Movies with Meaning, by Brent Marchant, TGMN Movie Correspondent

A Lesson in Comeuppance

It’s admirable when someone has obvious enthusiasm for a personal passion and is eager to share that sentiment with others. Most of us can probably appreciate and relate to that kind of fervor, happy for the individual’s obviously ardent zeal. We may not necessarily concur with the nature of that burgeoning fascination, but there’s nothing wrong with a subdued response as long as it’s not looked on dismissively. Indeed, it can be off-putting when our reaction is seen as less than enthusiastic and met with condescension, arrogance and disdain. Such hostility can backfire, leading to a hard lesson in comeuppance, circumstances vividly depicted in the new Canadian comedy-drama, “I Like Movies” (web site, trailer).

Seventeen-year-old high school senior Lawrence Kweller (Isaiah Lehtinen) loves movies. He talks about them constantly, frequently peppering his conversations and observations about life with film references, some of them commonly known, others decidedly more obscure. This practice generally goes over well with close friends and cinephiles, like his best buddy, Matt (Percy Hynes White), who often collaborates on making movies with Lawrence, projects they share with classmates in their media studies class. But, for others who aren’t as obsessive about cinema as he is, like his hard-working widowed mom, Terri (Krista Bridges), Lawrence’s single-mindedness about the subject can become somewhat tedious and trying. He has trouble understanding how others might not share his passion or don’t get the references to the pictures he cites. So, in those cases, he often looks down on them, letting his self-centered feelings of artistic superiority take over, an attitude that drives an undeniable wedge between him and others.

Lawrence’s passion is certainly admirable; indeed, how many of his contemporaries have such a clear vision about what interests them, especially where their futures are concerned? He’s so focused in this regard, in fact, that he’s set his sights on wanting to become a filmmaker after graduation. He’s fixated on attending the Kanbar Institute of Film & Television at New York University’s prestigious Tisch School of the Arts, an ambitious, albeit lofty, goal. But Lawrence is thoroughly convinced he’ll be accepted – so much so that he’s reluctant to consider even applying elsewhere. Given NYU’s exacting standards, however, getting in is a long shot (not to mention the fact that the $90,000 tuition is well beyond what he and his mother can realistically afford). Still, Lawrence doesn’t hesitate to dismiss such “inconvenient” logistical considerations out of hand; in his mind, the fulfillment of his goal takes precedence above all else, and he never backs down from letting others know that.

As he finishes up his last year of high school, Lawrence takes steps to prepare for life after graduation. For instance, Lawrence and Matt, with the guidance of their media studies class teacher, Mr. Olenick (Arnand Rajaram), work on producing a year-end film to be shown at a special class assembly. And, to help him gain “industry experience,” he lands a job at a local video rental store (remember those? well, it is 2003 after all), believing it to be a significant learning opportunity (even though most of his time is spent on mundane tasks like restocking shelves and working the check-out counter).

On the surface, these initiatives might seem like motivated, proactive measures. But, being who he is, Lawrence approaches these tasks as he believes they should be handled, regardless of whether his actions meet the requirements of what’s expected (after all, given his presumed superior intellect and artistic sensibilities, he knows what’s best, right?). Needless to say, though, that approach often gets in the way. For instance, when it comes to one of his class projects, he deliberately disregards the nature of the assignment because he believes that what he filmed instead was a better, more relevant creation than what was specified. Likewise, at the video store, his manager, Alana (Romina D’Ugo), tasks him with promoting sales of home copies of “Shrek” (2001), something he’d rather not do given that it’s “beneath him” to be a shill for hawking merchandise, especially for such a commercial and innately “inferior” movie as this.

What’s more, Lawrence frequently drags his feet when it comes to getting things done. For example, when it comes to working on the year-end film, Mr. Olenick asks when he can expect to see a cut of the project, given that it needs approval from the principal before it can be shown. Lawrence says it’s nearly ready to be screened, when, in fact, he’s barely started shooting. And, given that the project is a collaboration with Matt, Lawrence’s procrastination puts his friend in a compromised position, too, straining their friendship and working relationship. The delay and deception also prompt Matt to consider teaming up with a new collaborator, fellow classmate, Lauren (Eden Cupid), threatening the project and his connection with Lawrence.

