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Jonathan McNeal

TIFF Day #9 – 2025

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Hello Dayton937 & NEON Fans,

My last day was short but very sweet.  The morning was spent exploring Toronto a bit…and then in the afternoon, Jake and I attended two films – both of which were treats for very different reasons.

My first film of the day is almost certainly getting a big Hollywood release – ROOFMAN (dir: Derek Cianfrance – USA) “Starring Channing Tatum and Oscar nominee Kirsten Dunst, this wildly entertaining drama from Oscar-nominated director Derek Cianfrance (TIFF ’10’s Blue Valentine) tells the real-life story of Jeffrey Manchester, the “Rooftop Robber,” and his efforts to evade capture.” (TIFF Catalog) Though I came away wondering a bit more backstory and motivation, the film ultimately worked for what it set out to do.  Tatum and Dunst have incredible chemistry on screen, and the performances are fun and embraceable.  It’s a fascinating story with documentary footage at the end to clarify the “reality” of it all, and overall, I was glad to be along for the ride.

My last film of the festival is from a TIFF favorite – Guillermo del Toro – who has played films like PAN’S LABYRINTH and THE SHAPE OF WATER here – FRANKENSTEIN (dir: Guillermo del Toro – USA) “Oscar-winning director Guillermo del Toro’s visually sumptuous adaptation of Mary Shelley’s gothic masterpiece finds Oscar Isaac as the brilliant scientist whose unearthly creation, eerily and ingeniously conjured by Jacob Elordi, blurs the boundaries between life, death, and madness.” (TIFF Catalog). Going into this film, it seemed like it would be ready-made material for del Toro (and perhaps treading old territory)…and that notion isn’t wrong.  But I was somehow still surprised at how much I liked this film.  The 2.5 hours seemed quite tight, and the production designs (mostly practical and not so much CGI) were stellar.  I’ve read a couple reviews that say the film lacked intimacy, and I think they’re terribly wrong.  There are some really tender moments, and though quite different than the novel on which it is based, I think it poses many of the same great questions that Shelley had in mind.

So that’s it!  32 Films over 9 Days, great Q&A’s, running into old friends and colleagues, appreciating the community’s embrace of great cinema…Toronto knows how to throw a festival, and TIFF is a special time of year for me.  I appreciate you reading about my adventures, and I can’t wait to bring some of these films to our screens at THE NEON.

Thank you so much to Dayton937 for allowing me to use their platform!

My best,
Jonathan

Catch Jonathan’s previous tiff posts:

The illuminated sign on King Street West indica

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Day 2 post

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Day 6 post

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TIFF Day #8 – 2025

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Hello Dayton937 & NEON Fans,

Today was a short day with just 2 films…this is due to things partially slowing down and to the fact that I went to see Lady Gaga tonight at Scotiabank Arena.  It’s been a pretty terrific day, but I’m certainly showing signs of slowing down. I have a couple films tomorrow (Friday), and then it’s back to Dayton on Saturday.

My first film of the day was a teen comedy – DRIVER’S ED (dir: Bobby Farrelly – USA) “Bobby Farrelly’s charming Driver’s Ed follows a high school senior (Sam Nivola from The White Lotus) who hits the road to save his relationship with his college-bound girlfriend, with his principal (Molly Shannon) and driving instructor (Kumail Nanjiani) in hot pursuit.” (TIFF Catalog) There are some teen comedies that I really like – CLUELESS, MEAN GIRLS, and EASY A to name a few.  This new film from the director of DUMB & DUMBER, THERE’S SOMETHING ABOUT MARY and CHAMPIONS (which we played) is not one of them. Though not without some funny moments, this film had plot holes galore and was mostly not funny.  It also seemed quite possible that the screenwriter hadn’t spent much time recently in a high school classroom.  There are enough f-bombs and some sweet character chemistry to make this film popular on a streaming service, but I don’t see it being a theatrical hit.
There is no trailer yet for this movie, but here’s a still photo:

My second film for the day will be a big contender this year – HAMNET (dir: Chloé Zhao – United Kingdom) “Academy Award–winning director Chloé Zhao (Nomadland, TIFF ’20 People’s Choice Award) helms this lush and tender drama about William Shakespeare (Paul Mescal) and his family, as seen through the eyes of his thoughtful wife Agnes (a luminous Jessie Buckley).” (TIFF Catalog) Though lovely and deliberate from the start (visually, musically, performance-wise), it took a little while for me to be completely swept away.  But I did indeed get swept.  Jessie Buckley will get an Oscar nomination (and possibly win), and the film will be recognized in many other categories. Upon walking back to my apartment, I started crying again thinking of a couple scenes…and again upon recounting the film to my boyfriend.  Chloé Zhao has made a really impressive film about family, loss and the healing power of art, and I will certainly be seeing it again.

Lady Gaga put on a really terrific show tonight.  My boyfriend has been wanting to see her perform live for nearly 20 years…and we had good seats in a very energized arena.

Thanks so much for reading.

My best,

Jonathan

TIFF Day #7 – 2025

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Hello Dayton937 & NEON Fans,

Today was a full day!  In addition to the movies and a nice star appearance surprise, my boyfriend flew into town to join me for my last few days here.  He and I will see del Toro’s FRANKENSTEIN together on Friday (as well as Lady Gaga in concert on Thursday night)…but otherwise, he’s here to enjoy the city while I’m screening films.

It’s my rule that if I don’t watch a movie from beginning to end, I can’t include it here in my TIFF blog.  But I’m going to make a bit of an exception.  For my first movie today, there were only 2 people in line when I arrived – so I knew it wasn’t going to be hard to get a spot…so I popped into POETIC LICENSE for about 20 minutes.  This is the directorial debut from Maude Apatow, and from what I saw, it was pretty charming.

My first film of the day was a touching lesbian drama based on a true story – JULIAN (dir: Cato Kusters – Belgium, Netherlands) “Two women’s unique campaign for marriage equality inspires a poignant screen love story by director Cato Kusters.” Fleur & Julian decide to get married…and in an effort to bring more awareness to same-sex marriage, they decide to get married in all 22 countries that allow it.  Unfortunately, Julian it’s revealed that Julian isn’t well…and this story hops back and forth in time to tell their story.  It’s beautifully made and certainly unique.  I think it will find a lot of success on the festival circuit.

Next up was a film with Jodie Foster in the lead – Speaking French! – A PRIVATE LIFE (dir: Rebecca Zlotowski – France) “Oscar winner Jodie Foster stars in this slyly comic psychological thriller from director Rebecca Zlotowski (TIFF ’22’s Other People’s Children), in which a suspicious death yields a series of twists that lead back to old grievances — and maybe even to past lives.” (TIFF Catalog) This film is fun, twisty, and full of surprises…until it loses a bit of steam.  Jodie is really wonderful, but the last 15 minutes were like someone snuffed the candle. With Sony Classics pushing this title into 2026, I suspect they’ve lost hope of much award-season play/recognition.
There’s no trailer for this film yet, but here’s a clip:

I quickly made it to my next screening (which was largely on my list because of Tilda Swinton) – BALLAD OF A SMALL PLAYER (dir: Edward Berger – United Kingdom) “This seductive character study from Oscar-winning director Edward Berger (TIFF ’24’s Conclave), stars Oscar nominee Colin Farrell as an obsessive travelling gambler and Oscar winner Tilda Swinton as the dogged detective determined to track him down.” (TIFF catalog) At first glance, this blaring and colorful film that’s full of excess seems nearly impossible to have come from the same director who brought us CONCLAVE – but interestingly, there are some similarities.  The score (also by Volker Bertelmann) hits some similar notes….and there’s an embrace of ritual (despite the chaos) at its core.  Set mostly in Macau (of which the producer said, “puts Vegas to shame”), this film is visually stunning.  And of course Swinton brings a fresh energy to the film.  Overall, I liked it…but that was partially heightened due to the Q&A.  This film merits the big screen…but I don’t think Netflix will push to really get it out.

