Workplace

EXCLUSIVE: Quebec’s Fantasia International Film Festival will open its 27th edition with the North American premiere of Pascal Plante ’s latest pic Red Rooms (Les chambres rouges) .

Plante will bring the pic to his native Quebec following a Competition bow at Karlovy Vary in June. The film, Plante’s third, follows the high-profile case of serial killer Ludovic Chevalier, which has just gone to trial, and Kelly-Anne is obsessed. When reality blurs with her morbid fantasies, she goes down a dark path to seek the final piece of the case’s puzzle.

The Nicolas Cage -starrer Sympathy for the Devil will have its international premiere at Fantasia. Written by Luke Paradise, the pic follows “The Driver” (Joel Kinnaman), who finds himself in a high-stakes game of cat and mouse after being forced to drive a mysterious man, “The Passenger” (Cage). As their white-knuckle ride progresses, it becomes clear that not everything is as it seems. Deadline previously shared an exclusive first look at the pic here .

Elsewhere, A24’s buzzy supernatural horror-thriller Talk to Me from Australian twin brothers Danny and Michael Philippou will have its Canadian premiere, while Stéphan Castang’s Cannes title Vincent Must Die will have its North American bow.

This year’s Fantasia fest runs July 20 through August 9. Check out the full list of confirmed titles below:

Red Rooms, dir: Pascal Plante. Opening Film. North American Premiere.

Sympathy For The Devil, dir: Yuval Adler. International Premiere.

Talk To Me, dir: Danny and Michael Philippou. Canadian Premiere.

Stay Online, dir: Eva Strelnikova. World Premiere.

Kurayukaba, dir: Shigeyoshi Tsukahara. Axis Section. World Premiere.

The Becomers, dir: Zach Clark. World Premiere.

Romi, dir: Robert Cuffley. Septentrion Shadows section. World Premiere.

Irlande Cahier Bleu, dir: Olivier Godin. Camera Lucida section. World Premiere.

The Primevals, dir: David Allen. World Premiere.

Insomniacs, dir: Chihiro Ikeda. International Premiere.

Vincent Must Die, dir: Stéphan Castang. North American Premiere.

River, dir: Junta Yamaguchi. North American Premiere.

Pett Kata Shaw, dir: Nuhash Humayun. North American Premiere.

Restore Point, dir: Robert Hloz. North American Premiere.

Killing Romance, dir: Lee Won-suk. Canadian Premiere.

T Blockers, dir: Alice Maio Mackay. Canadian Premiere.

Suitable Flesh, dir: Joe Lynch. Canadian Premiere.

The First Slam Dunk, dir: Takehiko Inoue. Axis Section. Canadian Premiere

Additional Second Wave Titles:

#MANHOLE (Japan) – Dir. Kazuyoshi Kumakiri

Successful salesman Shunsuke falls into a concrete manhole with no way out in this clever, gory nailbiter. A tale with more twists than a corkscrew factory, and an elegant balance of black humour, social satire, and nerve-wracking tension. Official Selection: Berlinale 2023. Canadian Premiere.

AS LONG AS WE BOTH SHALL LIVE (Japan) – Dir. Ayuko Tsukahara

Set in a fantastical version of 19th century Japan, this romantic epic follows a tortured young woman who, after being married off to a ruthless military commander, still hopes for a better future. Adapted from a popular light novel series by Akumi Agitogi. Quebec Premiere.

DEEP SEA (China) – Dir. Tian Xiaopeng

The ocean’s depths are alive with dreams and nightmares in the emotionally courageous fantasy from director Tian Xiaopeng (MONKEY KING: HERO IS BACK). Using a cutting-edge digital particle-animation technique to emulate traditional ink-wash painting, Tian has created a visual spectacle of unprecedented richness, which will be screened, as it deserves, in 3D. Axis section. Canadian Premiere

DIVINITY (USA) – Dir. Eddie Alcazar In a barren future wasteland, two cosmic brothers abduct a mad pharmaceutical mogul on a quest for immortality. A face-meltingly stylized sci-fi mind trip produced by Steven Soderbergh, starring Scott Bakula, Stephen Dorff and Bella Thorne. Official Selection: Sundance 2023. Canadian Premiere .

