A Couch Potato’s Guide: Surviving a Movie Marathon

Tips and tricks to come out of your next screening victorious

By Claire Dufourd

(Andrea Piacquadio via Pexels)

Lights, camera, action! With finals about to be over and summer starting to show its timid face, it is once again time for the beloved – or dreaded – movie marathon season. So, whether you are embarking on your journey to Mount Doom or getting ready to gather all the Deathly Hallows, here is your official survival guide to avoid all the beginner’s mistakes of a movie marathon runner!

Preparation is Key

First things first, you cannot possibly throw yourself into an hours-long marathon before getting ready for all possible outcomes; practice is essential to your task. This is not just a casual movie night with friends, but a test of your endurance. So, take your time getting ready, and gather your essentials: 

Comfort above all else: ensure you install yourself on your most comfortable couch, seat or blanket. There is nothing worse in a marathon than having to reposition yourself every five minutes, breaking your concentration and making it easier for you to get sick of sitting down to complete your viewing competition. 

Hydration station: how many times have you heard “stay hydrated queen” during your hourly TikTok scroll? Well, the gods of social media have never been more right; keeping your favourite water bottle or a fun drink within reach is the best way to ensure you will not have to constantly pause your movie to go get a cool glass of water from the kitchen.

(Jeshoots via Pexels)

Snack stash: ah, the star of the show. Stock up on an army of sweets and chocolate to keep you fueled and focused. After all, who is Charlie without his chocolate factory? Depending on your preference, anything from the healthy favourite trail mix to the most obnoxiously sweet Maltesers will make your movie marathon the best experience you have ever had.                                                          

The Dangers of Sleep

Now, let’s address the elephant in the room – or should I say, the snore interrupting the movie. Falling asleep during a movie marathon is like dozing off in the middle of a rollercoaster ride: it is just not done. So, what can you do to avoid this crucial mistake?

Strategic seating: remember how you have to find the most comfortable seat you own? Well, this in itself can become the biggest trap of all. To avoid falling asleep in the middle of Harry finally figuring out he is a Horcrux, finding the optimal position is going to be essential. Anything too close to actually lying down will be perilous, so consider using a fluffy pillow or the eternally perfect Squishmallow to prop yourself up, making sure you won’t let yourself doze off. 

Intermissions: much like during a play, it is important to keep the audience entertained. So, do not hesitate to schedule breaks to keep yourself awake; taking a quick walk around your house, doing jumping jacks or simply discussing theories with your friends will do the trick!

(Nam Quan via Pexels)

Caffeine addiction: as with almost every situation in life, coffee will be your best friend during a movie marathon. Making yourself a nice cup of coffee with fancy latte art or a brand-new yummy syrup will be the best way to keep yourself awake for your whole movie marathon! And for our coffee-hater readers, do not fret; a Redbull or any other energy drink surely does the trick.

So, there you have it, fellow movie marathoners: this ultimate survival guide will lead to the best nights of your life watching movie classics and laughing at Adam Sandler comedies. You are now armed with comfy seating, sugary treats and a gallon of caffeine – admittedly not the healthiest guide, but one that will for sure make you win any cinematic endurance test. Now grab your remote, queue up your favourite films, and may the odds ever be in your favour. 

Beyond the Silver Screen: The work of film archival and archivists

 Props, costumes and set pieces are the backbone for immersing us in the films we watch but what happens to this artwork after filming ends?

By Luis Ramirez-Liberato

(Luis Ramirez-Liberato/CanCulture)

Tucked away on the fourth floor of the Toronto International Film Festival (TIFF) Lightbox is TIFF's very own film reference library tasked with collecting, preserving and providing access to a wide variety of film history. 

As a way of connecting the public to Canada's filmmaking heritage, TIFF presents "Archival Jolt!" An open invitation for the public to peer behind the curtain of film preservation and delve into the world of archival experts. Organized to celebrate TIFF's Canada's Top Ten programming, this event offers patrons an opportunity to witness firsthand the work of film archivists and explore the impressive collection of heritage items from Canadian moviemaking.

