corporations

Orgasm Inc.

Orgasm Inc. (Director: Liz Canner): Nine years ago, dir­ector Liz Canner was hired to curate some “erotic footage” for drug com­pany Vivus, who were con­ducting trials for their com­pet­itor to Viagra. The hook was that they were testing it on women. Canner has been fol­lowing the story of the quest for a female Viagra ever since. Although it’s not sur­prising to hear that the phar­ma­ceut­ical industry is always pur­suing new mar­kets for their products, Canner has done a great job of tra­cing this par­tic­u­larly dis­turbing campaign.

In order to receive FDA approval in the US, drug com­panies must prove that their product is treating a defin­able dis­ease. Hence, impot­ence was rebranded as “erectile dys­func­tion.” Similarly, women’s sexual dif­fi­culties, no matter what the cause, were gathered under the dubious moniker of “Female Sexual Dysfunction,” des­pite the fact that there was no new med­ical evid­ence that any such thing existed. And these dif­fi­culties included a wide range of issues, from low sex drive to dis­com­fort during sex to inab­ility to achieve orgasm during inter­course (even though 70% of women report that they can’t achieve orgasm without direct clit­oral stim­u­la­tion, some­thing that inter­course rarely provides). That was enough to get the drug com­panies off and running.

Canner’s film doesn’t stop with the drug com­panies. The latest craze is cos­metic sur­gery to make women feel better about their labia. Despite the health risks involved in any kind of sur­gery, women are being encour­aged to undergo this com­pletely unne­ces­sary pro­cedure, just to try to make their gen­italia con­form to some standard which actu­ally doesn’t exist.

The key mes­sage of the film is that women are being preyed upon due to a lack of proper sex edu­ca­tion and the greed of a health care system that is sup­posed to be encour­aging healthy sexu­ality. Instead, as a tool of Big Pharma, it is giving women the mes­sage that there is some­thing wrong with them, and that a pill or some sur­gery can fix it.

Many women have dif­fi­culty with sex (achieving orgasm or just low drive) for com­pletely non-physical reasons. The biggest factor is likely stress and over­work. Body image issues and past abuse may also be factors, not to men­tion a bad rela­tion­ship or a clumsy lover. The good news is that the “cure” can be com­pletely nat­ural. Sex ther­ap­ists like Leonore Tiefer of the New View Campaign are fighting what they call the “med­ic­al­iz­a­tion of sex” with good old-fashioned edu­ca­tion. Women need to know how their bodies work, and how to figure out what works for them indi­vidu­ally. Toronto sex shop Come As You Are handed out mini-flashlight key­chain vibrators to everyone on the way into the screening. On the way in, I found that amusing. On the way out, I was grateful.

Canner has made an important film that should be required viewing for all stu­dents. That being said, I did have some issues with the film­making itself. I found the anim­a­tions cheesy, and didn’t enjoy the music. In gen­eral, the pro­duc­tion values were rough, and although it covered a lot of important ground, I felt the pro­ject prob­ably grew a bit out of con­trol over the years. The title isn’t par­tic­u­larly accurate, either, since the drug com­panies’ quest isn’t to provide a pill that gives women orgasms, merely one that increases their sex drive. Despite these weak­nesses, I am grateful that the film alerted me to some important voices on this issue like Leonore Tiefer, as well as Ray Moynihan, co-author of Selling Sickness: How the Pharmaceutical Companies Are Turning Us All Into Patients.

Official site of the film

Here is the Q&A with dir­ector Liz Canner from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 21:04

7/10(7/10)

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Food Inc.

by James McNally on September 7, 2008 · 2 comments

in Film Festivals,TIFF

Food Inc.

Food Inc. (2008, Director: Robert Kenner): In this com­pre­hensive and yet com­pel­ling film, dir­ector Robert Kenner, along with authors Eric Schlosser (Fast Nood Nation) and Michael Pollan (The Omnivore’s Dilemma) indict the American (and by exten­sion, global) food industry. Just the fact that we call the pro­du­cers of our daily bread an industry at all shows what sort of major changes have taken place in the worlds of farming and raising live­stock in the past cen­tury. The explo­sion of fast food in the 1950s brought factory methods to the pro­duc­tion of food and the ensuing con­sol­id­a­tion among cor­por­a­tions has res­ulted in an increas­ingly mono­pol­istic mar­ket­place. To save costs, the size of farms and feed­lots and slaughter­houses has escal­ated and safety stand­ards and working con­di­tions have plummeted.

