I've put together a post collecting a variety of films that I saw in the latter part of TIFF2013 to close the blog for another year. Here they are:
Soul
Interesting little psychological horror movie from Taiwan. A young man working in a restaurant in Taipei falls into a coma and, when he regains consciousness, claims that something has taken control of him. He is sent home to his father and sister for care and the rest of the film focuses on the relationship between the three.
It's a creepy and effective film, establishing its dark atmosphere with the first few frames and maintaining it throughout. It could be read as a film about demonic possession, but the relationship between the father and son suggests that there could be a more prosaic problem.
Most of the film is set in an orchid farm in the country, providing great visual support to the film's themes.
Intruders
A writer attempting to finish his latest work isolates himself at a cabin in the woods in this South Korean film. Isolation is the least of his problems.
What starts out as a fairly irritating farce turns into something quite different by the end. At the beginning, my mind started to wander and I started to imagine what an American remake would look like (it would be relatively easy to translate the plot and characters into a generic comedy with the likes of a Will Ferrell in the lead. I'm not sure, though, that the could handle the tonal shift of the second half as well as this film did.
A good argument for not walking out on a film. It ended on a much darker, but higher note for me.
A Field in England
This is the third film I've seen over the past few years by Ben Wheatley and he continues to surprise. "A Field in England" is his first period film, but he has a great knack for introducing twists that extend the final product in interesting and entertaining ways.
A group of deserters in the English Civil War find themselves in an isolated field (the field exists in a sort of bowl, which prevents you from seeing beyond the immediate vicinity. It's a setting that becomes increasingly otherworldly as time goes on). Led and abused by a charismatic shaman and feeling the effects of a meal of mushrooms with psychotropic qualities, things start to change.
It's shot in beautifully luminous black and white which gives it a look not unlike Peter Watkins' "Culloden".
A wondrous and strange little film. Recommended.
2013/10/04
2013/09/15
All over for another year
Today was the big day in TIFF land with the end-of-festival awards luncheon. You can find the list of award winners here.
It's rare that I actually see the People's Choice award winner during TIFF, but I was able to catch "12 Years a Slave" towards the beginning of the festival. I was knocked out by Steve McQueen's first film ("Hunger"), so it was a natural to see what he could do with a period piece and a large A-list cast.
It's a powerful film, anchored by great performances by Chiwetel Ejiofor and Lupita Nyong'o. As the film begins, Ejiofor is living as a free man in Saratoga NY. One evening he is kidnapped and shipped south to Georgia, where he spends the next dozen years as a slave working on a few plantations before he is able to earn his freedom.
Based on the true story of Solomon Northup, the film is an unflinching look at the abuse of the men and women who endured lives as slaves prior to the American civil war. It features a busload of stars in supporting roles, including Benedict Cumberbatch, Paul Giametti, Michael Fassbender, Paul Dano, Brad Pitt and Alfre Woodward.
WRT the rest of TIFF, I'll try to finish off my thoughts on the notable films I saw this year. Watch for that in the days to come.
It's rare that I actually see the People's Choice award winner during TIFF, but I was able to catch "12 Years a Slave" towards the beginning of the festival. I was knocked out by Steve McQueen's first film ("Hunger"), so it was a natural to see what he could do with a period piece and a large A-list cast.
It's a powerful film, anchored by great performances by Chiwetel Ejiofor and Lupita Nyong'o. As the film begins, Ejiofor is living as a free man in Saratoga NY. One evening he is kidnapped and shipped south to Georgia, where he spends the next dozen years as a slave working on a few plantations before he is able to earn his freedom.
Based on the true story of Solomon Northup, the film is an unflinching look at the abuse of the men and women who endured lives as slaves prior to the American civil war. It features a busload of stars in supporting roles, including Benedict Cumberbatch, Paul Giametti, Michael Fassbender, Paul Dano, Brad Pitt and Alfre Woodward.
WRT the rest of TIFF, I'll try to finish off my thoughts on the notable films I saw this year. Watch for that in the days to come.
2013/09/14
Not ready for my close-up
Can't say that I've heard any buzz about any specific film this year. Be interesting to see how the critics wrap things up the year's offerings.
Cold Eyes
After 10 days of movies, it's a comfort to sit in a theatre and let a real "popcorn" movie roll in front of me. This year, a Korean film called "Cold Eyes" fit the bill.
An elite team of police surveillance experts race against the clock to bring down a team of criminals, led by a psychotic mastermind. The plot is essentially an anti-caper film and is a bit silly, but the editing is crisp and the cast attack their two-dimensional characters with enthusiasm. The ending is deliberately open-ended, suggesting that the producers have a franchise in mind.
It's interesting in a year where electronic surveillance is a common theme (along with mistrust of the governments involved in it), that there is a film that is an unabashed supporter of it to the effort to bring down the "bad guys".
An elite team of police surveillance experts race against the clock to bring down a team of criminals, led by a psychotic mastermind. The plot is essentially an anti-caper film and is a bit silly, but the editing is crisp and the cast attack their two-dimensional characters with enthusiasm. The ending is deliberately open-ended, suggesting that the producers have a franchise in mind.
It's interesting in a year where electronic surveillance is a common theme (along with mistrust of the governments involved in it), that there is a film that is an unabashed supporter of it to the effort to bring down the "bad guys".
Unforgiven
A Japanese remake of the Clint Eastwood western, with Ken Watanabe playing the equivalent of the Eastwood role.
There's a long tradition of remakes of westerns and samurai films going back to "A Fistful of Dollars" and "Yojimbo" (it's an exchange that has worked and worked well in both directions). Given the emphasis on honour and codes of behaviour, the two styles are very complementary.