Fly head prop from The Fly (Luis Ramirez-Liberato/CanCulture)

Natania Sherman, Senior Manager at the TIFF Film Reference Library, shared insights into her job as an archivist.  Sherman says  a majority of their collections come from donations by production companies, like with their latest acquisition of props from David Cronenberg's Crimes of the Future.

"We're very lucky that TIFF has these relationships with different production companies and filmmakers. They've seen the work that we've been doing to preserve Canadian Heritage, so they trust us with their materials," said Sherman.

Piece of the Sark from Crimes of the Future (Luis Ramirez-Liberato/CanCulture)

The process of taking props from donation to display can be difficult. Often, donated film materials arrive in storage in a condition unsuitable for long-term preservation. Therefore, archivists must transfer them to acid-free casings and proper storage to ensure their longevity for future generations. Additionally, props used in films are often not built to stand the test of time.

"They're really made for the purpose of making the film," said Sherman. "So you might have these beautiful art pieces that are made to last for maybe three to six months of filming, but they're made out of materials that aren't necessarily fine art materials meant to last a long time."

Sark attachments before being moved into proper storage (Luis Ramirez-Liberato/CanCulture)

Preserving Cronenberg's work can be a difficult task due to the "unstable chemical makeups" and "jello-like texture" of the materials he uses, says Sherman. Many of his pieces are quite large, with some towering over attendees at the "Archival Jolt!" exhibit. Working with Cronenberg's material involves logistical challenges and requires specialized art handlers to bring them on-site.

The breakfaster prop from Crimes of the Future (Luis Ramirez-Liberato/CanCulture)

Along with preserving film, the work of an archivist is akin to solving a puzzle where each prop used in a film reveals new insights and secrets of its own. When donated, props may not come with labels or instructions, making it challenging for archivists to understand their mechanics and functionality. Therefore, film archivists must put together the pieces of the puzzle and decipher how each prop works. Often, this means analyzing every frame of a film to see where props are used in a scene. From the subtle placement of a vintage lamp to the grandeur of a larger-than-life set piece, every detail is meticulously documented, ensuring a comprehensive understanding of its contribution to Canadian cinema.

The Sark from Crimes of the Future (Luis Ramirez-Liberato/CanCulture)

Archivists, especially those working at film reference libraries, face the challenge of balancing preserving historical items and making them accessible to the public. Their primary goal is to safeguard these props for future generations. As an archivist, you must ensure that the items are handled with care, stored in climate-controlled environments and kept in storage for as long as possible to ensure their longevity. Still, they also strive to make them available to the public.

"But the problem is, sometimes that sort of puts you in this position. It's almost like being a gatekeeper," says Sherman. 

Sherman says that younger archivists emphasize facilitating public engagement with film material and exploring ways to increase access to these archives. The film reference library collaborates with programming colleagues at TIFF to change the displays in the Lightbox building periodically. This initiative aims to establish a connection between audiences and craftsmanship that goes on behind the scenes of the films they have just watched.

Ramona Flowers’ outfit from Scott Pilgrim vs. the World (Luis Ramirez-Liberato/CanCulture)

Through initiatives like rotating displays and educational programs, they bridge the gap between preservation and engagement, ensuring that the magic of Canadian cinema remains within reach.

"It's very important that we're not just hiding things away for some unnamed time, the future, but we're also making sure that people can access things now," says Sherman.

In attempting to connect the public with Canada's film heritage, the Film Reference Library has recently updated its collecting mandate to better reflect Canadian diversity in cinema. With the library's collection being primarily donation-based, it faces the hurdle of over-representing white auteur male directors. The underrepresentation of marginalized communities is an aspect of the archival process that Sherman and her peers try to be mindful of. The Film Reference Library aims to preserve the "diverse faces in Canadian cinema" through acquisitions from underrepresented communities and reflect a "full spectrum," says Sherman.

For Sherman, it is connecting people with these moments in Canadian cinema that she finds most rewarding. The special feeling that people get from connecting with a piece of history that matters to them is what brought about the name "Archival Jolt!"

“There's this a-ha moment that you feel when you get to come across an object or an artifact [that] represents something important to you,” says Sherman. 

“I think whenever I get to show someone a piece from the collection, and they have that moment and I get to share in that, I think that's really special.”