This wide-ranging film touches on almost every con­ceiv­able issue that has affected our food supply, from new bac­terial organ­isms that threaten our health, to deteri­or­ating gov­er­ment reg­u­latory bodies, the wide­spread use of illegal immig­rant workers, and the explo­sion in dia­betes rates among the young. And yet we’re still sold an image of American’s agrarian past, and we believe it. None of the big food pro­du­cers were willing to talk to Kenner, and so he spoke to others: to the woman whose 2-year-old died from an E. Coli infec­tion, the chicken farmer who refused the demands of one of the big cor­por­a­tions and lost her con­tract, the man trying to fight for slaughter­house workers’ rights, and the artic­u­late organic farmer who’s simply trying to fight the good fight for honest and healthy food. And more than just talking heads, there are some eye-popping images from slaughter­houses and some incred­ible over­head shots of the vast feed­lots where the majority of our food comes from.

Food Inc.

Most dis­turbing, or at least prob­lem­atic, is the recent phe­nomenon of small organic food com­panies being bought up by the large cor­por­a­tions. Is this a legit­imate attempt to “green” their busi­nesses, or is it just “gre­en­washing”? Is the fact that Stonybrook Farm, the largest organic food com­pany, is now selling its products at Wal-Mart a good or a bad thing? The film touches on the sub­ject but leaves the con­clu­sions to us. That’s a bit symp­to­matic of a film which brings up so many ser­ious issues, but doesn’t have time to tackle them all. I’d recom­mend the two books above as a starting place, and the film’s accom­pa­nying web site also prom­ises to be a useful resource, not just for edu­cating ourselves, but for taking some action.

It’s a little dif­fi­cult for me to be objective about this sub­ject, because I’ve read the books and have seen a number of doc­u­ment­aries over the past few years on this sub­ject, but I am hopeful that this film has the poten­tial for mass appeal where others have not. After our screening, there was a long ova­tion and some insightful ques­tions. It remains to be seen whether this film will catch the ima­gin­a­tion of the main­stream (non-film-festivalgoer) pop­u­la­tion. I des­per­ately hope so.

Official site where you can find next steps

Here is the Q&A with dir­ector Robert Kenner and author Eric Schlosser from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 12:59

9/10(9/10)

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Shadow of the Holy Book (Pyhän kirjan varjo)

Shadow of the Holy Book (Pyhän kirjan varjo) (2007, Director: Arto Halonen): I read about this film when it played at IDFA in Amsterdam and was so intrigued by the premise, I emailed Hot Docs pro­grammer Sean Farnel imme­di­ately to ask him to bring it to Hot Docs. He emailed me back to say that he and the dir­ector had been drinking vodka the night before and that it would likely be screening here. What had me so excited? Here’s the premise: Turkmenistan is a central Asian country with huge reserves of oil and nat­ural gas. It’s also one of the most repressive dic­tat­or­ships in the world. After ruling since 1985, dic­tator Saparmurat Niyazov declared him­self “President for Life” in 1999 and pub­lished a book called the Ruhnama in 2001. Turkmens are over­whelm­ingly Muslim, but Niyazov placed the Ruhnama above the Koran as a holy book and required all cit­izens to study it. So far, so bizarre, right? But the really inter­esting thing is that the film­maker found that for­eign cor­por­a­tions doing busi­ness in Turkmenistan had gained favour by “spon­soring” trans­la­tions of the book into their own lan­guages and by oth­er­wise pro­moting Niyazov’s strange cult of per­son­ality. At least, that’s how they por­trayed them­selves to Niyazov. In reality, the com­panies kept all of this quiet in their own coun­tries, not wanting to be seen as bribing a dic­tator just to gain luc­rative contracts.

Despite the fas­cin­ating concept of exposing cor­porate mis­chief in a strange and repressive country, the film frus­trated me at every turn. Finnish dir­ector Halonen enlists the help of American journ­alist Kevin Frazier and the two make an odd couple. The dour Finn and the nebbishy American with the slight lisp set out to con­tact many of the cor­porate vil­lains but are hope­lessly inept. Much of the film’s run­ning time is footage of the two of them in hotel rooms in various cities failing to get through to the right cor­porate con­tacts. As well, the use of sev­eral tacky sound effects (a cash register “cha-ching” each time a corporation’s profits are men­tioned, a type­writer intro­du­cing every on-screen title) drove me to dis­trac­tion very quickly. By the time the film­makers arrive in America to track down exec­ut­ives from Caterpillar and John Deere, the film enters Michael Moore ter­ritory, except without any of Moore’s (debat­able) cha­risma. One baff­ling Moore-like stunt has Frazier reading Ruhnama excerpts on the New York City subway, after refer­ring to America’s con­sti­tu­tional right to freedom of speech.