My next film was a real treat – CALLE MÁLAGA (dir: Maryam Touzani – Morocco, France, Spain, Germany, Belgium) “Senior Maria (Carmen Maura) finds herself at odds with her adult daughter who has begun, without first consulting her mother, the process of selling the family home in Tangier where Maria still lives.” (TIFF catalog) Since the late 80’s, when I first saw WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (on VHS), I’ve been in love with Carmen Maura.  Since this wasn’t the first screening of this film, and because it was at Scotiabank (a multiplex), I didn’t think Maura would attend…but she did, and it was a treat.  This film is one of my favorites of the fest.  It’s very fresh, and it comes with equal parts comedy and heartbreak.  Maura, who will soon be 80, announced that she’ll soon likely retire. This film is special, and seeing her in person was incredible.
There’s no trailer yet for this film…but here’s a still photo from the film and a photo I snapped (lighting was not good – so it’s pretty grainy).

My next movie was another from the “Midnight Madness” section…and it was more than I bargained for – F*!K MY SON! (dir: Todd Rohal – USA) “Todd Rohal (The Catechism Cataclysm, Uncle Kent 2) violates all boundaries of good taste in this gleefully profane adaptation of Johnny Ryan’s underground comic about a decrepit mother (Robert Longstreet) who will stop at nothing to get her mutant son (Steve Little) laid.” (TIFF catalog) This movie started out with so much promise.  The “pre-show” was hysterical, the introduction of characters had a certain John Waters-vibe…it was irreverent, campy and in terrible taste.  There were certainly some big laughs (and the audience was all in), but then it became revolting and offensive.  Sure – that’s exactly what it wanted to be – but it wasn’t for me.
There’s no trailer yet for this one, but here’s a still photo:

Only 2 more days of TIFF left for me.

Thanks for reading,

Jonathan

TIFF Day #6 – 2025

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Hello Dayton937 & NEON Friends!

As we get into day 6 & 7, some things slow down a bit.  Many folks in the industry are heading home, some special press & industry programs are wrapping up, and tickets are slightly easier to acquire.  But that doesn’t mean there aren’t sill a lot of films to see.  I’m here through Friday (Day #9) for screenings…so there’s still plenty to see (but I’ll be heading out for a concert on Thursday night – so a fun shift of focus while I’m here).

Last night, I got home very late and wrapped up my blog without mentioning what a terrific evening I had.  Between my 3rd and 4th screenings, I met up with Susan Strong again (our former Board member who now lives in Minneapolis) along with her husband and two friends from Springboro.  It was fun to recount what I’ve seen and hear about the films that had made impressions on them.  They’re all on their way home today after having seen 10 films over the course of 4 days.  Here’s a picture of us together:

It was really hard to get out of bed this morning, but I made it to my first film – COUTURE (dir: Alice Winocour – USA, France) “Anchored by a memorable performance from Oscar winner Angelina Jolie, this compelling new film from Alice Winocour (TIFF ’22’s Paris Memories), set in the Parisian fashion industry, weaves multiple threads of women and girls from Ukraine, France, and Sudan, in the lead up to a fashion show.”  This story of a few different women who all cross paths during a few days preparing for a big fashion event has its moments of intrigue (I mostly liked watching the clothes being made)…but the stories never felt deep enough (a rather weak screenplay doesn’t help matters) and/or the performances didn’t really feel honest enough.  The subject matter was primed for good drama, but I never felt invested.  At the end of the day, I feel like there’s material here for a solid short film – but as it stands, it didn’t work for me.
There’s no trailer for the film yet, but here’s a still photo:

My next film is a story that’s based on only a couple known facts from a director I admire (though I haven’t seen more than a few titles from him) – THE CAPTIVE (dir: Alejandro Amenábar – Spain, Italy) “In 1575 Algiers, a young soldier named Miguel de Cervantes is held for ransom — unaware he’s on the path to becoming one of history’s greatest storytellers. This bold, visually stunning film is a reimagining of the true story behind Cervantes’ transformation.” (Amenábar did films like THE OTHERS and THE SEA INSIDE…so I was all the more intrigued to see this film.) Before writing DON QUIXOTE, Cervantes was a prison…and that is one of the facts that we know – but not much else.  In this film, Amenábar tells us that Cervantes told stories to boost morale to other prisoners…and his stories became noticed from the Bajá of Algiers.  The production design is lovely, and the story is brutal, sexy and full of sadness & despair – but also hope.  It was a nice surprise.
This film doesn’t have a trailer yet, but here’s a clip:

Next up was the 2nd film of Richard Linklater’s at the festival – but this one in French – NOUVELLE VAGUE (dir: Richard Linklater – France) “The latest from Oscar-nominated indie auteur Richard Linklater is an effervescent, meticulous recreation of the making of Jean-Luc Godard’s legendary 1960 feature debut Breathless, the film that heralded the arrival of the French New Wave.” (TIFF catalog). A charming love letter to the French New Wave, this film pays homage in numerous ways – in technique, casting, design and more. Though I think being familiar with the players helps a lot in understanding the film (and even I felt like I needed a major history brush-up while watching), this film does work without knowing a whole lot about the era.  That said, it did make me want to run home and re-watch BREATHLESS with a new set of eyes…so it certainly worked on that level.

My last film of the night was a big winner at Cannes this year – IT WAS JUST AN ACCIDENT (dir: Jafar Panahi – Iran, France, Luxembourg) “Winner of this year’s Palme d’Or at Cannes, the latest from Iranian auteur Jafar Panahi — his first following his most recent prison sentence — follows a group of citizens pondering revenge against a man they believe was their torturer.” (TIFF catalog) This film reveals itself and its motivations in really interesting ways…and how it speaks to global politics is really frightening (like the reason these people had been taken as prisoners was because they were protesting their rights).  What’s really fascinating about this film is that it’s a thriller/political thriller…and a comedy.  Huh?  It doesn’t seem possible, but there are moments that are completely zany…but the last 15 minutes are incredibly intense.  Panahi was in attendance, and he spoke so eloquently of being held prisoner, making films under underground, and wishing for the complete fall of the regime in Iran  – it was inspiring.  What an incredible way to see this film.  Many thanks to my friend from Cinetic for securing me the incredible ticket.

I’ve got another full day tomorrow…then I start to slow down a bit. Thanks so much for reading!

Jonathan

TIFF Day #5 – 2025

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Hello Dayton937 & NEON Fans,

I saw four films today, and they were quite spread out…as today (errr, yesterday) was my first Midnight Movie of the festival.  I can already tell it’s gonna be rough waking up in about 4 hours.