The new "Unforgiven" takes the basic story of the original and presents it though the lens of Japanese culture of the 1880's, a time when the Samurai eras ending and a new culture was being established. The transition to the "new government" provides an additional layer to the story. There's a sense of time passing and of men who are being left behind.
The fact that the film works so well is a testament to the "good bones" of the original. I went back this morning and reviewed the plot of the Eastwood film and it is quite faithful to that story (any differences would amount to plot spoilers and I will not go into them here), yet it is a creature of its own. If anything, I found Watanabe's return to his samurai training more believable than Eastwood's transition to the gunslinger (when I saw the original in '92, the change felt forced to me).
Recommended. It had a Warner Brothers imprint at the beginning, so it would appear that a release in North America is coming.
One final footnote. Thursday marked the death of Ray Dolby, the founder of Dolby Laboratories. There is a credit to Dolby's sound production before each film and when it appeared during the screening of "Unforgiven", there was thunderous applause from the audience. A nice tribute.
There's a long tradition of remakes of westerns and samurai films going back to "A Fistful of Dollars" and "Yojimbo" (it's an exchange that has worked and worked well in both directions). Given the emphasis on honour and codes of behaviour, the two styles are very complementary.
The new "Unforgiven" takes the basic story of the original and presents it though the lens of Japanese culture of the 1880's, a time when the Samurai eras ending and a new culture was being established. The transition to the "new government" provides an additional layer to the story. There's a sense of time passing and of men who are being left behind.
The fact that the film works so well is a testament to the "good bones" of the original. I went back this morning and reviewed the plot of the Eastwood film and it is quite faithful to that story (any differences would amount to plot spoilers and I will not go into them here), yet it is a creature of its own. If anything, I found Watanabe's return to his samurai training more believable than Eastwood's transition to the gunslinger (when I saw the original in '92, the change felt forced to me).
Recommended. It had a Warner Brothers imprint at the beginning, so it would appear that a release in North America is coming.
One final footnote. Thursday marked the death of Ray Dolby, the founder of Dolby Laboratories. There is a credit to Dolby's sound production before each film and when it appeared during the screening of "Unforgiven", there was thunderous applause from the audience. A nice tribute.
2013/09/13
REAL
Back in the day, TIFF scheduled a program to spotlight the work of a lesser-known director. I discovered some excellent directors through this series, one of whom was Kiyoshi Kurosawa.
At the time Kurosawa had a well-earned reputation as a director of Japanese horror films. His films had more to do with dread than shocks or violence and he was very good at it. Later he moved into more mainstream film making, using the skills he had learned from his earlier work in the service of more accessible stories.
"REAL" marked a return to his more fantastic story-telling. The lover of a woman in a coma uses a technology to enter her sub-conscious mind, in an attempt to bring her back.
Based on my knowledge of his work, it sounded like a premise that would play well to his talents and, in the early going, he effectively establishes the mood and ground rules for the world of the sub-conscious. Unfortunately, it doesn't last. There is a plot twist about halfway though that, while not unreasonable, sends the film into a series of narrative dead-ends. And there are a lot of them. The film has about five or six endings and, by the time I reached the "real" ending, I was tired of it.
Disappointing. Rather than this film, I'd suggest renting "Cure" or "Pulse" (his version, not Wes Craven's remake). They're much better films.
At the time Kurosawa had a well-earned reputation as a director of Japanese horror films. His films had more to do with dread than shocks or violence and he was very good at it. Later he moved into more mainstream film making, using the skills he had learned from his earlier work in the service of more accessible stories.
"REAL" marked a return to his more fantastic story-telling. The lover of a woman in a coma uses a technology to enter her sub-conscious mind, in an attempt to bring her back.
Based on my knowledge of his work, it sounded like a premise that would play well to his talents and, in the early going, he effectively establishes the mood and ground rules for the world of the sub-conscious. Unfortunately, it doesn't last. There is a plot twist about halfway though that, while not unreasonable, sends the film into a series of narrative dead-ends. And there are a lot of them. The film has about five or six endings and, by the time I reached the "real" ending, I was tired of it.
Disappointing. Rather than this film, I'd suggest renting "Cure" or "Pulse" (his version, not Wes Craven's remake). They're much better films.
The joys of September
TIFF usually features some interesting weather. While most conditions are acceptable, one hopes for dry weather overall. Aside from the pain of adding a wet umbrella to the daily supplies, a well-used theatre can get pretty musty at the end of a day of screenings!
And then there's temperature. Two nights ago, I left an evening screening and walked out into moist air and a humidex of 41. Today it's going to be a fight to get to 13C and the night's low is forecast at 4C.
At least we shouldn't have to relive the experience of waiting in the alleyway outside the Cumberland for an evening screening and watching snow fall from the sky.
And then there's temperature. Two nights ago, I left an evening screening and walked out into moist air and a humidex of 41. Today it's going to be a fight to get to 13C and the night's low is forecast at 4C.
At least we shouldn't have to relive the experience of waiting in the alleyway outside the Cumberland for an evening screening and watching snow fall from the sky.
2013/09/12
Attila Marcel
Although the director, Sylvain Chomet, has had other films at TIFF, this is his first live-action film. That said, the style and presentation are completely consistent with his earlier animated efforts -- "The Triplets of Belleville" and "The Illusionist".
If anything, this tale of a pianist struck mute by an early family tragedy, his aunts and various neighbours and acquaintances is even more of a cartoon than the other films. The colour-palette is bright and comprised mostly of primary colours, the acting is broad and there are lots of little details stuffed in each frame. And it's very funny.
In many respects, the film is very reminiscent of "Amelie". I found with that film that the style polarized audiences -- for some, the style was utterly charming, while others loathed it from the first frame. Your reaction to that film will be a good barometer to how you might respond to "Attila".
