The urban fantasy depicted in Take This Waltz is as as beguiling and instantly nostalgic as an Instagram pic (Image: Mongrel Media)
In the middle of directing Take This Waltz, recently released in theatres, Sarah Polley hit a snag. She desperately wanted to get Leslie Feist to record a cover of Leonard Cohen’s “Closing Time” for the soundtrack. Given how in demand the singer-songwriter is, it was almost impossible to pin her down—even for Polley, a bona fide Canadian celebrity herself. And then one night, around 2 a.m., while Polley and her crew were shooting on a small street in Little Portugal, she heard someone call her name. It was Feist—she and fellow singer Howie Beck, both on bicycles, were on their way to Trinity Bellwoods Park to play glow-in-the-dark Frisbee. Polley asked about the Cohen cover, Feist agreed, and her version of the song is heard at a pivotal point in the film. “That kind of moment is very specific to Toronto,” Polley says now. “It’s a really special place that way.”
The whole scenario sounds like a parody of the lives of hip, young downtowners—the punch line for a skit from a rejected Torontolandia pilot, maybe. But it’s exactly the kind of bohemian and pleasantly casual community that Polley, who also wrote the film’s screenplay, set out to capture.
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Is it just us, or do the Oscars and the National Hockey League trade deadline have a lot in common? The Academy Awards were an absolute snoozefest on Sunday night, and hockey’s deadline day bonanza on Monday had us snoring straight through till Tuesday. What gives? The one-two combo of Hollywood’s biggest night and the most ballyhooed single-day event in hockey has left us with one heck of a hype hangover this week. Here, a quick look at how the NHL trade deadline was just like the Oscars. 
Our ears perked up last month when we heard about 