What’s even worse, though, is that Lawrence is oblivious to the fallout from all of the foregoing. In part that’s because he thinks he knows more than everyone else, even though he’s often utterly clueless, especially when it comes to how naively misinformed he is about the nature of the movie business. Then there’s his ignorance about why so many people have systematically turned away from him, including Matt, Lauren, Mr. Olenick, Alana, his mother and his video store co-workers (Andy McQueen, Alex Ateah), all of whom grow intolerant of his haughty attitude and blatant irresponsibility. And all of this comes down while he awaits word about his NYU application. What’s he going to do if that doesn’t work out, either?

So, if Lawrence is so gifted, focused and ambitious, why is he also such a jerk? That’s an intriguing question – and one that’s not easily answered. He makes grand plans, but sometimes he shoots himself in the foot, drops the ball, fails to follow through and makes decisions based on grandiose erroneous assumptions that aren’t grounded in fact. He wants people to like and respect him for his talents and as a person, but he frequently treats them rudely, creating an almost instantaneous dislike of him. And how is it that he can’t see the connections among these contradictory ambitions, attitudes and consequences? Indeed, why does this pattern occur at all, let alone repeatedly?

Ultimately, everything is traceable back to Lawrence himself. His undertakings and the outcomes that result from them all stem from him – specifically, his beliefs and their inherently conflicting nature. That’s important to recognize given the role they play in the manifestation of our existence. It’s unclear whether Lawrence is aware of or has ever heard of this school of thought. But one thing is for certain – his lack of grasping the role his beliefs play in creating his world is keeping him from understanding why it unfolds as it does.

Inherent contradictions in our beliefs account for one of the key reasons why we may not be able to comprehend why our existence manifests in such a puzzling manner. The apparent but indecipherable disconnect between what we hope for and what we experience often leaves individuals like Lawrence scratching their heads. It’s frustrating, perhaps even maddening, but it results no matter what we might do, often in a seemingly ceaseless pattern that can’t be broken – that is, unless we take specific steps to unravel the mystery that’s driving these circumstances.

The most significant step is taking an intensive look at all of the beliefs that factor into these outcomes. Which specific beliefs account for what arises, and how do each of the innate contradictions play into the results? Understanding this may well shed light on why events are unfolding as they do.

For instance, Lawrence may be thoroughly convinced of his intrinsic artistic abilities and creative potential (and rightfully so), but he’s paired that belief with one tied to an inflated sense of self, a view characterized by notions of superior (albeit exaggerated) intellect, more refined aesthetics and elevated maturity. However, astute, on-target conclusions about the former do not necessarily translate into comparably accurate conclusions about the latter, and they might not (and, in this case, do not) jibe. As a consequence, it’s not realistic to assume that one set of beliefs can be used to justify another. But, when those attitudes are blatantly flaunted and crassly thrust upon others (especially among those who can see that the belief pairings don’t line up), it can easily repel them, leading to unwanted (and, in Lawrence’s case, unanticipated and misunderstood) reactions.

Lawrence is frequently his own worst enemy in this regard, too. That inflated sense of self readily fuels a sense of entitlement on a variety of fronts. And, when he doesn’t get what he wants, he often reacts indignantly, perhaps even hostilely, toward those who don’t comply with his expectations. To make matters worse, these situations can become further inflamed when the outcomes result from Lawrence’s own irresponsibility. He fails to recognize that actions (and the beliefs underlying them) carry consequences. And, when an unwillingness to accept that sets in, it can lead to a belief in victimhood, a stance that might seem comfortable at the time but that ultimately solves nothing, both in terms of rectifying the issue at hand and the larger, overarching pattern of which it’s a part (one that has probably been going on for some time, too).

To a certain extent, some of Lawrence’s issues are a result of personal trauma and psychological difficulties, both of which, in all fairness, should earn him some slack. However, when he draws upon beliefs associated with such an extension of grace, it further feeds into his well-established sense of entitlement, and we’ve already seen what results that has yielded when he trots it out in an effort to get his way. This is not to suggest that Lawrence should be capriciously subjected to uncaring insensitivity, but there are limits to what he should be accorded, and, as it stands now, he doesn’t hesitate to push those boundaries whenever he can when he believes that doing so will ultimately work to his advantage.