If anything, this tale of a pianist struck mute by an early family tragedy, his aunts and various neighbours and acquaintances is even more of a cartoon than the other films. The colour-palette is bright and comprised mostly of primary colours, the acting is broad and there are lots of little details stuffed in each frame. And it's very funny.
In many respects, the film is very reminiscent of "Amelie". I found with that film that the style polarized audiences -- for some, the style was utterly charming, while others loathed it from the first frame. Your reaction to that film will be a good barometer to how you might respond to "Attila".
Jodorowsky's Dune
Alejandro Jodorowsky earned a well-deserved reputation in the early '70's as a transgressive director with a surrealistic bent, notably through his films "El Topo" and "The Holy Mountain". In 1974 he acquired the rights to film Frank Herbert's "Dune" and collected a team of creative "spiritual warriors" to film what he predicted would be a hallucination without LSD.
The film was never made, but enough artifacts (extensive storyboards, illustrations, anecdotes, etc) survived that the production became legendary as the greatest film that has never been made). It has even outshone productions that were made, including David Lynch's version and the TV mini-series from a few years back.
The doc tells the story of the film, mostly from Jodorowsky's own perspective, but includes the contributions of collaborators like Chris Foss, HR Giger, and Dan O'Bannon; critics and modern directors.
The film is interesting and mildly entertaining but it's a film made by and for fanboys. There isn't a single opposing or contrasting view presented.
While Jodorowsky is clearly an inventive film-maker, his talent may have had more to do with finding the right collaborators than from any profound understanding of the novel (in fact, many of the people involved had never read it). The people he worked with were well-established and their work on the film reflected their body of work rather than a specific response to the material.
When the production crashed and burned (the studios were impressed by the craft that had been demonstrated, but balked at the cost and commercial viability), the collaborators went their separate ways, although some of the designs for the film did get incorporated in other productions like the Alien series (Giger, Moebius, O'Bannon and Foss were all involved in the first film).
Jodorowsky offers some commentary on the Lynch version, expressing his joy that it was a failure. What he doesn't recognize is that the Lynch film made similar decisions to his take on the story (for example, odd casting choices like Mick Jagger in the first film; Sting in the second). If his film had been made, I suspect that the end result would have been the same. A different failure but a failure nonetheless).
The definitive production of "Dune" has yet to be made. Given the scope of the novel, long-form television is likely the only reasonable option.
"Jodorowsky's Dune" is a curiosity, a footnote in film history. I imagine that it will end up on Space at some point. Wait for it then.
The film was never made, but enough artifacts (extensive storyboards, illustrations, anecdotes, etc) survived that the production became legendary as the greatest film that has never been made). It has even outshone productions that were made, including David Lynch's version and the TV mini-series from a few years back.
The doc tells the story of the film, mostly from Jodorowsky's own perspective, but includes the contributions of collaborators like Chris Foss, HR Giger, and Dan O'Bannon; critics and modern directors.
The film is interesting and mildly entertaining but it's a film made by and for fanboys. There isn't a single opposing or contrasting view presented.
While Jodorowsky is clearly an inventive film-maker, his talent may have had more to do with finding the right collaborators than from any profound understanding of the novel (in fact, many of the people involved had never read it). The people he worked with were well-established and their work on the film reflected their body of work rather than a specific response to the material.
When the production crashed and burned (the studios were impressed by the craft that had been demonstrated, but balked at the cost and commercial viability), the collaborators went their separate ways, although some of the designs for the film did get incorporated in other productions like the Alien series (Giger, Moebius, O'Bannon and Foss were all involved in the first film).
Jodorowsky offers some commentary on the Lynch version, expressing his joy that it was a failure. What he doesn't recognize is that the Lynch film made similar decisions to his take on the story (for example, odd casting choices like Mick Jagger in the first film; Sting in the second). If his film had been made, I suspect that the end result would have been the same. A different failure but a failure nonetheless).
The definitive production of "Dune" has yet to be made. Given the scope of the novel, long-form television is likely the only reasonable option.
"Jodorowsky's Dune" is a curiosity, a footnote in film history. I imagine that it will end up on Space at some point. Wait for it then.
2013/09/11
Quai D'Orsay
Starring Thierry Lhermitte in a film by Bertrand Tavernier, "Quai d'Orsay" is a Gallic version of "Yes Minister", set in the French Department of Foreign Affairs. It follows a newly arrived employee who becomes the advisor on "la language" (essentially a Communications advisor).
It was fun, but was a lot less satirical than its English counterpart. There's little in the way of character or plot development, being more a collection of episodes and incidents that the ensemble cast flies through with vigour. Lhermitte plays the minister as a less shrewd version of Jim Hacker.
Would be a decent time-waster as a "rental".
It was fun, but was a lot less satirical than its English counterpart. There's little in the way of character or plot development, being more a collection of episodes and incidents that the ensemble cast flies through with vigour. Lhermitte plays the minister as a less shrewd version of Jim Hacker.
Would be a decent time-waster as a "rental".
2013/09/10
Devil's Knot
It's been some time since I've seen a film by Atom Egoyan and this year brings "Devil's Knot", a. Story about the infamous West Memphis Three case in Arkansas in the early 90's.
In the case, three young boys were brutally murdered. Suspicion quickly fell on three young men who were reputed to be devil-worshipers. They were initially convicted of the crimes and after many years and much effort, they were able to be released (although not exonerated). The case was most famously described in a series of documentaries (the Paradise Lost series). I hadn't seen the docs but was curious about the story and what he could do with this.
The film focuses on the events from the murders up to the original convictions. It details a number of errors in judgement, of omission and of commission by the local police force. The leads are Colin Firth as an investigator with doubts about the case and Reese Witherspoon as the mother of one of the boys.