My first movie of the day was a hot ticket – THE TESTAMENT OF ANN LEE (dir: Mona Fastvold – United Kingdom) “Mona Fastvold, co-writer of The Brutalist, examines the life and beliefs of Ann Lee, one of pre-Revolutionary America’s most seminal religious figures, in The Testament of Ann Lee — with Amanda Seyfried as Lee and a stellar cast including Tim Blake Nelson.” (TIFF catalog) It’s been a long time since I sat through a long film that I really disliked.  Going into this, I knew it was a musical.  Going into this, I knew it was about religion.  Going into this, I knew it was 2 hrs & 17 min.  I’m not opposed to any of those things, but boy, oh boy, this film did not work for me.  There were historical elements that I found intriguing here – like certain aspects of the Shaker religion that are intriguing – like their pacifism, their belief in equal rights and anti-racist ideals…but I could learn these things without this film.  Though some musical numbers were intriguing and certainly seemed necessary (the Shakers were essentially referred to as “shaking Quakers”), the introduction of electric guitars to the music in later scenes made me dislike the film even more.  All that said, I’m glad I stayed until the end – as the last 15 minutes painted a very interesting picture.
There is no trailer yet for this film, but here’s a still photo:

My next film had hints of  early Michel Gondry-like whimsy – ETERNITY (dir: David Freyne – USA) “Set in the afterlife, this stirring drama from director David Freyne (TIFF ’17’s The Cured) features Elizabeth Olsen (TIFF ’24’s The Assessment) and Miles Teller (Whiplash) as souls in transit — and a troubled love triangle.” (TIFF catalog). This film was an escapist treat, and it even got a round of applause from the industry folks (a rarity for Press & Industry screenings).  This colorful, escapist film was tender and full of laughs, and Da’Vine Joy Randolph steals a lot of scenes, but everybody is terrific. I smile-cried on-and-off throughout. (This is one of those movies where I will want to pause scenes just to appreciate the set pieces and props.  Everything about creating this world is thoughtful and fun.)

My next film of the night was a Canadian film made with indigenous people – BLOOD LINES (dir: Gail Maurice – Canada) “The second feature from director Gail Maurice (ROSIE, TIFF ’22) is a singular film: a Métis same-sex romance led by actor Dana Solomon, who is a revelation.” (TIFF catalog). This film’s strength is in its photography and it representation.  It was made so much stronger by a lovely Q&A with the director and several people from the cast.  Sadly, I felt the screenplay rushed some of the story/development…but was too slow at other moments.  What was so fresh about the material was that the lesbian pairing was unflinching…being gay was at no point scorned or even questioned…and that was refreshing.  I don’t think a little film like this will find distribution, but I’m glad it’s out in the world.
There is no trailer yet for this film, but here’s a still photo:

My last film of the day was visually dazzling – DUST BUNNY (dir: Bryan Fuller – USA) “A 10-year-old girl procures the services of a hit man (Mads Mikkelsen) to kill the monster under her bed in this whimsically macabre feature debut from acclaimed television showrunner Bryan Fuller (Pushing Daisies, Hannibal).” (TIFF catalog) This was a true Midnight Movie (I’ve seen films from this category before, but never actually at midnight…and I wasn’t alone – it was Sigourney Weaver’s first Midnight Movie, too…and it was so fun to see her in person).  The design of this film was so polished and hyper-stylized, there were times I couldn’t tell if the entire set was CGI or if the practicals were just enhanced.  The script was great, Mads and Sigourney were fantastic, and the little girl – Sophie Sloan – was absolutely incredible.  Between the elevated production design and fun childlike playfulness of it all, it felt like a horror version of AMELIE.  There were moments I had no idea what was going on…and I don’t know if it was because I was so tired or because the overall production was simply too stimulating.  This film will find a dedicated cult audience for sure.

 

I’m not sure if I’ll get four films in tomorrow, but I’m pretty certain I’ll see at least a couple winners.

Thanks for reading,

Jonathan

Catch Jonathan’s previous tiff posts:

The illuminated sign on King Street West indicates the start of the festival!

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TIFF Day #4 – 2025

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Hello Dayton937 & NEON Fans!

It’s only Day #4, and I’m starting to drag a bit.  That said, I’ve now seen 15 films, met up with old friends, rubbed elbows with some big wigs, written a daily blog, kept up with NEON business from home and hobnobbed with some colleagues…all in just 4 days…so it’s no surprise.  When 15 minute naps are possible, I take them.

The first little photo on this blog entry is a brilliant marketing effort for my first film of the day – DEAD MAN’S WIRE (dir: Gus Van Sant – USA) “Featuring captivating performances from Bill Skarsgård, Dacre Montgomery, Colman Domingo, and Al Pacino, Gus Van Sant’s latest recreates the strange, fascinating true story of the 1977 kidnapping that made aspiring Indianapolis entrepreneur Tony Kiritsis into an eccentric outlaw folk hero.” (TIFF catalog). It’s so hard not to contextualize this film into right now with so many people embracing Luigi Mangione – as this is a story of a man who felt wronged by a mortgage company and their capitalistic greed.  I did not know the story of Tony Kiritsis, but this film and its character’s motives speaks greatly to the anti-establishment, and it  feels like an homage to films from the 70’s (and it works on a lot of levels).  Though I initially questioned some of Bill Skarsgård’s choices as too performative and over-the-top, I eventually bought into them as part of true character choices.  It’s a tight film, and I think it will find distribution.
There’s no trailer yet…just this still:

My next film was my first documentary of the festival – MODERN WHORE (dir: Nicole Bazuin – Canada) “Andrea Werhun and Nicole Bazuin challenge toxic misconceptions about sex work and sex workers with great audacity and high style.” (TIFF catalog). I agreed with so much of what this film had to say, but I found its style and form as trying too hard – with campy aesthetics and too much “winking” at the camera. It seems like it will be well-suited for clickbait on a streaming service…and maybe that’s where it’s message really needs to be heard.

My next film before my first small break of the day was & SONS (dir: Pablo Trapero – United Kingdom, Canada) “This dramatic adaptation of David Gilbert’s 2013 novel, co-written by Oscar-winner Sarah Polley and directed by Pablo Trapero (TIFF ’15’s The Clan), stars Bill Nighy as a reclusive literary superstar who calls his sons home for an unbelievable announcement.” (TIFF catalog). I adore Bill Nighy and Imelda Staunton, so I had to check out this film. I don’t want to give away too much of this film – as the surprise announcement that Nighy’s character makes is a stunning…and leads to some debate (within the film and the audience in the lobby).  I’m wondering how this film will be marketed…will they reveal this announcement or try to keep it under wraps?  At the end of the day, Nighy is a big (though physically shrinking) alcoholic who commands a room when he has something to say.  I found his character off-putting – but the performance quite good.  That said, it’s Staunton who is the soul of the film.  She has the best moments and will break your heart.   There’s one climatic-like scene that turned me off a bit…but I was also terribly tired during this film…so I’m going to be a bit forgiving. It’s well done overall.
There is no trailer yet, just a still photo:

My last film of the day was from Steven Soderbergh – who works as well in the indie world as big Hollywood – THE CHRISTOPHERS (dir: Steven Soderbergh – United Kingdom) “The great Ian McKellen and I May Destroy You’s Michaela Coel make a brilliant pairing in Oscar winner Steven Soderbergh’s incisively witty chamber comedy about art, commerce, and avarice.” (TIFF catalog) With a very strong screenplay and incredible central performances from McKellen and Michaela Coel, this whip-smart film is as funny as it is touching.  Though McKellen couldn’t attend due to doctors’ orders, he sent along a personal greeting to the TIFF audience…as we were the very first to see the finished film.  The Q&A following the film with Soderbergh, Coel and writer Ed Solomon and actor Jessica Gunning was fantastic.  I’m 15 films deep at this point, and THE CHRISTOPHERS is my personal favorite.
There’s no trailer yet, just a still:

An add-on of THE TESTAMENT OF ANN LEE is happening tomorrow morning (as I had hoped), so I need to make my way out early to get a spot in line.