From all of the foregoing, then, it would seem Lawrence has got his work cut out for him. He needs to examine all of the beliefs that are in play and how they function in tandem as a means to understanding why circumstances manifest as they do. In the process, he needs to purge the beliefs that aren’t serving him, especially when they undermine whatever noble intentions he might be putting forth. Beliefs associated with his superior sense of self, condescension toward others, wanton irresponsibility and unrepentant victimhood clearly need to go if he wants better outcomes to his undertakings. But he must make the effort to recognize those wayward intents and rewrite them if he ever hopes for things to improve. If he doesn’t, that nagging comeuppance is likely to persist for a long time to come.

Writer-director Chandler Levack’s debut feature serves up a smart, sassy, edgy comedy-drama about learning how to be legitimately inspired and impassioned without making an insufferable ass out of oneself, youthful inexperience and personal difficulties notwithstanding. The picture is loaded with hilarious and poignant movie references that avid cinephiles are sure to love and appreciate, as well as an array of sidesplitting coming of age bits that probably take many of us back to the geeky ways of our own adolescence. Admittedly, some of the story threads seem a little implausible and don’t work as well as they might have (especially in the final act), and a few of the jokes – though funny – unfortunately stand alone like comic islands that seem disconnected from the main narrative. Nevertheless, “I Like Movies” is an otherwise-whimsical, delightful, engaging indie gem that will remind us of what it was once like to be idealistic yet blissfully ignorant, one that we can only hope will leave an indelible impression on younger viewers whose off-screen behavior tends to mirror that of the protagonist. Indeed, it’s one thing to love movies, but it’s something else entirely to think that life operates the same way and hope against hope that it will turn out like that. The film has been playing in limited theatrical release but is likely to be available for streaming in the not-too-distant future.

Many creative types go through phases not unlike what Lawrence experiences in their youth, believing that they know it all and can’t be told anything. The price they subsequently pay is a rude awakening when the folly of their beliefs becomes apparent to them. Thankfully, though, most of them awaken at some point and shed the self-important attitudes, particularly when subjected to a hefty helping of comeuppance. It would probably be easier (and healthier) to not have to go through such an experience, but, if it inevitably helps us to gain a better understanding of our beliefs, ourselves and our experience, then maybe it’s worthwhile in the end. One can only hope that it’s something we work our way through quickly, enabling us to get on with the more important work of our existence – like making movies. Just remember, though, that such creations are a part of our reality – and not the reality itself.

A complete review is available by clicking here.

The Power of Pilgrimage

When answers are elusive, we often become frustrated that we can’t find them. That can be especially aggravating when the sought-after solutions are meant to address particularly difficult questions, especially those that have persisted for a while. We’re thus left wondering what to do. However, at times like these, we often resort to embarking on physical or spiritual journeys to tangible or metaphorical destinations that are believed to possess special qualities that serve as sources of inspiration and enlightenment. Such pilgrimages are thus undertaken in the hope of uncovering the answers we seek, marvels designed to help set us on new paths, a course of action explored in the heartwarming comedy-drama, “The Miracle Club” (web site, trailer).

In 1967 Ireland, four women from a small coastal town are desperately in search of insights into various personal challenges, some of which have been long outstanding without resolution. It seems like they’ve tried everything, too, but without success, a disheartening outcome, to be sure. But, as dyed-in-the-wool Roman Catholics, they’re convinced that there must be solutions available to them. So, in a determined effort to find them, they decide to embark on a journey to the holy shine of Lourdes in southwestern France, the site of a believed visitation by the Virgin Mary in 1858 that has since become the location of countless miraculous healings, both physical and emotional. So, with nothing to lose and everything to gain, they decide to take a leap of faith and make the trip. After all, God wouldn’t let them down, now would He?

So who are these Emerald Isle pilgrims who are making the journey to the sacred site? They’re quite an interesting foursome:

• Lily Fox (Maggie Smith) is attempting to manage several challenges. Physically speaking, she suffers from one leg being significantly shorter than the other, necessitating her to wear special footwear with one shoe’s sole fitted with a special lift to equalize her overall height. It aids her mobility but isn’t particularly comfortable, especially at her advanced age. But that’s just one of Lily’s issues; she’s also wrestling with the longstanding emotional pain of having lost her son to suicide many years ago, a tragedy from which she’s never fully recovered. It weighs heavily on her, exacerbating the overall anguish she’s experiencing. Maybe a trip to Lourdes is just what she needs.

