On the evening of August 30th, I volunteered to introduce the VIFF Centre’s screening of Charlie Kaufman’s film “Synecdoche, New York” (2008). This is my speech in its entirety.

Good evening, everyone.

I am very grateful that I get to introduce Charlie Kaufman’s film “Synecdoche, New York” (2008) tonight. Out of all the inspired films that were selected as part of the 21st Century Classics at the VIFF Centre, I agree that this extraordinary directorial debut by one of the most important voices working in cinema today is the one to close out the series.

This century is twenty-five years old and it’s begun to produce less collagen and lose its metabolism. I believe within the next seventy-five years that Charlie Kaufman will be regarded as one of the most influential thinkers of the 21st century. Having Kaufman’s films playing on the world cinema stage is just as novel as when Sigmond Freud and Carl Jung set foot in America and inevitably transformed the psyche of an entire nation. People will be thinking and talking about “Synecdoche, New York,” God willing, well after we’re dead.

It is quite extraordinary that a movie this profound and strange and challenging and raw and ambitious exists at all. There’s so much ingenuity and invention. Every ten minutes fulfills the promise, “You ain’t seen nothin’ yet!” A movie that doesn’t just circle around the abyss, but plunges wilfully into the abyss, damn the consequences. A movie so human that it really smarts. A movie so generous and overflowing with such charged and illuminating ideas. As the makeup artist played by Maggie Gyllenhaal in “Adaptation” (2002) would say, “It’s like a brain factory in here.”

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Here are my Favorite Pre-2022 First-Watches and Discoveries of 2024:

“The Son of the White Mare”
“Pin: A Plastic Nightmare”
“Simple Men”
“Joan the Maid, Part 1: The Battles” /
“Joan the Maid, Part 2: The Prisons”
“The Devils” (1971)
“Henry Fool” / “Fay Grim” / “Ned Rifle”
“My Heart Is That Eternal Rose”
“Gangster No. 1”
“Camouflage” (1977)
“Perfect Love” (1996)

“Life as a Fatal Sexually Transmitted Disease” /
“The Supplement” (2002)
“White Heat”
“The Strangler” (1970)
“Felicia’s Journey”
“Act of Violence”
“Code 46”
“The Vast of Night”
“Lost Illusions” (2021)
“The Kid Detective”
“The Bed You Sleep In”

“The Public Eye” (1992)
“Hotel” (2004)
“Scene of the Crime” (1986)
“Exile” (“Exil”) (2020)
“Hold Your Man”
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Here are my Favorite Pre-2022 First-Watches and Discoveries of 2023:

“Humoresque” (1946)
“Max and the Junkmen”
“Le Trou” (“The Hole”)
“Streets of Fire” (1984)
“Le Corbeau” (“The Raven”)
”The Man from Laramie”
“An Impossible Love”
“Women in Love” (1969)
“Splendor in the Grass” (1961)
“Bruno Reidal, Confessions of a Murderer”
“A Girl Missing”
“Black Sunday” (1977)
“Lover Come Back” (1961)
“César and Rosalie”
“Twentieth Century”
“Bad News Bears” (1976)
“Elizabeth Harvest”
“Serenity” (2019)
“Pastorale 1943”
“Fran”
“Executive Decision” (1973)
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On the evening of September 17th, I volunteered to introduce the Vancity Theatre’s screening of Park Chan-wook’s cult classic “Oldboy” (2003). This is what I had to say about it.

Good evening. My name is Christopher Beaubien and I am honoured to be here.

Very soon your heart will be pounding in your chest. Your stomach will sink into its knees. And we’ll all be grinning ear-to-ear watching “Oldboy” in all of its 4K glory.

How many of you are seeing this movie for the first time?

Back in 2005, a horror movie buff loaned me a VHS copy of “Basket Case” and then he challenged me to show him a really scary movie. I hate to disappoint and I knew just the movie to show him. Once I had the movie set up to show my new friend as well as 30 other people (Don’t ask), he asked me — he was so excited:

“Chris, is this movie really scary?”

I assured him it was.

Then the air turned to chill and his face betrayed apprehension.

He asked me again, “Chris, is this movie really scary?”

I told him it was.

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Peter Greenaway’s sumptuously decadent film A Zed and Two Noughts (1985) is one that sates both the visceral and cerebral palettes. One of the main themes that Greenaway presents is his “…fascination of twinship… particularly conjoined Siamese twins.”¹ Not only do the twin brothers progressively shed their individualistic fashion traits to look more alike, but Greenaway also conspires to make the composition of select shots throughout the film look synchronized. In this particular image of a lavish, heaven-like hospital room, the left side of the frame is practically mirrored with the right side. Production designers Ben van Os and Jan Roelfs place the furnishings to reflect one another across each other with a mathematical exactness.

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This is my best impression of a lamb.

Last Saturday, Cinelation was submitted as the #922 website in the Large Association of Movie Blogs (LAMB). Special thanks to Rachel, one of the site’s leading authors, who took my website into consideration and posted it.

The next day I was encouraged by Max Covill of Impassioned Cinema who found Cinelation through the LAMB. Judging from his output, the name for his website is very appropriate.

Of the livestock available, thank goodness the LAMB’s mascot is an adorable, fluffy one instead of grotesquely characterized variant.

Like this one:

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