Thanks so much for reading,

Jonathan

Catch Jonathan’s previous tiff posts:

The illuminated sign on King Street West indicates the start of the festival!

Day 1 post

Day2 post

Day 3 post

TIFF Day #3 – 2025

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Hello Dayton937 & NEON Fans,

Day #3 didn’t start off the way I had hoped.  At 8:00 every morning, there’s a chance to get last-minute, public tickets for the day…and I sadly didn’t get anything for the mid-afternoon slots that I wanted.  This isn’t a huge surprise since it’s the first Saturday of the festival.  Tickets are at a premium.  I did get in line for a movie I wanted to see this morning, and arriving an hour early seemed like a good idea.  It was…but it wasn’t.  When I got to the TIFF Lightbox (the venue for the screening), there were already a hundred people in line.  I was glad I got there early – until I realized they were mostly there for a different film.  I was there for STEVE, and they were mostly there for an even later film called THE TESTAMENT OF ANNA LEE (which I had on my list…but didn’t fit with the rest of my day).  I’m hoping a screening of ANNA LEE get added – as I would like to see it.

My first film of the day was a powerful one. STEVE (dir: Tim Mielants – Ireland, United Kingdom) “Oscar winner Cillian Murphy anchors this gripping adaptation of a bestselling novella from 2023. Faced with ever-increasing pressures, the head of a crumbling reform school for boys navigates a pivotal, fraught day while clinging to a fading sense of hope.” (TIFF catalog)  This story is set on the day when a camera crew has descended on this school to do a interest piece.  The pairing of lead actor & director (who both worked together on SMALL THINGS LIKE THESE) is a strong partnership…but  everyone in this ensemble is terrific – the teachers, the staff, the cameracrew, the boys (it was nice to see Tracey Ullman in a dramatic (but sometimes still funny) role).  It’s a film that’s scary, touching and emotionally taxing, and I wish all people who deal with at-risk youth would see it…as well as people who deal with funding issues. This statement from the TIFF catalog sums it up beautifully. “STEVE is a bruised elegy for institutions under siege and a character study shaped by the courage of those who persist within them; a chamber piece of forceful commitment, lost boys, and stubborn acts of hope.” Sadly, I think this film will get lost in the heap of Netflix and not get a proper theatrical release.

Next up was highly anticipated…as I’m a big Saoirse Ronan fan.  It’s been fun watching Ronan grow up on screen at TIFF – from ATONEMENT to BROOKYN to LADY BIRD to ON CHESIL BEACH to this new film – BAD APPLES (dir: Jonatan Etzler – United Kingdom) ” The satirical thriller Bad Apples stars Saoirse Ronan (Lady Bird) as a primary school teacher forced to take drastic action because of a foul-mouthed, violent student, and uncovers how her community will turn a blind eye to the most outrageous events to preserve harmony and their sense of safety.” (TIFF catalog) I had no idea that this film would be so thematically similar to my first of the day…but tonally, theses films are from completely different planets. This dark, satirical comedy starts off with notes of honesty and then goes bonkers.  That said, you can’t wait to see what happens next.  At its core, it’s a film about teachers being under-resourced for at-risk kids…but it also has a lot to do with how the public will turned blind eyes to issues if their lives are better due to someone else’s pain and suffering.  There’s a lot to un-package about what could easily be tossed aside as just a dark comedy.
There is no trailer yet for BAD APPLES, just a still photo.

An friend from Searchlight got me a prime-seat ticket to the world premiere of my last film for today – RENTAL FAMILY (dir: HIKARI – United States of America, Japan) “Oscar winner Brendan Fraser stars as an American actor in Tokyo who suffers a colossal case of impostor syndrome when he becomes a professional surrogate in this wise and whimsical dramedy from director HIKARI (TIFF ’19’s 37 Seconds).” (TIFF catalog) This crowd-pleaser of a film is full of laughs…but with an undercurrent of sadness. Brendan Fraser plays Phillip, a man who lives alone in Japan (with a REAR WINDOW-like vantage point from his apartment) – feeling quite lonely and trying to find acting roles.  He stumbles upon a company that wants him to be substitute character in people’s lives – a man to introduce to your parents, an author to interview your father so he can feel special in his old age, a dad so your daughter can have two parents when interviewing for a prestigious school.  It’s a fascinating concept (I have seen this concept before in a Yorgos Lanthimos film called THE ALPS…though not at all a crowd-pleaser), and the director confirmed that it’s an actual business in Japan. Though the service fills some familial gaps, it can also be dangerous work – physically and emotionally – for both client and actor.  The film got a nice standing ovation, and HIKARI and Fraser did a nice Q&A.  I think this film will be well received by audiences later this season.

I should be back to 4 films tomorrow.  We’ll see.

Thanks for reading,

Jonathan

Catch Jonathan’s previous tiff posts:
Day 1 post

Day2 post

TIFF Day #2 – 2025

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Hello Dayton937 & NEON Fans!

Today took some fun turns…including a great text from an old friend at Searchlight Pictures – offering me a great seat for tomorrow’s premiere of RENTAL FAMILY.  I’m excited to fit in another public screening of a highly anticipated film.  You’ll be able to read all about it tomorrow.

I started day #2 with a lesbian coming-of-age story – THE LITTLE SISTER (dir: Hafsia Herzi – France, Germany) “Hafsia Herzi’s sensitive and affecting coming-of-age drama The Little Sister tells the story of Fatima, a devout young Muslim woman, as she struggles to balance the dictates of her religion with her sexuality.” Beautifully shot with great performances, this synopsis really spells out this film.  There’s nothing terribly new here, but it’s done very well and honestly…and the characters make it worth spending time with this film. (TIFF catalog) No trailer…but here’s a clip:

There wasn’t much to go on except for some name recognition for my next film – TUNER (dir: Daniel Roher – United States) “Documentarian Daniel Roher dazzles with his narrative debut, a whip-smart thriller about an unusual safecracker (Leo Woodall).” (TIFF catalog) Because it was starring Dustin Hoffman & Leo Woodall (who I loved in the ONE DAY series), I took a chance.  The set-up, the characters, the writing…it was so fun. A piano tuner with a hearing disorder (where loud sounds cause terrible pain) stumbles into underground work as a safecracker.  If you look at the scribblings I write in the dark, you would see that I was loving this film for the first 30+ minutes. I was writing things like “what a find” and “this is so fun.”  Then it took some ridiculous turns and a lot of its charm was lost for me.  Overall, I still liked the film…I just didn’t like how big and over-the-top it got.
There is no trailer yet for TUNER…just some still photographs.  Here’s one:

After a cocktail with dear friend and former NEON Board member Susan Strong  and her husband Bob (who now live in Minneapolis), I was off to my next film.  While in line, a man behind me asked what films I had seen so far…and after chatting for a bit, he asked what I do.  I told him I run an arthouse cinema in Ohio…and he asked if we were playing TWINLESS.  I explained that we had just opened the film today…and that I was a fan of actor/director James Sweeney.  To that, he pulled out his phone and called James and handed the phone to me.  What a treat!  This could only happen at TIFF!  David Permut was the producer’s name, and he shared some details about upcoming productions he has in the works.  And interestingly, he plans on producing the next film from Agnieszka Holland…who directed the next film I saw – FRANZ (dir: Agnieszka Holland – Czech Republic, Germany, Poland) “Toggling between past and present, the latest from filmmaker Agnieszka Holland is a masterful tour de force portrait of legendary writer Franz Kafka, who remains celebrated worldwide for his books, short stories, fables, and aphorisms.” (TIFF Catalog). I’ve been an admirer of Agnieszka Holland’s work since I saw EUROPA, EUROPA when I was 18, and her 1993 film THE SECRET GARDEN is one of my favorite adaptations of children’s literature.  This new film is certainly Holland’s most experimental work.  It’s a challenging film about a challenging author – working on multiple timelines and commenting on how he has been “clichéd” and turned into a tourist attraction in Prague. Holland and most of the cast were at this screening, and the Q&A added some very interesting insight into the film.  Seeing Holland in person was a treat.  Even during the Q&A, she was directing.