• Eileen Dunne (Kathy Bates) has lived her life as a devoted wife, mother and grandmother. And, now that she’s getting on in years, she has been looking forward to taking things a little easier, a time to enjoy the second half of life. However, those hopes have been diminished somewhat with the discovery of a lump in her breast. She’s worried that it may be malignant, yet she’s scared to find out for sure or to even discuss the matter with others. Perhaps partaking of those famous healing baths at Lourdes will help cure her.

• Eileen’s daughter, Dolly Hennessey (Agnes O’Casey), is worried that her son, Daniel (Eric Smith), doesn’t speak. He seems perfectly healthy otherwise, and he appears to understand what others say to him. But, no matter what Dolly and her husband, George (Mark McKenna), do, they can’t get Daniel to talk. Dolly is especially worried about how this might affect his future, particularly since the condition seems to defy logic. What can be done to get him to express himself?

• Chrissie Ahearn (Laura Linney) has been away from her hometown for 40 years, having left Ireland somewhat hurriedly under suspicious but largely unexplained circumstances to resettle in Boston. But the recent death of her estranged mother, Maureen (voiced by Brenda Fricker), has prompted her return. Chrissie’s sudden reappearance has not been well received, partly because of her prolonged absence, partly because she wasn’t present when her mother passed and partly because of the reasons for her hasty departure, which are frequently discussed in hushed, disapproving whispers by Lily and Eileen, Chrissie’s onetime best friend. However, upon her return, Chrissie learns that Maureen had left a letter for her, one that includes, as a final gift and act of forgiveness, an all-expense-paid passage to Lourdes. Chrissie is not quite sure what to make of this gesture, given that she’s not overly religious and has not been part of her mother’s life for a long time. And, because of that, she’s not sure whether to make use of the unexpected travel package. However, after conferring with the local parish priest, Fr. Byrne (Mark O’Halloran), a good friend of Chrissie’s late mother, she decides to avail herself of it. He convinces her that Maureen wanted her to have this gift and that making use of it would be a fitting tribute to her. Chrissie is admittedly somewhat reluctant given that Lily and Eileen will be her traveling companions for the journey, but, then, perhaps healing the apparent bad blood between them is part of the purpose behind this venture. Regardless of the reasons, though, the dynamics of this group are certain to make for interesting conditions under which to make this pilgrimage.

However, despite these plans being put into motion, making a successful getaway won’t be easy for Lily, Eileen and Dolly. The women’s husbands, Tommy (Niall Buggy), Frank (Stephen Rea) and George, respectively, aren’t happy about their wives taking off and leaving them behind. George is also somewhat hesitant to accept his wife’s plans, believing that taking Daniel to Lourdes in hopes of curing what he sees as his self-imposed silence is a fool’s journey. This intolerant disapproval isn’t all that surprising, though, given the period and locale in which this story is set. Nevertheless, these determined women have their minds set on finding the answers they seek, and so, with Chrissie and Fr. Byrne in tow, they head for Dublin to catch the ferry that will take them to France and, they hope, an enlightened future.

But will this pilgrimage turn out as hoped for? As Lily, Eileen, Dolly and Chrissie discover, circumstances may not pan out as expected – in some ways for the better and in other ways not. In both respects, though, the results are eye-opening, both in terms of addressing why they went there in the first place and with regard to a number of larger issues involving matters of faith, their perspectives on miracles and their relationships with one another. It proves to be quite a trip, providing opportunities for healing what’s troubling them and giving them new outlooks for the future.

So will this pilgrimage produce the hoped-for results? Lily, Eileen and Dolly certainly hope so, while Chrissie makes the trip with a skeptical but somewhat open mind. How matters ultimately turn out, however, will depend on their beliefs, for they play a central role in shaping the reality we experience. It’s unclear whether the four women have ever heard of this school of thought, but most of them have faith in the notion that miracles can be made possible. In their case, though, much will rest on how firmly they believe in that notion and whether or not it pans out in manifested form.

