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
