Chandler Levack’s Cinematic Rise: Two Films Mark a Defining Moment
In the heart of Montreal, a young woman wearing a retro Spin magazine shirt stares intently at the glowing screen of her aging 2011 MacBook. This evocative scene from mile End Kicks reflects director Chandler Levack’s own path-from a Toronto-based critic deeply embedded in Montreal’s dynamic music landscape to an emerging filmmaker capturing that world on screen.
A Dual Debut: Expanding creative Horizons
Building on the acclaim of her first feature, I Like Movies, wich offered an insightful look into teenage film fandom, Levack now stands at an exciting juncture. On April 17, she simultaneously released two films: mile End Kicks, debuting in theaters, and her third feature, Roommates, premiering on Netflix. This rare dual launch signals a significant leap forward in her filmmaking career.
“It almost feels like stepping into an alternate universe I never envisioned,” Levack shares about this milestone.
The Soundtrack of montreal’s Indie Scene circa 2011
Mile End Kicks draws heavily from Levack’s personal experiences during Montreal’s vibrant summer of 2011. The story follows Grace (played by Barbie Ferreira), an aspiring music journalist navigating Mile End-a neighborhood buzzing with emerging talent. That year marked the early rise of influential Canadian indie artists such as Charlotte Day Wilson and U.S.-based musician Andy Shauf who were beginning to shape Canada’s alternative soundscape.
“Watching those musicians blossom felt cinematic in itself,” says Levack.”It was my first time sensing life unfolding with the drama and intensity usually reserved for film.” This era also echoed inspirations from cult classics like Dazed and Confused, motivating her decision to leave university and pursue writing opportunities at notable outlets including Spin magazine.
A Woman’s Outlook Within Male-Dominated Music Journalism
Mile End Kicks stands out by focusing on Grace’s experience as one of few women covering rock music-a perspective often sidelined in stories about music scenes dominated by men.Reflecting on this surroundings,Levack recalls thinking she was fully accepted among peers until realizing that being a young woman reporting on music was more exception than rule-like “a cat trying to swim,” as she puts it-awkwardly out of place yet determined.
The film also pays tribute to Canadian icon Sarah McLachlan; Grace’s assignment profiling McLachlan sparks her move to Montreal. For Levack personally, McLachlan’s pioneering work symbolized reclaiming creative power amid industry biases-a theme woven throughout both their narratives.
Cultivating Genuine Characters Through Vulnerability
Levack embraced emotional honesty when guiding Barbie Ferreira into portraying Grace’s tumultuous world: “At 24 I was basically like Holden caulfield meets Liz Lemon,” she jokes about navigating heartbreaks surrounded by scattered vinyl records and half-empty coffee cups during sleepless nights.
This raw authenticity resonates strongly with viewers who appreciate seeing imperfect yet relatable protagonists portrayed with depth rather than glossed over perfection.
Navigating Career Growth Amid Pandemic Challenges
The momentum didn’t slow after filming Mile End Kicks . During post-production, Levack took on directing duties for Roommates , a college comedy produced by Adam Sandler featuring his daughter Sadie Sandler. Juggling shoots between New Jersey and Toronto required relentless weekend travel over several months despite ongoing COVID-19 restrictions-contrasting sharply with earlier projects delayed due to pandemic shutdowns.
“Launching two films so close together feels like delivering twins,” she quips about managing this intense period professionally and personally.
An Unexpected Mentorship With Adam Sandler Productions
Sandler proved unexpectedly supportive throughout production: “He genuinely wants stories where his daughters can see themselves reflected,” says Levack. She credits him for recognizing potential within herself that even she hadn’t fully realized before helming such a large studio comedy-a rare opportunity historically scarce for female directors breaking into mainstream comedic filmmaking.
The Flourishing Landscape of Canadian Cinema Today
Though currently based mainly in Los Angeles where opportunities abound, levack fondly remembers Toronto staples like brunches at Lady Marmalade or indie screenings at TIFF Bell Lightbox-the nurturing grounds for manny Canadian filmmakers’ careers.
She highlights how recent years have witnessed Canadian cinema gaining remarkable international traction-with films such as Ashley McKenzie’s award-winning features drawing global audiences eager for authentic storytelling.
Alongside these successes-including upcoming projects from rising talents-and movies like hers finding wider recognition abroad, Canadian culture is experiencing what many describe as its most vibrant era ever.
“It feels especially meaningful given current geopolitical tensions threatening cultural homogenization elsewhere,” adds Levack wryly-but emphasizes how art continues transcending borders regardless.
“Creating work true to your unique voice-even if it seems unconventional-will always find its audience.”