One point that’s important to bear in mind is that our beliefs are highly malleable. Their power and persistence are indeed well known, but they also have an uncanny ability to change form and take different shapes, even when we think they’re immutable. And the experience of a pilgrimage can have tremendous impact on them in this regard. As these journeys of discovery unfold, they frequently reveal new information that can alter the essence of the beliefs we hold when we begin the process.

Such new developments can expose much, like providing previously missing information. In other cases, they can shed new light on circumstances, prompting revelatory new insights into them that may not have previously been considered or envisioned. And, in other cases still, they can burst bubbles of delusion, like sticking a pin a balloon, a result that can be shocking, disillusioning or enlightening, depending on the specific conditions involved.

These kinds of developments are frequently part and parcel of pilgrimages, making it possible for those on the path to learn things they previously didn’t know. This makes sense, too, given that pilgrims often embark on these journeys to find answers that previously eluded them, that they were unable to find under everyday conditions. In fact, what would be the point of undertaking ventures such as these if finding answers weren’t one of the primary reasons for doing so?

These circumstances are indeed applicable to the four women. For Lily, Eileen and Dolly, the journey is all about finding answers to specific questions and seeing their respective requests fulfilled. Meanwhile, for Chrissie, the pilgrimage is more open-ended, finding an answer to why her mother believed it was so important that she make the trip in the first place. In particular, this has to do with uncovering revelations that Chrissie doesn’t even know that she’s looking for or that her mother wanted her to find.

Given that each of the pilgrims is looking for something different, the takeaways from their journey will all be different from one another, too, especially if their beliefs and expectations undergo the kinds of transformations discussed above. What’s more, given that they all know one another and have had past dealings together, the insights they take away from the experience carry the potential to change the nature of their relationships and what they might anticipate from them going forward. The impact of this even affects those who aren’t present, namely, the husbands back home in Ireland. And all of this comes about as a result of the pilgrims’ beliefs and how their journey affects those notions and what they yield.

The effects of the pilgrimage are undeniable, even if they don’t necessarily take the expected form or turn out as planned. And, in the end, we may well discover that we play a larger role in bringing them about than we thought possible, the role of divine intervention notwithstanding. But that shift in perspective doesn’t diminish their overall impact. The outcomes can still prove insightful, transformative and life-changing. And, if that’s not a miracle, I don’t know what is.

When circumstances in our lives grow unduly burdensome, many of us desperately hope for a miracle. In some cases, that aspiration is looked upon metaphorically, but, in others, it’s anticipated as a literal possibility, one that can be banked on if certain steps are taken. For many of the world’s Roman Catholics, that latter objective means making a pilgrimage to Lourdes, the premise behind director Thaddeus O’Sullivan’s latest feature offering. This delightful and touching comedy-drama is part road trip tale, part “buddy” film (even if that term doesn’t always fit), and part saga of reconciliation, redemption and rebirth. It poignantly explores the process of making our own miracles rather than relying completely on outside influences, as well as learning and understanding the true meanings of faith and forgiveness. Admittedly, the film takes its time getting started (perhaps a tad too long at that), and some of its story threads come across as a little schmaltzy, predictable, outdated and overly “tidy.” However, the picture has a definite edge to it, too, especially in its incisively biting humor, pointedly and expertly delivered through the superb performances of its principal cast members, most notably Smith, Bates, Linney and Rea. Some may look upon “The Miracle Club” as something of a lightweight offering, but its heart and intents are decidedly in the right place, making for a generally enjoyable watch, particularly as a piece of family fare. Cynics may find much to criticize here, but I believe that’s patently unfair, considering the sincerity of its messages and earnestness of their delivery. So, in light of that, give this one a fair shake – you just might find a few miracles of your own come from it. The film is available for streaming online.

When it seems like all hope is lost, it’s easy to become discouraged, if not disconsolate. We might well resort to impassioned pleas for assistance, going so far as to seeking solutions that, on the surface, would appear to defy realistic expectations. But how do we explain outcomes that come through to meet our needs? There’s no denying such results, even if it’s not entirely clear how or why they arose. Yet, when such developments emerge, it’s unlikely that anyone is going to question their presence, origin and impact. Whose hand is involved in their creation is unlikely to come up as well. But, if we make a pilgrimage to find out – be it literally or metaphorically – we might well be thrilled with the answers, not to mention the results. And, in the end, that’s all that matters.