My last film of the night was ERUPCJA (dir: Pete Ohs – United States of America, Poland) “American filmmaker Pete Ohs observes the combustible chemistry between a Polish florist (Lena Góra) and a British tourist (Charli xcx) in this charming postcard of sapphic synchronicity.”  (TIFF catalog) TIFF calls Pete Ohs an “American filmmaker,” but I’ll go one step further and call him and “Ohio filmmaker.”  One of Ohs’ earlier films was called YOUNGSTOWN – a city just 20+ minutes from where I grew up (I have to find this movie). This new film stars CharliXCX – a musician/performer I’ve grown to admire more and more over the last couple years (her SNL sketches with Please Don’t Destroy were hysterical). With influences of the French New Wave, this little fly-by-night film was a stylized love letter to Warsaw.  Ohs, as well as cast members Jeremy O. Harris, Will Madden and Lena Góra were in attendance.  Once again, the Q&A added such great insight.  Finding out exactly how Ohs approaches his films (without a script, without much of a crew, etc.) was both intriguing and inspiring.
There is no trailer yet for ERUPCJA – just still photos.  Here is one of them:

And now it’s time for bed.  I’ll be up in about 6 hours…ready to pack in screenings again tomorrow.

Thanks for reading,
Jonathan

Did you miss Jonathan’s Day 1 post?

TIFF Day #1 – 2025

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Hello Dayton937 & NEON Friends!

I hit the ground running today.  I grabbed coffee from my favorite coffee spot in Toronto (The Daily Dose), and then I hopped in line during a downpour for my first of four movies of the day.  Luckily, my spot in line had a bit of coverage…dozens of other people were getting completely soaked.

In between movies, I met up with and ran into a few old friends/colleagues – which is always a fun part of the festival.

My first film of the day was THE CHORAL (dir: Nicholas Hytner – United Kingdom) “Starring Oscar nominee Ralph Fiennes (TIFF ’24’s Conclave), this heart-soaring period drama from director Nicholas Hytner (The Madness of King George) tells the story of young men raising their voices in song under the shadow of WWI.” I was really looking forward to this film.  From director Nicholas Hytner and screenwriter/playwright Alan Bennet, the pair who brought us THE HISTORY BOYS and THE LADY IN THE VAN, comes a film about how art can create community, inspire during moments of crisis and even be an act of defiance. Ralph Fiennes is quite strong in this film, and the voices are lovely…but I found the tone to shift a bit too much…with some content seeming rather misplaced.  Some emotional beats hit just right, but overall, it seemed too easy sometimes and trying too hard to be “adult” in others.

Next up was a film I attended because I was intrigued by its set-up.  Several critics had commented that the film “shouldn’t work…but it does.” A USEFUL GHOST  (dir: Ratchapoom Boonbunchachoke – Thailand, France, Singapore, Germany)  “Thai filmmaker Ratchapoom Boonbunchachoke upends pre-existing genres with a fantastical story about a ghost that inhabits a vacuum cleaner to become useful. This humorous and visually striking debut feature was the Grand Prix winner of Cannes Critics’ Week.” (TIFF catalog) For the first 30 minutes, I was completely in.  The film set up a crazy world, and I found it quite funny.  Eventually, some moments became quite tender – with something rather silly becoming rather touching.  But then the film wore out its welcome.  By the end of the 2 hrs 10 min, it was a big eyeroll…and I wish it had been shaved to about 90 minutes.

I was a little tired going into my next film – a political thriller set in Brazil. THE SECRET AGENT (dir: Kleber Mendonça Filho – Brazil, France, Netherlands, Germany) “Winner of multiple prizes at this year’s Cannes Film Festival, TIFF veteran Kleber Mendonça Filho’s sly, genre-bending political thriller stars Wagner Moura as Marcelo, a technology expert on the lam and seeking refuge in the Brazilian city of Recife in 1977.” (TIFF Catalog) This film took a while to reveal itself.  There were a couple different storylines at first…in different periods…and then more.  The cast is one of the best ensembles in a long time, and it’s quite a ride that doesn’t mind taking its time.  I personally would cut this film down a bit, but it takes some bold choices, and I applaud its decisions.

My last film of the night was my first public screening (meaning not just industry folks) – complete with red carpet, big stars and an awesome venue – The Princess of Wales Theatre (aka The VISA Screening Room)…and it was the best film of the day. SENTIMENTAL VALUE (dir: Joachim Trier – Norway, France, Denmark, Germany, Sweden, United Kingdom) “Stellan Skarsgård and Renate Reinsve lead an incomparable cast in Joachim Trier’s moving drama about a director’s bid to revive his career and repair his family’s broken bonds.” We played Trier’s last film – THE WORST PERSON IN THE WORLD – and I was quite interested to see what he would do next.  This familial drama is full of wonderful performances (with Renate Reinsve & Inga Ibsdotter Lilleaas having some of the most fantastic “sister chemistry” ever on screen) and has the best “first five minutes” of a movie I’ve seen in a long time – a set-up that really puts you right into the vibe of the film and gives us so much details about characters without feeling forced…it’s brilliant.  The trailer below sets a great tone, and that’s what this film is really about.  During the Q&A, Trier was asked about the use of music in his films.  He said that he had initially wanted to be a musician but was kicked out of two bands because he was a bad drummer…but that he wants his films to feel like music…leaving you with a vibe and a temperament.  The four lead actors of the film were on stage with Trier – Stellan Skarsgård, Renate Reinsve, Inga Ibsdotter Lilleaas, and Elle Fanning – and they all brought something different to the conversation, but all shared an admiration for Trier and his process.

Thanks for reading about my first day…there’s lots more to come.

Jonathan

Prepping for Toronto International Film Fest – 2025

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Hello Dayton937!

It’s hard to believe that Labor Day is here…and it will soon be time to head to Toronto again for the Toronto International Film Festival (TIFF).  The line-up at TIFF is extensive –  “209 features, 6 Classics, 10 Primetime films, and 66 shorts” – so I have a lot of decisions to make.  The pass that I have will allow me to see dozens of dozens of films with other press and industry folks (these are no-frills screenings…just the movies plus lots of networking and movie-talk while waiting in lines).  In addition, I will get 10 tickets to public screenings – the events that get media attention – red carpets, big stars, Q&A’s, etc.

I’ve been scanning the line-up and making some initial picks, but I definitely leave room for some word-of-mouth and industry buzz to guide my decisions once I’m in Canada.

On this side of the festival, here are a few titles I’m looking forward to seeing:

HAMNET is the new film directed by Academy Award winner Chloé Zhao (NOMADLAND).  I love the cast, and the film looks lovely.