It's a strange film in that it feels somewhat unfinished (because it stops at a point where the story begins to take shape) and superfluous (because of the extensive work about the case in both books and documentaries). My key question in watching it was why chose the material in the first place and I don't think I heard a satisfactory answer to the question, either by the film or in Egoyan's comments after the screening.
Oddly enough, there's a scene of the community searching for the boys that is strongly reminiscent of a similar scene in "Exotica". I don't think the reference is intentional, but it unfortunately reminded me of his earlier and much better films.
Disappointing.
In the case, three young boys were brutally murdered. Suspicion quickly fell on three young men who were reputed to be devil-worshipers. They were initially convicted of the crimes and after many years and much effort, they were able to be released (although not exonerated). The case was most famously described in a series of documentaries (the Paradise Lost series). I hadn't seen the docs but was curious about the story and what he could do with this.
The film focuses on the events from the murders up to the original convictions. It details a number of errors in judgement, of omission and of commission by the local police force. The leads are Colin Firth as an investigator with doubts about the case and Reese Witherspoon as the mother of one of the boys.
It's a strange film in that it feels somewhat unfinished (because it stops at a point where the story begins to take shape) and superfluous (because of the extensive work about the case in both books and documentaries). My key question in watching it was why chose the material in the first place and I don't think I heard a satisfactory answer to the question, either by the film or in Egoyan's comments after the screening.
Oddly enough, there's a scene of the community searching for the boys that is strongly reminiscent of a similar scene in "Exotica". I don't think the reference is intentional, but it unfortunately reminded me of his earlier and much better films.
Disappointing.
The Unknown Known
The latest from Errol Morris, this documentary is a trip through the history and mind of Donald Rumsfeld, GW Bush's Secretary of Defense.
During the Q&A, Morris mentioned that some considered this to be a companion piece to his doc on Robert McNamera ("The Fog of War"). I actually think it's a companion piece to "the Armstrong Lie", which I saw yesterday. Like Lance Armstrong, Rumsfeld is a cold, calculating and charismatic individual. Both men are practised architects of their own reality and very little gets through to them without being adapted to that reality. Where they differ is that Armstrong is prepared,to destroy opposition; it's not as apparent with Rumsfeld that he does this, but perhaps he is better at hiding the bodies.
Much of the historical context for the film comes from memos that Rumsfeld wrote over several decades. He referred to them as "snowflakes" as they were always written on white paper. He documented his thoughts obsessively. The title of the film comes from a statement that Rumsfeld made about knowledge falling into one of four categories -- the unknown known is something you think you know, but really don't.
It's an entertaining and interesting exchange between Rumsfeld and Morris. The over-riding question that emerged from the film is why did Rumsfeld agree to it? It's a question that Morris puts to him at the end of the film and it's one of the few that he answers with a "I don't know" answer. The question remains.
Recommended.
During the Q&A, Morris mentioned that some considered this to be a companion piece to his doc on Robert McNamera ("The Fog of War"). I actually think it's a companion piece to "the Armstrong Lie", which I saw yesterday. Like Lance Armstrong, Rumsfeld is a cold, calculating and charismatic individual. Both men are practised architects of their own reality and very little gets through to them without being adapted to that reality. Where they differ is that Armstrong is prepared,to destroy opposition; it's not as apparent with Rumsfeld that he does this, but perhaps he is better at hiding the bodies.
Much of the historical context for the film comes from memos that Rumsfeld wrote over several decades. He referred to them as "snowflakes" as they were always written on white paper. He documented his thoughts obsessively. The title of the film comes from a statement that Rumsfeld made about knowledge falling into one of four categories -- the unknown known is something you think you know, but really don't.
It's an entertaining and interesting exchange between Rumsfeld and Morris. The over-riding question that emerged from the film is why did Rumsfeld agree to it? It's a question that Morris puts to him at the end of the film and it's one of the few that he answers with a "I don't know" answer. The question remains.
Recommended.
The Armstrong Lie
Some of the best docs I've seen in recent years have come from Alex Gibney (his "Mea Maxima Culpa" was one of the most memorable films from last year).
"The Armstrong Lie" grew out of a project that he initiated in 2009 to film Lance Armstrong's attempt to come back and win that year's Tour de France. At the time, the suspicions around Armstrong's use of Performance Enhancing Drugs (PEDs) existed but he was still vigorously denying the allegations.
It was the following year that things began to stick to him, leading to last year's interview with Oprah. Gibney is honest about his feelings of betrayal and arranged for follow-up interviews with Armstrong. As a result, the shape of the film is very different, although the 2009 Tour de France represents a foundation element of the work (one can only wonder what the original film would have looked like if things hadn't worked out the way they did. Gibney also makes the point that it was Armstrong's assertion that he would win the race cleanly that appeared to inspire many of his opponents to bring him down).
Early in the film, he makes the point that it is a film about power rather than drugs or cycling. Armstrong is given ample opportunity, both in archival and current interviews and in film of his races to show that. He is a fighter and an opponent has to be not only beaten but humiliated or destroyed. He's also incredibly charismatic and it's the juxtaposition of the two qualities that makes him so compelling. People still want to believe that he is innocent, despite all evidence to the contrary -(as Gibney puts, people prefer to believe in the "beautiful lie" than the "awful truth").
Highly recommended and not just for fans of cycling. At its base, it's a portrait of a complex human being.
"The Armstrong Lie" grew out of a project that he initiated in 2009 to film Lance Armstrong's attempt to come back and win that year's Tour de France. At the time, the suspicions around Armstrong's use of Performance Enhancing Drugs (PEDs) existed but he was still vigorously denying the allegations.
It was the following year that things began to stick to him, leading to last year's interview with Oprah. Gibney is honest about his feelings of betrayal and arranged for follow-up interviews with Armstrong. As a result, the shape of the film is very different, although the 2009 Tour de France represents a foundation element of the work (one can only wonder what the original film would have looked like if things hadn't worked out the way they did. Gibney also makes the point that it was Armstrong's assertion that he would win the race cleanly that appeared to inspire many of his opponents to bring him down).
