A moving reflection on the nature of mortality, *Oh, Canada* presents a contemplative yet at times rapid-paced exploration by Paul Schrader. The film, which often seems to be in a race against the clock, encapsulates the urgency of its subject matter—confronting life’s regrets before the inevitability of death. Although this sense of speed may come across as a weakness, it also imbues the film with a raw, personal touch, encapsulating the feelings and insights Schrader brought into its making.
Inspired by Russell Banks’ 2021 novel *Foregone*, the narrative revolves around a terminal documentary filmmaker who becomes the focus of his own camera. Schrader, who previously adapted Banks’ *Affliction* back in 1997, commenced filming not long after Banks’ death in January 2023 and after his own close encounter with COVID-19. This closeness to death and sorrow profoundly influences the film, which unfolds like a mosaic of regrets and admissions.
### A Tale of Reflection and Remorse
The plot centers on Leonard Fife (Richard Gere), a Canadian filmmaker in hospice care as cancer consumes him. In his final days, Leonard consents to an interview with his former pupils, Malcolm (Michael Imperioli) and Diana (Victoria Hill), believing their filming could reveal truths about his existence. His wife, Emma (Uma Thurman), observes as Leonard revisits his history, including his deliberate choice to evade the Vietnam draft and seek refuge in Canada.
As Leonard narrates his experiences, the film oscillates between present moments and flashbacks to the 1960s and 1970s, with Jacob Elordi portraying his younger self. In a compelling storytelling technique, Gere occasionally steps into scenes meant for Elordi, flawlessly taking the place of his younger self. This unsettling transition—accomplished through skilled editing and methods like the *Texas Switch*—evokes a feeling of disorientation, as if Leonard’s recollections are coming apart in real time. His disclosures coalesce into a fragmented, unreliable narrative that mirrors his inner strife. While specifics may be cloudy, the emotional veracity of Leonard’s long-standing guilt is vividly expressed, brought to life by Gere’s remarkable, career-defining performance.
### What Does *Oh, Canada* Convey?
Fundamentally, *Oh, Canada* is a narrative about confronting the past. Leonard’s journey has been punctuated by both public and private challenges, from his anti-war protests to well-hidden family secrets. As he navigates these recollections, Emma raises questions about the authenticity of his insights, implying that his illness could be skewing his memories. Yet, regardless of the factual accuracy of Leonard’s admissions, they are imbued with undeniable emotional authenticity. Gere’s portrayal encapsulates a man wrestling with his inner battles, resolute in facing both the camera and himself before time runs out.
### Schrader’s Considerate Direction
Schrader’s filmmaking enhances *Oh, Canada* through a fusion of narrative and documentary styles. Leonard’s filmed confession manifests as a conventional talking-head interview, yet Schrader incorporates unsettling visual elements, including invasive close-ups that accentuate Leonard’s fragility. The students employ a camera setup reminiscent of Leonard’s own, based on the *Interrotron* devised by documentarian Errol Morris. This apparatus allows Leonard to keep eye contact with his interviewers while gazing directly into the camera, fostering an uncanny intimacy.
The outcome is a profoundly isolating visual journey. Leonard’s close-ups monopolize the screen, immersing viewers in his viewpoint and amplifying his solitude. Although Emma and the filmmakers feature, they appear distant, their reflections ephemeral. Schrader’s framing highlights Leonard’s isolation, both in physical space and emotional depth, as he confronts his past.
This feeling of separation extends into the film’s flashbacks, where Leonard—portrayed by both Elordi and Gere—often appears disconnected from his environment. Characters from various timelines sporadically show up inappropriately, and bursts of blinding white light hint at the approach of death. These visual indicators blur the boundaries between memory and imagination, amplifying the film’s surreal quality.
### A Fluid Narrative Lens
Like Schrader’s recent projects—*First Reformed*, *The Card Counter*, and *Master Gardener*—*Oh, Canada* incorporates voiceover narration to delve into its main character’s internal landscape. However, in contrast to those films, which utilize diary-like spoken reflections, *Oh, Canada* adopts a more fragmented style. Leonard’s voiceover shifts between portions of his filmed confession, internal thoughts, and even the viewpoint of another character who feels deceived by him. This fluid perspective disassembles Leonard’s narrative, offering it from various viewpoints and encouraging the audience to assemble the reality.
On a more profound scale, this narrative collage depicts Leonard’s spiritual evolution. As he revisits his past, he starts to step beyond himself, wrestling with the pain inflicted on others. The film evolves into a comprehensive exploration of healing and recognition.