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Hot Docs Review: Searching For Drug Peace (Alisher Balfanbayev, 2026)

Posted on
11 May 2026
by
Gary

The tone of Searching For Drug Peace was set from the opening minutes, when a mule carrying loads of vacuum-packed mushrooms declared himself to be on the “Amazon model”.

Coca Leaf Café in Vancouver illegally sells psychedelics in a store-front licensed for something else. Its struggle is ostensibly about staying in business while fighting the city police and legislature regarding its possession of illicit substances and license suspension, respectively. In addition to psychedelic sales, proprietor Dana Larsen’s other operation provides drug testing – using IR spectroscopy to identify adulterants such as fentanyl to reduce possible harm to users. But the business narrative quickly takes second place to a David vs. Goliath dimension: the end of the “war on drugs” and “prohibition”.

Progressively, and perhaps because they have been pushing drugs for so long, a life-style has morphed into a life-long mission and a savior fantasy. The café owners, workers, and their advocates have convinced themselves that their products are uniquely a “safe solution”. Here, I have to digress – the human body didn’t evolve to survive sea krait venom, stonefish toxins, conch secretions, or fungal extracts – the fundamental reason why they work is also why there are no safe solutions. The key modifier is addiction. If water is addictive, you would find people drinking air-conditioner condensates to drown themselves. That excess is by definition, and cannot be rescued by a business focused on dosage and purity.

But they will continue to act as angels in the community. This is attested in the film by an anecdote from a user who stressed that he “needed the awareness to stop what I’m doing to myself” – meaning mushrooms gave him a state of mind outside of an addled self to become clean again. But most of the film’s other elements are superficial appendices: inputs from a paramedic, a drug policy analyst, etc. are haphazardly stitched together. They add up to more buzzing-flies than a contrasting voice against the central promotion for “drug freedom.”

Behind that banner, however, most actions taken by Coca Leaf Café are plainly business driven – including no less than staking out a licensing grey zone. They are happy to induct young people into the culture to boost the customer base. If/once they hitch onto the addiction train (presumably elsewhere out of purview of Coca Leaf Cafe, because “woot drug freedom”), all the more convenient as a future compassionate dependent. Sending mushrooms to British Columbian MLAs, speaking at marijuana events, giving out freebies at park gatherings, all are advertisements. This is a documentary about a group of people who profiteers under the guise of activism calling for rights, safety, and compassion. The title of the documentary should be “All I want to do, is sell some (maybe safe) drugs”. 

But it is nonetheless sombre and valuable, because it fleshes out an undercurrent. The end credit mentioned that “(Larsen) continues to face police raids and political oppositions”. That would be heroic, but it would not track with the expansion to “run 3 psychedelic dispensaries and two drug test centers” mentioned right after. Tacitly, they have been given permission, and even Larsen admits that they would go under if the police raids are more frequent. The political/legal displays against license revocation seems a bet for future electoral gains, as well as a delay tactics to avoid dressing a long-necrotizing wound. I wonder how the drug users feel when their fragmented community is again paying Canadians for misery in return. It is also indeed depressing as the licensure precedence will surely be copied elsewhere.

But we should realize that this is the price we (implicitly) accepted a social contract that marginalizes some people to the edge of “polite” society: unsavory intermediaries will spring up to demarcate and interface. Larsen found mushrooms, just like Bezos found cheap plastic wine stoppers. Pamela McColl, who acts as the de facto on-screen conscience of the film, said it best: “Look at what you are doing to your fellow human beings!”

She’s not just speaking to Coca Leaf Cafe, or to the councilors who gave them literal and figurative licenses for selling more harm, but to us all. The less we pretend to care, the sooner the sick dividends will pour onto our own doorsteps. I shudder to think that the Coca Leaves of the world are the angels-in-waiting.

What if we can smoke healthy vegetables like potatoes and carrots instead … Now, that’s a “new” thought. 