IN MY MOTHER’S SKIN (Philippines, Singapore, Taiwan) – Dir. Kenneth Dagatan In the final, dire days of the Second World War, the young Tala discovers something otherworldly in the woods. A Filipino folk-horror fairy tale set in a time of perfidy, dread, and desolation. Official Selection: Sundance 2023. Canadian Premiere.

JOURNEY TO THE WEST (China) – Dir. Kong Dashan Tang Zhijun, the middle-aged, down-and-out editor-in-chief of a science fiction magazine, embarks on a final journey to find aliens. A workplace mockumentary tour-de-force! Camera Lucida section. Canadian Premiere.

LATE NIGHT WITH THE DEVIL (Australia) – Dirs: Colin and Cameron Cairnes

A career-best performance by David Dastmalchian headlines this innovative and nightmarish horror treat in which a live television broadcast in 1977 goes horribly wrong, unleashing evil into the nation’s living rooms. Accurately hailed by Stephen King as “absolutely brilliant”. Official Selection: SXSW 2023. Overlook 2023. Canadian Premiere.

MAD FATE (Hong Kong) – Dir. Soi Cheang A demented fortune teller and a “born psychopath” try to beat fate and solve a murder in this madcap supernatural neo-noir, produced by Johnnie To’s Milkyway Image. Opening Film: Hong Kong International Film Festival. Official selection: Berlinale 2023. Canadian Premiere.

MAMI WATA (Nigeria, France, UK) – Dir. C.J. Obasi. An ancient water deity reigns over progress and power in this stunning and expressionistic African saga. Special Jury Prize, World Cinema Dramatic Competition, Sundance 2023. Camera Lucida section. Canadian Premiere.

MARRY MY DEAD BODY (Taiwan) – Dir. Cheng Wei-Hao Ghost stories, gangsters, and gay pride collide in this three-way of supernatural goosebumps, high-octane thrills and odd-couple comedy. Official selection Taipei Golden Horse 2022. Canadian Premiere.

MOLLI AND MAX IN THE FUTURE (USA) – Dir: Michael Lukk Litwak

Zosia Mamet and Aristotle Athari charm in this wildly endearing sci-fi romantic comedy about a man and woman whose orbits repeatedly collide over the course of 12 years, 4 planets, 3 dimensions, and one space-cult. Winner: Best Feature, Fantaspoa International Film Festival 2023 Canadian Premiere.

MY ANIMAL (Canada) – Dir: Jacqueline Castel

First pitched at the Frontieres Market in 2019, this transformative queer horror drama flips the script of GINGER SNAPS , giving the slow-burn lycanthropic love story at its core some serious bite. Stars Bobbie Salvör Menuez and Amandla Stenberg, with Stephen. McHattie, Scott MacDonald and Heidi von Palleske topping off Castel’s stunning feature debut about young lovers and an accursed family legacy. Official Selection: Sundance 2023. Septentrion Shadows section. Canadian Premiere .

PERPETRATOR (USA) – Dir: Jennifer Reeder

Kiah McKirnan, Alicia Silverstone, Christopher Lowell and Ireon Roach star in a poetic and hyper-original genre creation of the kind that only Jennifer Reeder could make. At its core, it is a horror film inspired by the shared experience of generations of women. Official Selection: Berlinale 2023, Tribeca Film Festival 2023. Canadian Premiere.

SHIN KAMEN RIDER (Japan) – Dir. Hideaki Anno

The masked, motorcycle-riding dark superhero Kamen Rider embarks on a rampage of destruction to stop an evil organisation, in Hideaki Anno’s latest tokusatsu reimagining, this time of the enormously popular superhero franchise. Special Screening.

WITH LOVE AND A MAJOR ORGAN (Canada) – Dir: Kim Albright

In a world where our hearts are removable objects and we’re ruled by an app, it’s tricky to find authentic love. Anabel refuses to live via tech and falls for the emotionless George, impulsively ripping her heart out for him and turning her world upside down. This darkly funny fantasy with quirky charm stars Anna Maguire ( VIOLATION) , Hamza Haq ( TRANSPLANT ) and Veena Sood ( CHILDREN RUIN EVERYTHING ) . Official Selection: SXSW 2023. Septentrion Shadows section. Canadian Premiere

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Former X Factor star Rebecca Ferguson has called for an investigation into reality TV shows, to “protect future contestants”, claiming there are “terrifying” things going on behind the scenes.