ETERNITY looks like it will be fun.  I love the entire cast.

Richard Linklater’s NOUVELLE VAGUE – about the making of the French New Wave classic BREATHLESS (Linklater has 2 films at the festival…clearly a busy man).

There are a handful of films playing at TIFF that I’ve already seen – like ELEANOR THE GREAT (starring National Treasure June Squibb – opening Sept. 26 at THE NEON), BLUE MOON (Richard Linklater’s fantastic film starring Ethan Hawke, Margaret Qualley, Andrew Scott & Bobby Cannavale – which will be playing at the OUT HERE DAYTON Film Fest on October 10), and NUREMBERG (a fascinating courtroom drama about the Nuremberg trials starring Rami Malek, Russell Crowe and Michael Shannon – certain to be a NEON fan favorite this Fall).  Because I won’t be screening them at the festival, I won’t be “reviewing” them in this blog per se…but I urge you to find out more about each of them.

Starting Thursday, Sept. 4, I’ll keep track of each film that I see at TIFF in this daily blog.  I appreciate Dayton937 for allowing me to use this platform to keep my thoughts in order and stay in touch with NEON fans.  www.dayton937.com/tag/tiff

Thanks for reading!

Jonathan McNeal, manager of THE NEON

TIFF Day #9 – 2024

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Hello NEON Community.

Today was my last day of screenings, and I officially passed the “30 films” mark.

My first film of the day was one I was eager to see – QUEER, dir Luca Guadagnino (Italy, USA) “Brilliant, audacious author, meet brilliant, audacious director: it takes risk to translate the work of William S. Burroughs for the screen, but Oscar-nominated filmmaker Luca Guadagnino’s (Call Me by Your Name, TIFF ’17) spin on the Beat legend’s autobiographical novel matches its source material in vulnerability and taboo-smashing adventurousness. Starring Daniel Craig and featuring supporting turns from Jason Schwartzman and Oscar nominee Lesley Manville (Phantom Thread), Queer is a hallucinogenic odyssey bathed in desire.” My first Guadagnino film at TIFF is one of my favorite memories…it was a screening of I AM LOVE – which is still one of my favorite films for the 17 years I’ve been attending the festival.  On top of that, other Guadagnino films have played very well for us at THE NEON – CALL ME BY YOUR NAME and CHALLENGERS are among them.  This story is told with magical and drug-induced imagery in wonderful ways, and the Craig’s performance is really quite wonderful.  The film is a slow burn, and I think it might grow on me in time…but about half way through, I was feeling underwhelmed (though I thought the last 20 minutes were very strong).  I had been told by some industry folks that the sex scenes were more than theater-goers could handle – so I was prepared…but in the end,  they weren’t as risqué as I’d thought they might be.

Next up was a complete surprise.  I like Tom Hiddleston & Chiwetel Ejiofor, so I decided to try THE LIFE OF CHUCK, dir Mike Flanagan (USA) “Mike Flanagan takes a detour from the macabre with this adaptation of a uniquely structured Stephen King novella that unravels a seemingly ordinary accountant’s world. The world feels like it’s ending and everybody’s saying goodbye to Chuck. Wherever Marty (Chiwetel Ejiofor) goes, he can’t get away from Charles Krantz (Tom Hiddleston). His face is showing up on billboards, window signs — even TV commercials. What’s so special about this seemingly ordinary accountant and why does he warrant such a sendoff?” (taken from TIFF catalog) This is told in three parts, and Part 3 is where we start.  It’s inventive and plays with genre in an interesting way (Part 3 is a scary end-of-days sci-fi genre (but seeming more like real-life these days) and Parts 2 & 1 are origin story dramas.  At the end of the day, it’s a film about memories and how we’re shaped as adults. Some may say it’s a little too saccharine, but I absolutely adored this film – and it is definitely in my Top 5 of this year’s festival!

My last film of the festival was from the “Midnight Madness” category – THE SUBSTANCE, dir Coralie Fargeat (United Kingdom, United States of America, France) “Demi Moore portrays a fading Hollywood star feuding with the manifestation of her younger self (Margaret Qualley) in this award-winning body-horror satire from writer-director Coralie Fargeat (Revenge)” (taken from TIFF catalog) This film has a lot to say about beauty and age standards for television and film (and even the general public), and it’s hyper-stylized.  It’s a kind of DEATH BECOMES HER directed by Cronenberg, and it’s very fun (and rather grotesque).  For the first 90 minutes, I wished we had booked it at THE NEON next week…but then it jumped the rails and became a full-on gore fest…I’m glad we didn’t. (I think a large part of our regular customers would revolt…plus it will be playing at the multiplexes.)  Overall, I personally liked it – but it absolutely not for everyone.

So that’s that!
32 Films (33 screenings overall – I saw 1 film 2 times), 2 sit-down interviews with a big star and a big director, lots of connections with other people in the business, 1 star-studded party and a couple good meals.  Thanks for coming along on this ride with me.  I hope to see you soon at THE NEON.

Take care,
Jonathan

 

TIFF Day #8 – 2024

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Hello NEON Community.

Things are winding down at TIFF.  Lines are shorter and energy is dwindling (especially mine)…but today had a couple nice surprises in store!

Nobody plays tormented better than Sarah Paulson…so I went to see HOLD YOUR BREATH, dir Karrie Crouse, Will Joines (USA) “Sarah Paulson returns to her home in genre work in this supernatural and psychological film from Karrie Crouse and Will Joines…In dust bowl Oklahoma of the 1930s, a mother (Paulson) nears the breaking point as she tries to protect her daughters from deadly windstorms and the impact of her own harrowing past. ”  (taken from TIFF catalog) Though the set-up was great and the photography is lovely (sometimes almost sepia-toned), this film didn’t trust its own material enough.  The addition of jump scares just for the sake of jump scares cheapened the experience.  Though this film is not without some wonderful, haunting moments (like when Sarah is sewing late at night and sews the fabric to her skin without realizing it), I can ultimately see why Searchlight has decided to move this one directly to the Hulu streaming platform instead of giving it a theatrical release.

The next film on today’s list was fantastic! WILL AND HARPER, dir Josh Greenbaum (USA) “This heartfelt documentary from director Josh Greenbaum (Barb and Star Go to Vista Del Mar) follows Saturday Night Live alumni and close friends Will Ferrell and Harper Steele as they traverse the US by car following Steele’s announcement of her transition.” (taken TIFF catalog). This roadtrip doc is full of friendship, laughter, and a desire to better know a friend…it also deals with some emotional truths that many Americans have never faced.  We were told at the beginning of the screening that we would be joined by special guests for a Q&A afterward…and it was delightful to process the film with the director, producer as well as Will Ferrell and Harper Steele!  Harper right away addressed the fact that many people who transition don’t have the resources or the support that she has had.  That said, the inner struggle and turmoil when deciding to come out was just as strong for her.  I highly recommend this film. It works! (the photo below is one that I snapped during the Q&A)

My last film of the day was an unsettling and transfixing period piece. THE GIRL WITH THE NEEDLE, dir Magnus von Horn (Denmark, Poland, Sweden) “In Magnus von Horn’s stylish and audacious blend of true-crime drama and expressionist nightmare, a young seamstress trying to survive in post-WWI Copenhagen makes a fateful connection with one of the era’s most infamous figures.” (taken from TIFF catalog) At the end of the day, this is a horror film.  That said, it’s not what you think of for today’s horror market.  It’s beautifully shot, the script is terrific, the score is inventive…yet there’s something upsetting and potentially sinister at most every turn.  It’s hard to say I “like” this film, but I do think it’s quite brilliant.