Early in the film, he makes the point that it is a film about power rather than drugs or cycling. Armstrong is given ample opportunity, both in archival and current interviews and in film of his races to show that. He is a fighter and an opponent has to be not only beaten but humiliated or destroyed. He's also incredibly charismatic and it's the juxtaposition of the two qualities that makes him so compelling. People still want to believe that he is innocent, despite all evidence to the contrary -(as Gibney puts, people prefer to believe in the "beautiful lie" than the "awful truth").
Highly recommended and not just for fans of cycling. At its base, it's a portrait of a complex human being.
Ningen
Set in modern times, but based on old Japanese myths involving a fox and a raccoon (two tricksters whose adventures seem to be based on a series of competitions in which they both impersonate and toy with humans).
It's an interesting film, but the after-film Q&A proved to be the best part of the screening, as a number of odd events leading to the making of the film both echoed and enhanced the ideas of the fox and the raccoon myth (the directors filmed in a clinic which included two women who invented their own stories about the main characters. They ended up playing principal roles in the second act of the film).
Or, perhaps, it could be that the two co-directors were the fox and raccoon in human form and we were the subject of their latest game...
It's an interesting film, but the after-film Q&A proved to be the best part of the screening, as a number of odd events leading to the making of the film both echoed and enhanced the ideas of the fox and the raccoon myth (the directors filmed in a clinic which included two women who invented their own stories about the main characters. They ended up playing principal roles in the second act of the film).
Or, perhaps, it could be that the two co-directors were the fox and raccoon in human form and we were the subject of their latest game...
Around the Block
An Australian film about an aboriginal youth in Sydney's inner city, trying to break free of a cycle of violence that has claimed his father and is looming for him and his older brother. When a teacher (Christina Ricci) proposes that he get involved in a production of Hamlet, a door begins to open.
There's a great energy to the direction and a good cast of young actors that is almost able to overcome a fairly paint-by-numbers plot. I'd be inclined to not write about it, but Hunter Page-Lochard, who plays the young man Liam with such charisma and maturity. He's the best thing in it, much better even than veterans like Ricci and Jack Thompson, and will be someone to watch in the future. Worth catching on DVD to be able to say "I saw him then".
...
Interesting footnote. I was checking the actor's name on IMDB this morning and he wasn't even listed in the top-billing list. Don't think that will happen after this.
There's a great energy to the direction and a good cast of young actors that is almost able to overcome a fairly paint-by-numbers plot. I'd be inclined to not write about it, but Hunter Page-Lochard, who plays the young man Liam with such charisma and maturity. He's the best thing in it, much better even than veterans like Ricci and Jack Thompson, and will be someone to watch in the future. Worth catching on DVD to be able to say "I saw him then".
...
Interesting footnote. I was checking the actor's name on IMDB this morning and he wasn't even listed in the top-billing list. Don't think that will happen after this.
2013/09/09
Good morning!
2013/09/08
Waiting for ???
This is on Widmar, looking north from King. Not sure who they were waiting for this afternoon, but the look is reminiscent of a pen at a petting zoo.
From the Scotiabank... Waiting to go in
Great day for a Parade!
Metalhead
An Icelandic feel-good film about the redemptive power of death metal from Ragnar Bragason.
Actually the above is partially correct, although it's really more about loss and moving on. Shattered by the death of her brother in a farming accident in rural Iceland, a young girl finds refuge in her brother's love of 1970's and 1980's heavy metal music. Refuges can become traps, however, and her family need to find a way to come to terms with both the loss and their future.
A lovely bittersweet film with comic elements and a great soundtrack of the era's music.
Actually the above is partially correct, although it's really more about loss and moving on. Shattered by the death of her brother in a farming accident in rural Iceland, a young girl finds refuge in her brother's love of 1970's and 1980's heavy metal music. Refuges can become traps, however, and her family need to find a way to come to terms with both the loss and their future.
A lovely bittersweet film with comic elements and a great soundtrack of the era's music.
Mission Congo
During the Rwandan massacres of 1994, an estimated one million people flowed across the border into Zaire (now the Democratic Republic of the Congo) to try to escape the bloodshed. A variety of medical relief organizations raced to the area to help as best they could.
Besides organizations like Médécins sans frontières and thé Red Cross, several faith-based groups also came. One of the most heavily publicized was Operation Blessing, a spinoff of the Christian Broadcasting Network led by Pat Robertson, a notable evangelical conservative.
What becomes clear in "Mission Congo" is that the operation had less to do with humanitarianism and more to do with securing diamond mining concessions and tax advantages for Robertson. Over the course of its approx 80 minutes, the directors start with the transmissions of CBN's "700 Club" and inexorably tear down the facade to reveal the reality of the mission. Interviews with journalists, MSF workers on the ground and members of Robertson's own team paint a damning portrait of a massive con job.
Here's one example to illustrate the deception. The "700 Club" announced that they had purchased three Caribou short-takeoff-and-landing aircraft to ferry medical supplies to Goma. Caribous can land on about 1300 feet of runway.
A landing strip was constructed at Kamonia for the planes. Kamonia was very close to the area where the diamond concessions were located and is nearly 900 miles from Goma, the location of the refugee camps. The planes were primarily used to ferry dredging equipment used in the mining operation.
If there's an absence in the film, it's a lack of a response from the Robertson camp on the allegations. The film has just been completed and is receiving its premiere at TIFF this week (I was at the second screening yesterday evening). It will be interesting to see if there is any follow-up in the weeks to come.
Recommended. I can see this as a good doc for Newsworld or TVO.