The 36-year-old posted a series of tweets on Twitter, telling her 645,000 followers: “I’m bound by multiple NDAs but I cannot continue to not live in my full truth, being silent is worse. I’ve lived through hell for years.”

She went on to call on Dame Caroline Dinenage, the chair of parliament’s culture, media and sport committee, to ask for an independent inquiry, interviewing herself, and all previous X Factor staff between 2004 and the present day, adding “what you’ll uncover is beyond terrifying!”

In 2010, the Liverpool-born singer came second on the seventh series of the show , which was won by Matt Cardle.

Ferguson has previously campaigned for the introduction of a regulatory body for the music industry, in a bid to ensure artist welfare.

She went on to share a screenshot of an email which she said she sent to ITV and Ofcom in 2021 calling for an “urgent inquiry” into the treatment of contestants on reality shows, but said she had been “fobbed off”.

Ferguson wrote: “I was refused by ITV and OFCOM, no investigation was taken place and my concerns appeared to be fobbed off.

“I am open to communication should they now wish to follow up with my private complaint now that I have made my complaint public.”

In the email, she listed reasons for her complaint including contestants being “mentally manipulated and abused whilst having mental health problems” and being “reduced to tears due to pressure/bullying”.

She said contestants were also “forced into contracts without independent legal advice” and made to “sign to a management company with no freedom of choice”. She said contestants were told if they refused, they would be “kicked off the show”.

She said her reason for making the “formal complaint” to OFCOM in 2021 was “to ensure the future safety of contestants and ensure adequate safeguarding measures are put in place to protect future contestants”.

An Ofcom spokesperson said that they did reply to Ferguson and met with her virtually in 2021.

They said in a statement: “We listened carefully to the extent of her concerns about the treatment of contestants during her time on The X Factor in 2010.

“During these exchanges, we explained our powers and how our broadcasting rules apply in detail. We confirmed that new rules introduced to protect participants in programmes were not applicable to programmes broadcast before April 5, 2021.

“We also clarified that our statutory remit, as set by parliament, means that our fairness rules do not extend to contractual matters or conditions imposed by broadcasters on participants, and only to content as broadcast.

“We suggested to Ms Ferguson possible routes to escalate her complaints to ITV and the appropriate authorities.”

ITV responded to Ferguson’s claims, saying they were “committed to having in place suitable processes to protect the mental health and welfare of programme participants”.

Their statement went on: “We have continued to evolve and strengthen our approach, and we expect all producers of commissioned programmes to have in place appropriate procedures to look after the mental health of programme participants as well as their physical safety.

“Those processes and procedures will differ from programme to programme, to ensure that the welfare of all participants in ITV programmes is appropriately safeguarded.

“Whilst the practical detailed processes required to manage participant welfare in each programme must sit with producers themselves, ITV as a broadcaster and commissioner of content provides guidance on what we consider to be best practice: in the selection of participants before filming, in supporting them during filming, and in continued support up to and after the broadcast of the programme.”

ITV said that in its correspondence with Ferguson it had stressed contestant welfare was of the “highest priority”, as reflected in their duty of care charter and “detailed guidance” which was introduced in 2019.

They said: “ITV responded to Rebecca with information provided to us by the producers, detailing their arrangements regarding welfare, aftercare, legal advice, and management, at the time of her participation.”

The broadcaster has faced criticism in recent years following the deaths of former Love Island contestants Sophie Gradon and Mike Thalassitis in 2018 and 2019, and the death of a guest on The Jeremy Kyle Show in 2019, which resulted in the show being axed.

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After rising to fame on X Factor, Ferguson has gone on to release four albums and became a panellist on ITV’s Loose Women.

In 2021 she met with former culture secretary Oliver Dowden to discuss discrimination in the music industry.

Last month, ITV announced it had instructed a barrister to carry out an external review of the facts after Phillip Schofield’s departure from popular breakfast show This Morning, following an affair with a younger employee.

ITV chief executive Dame Carolyn McCall will be questioned about the Schofield scandal by the DCMS committee in parliament on Wednesday.

Chair of the committee, Dame Caroline Dinenage, told Sky News the meeting will not be a “witch hunt” against the former presenter , but is intended to ask wider questions about workplace culture and practices within both ITV and other public service broadcasters.

Dancers from a second strip club in Wellington are speaking out about alleged coercive behaviour at their workplace, having feared they would be fired like 19 dancers were at Calendar Girls earlier this year.