Canadian nominees fall short at the 2024 Oscars

Looks like there was very little love for Canada at this year’s Oscars ceremony

The red carpet at the 1988 Academy Awards (Alan Light via Wikimedia Commons)

By Sarah Grishpul

Oh… Canada.

If you’ve been following along with the Academy Awards, you’ll notice a distinct lack of Canadian winners. Despite nine nominations, only one took home an award during this year’s ceremony.

Here are the nominees from Canada who just didn’t make the cut:

Canadian sweetheart Ryan Gosling ignites the “Ken-ergy” of the room with his performance of “I’m Just Ken”

Anywhere else he’d be a 10—just not at the Oscars. 

While “I’m Just Ken” of the Barbie (2023) soundtrack did not take home the award for Best Original Song, (an honour bestowed upon Billie Eilish’s “What Was I Made For?” from the same film), Gosling’s performance stole the show. 

Donned in a pink, bedazzled suit, oozing with what could only be described as Ken-ergy, Gosling was joined onstage by his fellow Kens, recreating the iconic dance sequence from Marilyn Monroe’s "Diamonds Are a Girl’s Best Friend." He even had his Barbie co-stars and director, Greta Gerwig, Margot Robbie, and America Ferrara belting into the microphone. 

The production also featured a cameo from Slash—yes, the lead guitarist of Guns N’ Roses—who emerged on a platform below the stage to accompany Gosling in his big finale. 

It was clear the entire crowd of wealthy Hollywood talent and executives were enjoying the show. One in particular was critically acclaimed filmmaker, Martin Scorcese, who was shown to be smiling and clapping along during the performance in a video posted by his daughter.

Who needs a golden statue to determine the worth of a song? If Scorcese likes it, then that should be Kenough.

Killers of the Flower Moon snubbed by the Academy, while Canadian musician Robbie Robertson commemorated in a memoriam segment

One of the biggest surprises of the night was when Emma Stone beat Lily Gladstone for Best Actress, a clear shocker to both the audience and Stone herself.

It wasn’t just Gladstone’s performance that had been snubbed, but Killers of the Flower Moon had left the ceremony with zero wins under their belt, despite their many nominations.

Robbie Robertson’s work composing the film’s score lost to Academy-favourite Oppenheimer, which took home several awards including Best Actor, Best Director and Best Picture.

Aside from collaborating with Scorsese on many films, Robertson was well-known for his musical presence as lead guitarist and songwriter for The Band, backing Bob Dylan in the late sixties to mid-seventies. 

Robertson unfortunately passed away in August of 2023 and wasn’t able to witness his nomination nor his loss at this year’s Oscars. However, his legacy will continue to live on through his work, golden statue be damned.

Much like the film’s central themes, the love for Past Lives was unrequited

Much like Killers of the Flower Moon, Celine Song’s Past Lives was kicked to the curb at this year’s ceremony. The film lost Best Original Screenplay and Best Picture to Anatomy of a Fall and Oppenheimer, respectively.

Past Lives was Korean-Canadian director Celine Song’s debut feature film, which made its nominations all the more impressive. The film follows two childhood lovers who are pulled in and out of each other’s lives—some by choice, others by circumstance. 

In an interview for The Hollywood Reporter on the red carpet, Song spoke on the impact her film had on audiences, and how one in particular expressed how much they needed to see a story like that on screen.

“The fact that you get to make a movie that at least one person needs, to me I’m like ‘ah, what an amazing amazing dream,’ so that means a lot to me.”

It’s a delicate and wounding film that makes it one of the quieter entries into this year’s awards race. Yet, it still deserves recognition and your attention. 

To Kill a Tiger loses “Best Doc” but wins Netflix streaming distribution

One of the bigger awards Canada was betting on winning was for Best Feature Documentary, with Indian-born Canadian filmmaker Nisha Pahuja’s film, To Kill a Tiger. 
You’ve likely seen the posters for this documentary plastered on the walls of the subway stations in downtown Toronto. The film documents the story of a father in India fighting to protect his 13-year-old daughter after she is raped by several men in their village. 