A complete review is available by clicking here.

Rectifying an Unfair Oversight

Imagine being systematically discriminated against and unduly ridiculed without those inflicting such hurtful and unfair acts suffering any consequences. Those in various minority communities can no doubt relate to such treatment, having been subjected to it for long periods before legal protections were put into place (and, in some cases, even after those safeguards were implemented). However, there’s one constituency that’s effectively gone without protection – and, in many respects, still continues to do so. That kind of vulnerability should make everyone squirm, whether or not they’re directly impacted by such blindly sanctioned abuse, but few steps have been taken to protect those who bear the brunt of these conditions – that is, until now, thanks to an undertaking seeking to correct this oversight, as detailed in the affecting new documentary, “Your Fat Friend” (web site, trailer).

A decade ago, almost nobody had heard of Aubrey Gordon, but that’s begun to change significantly in recent years. The onetime-organizer behind various social causes worked behind the scenes in such areas as LGBTQ+ rights and voter registration efforts. But her greatest accomplishments were still in her future, coming about in a way that she probably never expected in terms of influence, success and impact.

Gordon is a big woman, larger than most of those in mainstream society. But, for all of society’s efforts to refer to her physical stature in an allegedly tactful manner – “plus size,” “full-figured,” “overweight,” etc. – she actually prefers a term that she believes is fundamentally most accurate – fat. In fact, she has intentionally made an effort to encourage others to use that term as well, relying on the mantra “Just say fat.” It’s a phrase that some may find uncomfortable or offensive whether or not afflicted by this condition, but she says it to impress upon the public that this is who she and others like her are – and that they need to accept it and get used to it.

However, Gordon’s roots in this area were somewhat less provocative and in your face. In 2016, as she was finding her voice, she spoke anonymously through a blog under the pen name “Your Fat Friend.” She wrote it initially to speak her mind and to get frustrations off her chest, but, somewhat to her surprise, she found a captive audience who could appreciate the sentiments she was expressing. In no time, she had quite a following who could relate to what she said.

So what was Your Fat Friend writing about? She addressed issues reflecting the inherent, unrecognized bias that has been unwittingly incorporated into many of society’s conventions and infrastructures, standards and precepts that blatantly discriminate against fat people. For instance, consider the frustrations associated with undersized seating accommodations on airplanes and public transportation, as well as in theaters (or, as Gordon has so frequently put it, imagine what it would be like for someone trying to fit into a space specifically designed for someone else (i.e., a smaller individual)). Then there are the clothing designers who obliviously create fashions suitable only to those with the figures of runway models, never taking into consideration that there may be fat consumers out there who would like to be just as stylish as anyone else (a surprisingly shortsighted view given that the average clothing sizes of a growing number of individuals has been increasing for years now). And, of course, there are plenty of comparable oversights in the medical community, as fat patients can attest to when it comes to finding a blood pressure cuff that can comfortably fit around their arms.

Speaking of the medical community, there are also many fat-prejudiced comments and attitudes that routinely emerge from its practitioners. Most of them are simplistic in nature, such as the dismissive observations that health care providers make when they flippantly say to fat patients “Just lose some weight” or “Eat less and exercise more.” Frequently, fat individuals have tried these measures, only to have them fail or result in weight loss followed by rebounding weight gain (the patently unhealthy so-called “yo-yo dieting” phenomenon). These ineffective recommendations are frequently backed by equally ineffective diet plans, most of which simply don’t work, either. Then there are those frustrating doctor’s appointments in which every office visit turns into a weight loss conversation regardless of the reason why the meeting was scheduled in the first place. Gordon expresses the nagging irritation that fat people nearly always experience when these appointments start out as examinations to treat a specific condition, such as a skin rash, but invariably turn into yet another badgering session about futile diet, exercise and lifestyle recommendations. Yet fat individuals who don’t attain any meaningful, lasting success through these practices are often scolded for their “failures,” usually painted in broad brush strokes as being lazy, unmotivated and stupid – including from more than a few insensitive, uninformed medical practitioners.