The breaking point came for one dancer last Friday, after the owner of Mermaid Strip Club allegedly entered the dancers’ changing room after an altercation between a dancer and customer, with a form about tipping and asked all dancers to sign it.

According to a document seen by Stuff , CJ Davis was the sole owner of the club after he bought it from brothers Michael and John Chow .

The current dancer, who wanted to remain anonymous, said the atmosphere on Friday evening was distressing, with dancers crying and requesting Davis to leave and to set up meeting.

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The form, seen by Stuff , said: “Just a reminder that it is encouraged for all people entering the venue to tip. It is not compulsory, regardless of where they are seated.”

As independent contractors, dancers earned money through tips and private dances. But a percentage of their earnings from private dancers went to the venue – in the case of The Mermaid, it was more than 50%, while dancers could keep 100% of their tips.

“The document goes against how strip clubs are set up,” the dancer said. She did not want to be named out of fear of being fired – something Davis had already threatened dancers with.

Because the dancers were not paid an hourly wage, the tips acted almost as an hourly rate because they were required to dance on stage roughly every hour or hour-and-a-half.

It was standard international practice to tip if you were sitting in the “prime tipping seats” which were closest to the stage. But dancers were concerned the form meant this could not be enforced.

“If you’re at the stage, you tip, this goes against that, you’re upsetting the whole balance.”

She said the owner was “pushing dancers up to the edge” and she was concerned they would have to tolerate worse behaviour by customers.

“They’re all really scared because of the cuts … he’s artificially depressed everyone’s wages to the point where they can’t afford to take action or take time off.”

“[He’s] inflicting this severe economic and psychological distress … [He’s] created hell.”

Laura, a founding member of the Fired Up Stilettos and one of 19 dancers fired by Wellington’s Calendar Girls after attempting to negotiate with the owner for better pay, said she had previously tried to negotiate with Davis after hearing about working conditions from previous Mermaid dancers.

It had requested to meet with the owner to negotiate on behalf of the dancers to ask for a higher percentage cut to the dancers and to ban fines, but it was declined.

Laura said the form about tipping crossed a line of what clubs could and could not compel dancers to do.

“It’s robbing dancers from the ability to earn an income for their labour.”

Tipping was not “a cultural thing” – it was standard practice, she said.

The owner of the venue, CJ Davis, said he had “no comment” when contacted by Stuff and did not respond to questions.

Fired Up Stilettos protest on Parliament grounds for second time

About 100 people gathered on Parliament grounds on Wednesday afternoon, hoping to catch the attention of MPs to push legislative change. It was Fired Up Stilettos’ fourth protest since forming the collective and no significant changes appeared to have been made by clubs.

A petition running on Parliament’s website had gathered more than 5600 signatures. It called for the right to bargain collectively while maintaining an independent contractor status, outlawing all fines and bonds between employers and contractors, and establishing a nationwide mandatory maximum of 20% that an employer can take from a contractor’s profits.

Most dancers did not want to be employees and wanted to maintain their autonomy and independence as contractors, Laura said. It was part of the appeal for many dancers to join the industry to begin with.

“We want more regulation on how they run their adult entertainment venue because how they’re running them right now is completely inappropriate and abusive .”

One dancer who spoke at the protest said sex work allowed her to live her life in a way her basic needs were met.

Another said it was her pathway out of debt, to have more time to connect with family, and to live a healthier life.

“Stripping ultimately gave me opportunity and freedom.”

The protest was attended by multiple members from the Green Party and Labour Party.

Green party MP Jan Logie, who supported the collective since it started, said everyone deserved to be safe and to be paid in their workplace.

“It is clear that our legislation in relation to contractors makes this impossible to guarantee for strippers at the moment.”

She said the Green Party was committed to working with the Fired Up Stilettos and their allies to get a legislative solution. They had already got agreement to help draft legislation in working with the collective.

”We know this is urgent … It is frustrating that these issues feel as if there’s a nervousness to talk about it and it’s hard not to interpret that as something to do with the stigma associated with the industry.

“We’ve heard from the workers themselves about the benefit of this work to them and their families and our communities – when it is safe and they have the ability to receive fair pay and organise.”

Melissa Ansell-Bridges from the New Zealand Council of Trade Unions said it was an ongoing issue that contractors had no way to collectively bargain. “We need to do better for contractors in New Zealand.”