Besides organizations like Médécins sans frontières and thé Red Cross, several faith-based groups also came. One of the most heavily publicized was Operation Blessing, a spinoff of the Christian Broadcasting Network led by Pat Robertson, a notable evangelical conservative.
What becomes clear in "Mission Congo" is that the operation had less to do with humanitarianism and more to do with securing diamond mining concessions and tax advantages for Robertson. Over the course of its approx 80 minutes, the directors start with the transmissions of CBN's "700 Club" and inexorably tear down the facade to reveal the reality of the mission. Interviews with journalists, MSF workers on the ground and members of Robertson's own team paint a damning portrait of a massive con job.
Here's one example to illustrate the deception. The "700 Club" announced that they had purchased three Caribou short-takeoff-and-landing aircraft to ferry medical supplies to Goma. Caribous can land on about 1300 feet of runway.
A landing strip was constructed at Kamonia for the planes. Kamonia was very close to the area where the diamond concessions were located and is nearly 900 miles from Goma, the location of the refugee camps. The planes were primarily used to ferry dredging equipment used in the mining operation.
If there's an absence in the film, it's a lack of a response from the Robertson camp on the allegations. The film has just been completed and is receiving its premiere at TIFF this week (I was at the second screening yesterday evening). It will be interesting to see if there is any follow-up in the weeks to come.
Recommended. I can see this as a good doc for Newsworld or TVO.
Watermark
"Watermark" is his second collaboration with Jennifer Baichwal (the first was "Manufactured Landscapes", which was also shown at TIFF a few years ago). Both share an editorial focus of the impact of man on the natural environment, but "Watermark" simultaneously tightens the focus and expands the frame of the image to look at our relationship with water.
It's a film that will provide the greatest rewards by being seen on the largest, sharpest screen possible. I saw it this morning from the centre of one of the front rows. In that position, the images wrap around and over you. The scale, particularly in the sequences shot during the construction of one of the mega-dams in China is immense. I can't recall a scene from any Hollywood blockbuster that has communicated size like these images.
Burtynsky describes his work as a "lament" for the environment. As with much of his best work, they have successfully married images of great beauty with despair for what was been (or may be) lost.
Highly recommended.
Following the screening, I had a chance to wander a bit to reflect on the film. Walking up through Grange Park, I came up to the south side of the AGO, Gehry's addition shining blue in the mid-day sun, an image of solidified sky (or water).
2013/09/07
Southcliffe
Southcliffe holds the title this year of the longest screening I will attend at TIFF13. It's representative of the blurring of lines between cinema, television and new media. The piece was shot as a mini-series for TV in the UK, but its length just over three hours) and complexity make it a good choice for a festival like TIFF.
Set in a small "market town" in the south of England, it opens with the shooting death of an old woman in her front garden. The killing is actually one of many that afternoon and the story is revealed through a series of flashbacks and scenes set in the present. At thee beginning the shifts occur without warning and it takes a little while to dispel some confusion about when a scene exists in the timeline. Over the course of the four episodes, though, one's comfort with the approach settles, just as your understanding of the situation grows.
It's a powerful story and the first three episodes were gripping (while the fourth maintains the level of tension, the story goes in directions that I didn't think worked very well. Overall, it's reminiscent of "Blue Velvet" or "Twin Peaks", though without Lynch's weirdness.
It wouldn't surprise me if this ends up on the schedule for one of the specialty channels in cable land. Definitely worth a look when it returns.
Set in a small "market town" in the south of England, it opens with the shooting death of an old woman in her front garden. The killing is actually one of many that afternoon and the story is revealed through a series of flashbacks and scenes set in the present. At thee beginning the shifts occur without warning and it takes a little while to dispel some confusion about when a scene exists in the timeline. Over the course of the four episodes, though, one's comfort with the approach settles, just as your understanding of the situation grows.
It's a powerful story and the first three episodes were gripping (while the fourth maintains the level of tension, the story goes in directions that I didn't think worked very well. Overall, it's reminiscent of "Blue Velvet" or "Twin Peaks", though without Lynch's weirdness.
It wouldn't surprise me if this ends up on the schedule for one of the specialty channels in cable land. Definitely worth a look when it returns.
We'll Get Through This
Preceding each film at TIFF is a collection of short promos for the TIFF Group and their programming, along with ads from the major sponsors. They're mostly OK in isolation, but seeing them 4 or 5 times a day is recommended for masochists only.
For the past few years, RBC has been one of those sponsors. For this year, they've created a collection of short scenes from a variety of genre films (drama, thriller, horror, etc.) where a character speaks a single line of dialogue: "we'll get through this". It's not a great ad and yesterday I started to wonder if this is a line of dialogue that you want to insert in anyone's mind just before settling down to watch a challenging bit of cinema. Perhaps an unfortunate mixed message...
For the past few years, RBC has been one of those sponsors. For this year, they've created a collection of short scenes from a variety of genre films (drama, thriller, horror, etc.) where a character speaks a single line of dialogue: "we'll get through this". It's not a great ad and yesterday I started to wonder if this is a line of dialogue that you want to insert in anyone's mind just before settling down to watch a challenging bit of cinema. Perhaps an unfortunate mixed message...
Out of the Rain, into the Flood
Started this very mild and wet day in hot and dry Africa with a collection of five African short films. All had something to offer, but the last two were exceptional.
"Kwaku Ananse" was the story of a daughter's journey from her city to the country for the funeral of her father. The film combines the ceremony with the spider myths of the area (her father is named after a spider who collected all the wisdom of the world in a gourd.
"Unogumbe" is a reworking of a Benjamin Britten opera about Noah's Flood, re-imagined through an African lens. Fantastic singing combined with playful staging put smiles on everyone's faces in Jackman Hall before sending us back out into the rain.
