) threatens to create serious problems for the teacher, the school, and his clueless parents. While the film delves into unconventional subject matter such as nocturnal emissions and causal sex in washrooms, Buchbinder deals with these topics in a matter of fact way without taking any narrative or stylistic risks.

Rather than continue with home schooling where he seems deficient in key subjects, Emerson's free-spirited parents Kaya (Rebecca Jenkins) and Rog (Robert Joy), enroll their gifted son in the local high school. Emerson has written what looks like a 500-page Hobbit novel and has knowledge far beyond the reach of his rural classmates but is lacking in social and emotional maturity. Looking sexually androgynous with hair coming down his face and a touch of lipstick, he is bullied by his classmates and sneered at when he proposes that the teacher throw away the book they are reading (Snowboard Snowjob) in favor of Shakespeare.

He naively pursues his teacher Don, a gay man, but seems to have no understanding of how his actions are putting his teacher in jeopardy. Buchbinder throws in some undeveloped subplots about Kaya having an affair with a local worker and Don thinking about reconciling with a former lover but the characters are paper-thin and the stories do not come to life. Though Whole New Thing brings some insight into the confusion of an adolescent waking up to sexual ambiguity, I found the relationships unpersuasive and lacking in reality. Aaron Webber, however, is definitely a talent to watch and the haunting score by David Buchbinder, the director's brother, using Arabic, Celtic, African, and rock melodies, played on a group of exotic instruments, is worth the price of admission.