Tomorrow is my last day of films…and it’s likely going to be a short day.  I’ll at least hit 30 films by tomorrow – and I’m very anxious to see Luca Guadagnino’s new film QUEER – starring Daniel Craig.

Thanks for checking in,
Jonathan

TIFF Day #7 – 2024

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Hello NEON Community!

My first movie of today was from the director of our highest grossing documentary ever PIECE BY PIECE, dir Morgan Neville “The life of singer and producer Pharrell Williams is told through LEGO pieces in this animated feature debut from Morgan Neville, featuring the voices of Gwen Stefani, Kendrick Lamar, and Jay-Z.” Neville is responsible for WON’T YOU BE MY NEIGHBOR – so I trusted his instincts and went to see this animated doc about Pharrell.  This creative and thoughtful piece is meant for the whole family – and I hope cinemas and PR folks work with lots of school-aged kids to get them to see this movie so it can inspire them.  We were told that Morgan Neville would join us after the screening for a Q&A…but we were surprised by Pharrell also joining him.  Their talk of equating legos with creating art – assembling layers of existing pieces – was all very intriguing, and Pharrell seems to be in a very grounded place regarding the “grace [he’s] been shown despite years of arrogance.”

Next up was a narrative film about the creation of the first episode of the groundbreaking sketch comedy show – SATURDAY NIGHT, dir Jason Reitman (USA) “Director Jason Reitman captures the frenzied lead-up to the very first episode of Saturday Night Live as a motley bunch of then-unknown and untrained young comedians prepare to step into a revolutionary spotlight that will change history and make them all stars.” (taken from TIFF catalog) This frenetic film is so much fun and full of iconic characters, and it was nice that we got it introduced by Jason Reitman – who was both charming and funny.  I know our audience would love it!

My last film of the day was determined by one of the leads – Tilda Swinton. THE END, dir Joshua Oppenheimer (Denmark, Germany, Ireland, Italy, United Kingdom, Sweden) “Joshua Oppenheimer, known for his groundbreaking documentary The Act of Killing (TIFF ’12), makes his fiction debut with this sombre musical about a family in denial at the end of the world, starring Tilda Swinton, Michael Shannon, George MacKay, and Moses Ingram.” This ambitious movie has a lot to say about our ability to lie to ourselves.  And though I understand this is really just an allegory, I found myself questioning so many details about the film. Though there were many details I admired, I was ultimately not fond of this very long film.

Thanks for checking in again!
I’ve got three films set for tomorrow!

Jonathan

TIFF Day #6 – 2024

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Hello NEON Community,

I want to make sure I send a big THANK YOU to Dayton937 for allowing me to use their platform for daily postings while at TIFF.  It’s a great way to stay in touch with all of you while’s I’m on the road.

My first movie today was a BIG one.  It’s a musical set in many cities around the world (produced by France) – but mostly set in Mexico. EMILIA PEREZ, dir Jacques Audiard (France) “Featuring fearless performances from Zoe Saldaña, Selena Gomez, and the amazing Karla Sofía Gascón, the latest from director Jacques Audiard (Rust and Bone, TIFF ’12) audaciously merges pop opera, narco thriller, and gender affirmation drama.” (taken from TIFF catalog) I didn’t quite know what I was in for, but this musical, gangster melodrama took me for quite a ride.  I was a huge fan of RUST AND BONE over a decade ago, so I was intrigued to see what Audiard would do with a musical.  It’s big and bold and whirlwind of styles and voices – and it ultimately works in its sometimes frenetic style…and the three leads are really wonderful (Saldaña really shines).

Next on my list was RIFF RAFF, dir Dito Montiel (USA) “With an all-star ensemble that includes Ed Harris, Gabrielle Union, Jennifer Coolidge, and Bill Murray, the latest from director Dito Montiel (Man Down, TIFF ’15) is a pitch-black comedy about family, loyalty, and murder.” (taken from TIFF catalog) I 100% know there’s an audience for this film…It’s just not me.  Back in college, all of my classmates loved Tarantino.  He made a joke out of violence..and it was widely copied and embraced by numerous filmmakers.  I wasn’t interested.  The screenwriter for RIFF RAFF noted that several years ago, people read his script and told him “people don’t make movies like this anymore”…he then noted that the director fought to get it made and now people are loving it – he said, “it’s like the new old-fashion.”  The comedic use of shooting people – seeing their brains splatter on the wall..watching someone get their head bashed in…all surrounded by dialog that’s meant to evoke laughter – it’s all here.  It’s just not my thing.  (In addition – There’s some really bad idiot dialog in the beginning of the film to set everyone up…and then the use of bad voice overs – so even more reason for me not to like it.) The one aspect of the film I did like?  Jennifer Coolidge!  From her first entrance on screen to some key moments of droll delivery, she’s gold.

After meeting Jake at the train station, I scurried to my next screening – MISERICORDIA, dir Alain Guiraudie (France, Spain, Portugal) “The latest feature by acclaimed French writer-director Alain Guiraudie (Stranger by the Lake, TIFF ’13) is a deliciously twisted tale of sexual repression in a small town marked by death.” (taken from TIFF catalog) This quirky, sexually repressed, dark and funny tale is set in a very small, pastoral town (it seems to be populated by about 8 people), and it’s a slow burn.  With unsettling occurrences throughout, this story is a quiet treat.  The director was sadly not in attendance because the film is currently getting a release in France – and he had obligations to make appearances at many of those screenings.

My last film of the night was one I was excited to see – BABYGIRL, dir Halina Reijn (USA) “Nicole Kidman is captivating as a high-powered executive who risks everything when she starts a sexual relationship with an intern (Harris Dickinson) in this thrilling erotic drama from writer-director Halina Reijn (Bodies Bodies Bodies).” Sadly, I found this one to be a disappointment.  The audience was laughing and gasping at every turn…but I found myself quite often rolling my eyes and shaking my head.  Though Kidman’s performance is very good, I questioned a lot of the material and thought if felt repetitive.  It’s being billed as an erotic thriller, but I found very little thrilling or fresh material here.

Only three days of movies left!

Thanks for checking in,
Jonathan

TIFF Day #5 – 2024

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Hello NEON Community!

Today didn’t go entirely as planned…I didn’t get some of the tickets I had hoped to get for this evening (like the new Walter Salles film – I’M STILL HERE).  (I’m sure Sony Classics will let me take a look at it somewhere else…but I really love seeing how crowds respond to films before we book them.  Watching them by myself is OK – but watching films with film lovers is a different experience.)

My first movie of the day was THE DEB, dir Rebel Wilson (Australia) “Rebel Wilson’s directorial debut is a bold, outrageous, and funny Australian musical about two very different teenage cousins who initially clash but eventually join forces to make their mark on their town’s annual debutante ball.” (taken from TIFF catalog). Unfortunately, I’m not permitted to write anything about this film right now.  This film has not premiered anywhere yet – and all critiques are “embargoed” until after this upcoming weekend.  (You’ll have to come back on this page next week if you want to know what I thought of this new musical.)