Those caustic comments are often just the tip of the iceberg, too. In citing examples of the ridicule she was subjected to when blogging anonymously, Gordon says she received comments (most of which were posted anonymously, too) that said such things as “You’re disgusting – why don’t you just die!” or “You don’t deserve to live,” often punctuated with hurtful, graphic expletives. In other cases, she found herself being the recipient of unsolicited “advice” from shaming strangers, such as an instance when Gordon was criticized by a fellow supermarket shopper who said she had no business putting a melon in her cart because “it has too much sugar.” Imagine what it would be like for someone whose body size was “normal” to hear something like that.

As Gordon’s blog following grew, she began to feel the need to come forward, breaking the surface and making herself publicly known. Given the kinds of comments she had received to her posts, she was understandably apprehensive, even fearing for her safety. However, when a book deal landed on the table, she realized she had to go public, which she did with the publication of her first title, What We Don’t Talk About When We Talk About Fat (2020). The success of that book led to a podcast with journalist Michael Hobbes, Maintenance Phase. And, in 2023, Gordon penned “You Just Need to Lose Weight”: And 19 Other Myths About Fat People. 

Since the publication of her books and the launch of her podcast, the ranks of Gordon’s followers have swollen. In footage from a book signing for her first title at Powell’s Books in her native Portland, she’s seen greeting countless individuals whose personal circumstances mirror her own, some of them overcome with emotion that they have finally found an advocate on their side. This role, with its tremendous outpouring of goodwill, may not have been something that this fat activist envisioned for herself for herself when she was younger, but she’s found a place for herself, while others have found a voice for themselves through her courage and willingness to speak up. This development may have been a while in coming, but it finally has – and none too soon.

Based on what’s chronicled here, Gordon is indeed passionate about her mission, even if it took some time to launch it. However, given that body size issues have dogged her all of her life, it’s not as though she hadn’t racked up considerable experience with this condition by the time she undertook this initiative, even when she was doing so anonymously. In interviews with Aubrey’s parents, Pam and Rusty, it’s revealed that weight has been an issue for their daughter from a young age. They tried all of the conventional means of addressing it, such as weight loss programs, diets and so forth, but none of them worked, as many individuals who have been fat since childhood have discovered for themselves.

By the time Gordon began raising awareness of this issue – particularly the deliberate and unrecognized discrimination against the fat community – she was well versed in the subject and felt the need to speak out. And her success in this area is directly attributable to the strength of her beliefs about it, a product of drawing upon these intangible resources in manifesting the existence we experience. It’s not clear whether the activist has heard of or is aware of this way of thinking, but, considering the results she has achieved, it’s apparent she knows how to make use of its principles to attain her sought-after outcomes.

One of Gordon’s biggest challenges has been overcoming her fears associated with taking on this task. At first, she was genuinely afraid to come forward in light of some of the comments she received to her initial blog posts. However, fear is in itself a belief, and, if we allow ourselves to hold onto it, this notion can be paralyzing, keeping us locked in place and preventing us from realizing the goals we hope to attain. Getting past this belief roadblock, then, was essential to moving forward.

In turn, Gordon needed to rewrite this impeding belief with one that would make for a suitable replacement – in essence, the exact opposite of what she had been holding onto. This meant embracing beliefs related to courage and living heroically. And, considering the magnitude of what she took on, Gordon, in fact, bought into these new ideas. It helped that she had significant backing, too, both from family and friends, as well as the many supporters who enthusiastically lent their encouragement. By adding their belief energy to hers, they jointly created a powerful juggernaut to promote awareness of their cause. Consequently, the more assistance she received, the more empowered she became and the more she was subsequently able to accomplish.

Speaking for those who weren’t or hadn’t been able to do so thus became Gordon’s mission. She turned a bright spotlight on the issues that she and others have long had to live with. In the process, she raised awareness and sought rectification for the indignities inflicted upon fat people. And, if that’s not a noble cause, I don’t know what is.

To reach these goals, Gordon has had to spend considerable effort educating others, specifically when comes to overcoming ignorance and dispelling outdated ideas. Admittedly, that’s quite a task, given how ingrained these fallacious notions have become in the minds of so many, including those – like health care professionals – who seemingly should know better. This is likely to be a task that will require ongoing efforts for some time to come, too, largely because these archaic concepts are so embedded in the mass consciousness. However, as we have seen in recent decades, change is possible, provided we believe in it and put belief energy behind these reforms.