The films were part of a program called "To Repel Ghosts".
A quick note. In walking to the theatre this morning, I crossed paths with the marchers in the "Weekend to End Woman's Cancers", in support of the Princess Margaret Cancer Centre. Good luck to everyone out there this weekend and if you are able, please send your support to them as well.
"Kwaku Ananse" was the story of a daughter's journey from her city to the country for the funeral of her father. The film combines the ceremony with the spider myths of the area (her father is named after a spider who collected all the wisdom of the world in a gourd.
"Unogumbe" is a reworking of a Benjamin Britten opera about Noah's Flood, re-imagined through an African lens. Fantastic singing combined with playful staging put smiles on everyone's faces in Jackman Hall before sending us back out into the rain.
The films were part of a program called "To Repel Ghosts".
A quick note. In walking to the theatre this morning, I crossed paths with the marchers in the "Weekend to End Woman's Cancers", in support of the Princess Margaret Cancer Centre. Good luck to everyone out there this weekend and if you are able, please send your support to them as well.
2013/09/06
A Story of Children and Film
The follow-up to Mark Cousin's massive documentary "A Story of Film" (shown in its entirety -- all 15 hours of it -- at TIFF a couple of years ago, takes a similar approach to the earlier doc, by providing a survey of how children are depicted in film. Cousins' voiceover describes how kids are portrayed in film along with some of the techniques used by film-makers to tell their story.
He's an unabashed proponent of world cinema and most of the examples he shows are from countries other than the US.While I thought the earlier doc had more to say about the development of film as an art form (for the curious, TCM is running this doc on Mondays at 10 pm, along with many of the films cited in the documentary), there is much on offer here. Recommended for fans of cinema.
He's an unabashed proponent of world cinema and most of the examples he shows are from countries other than the US.While I thought the earlier doc had more to say about the development of film as an art form (for the curious, TCM is running this doc on Mondays at 10 pm, along with many of the films cited in the documentary), there is much on offer here. Recommended for fans of cinema.
Only Lovers Left Alive
Last night's screening of Jim Jarmusch's "Only Lovers Left Alive" provided the first "rock star" moment of the new TIFF. That it was for Jarmusch wasn't a surprise. Jarmusch continues to epitomize a degree of cool even though he's moved into the latter part of his career.
Lovers is his take on a vampire story, set in Tangiers and, mostly, the decayed core of Detroit. It focuses on two vampires, played by Tilda Swinton and Tom Hiddleston, facing the passing of the nights.
The rock star moment came mostly from the presence of Hiddleston at the screening and in particular from a contingent of fans of his work as Loki in the Thor and Avengers movies (in the line outside the Ryerson, I saw a variety of Thor merchandise in the arms of patrons, including one Loki action figure!
He's quite good in this, playing a Byronic musician holed up in a studio of analog equipment -- reel-to-reel tape recorders, old turntables and big tube-driven amps and speakers. His relationship with Swinton is beautifully drawn.
In many other respects, this is a beautifully drawn movie. With the exception of the music, it's a very quiet movie with lots of grace notes. The music is powerful, with old 45's and feedback-laden guitar instrumentals predominating, some of it from Jarmusch's new band Sqürl. Unfortunately, the end result is a little underwhelming. It felt like there needed to be something more to the story; that there was something missing that was needed to add some drama to what was there.
Lovers is his take on a vampire story, set in Tangiers and, mostly, the decayed core of Detroit. It focuses on two vampires, played by Tilda Swinton and Tom Hiddleston, facing the passing of the nights.
The rock star moment came mostly from the presence of Hiddleston at the screening and in particular from a contingent of fans of his work as Loki in the Thor and Avengers movies (in the line outside the Ryerson, I saw a variety of Thor merchandise in the arms of patrons, including one Loki action figure!
He's quite good in this, playing a Byronic musician holed up in a studio of analog equipment -- reel-to-reel tape recorders, old turntables and big tube-driven amps and speakers. His relationship with Swinton is beautifully drawn.
In many other respects, this is a beautifully drawn movie. With the exception of the music, it's a very quiet movie with lots of grace notes. The music is powerful, with old 45's and feedback-laden guitar instrumentals predominating, some of it from Jarmusch's new band Sqürl. Unfortunately, the end result is a little underwhelming. It felt like there needed to be something more to the story; that there was something missing that was needed to add some drama to what was there.
2013/09/05
Waiting for shivers...
From the rush line for "Shivers"...
David Cronenberg was the first feature film director that I saw in the flesh. Several (many!) years ago, I had wandered into the Book City location that was just south of Charles on the east side of Yonge. Cronenberg was doing an in-store there for a book launch and I stood and listened to him talk about the sound design for his most recent film (I'm guessing either Scanners or Videodrome).
Over the years, I've seen him speak at screenings of his own films, at the opening of an exhibition of pieces from his films (c. "Naked Lunch) and introducing a screening of Todd Brownings "Freaks" at a previous TIFF. He's always been an engaging and informative speaker and I'm looking forward to hearing him again.
Continuing with this idea of hearing directors, the first director I saw do a Q&A was Derek Jarman at the Festival of Festivals in 1977. Also a great speaker, he (and the film he presented, "Caravaggio") sparked a brand new interest for me and was a key reason why I've developed this little hobby in September. I saw a number of films over the years and, though he died many years ago, his influence lives on. Tonight I will be seeing Jim Jarmusch's latest film, "Only Lovers Left Alive", starring Tilda Swinton, who was often described as Jarman's muse.
David Cronenberg was the first feature film director that I saw in the flesh. Several (many!) years ago, I had wandered into the Book City location that was just south of Charles on the east side of Yonge. Cronenberg was doing an in-store there for a book launch and I stood and listened to him talk about the sound design for his most recent film (I'm guessing either Scanners or Videodrome).