If you’ve been reading my blog on a daily basis, you know that I wrote how I couldn’t wait to see THE ROOM NEXT DOOR again.  So I didn’t.  I saw Almodovar’s brilliant, vital new film from a much better seat today.  It truly is so special.  I love when characters reference literature & works of art and they’re familiar to me…it feels like an even stronger connection to the characters and the director.  From Dora Carrington’s relationship to Lytton Strachey to James Joyce’s THE DEAD to Buster Keaton and so many more.  The production design, the costumes, the score.  Everything is so intentional…even the spines of books as the two leads walk through a bookstore.  Brilliance.

Next up was one that will be talked about a lot this Oscar season – CONCLAVE, Edward Berger (USA, UK) “Oscar nominees Ralph Fiennes and Stanley Tucci lead a brilliant ensemble cast in All Quiet on the Western Front director Edward Berger’s stunning adaption of Robert Harris’ high-stakes drama, in which Cardinals gather at the Vatican to elect a new Pope.” (taken from TIFF catalog) Vatican City at the time of a Conclave is the perfect setting for a high stakes thriller because the Catholic Church works so much like other board rooms or election cycles…with conflicting ideas and attempts to make change or step back from change. It’s fascinating! Ralph Fiennes gives a homily to all the gathered Cardinals in the first 30 minutes of the film – and it is the best I’ve ever heard.  It rattled many and was embraced by others.  The performances here – particularly from Fiennes, Isabella Rossellini and newcomer Carlos Diehz, are exceptional…as is the score.

My last film of the day was 100% unplanned.  After I went back to my apartment and worked on NEON-related details (show schedules, website updates, etc.), I decided to try my luck of getting in a “rush” line for a film called HERETIC.  I waited about 85 minutes, and several people got in…but I was not so lucky.  When that didn’t work out, I hopped in the next available film – 100% a surprise – CROCODILE TEARS, dir Tumpal Tampubolon (Indonesia, France, Singapore, Germany) “In this slow-burning suspense thriller from debut filmmaker Tumpal Tampubolon, a young man and his overbearing mother’s lives on their isolated crocodile farm are turned upside down with the appearance of a young woman.” (taken from TIFF catalog) This little film is terribly unsettling.  With crocodiles writhing around waiting to be fed, with mom suggesting that the one giant white crocodile is “papa,” and the announcement that Arumi (Johan’s new girlfriend) is pregnant – it seems like terrible occurrences are just around the corner.  It’s a solid film, but I don’t think it would do well as a theatrical engagement for us.

Tomorrow, my boyfriend Jake is joining me in Toronto.  Though he and I will only see a couple movies together, it will be nice to have him here for my last few days.  If flights are on time and all goes as planned, his first film (tomorrow night) will be BABYGIRL – starring Nicole Kidman.

Thanks for reading!
Jonathan

TIFF Day #4 – 2024

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Hello NEON Community!

Today was a rougher start than usual.  I knew I needed to be in a physical line by 8:00…but 8:00 is when I need to be on-line attempting to get tickets for later in the day.  And being outside in a line means that I have to use data instead of a decent internet connection…so it was a stressful start to the morning.  Regardless, I got a couple tickets for later in the day that were on my list – so then I was off to the races.

My first film of the day was NIGHTBITCH, dir Marielle Heller (USA) “An overworked stay-at-home mom (Amy Adams) tries to catch a break, any break, while caring for her rambunctious toddler. Also, she might be turning into a dog.” (taken from TIFF catalog) Heller made a film I adored at TIFF back in 2018 – CAN YOU EVER FORGIVE ME (with Melissa McCarthy playing Lee Israel)…so I was quite interested to see this…but I was also skeptical given the synopsis and trailer.  It turns out, I rather liked it. This is a film about a woman rediscovering herself after having dedicated a couple years of her life, without rest or instrospection, to raising a child.  It’s about motherhood being primal – and that mothers are gods who create life…and that a child’s first act is one of violence as they enter the world.  There’s a monologue at the beginning of the film that I think will be used often down the road for women auditioning for roles…it’s pretty spectacular.  Overall, I liked this film, and Amy Adams is fantastic.

Next up wasn’t a film, but a chance to sit in on an interview with a contemporary icon. IN CONVERSATION: CATE BLANCHETT.  This session was spectacular, and the interview was hosted by TIFF CEO Cameron Bailey. Blanchett is grounded, wise, and very funny.  The event took place in the Royal Alexandra Theatre – a lovely space that reminds me a bit of The Victoria.  Blanchett was asked about some career defining collaborations, the different roles she’s taken (both as an actress and as a producer), and she reflected on certain projects.  When told that we’d be looking at some different clips of her work, she asked if there was a barf bucket…then after a clip from ELIZABETH: THE GOLDEN AGE, she shrieked and gasped and exclaimed, “I keep waiting for RuPaul to ask me to be on the show.”  It was a delightful afternoon full of insight and a true desire to connect with the audience in front of her.  (And of course I loved when she talked about CAROL – and how hard it was to find funding…and how TALENTED MR. RIPLEY was one of the best gigs she’s ever had.) Such a lovely event!
I didn’t have the best seat in the house…but it was pretty good.  Here’s a little pic I snapped:

Another conversation was next…but I couldn’t stay the entire time. VISIONARIES: ALFONSO CUARÓN had Cuarón on stage being interviewed by a film critic – and the conversation got started by talking about his relationship to the other 2 very famous Mexican directors – Guillermo del Toro & Alejandro González Iñárritu.  I could only stay for about 20 minutes because 1) it got a late start & 2) I had another screening.  While on my way to this event, I stopped on the sidewalk for a quick phone call…and a car pulled up and Cate Blanchett got out.  I love little moments like this while at TIFF!

I rushed out of the Cuarón event in order to get to FIRE INSIDE, dir Rachel Morrison (USA)  “Renowned cinematographer Rachel Morrison makes her feature directorial debut with this film about boxer Claressa Shields’ true-life ascent to the Olympics. It’s a unique sports story that goes beyond the triumph of the underdog to ask what comes after.” (taken from TIFF catalog) You might recognize Rachel Morrison’s name from other projects like FRUITVALE STATION, MUDBOUND and BLACK PANTHER – this is one reason I wanted to see this film…the other reason was that it was written by Barry Jenkins.  I’m going to be completely up front with you.  I don’t like boxing (in fact, I really loathe any sport where you’re supposed to attack or strike someone – I’ve never understood the allure).  That said, this film is very well done.  The story of rising up, having a mentor and working against an oppressive system is powerful.  The film works on several levels, and it will help create an understanding to the masses just how biased and sexist the sporting world is to athletes that don’t fit certain societal “ideals.”  It’s a great little film, and I hope it gets a good release.

My last film of the night (which now has me at 16 films for the first 4 days) was ON SWIFT HORSES, dir Daniel Minahan (USA) “Set in the 1950s, this gorgeous adaptation of Shannon Pufahl’s 2019 novel follows a seemingly sensible newlywed (Daisy Edgar-Jones) and her wayward brother-in-law (Priscilla’s Jacob Elordi) as they undertake parallel journeys of risk, romance, and self-discovery.” This ambitious period film has compelling characters, lovely production design, beautiful camera work, some great costumes and one really bad wig (boy, oh boy…a bad wig can really ruin an entire scene). There are some wonderful moments in this film, and the sexual awakenings are interesting – but it just doesn’t add up. I kept watching because I liked the characters – I just wish I had liked the screenplay better.

Tomorrow is CONCLAVE – a film we’re considering for Thanksgiving.  It’s getting rave reviews, and I can’t wait.

Thanks for checking in,
Jonathan