Hot Docs Review: The Delivery Line (Nance Ackerman, 2026)

Posted on
5 May 2026
by
Gary

To quote Ben Franklin: “Nothing in this world is certain, except death and taxes.” But to experience the grip of death and taxes, one must first be born. And the first person one sees may not be one’s parents. There is obviously a crunchy set who choose to rely on midwives based on a hippie notion of wellness and fad. For those without ready access to good medical care, however, childbirth is still one of the most taxing events. Many mothers still pay with their lives and often alongside their child.

If instead of being insularly British, Call the Midwife had love-children with the rest of the world, The Delivery Line would be a fitting family photo. This is a film about those who practice midwifery with women who have no choice but to deliver out of a hospital.

Up to perhaps the 18th century, midwives had sole dominion over pregnancy, delivery, and postpartum care. So where there is a shortage of surgeons and obstetricians, or something has driven them away, this remains the case: in war-torn lands, to those in migratory limbo, and in resource-starved pockets. In generally well-off areas (of any country), however, it has settled onto a more hidden population, where midwives can inhabit the role of roving naturalists, often looking for the person who needs but is leery to seek help.

The Delivery Line takes us to these possibilities. With clever editing, the film segues from both borders of Mexico to rural inland Nigeria via shared desert scenery; it transits from dingy urban Toronto to the snow-capped eastern mountains of Afghanistan through the windows of fast-moving cars; drops of bath-water are posed with rain from Afro-Colombian suburbs like a simile. These moments give a tangible sense of the common throughline, and though not equality, a shared sense of plight emerges.

While the midwives documented here carry varying levels of equipment, when allowed, it is often best to shoulder the “equivalent of a level 1 trauma hospital” on her back. Elsewhere, a listening horn and forceps seem luxurious. There is, of course, an overdose of altruism here. The fact that many of the midwives are volunteers can stir a cynic – is this mostly about personal fulfillment? What could be gained? Because often, the (social, political, financial) circumstances are such that a chance at life becomes precisely what the mothers fear. This bitter irony is an undercurrent through the film – and batting it down are the fierce, compassionate central characters. I do not know how else to describe someone who lost children to starvation and desperation, yet still finds the courage to help others through.

At the 75 minute mark, just when you wondered if this is really a documentary about childbirth … it is finally ready to show itself. I’ll leave that sans caption. If we agree that watching a person being inducted into the world is a most heartachingly beautiful thing, imagine preparing for that every day of one’s life. It’s probably quite rewarding.

Hot Docs Review: Hex (Maja Holand, 2026)

Posted on
4 May 2026
by
Paul

At its best, black metal is raw, visceral, and over the top in all the right ways. It’s also a genre that’s overwhelmingly male dominated and has often been associated with dodgy, far-right politics. So a trio of Norwegian women who identify as witches and bill themselves as feminist black metal could be seen as a much needed breath of fresh air, a band bringing something new to the table. They can also face plenty of opposition

That band is Witch Club Satan, and that opposition is symbolized in the film through a framing device in which the members appear in a faux courtroom as various witnesses are called to testify in a modern-day mock witch trial. It’s an interesting stylistic choice on director Maja Holand’s part, and an effective one. As the witnesses – all real people speaking on the band and its cultural impact – offer their testimony (most of it favourable), we gain a clearer perspective on Witch Club Satan’s place in the scene. And when one of those “witnesses” is no less than Jørn Stubberud (aka Necrobutcher from Mayhem), describing them as a bridge between punk and metal and possibly the next evolution of black metal, it helps to give them some greater legitimacy and to counteract the naysayers.

Those naysayers, though, are inevitable whenever anyone comes up to challenge the status quo and even more so when those doing the challenging are women. While Witch Club Satan faces its fair share of opposition and grapples with moments of self-doubt throughout their “three year plan,” they don’t let that deter them. As we follow their story, Witch Club Satan moves from being absolute novices learning their instruments from scratch to playing major European festivals in fairly quick succession. Ultimately, their journey brings them closer together as friends, and that bond is at the core of Hex, with the trio forging a strong personal connection as they continue to challenge notions of what a black metal band can be.