This cause, it would seem, is now Gordon’s destiny. More specifically, it could perhaps be better described as her value fulfillment, the practice of being her best, truest self for the betterment of herself and others, particularly those who are similarly situated. Anyone who has ever experienced any kind of oppression and ridicule can understand the pain and anguish these conditions can cause, no matter what quality they’re based on. However, the issue of body size is one of those qualities for which these circumstances have not yet been addressed with adequate protections. Gordon’s work is aimed at doing just that, and she’s to be commended for doing so in light of how many people will benefit from it.

It should be noted that this is not meant to suggest that anyone should willingly seek to become fat who is not already. The health considerations associated with weight can’t, in all good conscience, be ignored. However, this movement is intended to draw attention to the fact that fatness is not something that can be easily dispensed with, especially when individuals are encouraged (if not brow-beaten) into simplistically employing tactics that have largely been shown to be innately ineffective. It’s a condition that can’t be changed with a snap of the fingers. There are likely underlying causes behind it that defy easy explanation, including the unidentified beliefs that helped to create the condition in the first place (our beliefs can certainly have their “downside,” to be sure). But, until better diagnostic and treatment measures – both psychological and medical – become apparent, those who are living with the condition must not be disrespected or mocked for it. Rather, their needs must be addressed and met just as readily as the accommodations made for others living with challenging circumstances of their own. After all, it’s only fair.

To that end, those interested in seeing justice done in this area should look into the work being done by Gordon, both on her blog site and her home page. Additional information can also be found on the film’s web site, which includes links to allied sites, such as the National Association to Advance Fat Acceptance, which has organized a campaign to promote legislation seeking equal opportunities for the fat community. A petition to support the bill, with further information about the legislation and its intents and related developments, is available by clicking here.

They say you can never truly understand what it’s like to feel what someone else experiences until you’ve walked a mile in his or her shoes. That’s often been said about many of those in minority communities, and, thankfully, some significant progress in understanding appears to have been made in those cases over the years. But one segment of society in which little advancement has been made involves those who are fat. For some reason, fat folks continue to be systematically marginalized – if not outright derided – in countless ways, and there’s often been little that they can do about these pervasive attacks. Now, however, writer-director Jeanie Finlay’s new documentary profile of author/podcaster/fat activist Aubrey Gordon sheds new light on what individuals affected by this condition face on a daily basis. The film holds back little in terms of exposing the unbridled scorn thrust upon her and those like her, while simultaneously celebrating the overflowing shower of support bestowed upon her for her efforts. The picture also goes on the record exposing the many myths and lies that have been long perpetuated about fat people and the volumes of bad, uninformed advice they have received for decades. Admittedly, the material covered in the film could be a little better organized at times, especially when it turns redundant, as it does on several occasions. There is also a fair amount of unrelated incidental footage that probably could have been cut without losing much. However, this offering provides a wealth of information on the widely circulated misinformation about fatness, and, as anyone who has endured these conditions can attest, it’s refreshing and liberating to see an advocate step forward who is not afraid to call out those who are hurtful, ignorant and deceitful when it comes to this subject. “Your Fat Friend” draws all of these issues into focus and delivers a polite but undeniably pointed middle finger to those who perpetuate misguided attitudes and ideas that ultimately serve no one – yet end up unintentionally or deliberately hurting so many. The film is available for streaming online.

In the interest of full disclosure, I, too, have struggled with body size issues throughout my life, and I can definitely relate to much of what Gordon speaks about in the film. While the picture itself might not be perfect, it expresses many sentiments that I understand all too well – and have done so since childhood. Even though it’s an experience that has been exasperating at times, it has nevertheless provided me with personal insight into the utter ridiculousness of prejudice. From the time I was in kindergarten, I have been subjected to the ridicule and mockery associated with being fat for “reasons” for which no one has ever been able to supply a discernible or justifiable rationale. When one witnesses that sort of thing up close like that, it becomes easy to see how nonsensical all forms of prejudice truly are. So I carry a few more pounds than others – so what? Does that somehow make me or anyone who looks like me any less of a deserving individual? Think about that the next time you laugh at someone on the basis of his or her body features. And, if you don’t find anything funny in that, thank Aubrey Gordon for helping to point that out.

A complete review is available by clicking here.

Copyright © 2024, by Brent Marchant. All rights reserved.