Pahuja spoke on the importance of spreading awareness about sexual violence and rape, not just in India, but on a global scale. The film supports the #StandWithHer campaign in challenging gender roles and helping survivors speak out and seek justice. 

According to producer Cornelia Principe, it took eight years for Pahuja to make this documentary. 

“I think only Nisha could have survived eight years in making a film because she’s so determined and doesn’t give up,” she said in a red-carpet interview with Etalk.

Despite losing the Oscars to 20 Days in Mariupol, a film documenting the horrors of the war in Ukraine, To Kill a Tiger is now available to watch on Netflix for all audiences to engross themselves in. 

Godzilla crushes Canadian nominees in “Best Visual Effects” category

“A living nuclear weapon destined to walk the Earth forever. Indestructible.”

Secret agents and Marvel superheroes are no match for the VFX behemoth that is Godzilla Minus One. The visual effects team behind this latest, and one of the best, Godzilla films even brought along mini figurines of the monster himself onstage to accept their award.

“The moment we were nominated, we thought that, like Rocky Balboa, we were welcomed into the ring being equals by our biggest rivals which was already a miracle. But here we stand,” said filmmaker and visual effects supervisor, Takashi Yamazaki. “To all the VFX artists outside Hollywood, Hollywood was listening and this, all of this, is proof that everyone has a chance.”

They even thanked their former producer, Shuji Abe, who had passed away a couple of months before the ceremony and was renowned for his work in the Japanese film industry.

While it was disappointing to see Canadian nominees Jeff Sutherland (Mission Impossible: Dead Reckoning Part One) and Stephane Ceretti (Guardians of the Galaxy 3) lose in this category, Yamazaki and his team were definitely deserving of this win.

In a category alongside Wes Anderson, the cards were firmly stacked against this Canadian short film

Montreal filmmaker Vincent René-Lortie was inspired by the passing of his friend to create Invincible, a story following the last 48 hours of a boy before his death. 

In an interview with CityNews, René-Lortie spoke about how he hoped to spread the word about mental health and humanizing people who died by suicide through his work.

“For me, the film wasn’t about [the death] it was about the character itself, it was about what he was going through,” he said. “It wasn’t about how he passed away and how tragic that event was.”

The short was bested by Wes Anderson’s The Wonderful Story of Henry Sugar, a tough one to beat given the director’s revered status in Hollywood.

Ah well, there’s always the Canadian Screen Awards, where Invincible is nominated for both Best Live-Action Short Drama and Best Performance in a Live-Action Short Drama.

Until then, the film is currently available to watch in its entirety over on Vimeo.

Nimona remains the underdog in the awards race

It was no surprise to anyone that Hayao Miyazaki’s The Boy and the Heron claimed the Oscar win for Best Animated Feature. As the writer and producer of Across the Spiderverse, Chris Miller tweeted: “Well, if you’re gonna lose, might as well lose to the GOAT.”

But, honestly, I wish there was a little more love for Nimona.

Following the corporate acquisition of Blue Sky Studios in 2021, the adaptation of ND Stevenson’s queer-coded graphic novel was seemingly cancelled. Luckily for us, the film was picked up by Annapurna and Netflix, who revived the project and gave us the delightfully demonic movie that is Nimona. 

As a fan of the comic, I must admit that I was a tad biased in my desire to see this film take home an Oscar. Its messaging around gender identity hit close to home, and the themes surrounding questioning authority are important to instill among viewers of any age.

In an interview for Little Black Book with Canadian-born co-director, Troy Quane, he called their Oscar nomination the comeback story of the decade.

“The nomination hopefully just means more people will hear about the film and watch it. I also hope it sends a message to the studios that audiences are not only ready for but demanding unique, original, diverse and inclusive stories.”

Netflix even released the film in its entirety on YouTube before the award show, a particularly daring move for a streaming service that relies on paid subscriptions. Yet, it helped ensure that anyone, regardless of monetary constraints, was able to access and appreciate this movie.

Couldn’t be prouder of this Halifax filmmaker!

No one was as delighted to walk up to that Oscars stage as Porche Brinker. 

The 12-year-old musician and one of the stars of Ben Proudfoot and Kris Bowers’ short film, The Last Repair Shop, received a standing ovation as the three walked down the aisle.

