Category Archives: TIFF
Beast wasn’t in my original TIFF plans. Extremely limited press screenings forced me to blow up my schedule twice, but I saw the main things I wanted. Beast was a pick-up, from promising new filmmaker Michael Pearce. In the film, a woman is forced to defend her lover when he falls under suspicion for a series of brutal murders. While the film’s twists yank it a tad too far from the realm of believability, it’s a tense thriller and a quality debut.
Zama, the long-anticipated return of Argentinian director-extraordinaire Lucrecia Martel, is an astonishing work of colonial examination and technical perfectionism.
Martin McDonagh’s likes his comedies like his coffee: black. Actually, I have no idea how McDonagh takes his coffee, if he takes it at all. But boy does he have a way with finding the humour in very dark situations. His first two features were uneven, but both In Bruges and Seven Psychopaths unearthed surprising depths among their myriad quirks. With his latest, Three Billboards Outside Ebbing, Missouri, McDonagh has created a richer film, bubbling with tension, stark satire and even a hint of that elusive trait redemption.
The Shape of Water is, ah, shaping up to be the film of the year. Guillermo del Toro’s latest brilliant film just won the top prize, the Golden Lion, at the Venice Film Festival, and it’s a good bet to win at least The People’s Choice Award at the Toronto International Film Festival this year. It’s been such a hot ticket, it took me two tries to see it. And that’s at press and industry only screenings! It doesn’t come out until Friday, December 8th in North America, but lucky for all y’awl, the Red Band trailer just dropped. That and a mini-review after the jump!
This year at TIFF we’re seeing the Trump era’s first real artistic blowback. I started with Darren Aronofsky’s mother! (opening across North America this Friday, September 15th), and holy cow, it kicked things off with a bang. That exclamation point in the title is wholly deserved, and you can add about fifteen more in your head. Part psychological horror, part religious allegory, part study of the narcissistic vampirism of the artist/creator, mother! keeps coiling in on itself, like a serpent swallowing its frenzied, burgeoning tail. But is it a tale worth watching, or the sort of child only a mother could love?
Beyond The One and Strangely Ordinary This Devotion are two works of art with major texture and substance. Paired together as a double bill (both films clock in at under an hour), they explore concepts of love, relationships, and intimacy in powerfully poetic ways.
It’s the silly season for Toronto filmgoers, the cine-season, TIFFmas to many devoted local movie buffs. Today the Toronto International Film Festival 2017 edition announced its first swath of upcoming films. These are Gala and Special Presentation flicks, and there’s bound to be a passel of Oscar-hunting contenders worth checking out. Catch the full list after the jump!
The TIFF Kids International Film Festival is close to wrapping up, but there’s a few gems that are still worth checking out. While teens are unlikely to be moved by the charmingly chill ghost flick Room 213, it’s perfect for a younger audience, with a simple story and zero horror histrionics.
High school dramas are back with a vengeance. There’s the noir soap opera shenanigans of Archie, Betty and Veronica on Riverdale, and the sharply observed teen pathos of Thirteen Reasons Why. Both series paint a portrait of high school about fifty shades darker than the quaint distractions of a John Hughes movie. Out on the big screen in limited release this weekend is My Entire High School Sinking Into the Sea, joining the class of 2017 with a surrealistic romp fusing teen comedy and disaster movies to hilarious effect.
You know you’ve done it. You’re breezing through Twitter, and some outrageous post pisses you off. You retweet it with a snarky comment, probably signing off with a SMH or FFS. You’re still riled, so you repost it to Facebook. People start commenting, tempers flare. Friends are texting you. Meanwhile, you’re hopping off the bus and headed to a restaurant, checking in your location on Facebook, hardly thinking about the myriad crumbs you’ve left in your wake, info bits awash in the net’s digital ocean. “Digital exhaust” is what Prof. Ron Diebert calls it, the ephemera of our constant internet output waiting to be hoovered up and fed into patterns that reveal more than you could possibly imagine. It’s bad enough here, where we mostly fret about corporations assembling minutely accurate portraits of our likes and dislikes to sell us more stuff. In other places, the governments actively use Facebook and other internet media to mislead and pinpoint activists and critics, rounding them up and arresting them. In some countries, posting the wrong thing can get you killed.
I got the chance to catch Nicholas de Pencier’s documentary Black Code as part of TIFF’s Human Rights Watch Film Festival, where he and Prof. Diebert engaged in a Q&A after the screening. The doc has been playing the festival circuit, and it’s well worth checking out, if you want to stress out about how piss-poor your digital security practices probably are. The film was released in 2016, and speaking about its concerns in a contemporary context, it was clear both men recognized how the intervening year has only made their film even more painfully relevant.