WHOLE NEW THING is another fine little film from Canada, utilizing an excellent cast of Canadian actors to present a modern day conundrum about identity in a manner more sensitive than most other films addressing the subject. Director/writer (with actor Daniel MacIvor) Amnon Buchbinder has created a series of characters, seemingly disparate in age and outlook, who each has a problem coping with who they actually are, and with great skill this story interweaves these fascinating people, isolated by the frigid planes of Nova Scotia into a complex puzzle that answers far more questions about identity than is at first apparent.
Emerson (a strong debut for Aaron Webber) is the thirteen-year-old son of environmentalist/post-hippie parents Kaya (Rebecca Jenkins) and Rog (Robert Joy) whose creative look at life has provided home schooling for Emerson, encouraged his gift for writing, but now find that there are gaps in Emerson's education that suggest enrolling him in the local Middle School might mend. Kaya and Rog are in a stale marriage: each has needs the other can't appreciate. Emerson enjoys his isolation and is not eager to move into the 'mainstream' by attending school. Kaya visits the middle school and meets teacher Don Grant (Daniel MacIvor) whom she invites to her home to meet and impress Emerson. Don is a bright, lovable teacher who has failed in gay relationships, relegating his needs to visits to park restrooms. When Don comes to dinner, Emerson is impressed with Don's acceptance of Emerson's outlook and decides to give the school a chance.
Emerson, long-haired and androgynous in appearance, suffers ridicule at school but finds considerable solace in the classroom atmosphere Don Grant adapts to suit Emerson's intelligent needs. Don is 42 and Emerson is 13 and while they become friends, Emerson develops his first 'crush' on Don. And while this is happening Kaya meets young stud Denny (the always excellent Callum Keith Rennie) and begins an affair. Many moments of electric snaps occur among all of the characters (a matter of whose crisis is more threatening!) and the manner in which each of the confrontations with each character and conjoined demons occur begin to resolve the seemingly improbable results that alter the growth of each.
Part of the success of a film dealing with such subject matter is the manner in which each of the stories is told. There is no crude acting out, no pat answers, and no unnecessary 'drama' for drama's sake. This is a very honest little film that deserves the attention of a wide audience eager to understand the varying motivations of other people. Grady Harp
Emerson (a strong debut for Aaron Webber) is the thirteen-year-old son of environmentalist/post-hippie parents Kaya (Rebecca Jenkins) and Rog (Robert Joy) whose creative look at life has provided home schooling for Emerson, encouraged his gift for writing, but now find that there are gaps in Emerson's education that suggest enrolling him in the local Middle School might mend. Kaya and Rog are in a stale marriage: each has needs the other can't appreciate. Emerson enjoys his isolation and is not eager to move into the 'mainstream' by attending school. Kaya visits the middle school and meets teacher Don Grant (Daniel MacIvor) whom she invites to her home to meet and impress Emerson. Don is a bright, lovable teacher who has failed in gay relationships, relegating his needs to visits to park restrooms. When Don comes to dinner, Emerson is impressed with Don's acceptance of Emerson's outlook and decides to give the school a chance.
Emerson, long-haired and androgynous in appearance, suffers ridicule at school but finds considerable solace in the classroom atmosphere Don Grant adapts to suit Emerson's intelligent needs. Don is 42 and Emerson is 13 and while they become friends, Emerson develops his first 'crush' on Don. And while this is happening Kaya meets young stud Denny (the always excellent Callum Keith Rennie) and begins an affair. Many moments of electric snaps occur among all of the characters (a matter of whose crisis is more threatening!) and the manner in which each of the confrontations with each character and conjoined demons occur begin to resolve the seemingly improbable results that alter the growth of each.
Part of the success of a film dealing with such subject matter is the manner in which each of the stories is told. There is no crude acting out, no pat answers, and no unnecessary 'drama' for drama's sake. This is a very honest little film that deserves the attention of a wide audience eager to understand the varying motivations of other people. Grady Harp