“The Last Repair Shop is about the heroes in our schools who often go unsung, unthanked and unseen,” said Bowers during his speech. “Tonight, you are sung, you are thanked, you are seen.

This is Ben Proudfoot’s second Oscar win (and only win for Canada this year). The film tells the tale of how a group of people in LA worked to provide public school children with free repair services for their musical instruments.

The Last Repair Shop took home the award for Best Documentary Short, and the entirety is currently available to watch on YouTube.

Editors' picks: CanCulture's top films of 2022

Another year has gone by. What were CanCulture's top movie picks of the year?

By: Mariana Schuetze

(Mariana Schuetze/CanCulture)

The year is finally over. And after a long, pandemic-induced hiatus, the film industries are back in full force. From the usual superhero blockbuster to long-awaited sequels and arduous journeys through the multiverse, 2022 brought an abundance of amazing movies to our homes and theatres. 

It's difficult to narrow down our top picks, but the Film Section challenged our CanCulture masthead to pick one film as their all-time favourite of the year. Rest assured, each and every film has been approved by our in-house cinephile and film editor, Mariana Schuetze.

Mariana Schuetze, Film Editor

SHE SAID (MARIA SCHRADER)

"Movies about real-life events always fascinate me. As a history and film buff, they are the perfect piece of entertainment for me. And as a journalist and someone who lived through (even if as a kid) the #MeToo movement, I was very excited to watch this one. She Said follows The New York Times journalists Megan Twohey and Jodi Kantor as they investigate sexual abuse allegations against Harvey Weinstein. What I absolutely loved about this film is how it captured the process of writing a news story. I’ve just started doing journalism in person and seeing them working out of a newsroom with other journalists was, honestly, a lot of fun. And the two badass women that led the narrative certainly didn't hurt. Plus, I went to the movies to watch it as I was doing my CanCulture Instagram takeover, which was so much fun -- so it was definitely a very special day overall."

You can rent She Said for $24.99 on Prime Video and watch it in select theatres.

Vanessa Tiberio,

Food Editor

DO REVENGE (JENNIFER KAYTIN ROBINSON)

"In my opinion, this year in film wasn’t a year to write home about, but Do Revenge managed to encapsulate all that revolves around teenage angst, identity and the ramifications of technology. With a well-liked gen-Z cast, this film was filled with fun and humour as it expressed an important message to audiences about cyber bullying and its impacts. Plus, the costumes and cinematography were perfectly fitting and appropriate for the Netflix original."

You can watch Do Revenge on Netflix.

Mia Johnson,

Literary Editor

THE MENU (MARK MYLOD)

"A riveting, bloody dinner party that wraps clever commentary on classism, pretension and fine dining practices inside horror satire. I'll watch any movie where men run around, screaming, in fear for their lives while the women sit and drink wine. Will Tracy and Seith Reiss's dry humour mixed with absolute delusion, I could not stop laughing."

The Menu isn't available on streaming, but you can still watch it in select theatres.

John Vo,

Fashion Editor

EVERYTHING EVERYWHERE ALL AT ONCE (DANIEL KWAN AND DANIEL SCHEINERT)

"Although this film has little to no connection with Canadian culture, this science-fiction film about the endless possibilities manages to tackle themes of love, acceptance, nihilism and Asian-American family dynamics. Combine that with a parody of a Pixar film and hot dog fingers and you have yourself one of the most memorable films of the millennium.

You can watch Everything Everywhere All At Once on Prime Video.

Kinza Zafar,

Features Editor

NOPE (JORDAN PEELE)

"If you say yes to watching Nope, you’re in for a ride at a Wild West theme park with cowboys and aliens. Jordan Peele’s original take on a UFO thriller is fresh, exciting and hilarious with eclectic performances and breathtaking cinematography. As a Peele-fan who grew up fascinated by extraterrestrial creatures, this experimental sci-fi felt like a fever dream come true."
You can watch Everything Everywhere All At Once on Prime Video.

You can rent Nope for $6.99 on Apple TV.