Overall, the travelogue approach wears thin pretty early. More prom­ising were inter­views with some Turkmen human-rights act­iv­ists and polit­ical dis­sid­ents. Unfortunately, though, far too much use is made of some crude Flash anim­a­tions cre­ated by the son of one of the act­iv­ists. By the end of the film, we realize that the pair have not been able to put together a single sub­stan­tial inter­view. Though they do get to travel to Turkmenistan on two occa­sions, they have to film clandes­tinely and are really only able to show us some of the massive con­struc­tion pro­jects awarded to the for­eign firms. We learn later that the numerous English-language Turkmen “news­casts” and Ruhnama “reading circles” were re-creations.

There were some important alleg­a­tions uncovered by the film, and some brave and dan­gerous under­cover work was per­formed by a Finnish dip­lomat. Hopefully, some of the material uncovered in the film will lead to changes in cor­porate beha­viour. But as a doc­u­mentary film, I think Shadow of the Holy Book is a bit of a missed opportunity.

Here is the Q&A with dir­ector Arto Halonen and writer Kevin Frazier from after the screening:

Audio clip: Adobe Flash Player (ver­sion 9 or above) is required to play this audio clip. Download the latest ver­sion here. You also need to have JavaScript enabled in your browser.

Duration: 16:36

Official site for the film
Trailer
Freedom for Sale, estab­lished by the dir­ectors to focus atten­tion on human rights and free speech issues in dif­ferent coun­tries, starting with Turkmenistan.

6/10(6/10)

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Blue Vinyl

Blue Vinyl (Directors: Daniel B. Gold and Judith Helfand, USA, 2002): After seeing and enjoying Helfand and Gold’s latest film Everything’s Cool at Hot Docs this year, I was looking for­ward to seeing this, their first film. Let’s just say that the pair have developed quite a bit as doc­u­ment­arians in the past five years. Though the film explores an important sub­ject, the tox­icity of the vinyl used in siding and other products, the tone and pro­duc­tion values were ulti­mately dis­tracting for me.

Helfand is very much involved in the film, since the pro­ject grew out of her con­cern that her par­ents’ install­a­tion of vinyl siding on their house would lead to health prob­lems and other envir­on­mental damage. She does a decent job invest­ig­ating the vinyl industry’s record of decep­tion and coverups, but she’s just a little too gim­micky. She reminded me too much of Michael Moore, put­ting her­self into every scene, and even car­rying around a piece of vinyl siding throughout the film. In a few places, her inex­per­i­ence as an inter­viewer is obvious, and although she tries to play it for laughs, it falls flat.

One sub­ject that I wanted to hear more about was the search for altern­ative building mater­ials. She does talk to a number of people at a California con­ven­tion, but doesn’t provide enough inform­a­tion about the innov­a­tion going on in the con­struc­tion industry. The film aims for a light tone but has a hard time main­taining it when we hear about how many people have become sick or died from working with vinyl and PVCs. This is a decent first effort, but I’m glad that in their latest film, Helfand gen­er­ally stays off screen. As well, they chose to make a more pos­itive film focus­sing on solu­tions, which suits their style better.

Note: Ironweed fea­tured this film on their April 2007 Earth Day edi­tion. They’ve posted a good col­lec­tion of resource links about vinyl siding.

Official site for the film

6/10(6/10)

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Enron: The Smartest Guys in the Room

Enron: The Smartest Guys in the Room (Director: Alex Gibney, USA, 2005): It took a little while for me to get around to seeing Enron: The Smartest Guys in the Room (2005) but it was worth it. Everyone knows some­thing about the col­lapse of Enron but how much do you know about “the smartest guys in the room” — Jeffery Skilling, Kenneth Lay, Andrew Fastow and Lou Pai.

Alex Gibney’s film provides a great over­view of the Enron scandal by giving us a glimpse into the lives of some first class weasels. Lou Pai is by far the luck­iest and the smartest of the weasels. He left the com­pany with $280 mil­lion, became the second-largest land owner in Colorado and mar­ried the stripper girl­friend who had his love-child.

Without being too ‘preachy’, Gibney’s doc­u­mentary shows how these guys thought they could out­smart the system. Their incred­ible greed and their will­ing­ness to rip off their stock­holders and cus­tomers is legendary. There is a lot of inform­a­tion to absorb in this film but it does a fab­ulous job of explaining the whole scandal.

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