Over the years, I've seen him speak at screenings of his own films, at the opening of an exhibition of pieces from his films (c. "Naked Lunch) and introducing a screening of Todd Brownings "Freaks" at a previous TIFF. He's always been an engaging and informative speaker and I'm looking forward to hearing him again.
Continuing with this idea of hearing directors, the first director I saw do a Q&A was Derek Jarman at the Festival of Festivals in 1977. Also a great speaker, he (and the film he presented, "Caravaggio") sparked a brand new interest for me and was a key reason why I've developed this little hobby in September. I saw a number of films over the years and, though he died many years ago, his influence lives on. Tonight I will be seeing Jim Jarmusch's latest film, "Only Lovers Left Alive", starring Tilda Swinton, who was often described as Jarman's muse.
Beyond TIFF
The Mesopotamia show at the ROM has a wealth of material on the ancient civilizations of Sumer, Assyria and Babylonia. As societies that documented their world extensively (if not excessively), they reach across time to their brethren using Facebook, Twitter and the like.
Last night we took in the Ai Weiwei show at the AGO. The integration of traditional techniques of construction with a strong social and political conscience made for a spell-binding exhibit. The image below is from the show. A series of large wooden chests provides a portal in which all the phases of the moon are visible. Beautiful.
And we're off!
Beautiful day to kick off TIFF 2013 this week. The sun is shining and, protected from the wind, it's quite warm; in the gusty winds (or in the shade of a building), the coming fall is very present. It's supposed to drop to 8C tonight. The line-up outside the Ryerson Theatre later is going to be cool!
So much for the weather. I came down early today to try to sang a rush ticket to a screening of David Cronenberg's "Shivers". Although I'm a big fan of his work, I've actually never seen one of his early horror films. With TIFF offering a big programme of all things Cronenberg this fall, it's time to correct that deficiency.
TIFF doesn't start rolling until this afternoon, so I had time to check out a show of Ralph Steadman's work in the Film Reference Library at the Lightbox (there is a documentary on Steadman at TIFF this year and the show provides an opportunity to see some of the work highlighted in the doc).
The show is a mix of his work and life collaborating with Hunter S Thompson, along with some of his photography and more political work. It was the latter that had the greatest impact on me. Some of his work, notably illustrations of Henry Kissinger and Osama Bin Laden, that were chilling. A gonzo take on Picasso's Guernica showed flashes of humour within the darkness.
The show is on only during TIFF. It's in the Film Reference Library on the fourth floor of the Lightbox.
So much for the weather. I came down early today to try to sang a rush ticket to a screening of David Cronenberg's "Shivers". Although I'm a big fan of his work, I've actually never seen one of his early horror films. With TIFF offering a big programme of all things Cronenberg this fall, it's time to correct that deficiency.
TIFF doesn't start rolling until this afternoon, so I had time to check out a show of Ralph Steadman's work in the Film Reference Library at the Lightbox (there is a documentary on Steadman at TIFF this year and the show provides an opportunity to see some of the work highlighted in the doc).
The show is a mix of his work and life collaborating with Hunter S Thompson, along with some of his photography and more political work. It was the latter that had the greatest impact on me. Some of his work, notably illustrations of Henry Kissinger and Osama Bin Laden, that were chilling. A gonzo take on Picasso's Guernica showed flashes of humour within the darkness.
The show is on only during TIFF. It's in the Film Reference Library on the fourth floor of the Lightbox.
2013/09/01
4 Sleeps to go til TIFF2013
Labour Day weekend in Toronto means many things. It's the end of the CNE and, by implication, the end of summer (as I type this, I hear the occasional roar of jets passing over Bloor West Village to thrill the spectators at the Air Show). For many, it's the last weekend before school starts up. I was out for a ride this morning and passed a number of cars delivering students to residences at the U of T Mississauga and Humber College along the Lakeshore.
And for me, it's TIFF. Over the past week or so, I've received and reviewed the catalog and made my choices. The tickets are waiting for me downtown and the fun begins on Thursday afternoon, with a free screening of David Cronenberg's "Shivers" (TIFF is presenting a massive program of Cronenberg's work in October, making this the early launch of that exhibition).
So how does one go about choosing a set of films for TIFF? For me, the catalog is like a giant bis of coloured tiles and glass and the calendar is the frame. A first pass through the catalog produces a collection of bits that far exceeds the space available; over a period of a few hours last week, I looked at each piece, compared against the rest and tried to build something that "fit".
I'm at that stage now, where the image is in place, although it's not yet clear which pieces will actually become the focal points for this year. While I hope that all of my choices will be good, I know that some just won't make the grade while others which didn't stand out may actually produce the biggest impact of the festival. It's the surprises that are often the most memorable.
Looking forward as the lights dim, the curtain rises and the images begin to flicker in a few days' time.
And for me, it's TIFF. Over the past week or so, I've received and reviewed the catalog and made my choices. The tickets are waiting for me downtown and the fun begins on Thursday afternoon, with a free screening of David Cronenberg's "Shivers" (TIFF is presenting a massive program of Cronenberg's work in October, making this the early launch of that exhibition).
So how does one go about choosing a set of films for TIFF? For me, the catalog is like a giant bis of coloured tiles and glass and the calendar is the frame. A first pass through the catalog produces a collection of bits that far exceeds the space available; over a period of a few hours last week, I looked at each piece, compared against the rest and tried to build something that "fit".
I'm at that stage now, where the image is in place, although it's not yet clear which pieces will actually become the focal points for this year. While I hope that all of my choices will be good, I know that some just won't make the grade while others which didn't stand out may actually produce the biggest impact of the festival. It's the surprises that are often the most memorable.
Looking forward as the lights dim, the curtain rises and the images begin to flicker in a few days' time.
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