Sena Law,

Arts Editor

INCANTATION (KEVIN HO)

"I love horror movies, but it’s been awhile since one spooked me the way Incantation did.  This Taiwanese film provided a really refreshing and immersive horror experience. I also loved the cultural references that I could relate to!"

You can watch Incantation on Netflix.

Kayla Higgins,

Music Editor

BROTHER (CLEMENT VIRGO)

"Sons of Caribbean immigrants, Francis and Michael, try to navigate their personhood in a housing project called The Park amidst rising societal tensions in the summer of 1991. As the duo attempt to find their footing during the early growth of Toronto’s hip-hop scene, this tale is a testament to the resilience of a marginalized community, brothership and what music can do for the soul."

Brother isn't available on streaming, but it will be playing at the TIFF Bell Lightbox theatre from Jan. 26 - 29, 2023.

Caelan Monkman, Music Editor

EVERYTHING EVERYWHERE ALL AT ONCE (DANIEL KWAN AND DANIEL SCHEINERT)

Because having it only once on this list just isn’t enough…

"So many stellar movies came out this year that it’s really hard to pick a favourite. Matt Reeves gave us the best superhero film in years with Matt Revees' The Batman, Sara Dosa’s Fire of Love was a beautifully mesmerizing documentary from start to finish, and Clement Virgo’s Brother was a tender and faithful adaptation of the 2017 novel of the same name. Even Jackass Forever is deserving of praise for being some of the most fun — albeit juvenile fun — I’ve had in a theatre in a while. But for me, the standout movie of 2022 is Everything Everywhere All At Once (EEAAO). Endlessly creative and eccentric, yet deeply moving and thought-provoking, the film packs so much into its two-hour and 20-minute runtime. I’m a sucker for weird movies, and EEAAO does such a phenomenal job of exploring weird and wonderful ideas, all while grounding the audience in a sentimental story which culminates in an emotional sucker-punch of an ending.”

Ish Chopra,

Graphic Designer

BULLET TRAIN (DAVID LEITCH)

"The majority of the characters either hold grudges against one another or are the target of grudges while seeking to flee the consequences of past crimes. All are either hired killers or other violent criminals related to the world of crime. This action comedy is probably one of my favourite movies this year and I have watched it more than 10 times. The direction, the cinematography, the script and the actors made this movie a success for me."

You can rent Bullet Train for $5.99 on Prime Video.

Atiya Malik,

Social Media Director

TOP GUN: MAVERICK (JOSEPH KOSINSKI)

"The action and adrenaline in this legendary Tom Cruise film were unforgettable! Each character was well-developed and had a rich backstory that gave the plot dimension. Just as well, the cinematography during the flight scenes was spectacular to watch! Genuinely made me feel like I was in the cockpit myself! This film will take you on an adventure and leave you in such a good mood after."

You can rent Top Gun: Maverick for $5.99 on Prime Video.

Olivia Wiens, Managing Editor

THE GOOD NURSE (TOBIAS LINDHOLM)

"The Good Nurse, starring Eddie Redmayne and Jessica Chastain, is the definition of a quiet movie with a deep impact. It’s a perfect example of keeping the viewer engaged despite them knowing how it’s going to end — it’s a true story, after all. The humanistic, empathetic take on a very dark situation is a testament to the extremely talented team that put it all together."

You can watch The Good Nurse on Netflix.

Sama Nemat Allah, Editor-in-Chief

STAY THE NIGHT (RENUKA JEYAPALAN)

"I watched this movie on a whim during one of those arbitrary Thursday nights when no school project feels imminent enough to do, and it brought me so much sadness and joy. It was less plot, more character study, and pays such special homage to Toronto, the city of its making. Its tenderness might’ve resonated more with me because I could recognize the streets our protagonist Grace walked down or because I saw myself in the way her days crumbled on a TTC streetcar seat. Nevertheless, the movie felt like a tribute to the solemnity and quiet melancholy of growing older but not growing up: of watching everyone you know move on without you to a gentle life while you watch from the sidelines."

You can rent the movie for $5.99 on Apple TV.

With this, let's wrap up our fun little list. What was your top film of 2022? 

I can't wait to see what movies 2023 has in stock for us. But until then, I'll (re)watch every single one on this list.