Hot Docs Review: The Ballad of Judas Priest (Sam Dunn, Tom Morello, 2026)

Posted on
30 Apr 2026
by
Paul

If you’re looking for proof of how loved Judas Priest is by metalheads, you need look no further than Heavy Metal Parking Lot, John Heyn and Jeff Krulik’s 1986 doc filmed entirely outside of the parking lot of a Judas Priest show in Landover, Maryland that same year. That parking lot was full of enthusiastic fans, stoked to see their favourite band and raving about how much Priest rules, how much other music like Madonna (“She’s a dick”) or “that punk shit” sucks, and in one retroactively amusing moment, a young woman declaring of Rob Halford, “I’d jump his bones.”

Scenes from Heavy Metal Parking Lot make their way into The Ballad of Judas Priest, Sam Dunn and Tom Morello’s examination of just what it is that makes Judas Priest one of the key bands in all of heavy metal. We’re also treated to plenty of archival footage as well as interviews with all the key players alongside celebrity fans and friends, everyone from Jack Black to Billy Corgan to the Prince of Darkness himself, Ozzy Osbourne. Morello acts not just as co-director, but our onscreen guide through this world, conducting interviews and round table discussions as well as sharing his own personal connections to the British metal masters, up to and including his role in finally getting Judas Priest inducted into the Rock and Roll Hall of Fame.

It’s not all about the good times though, as the film does take the time to delve into some of the darker points in the band’s history, including the notorious 1990 trial where they were accused of placing subliminal messages in their music and being responsible for the death of two fans, guitarist Glenn Tipton’s Parkinson’s diagnosis, Halford’s struggles with addiction, and his time having to stay in the closet for many years before finally coming out as a gay man in the 1990s. The main focus of The Ballad of Judas Priest though, is on the cultural significance of Judas Priest as one of the seminal metal bands who helped to pioneer the genre. Or to borrow a line from one of the fans in Heavy Metal Parking Lot, “Priest is number one in heavy metal, man!”

Hot Docs Review: This Is Your Captain Speaking (Nienke Deutz, Digna Van der Put, 2026)

Posted on
30 Apr 2026
by
Paul

Strictly speaking, This Is Your Captain Speaking is not a documentary in the traditional sense. After all, if a documentary is meant to be a work of non-fiction, then an animated short revealing people’s thoughts on what they would do if they could fly for one day doesn’t quite meet that definition. But as a document of something that did really happen – all of the interviewees did actually say these things in real life, even if it’s all just a fantasy – then yes, it’s a documentary of sorts. 

Comprised of a series of interviews with residents of the same apartment complex, the film offers up some variety in their tales but they do share a lot of common ground. Certain themes run through each of their stories – freedom, exploration and adventure all come up, as does the idea of how they might use their powers to help others and work toward the common good. The idea that they would all use these superhuman powers to do something very human is both comforting and relatable.

So yes, This Is Your Captain Speaking might not be a documentary in the traditional sense, but if we consider a documentary to be a film that reveals something real and true about life? Yeah, I’d say it fits the bill. 

Hot Docs Review: Black Zombie (Maya Annik Bedward, 2026)

Posted on
28 Apr 2026
by
Paul

Stretching back to George Romero’s classic Night of the Living Dead, zombies have been an ever-present staple of the horror genre in particular and popular culture in general. But while Romero pretty much single-handedly established the modern concept of the undead, zombies have much deeper roots in Haitian history and culture. In Black Zombie, director Maya Annik Bedward explores those roots and their deeper cultural implications.

With a variety of talking heads expounding on the subject (including various experts and academics, folks who’ve worked on zombie films, actual Haitian Vodou practitioners and, surprisingly, Guns N’ Roses guitarist Slash), the film touches on the pop cultural ubiquity of zombie stories, but focuses largely on the history of zombie lore, its roots in “voodoo,” and its cultural connections to slavery and colonialism. A deep dive into the origins of zombies, Black Zombie is a compelling film for both dedicated zombie fanatics and curious newcomers alike.

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