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TIFF 2018 – Day #8

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Hello!

Day #8 had me seeing 4 more films.

ROMA, directed by Alfonso Cuarón, was my first film of the day. “Alfonso Cuarón’s cogent and nuanced semi-autobiographical feature chronicles one year in the life of a middle-class family in 1970s Mexico City.”  This black-and-white feature film is simply sublime.  With themes of class and position in society as well as government/societal upheaval, this film is full of visual metaphors and is incredibly sophisticated.  One might think “not much happens in this film”…but ultimately – EVERYTHING happens.  This film should 100% be viewed on a big screen.  Though Netflix has it set to premiere on their channel, this film deserves a theatrical release.  In a word, it’s Incredible!

https://www.youtube.com/watch?v=fp_i7cnOgbQ

HIGH LIFE, directed by Claire Denis, was up next. “Master French filmmaker Claire Denis’s long-anticipated English-language debut and provocative sci-fi drama stars Robert Pattinson, Juliette Binoche, Mia Goth, and André Benjamin as a group of criminals sent into deep space.”  This is perhaps one of Denis’ most accessible films (as far as “I’m following what’s happening”) – but it’s also still quite avant garde…and I can imagine customers saying “what the hell?” for most of the film.  The mini description fails to explain that the spaceship (which looks somewhat like a floating hard drive) is essentially being used as a laboratory in which Binoche’s character does sexual experiments on its “recycled scum” inhabitants.  Complete with rape scenes and other bloody violence, this film is a challenging film that will likely have many searching for its rosetta stone.

I attended the next film based on its description.  I had no idea that it was a big studio picture.  THE HATE U GIVE, directed by George Tillman, Jr, simply sounded like an important film that I wanted to support. “A timely commentary in the Black Lives Matter era, George Tillman, Jr.’s adaptation of the novel by Angie Thomas follows Starr, a promising student and cherished daughter whose life is upended, then galvanized, when a friend is senselessly shot dead by police.”  This film is targeted at a young adult audience, and it’s so refreshing that it’s not about vampires or a fish-out-of-water comedy.  This is an urgent tale about a young black student who consciously alters her persona between her school self (which is in a private school full of affluent white kids) and her at home self.  I hope this film finds a wide, diverse audience – but I’m afraid it might only end up preaching to the choir.  The plot takes some unexpected turns and covers a lot of bases, but it’s ultimately a strong film that needs to be seen by a lot of people.

RED JOAN, directed by Trevor Nunn, was my last film before an incredible dinner of Japanese tapas (but that’s a different story).  “Academy Award winner Judi Dench and Sophie Cookson take on the complex persona and legacy of Joan Stanley, the seemingly demure physicist who was also a long-serving British spy for the KGB.”  This film is based on a novel…that is very loosely based on a real woman named Melita Norwood.  The film uses the framing device of Dench’s character being arrested and interrogated while flashing back to WWII era material where she may have been conspiring with the Russians.  Handsomely shot with strong performances, this film will certainly go over well at THE NEON if it finds a US distributor. It contains both great dramatic moments and sequences with wonderful, thrilling tension.  The fact that “nuclear bombs and who has them” continues to be a fear in today’s climate shows how little things have changed.

Things are winding down here at the festival.  Many big players have gone home, and the lines for movies are easier to navigate.  I have one more full day of films and then one Saturday morning screening before flying home.

Thanks for checking in.

Jonathan

TIFF 2018 – Day #7

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Hello NEON Fans,

Thanks for checking in again…it’s been another busy day.  I attended a little queer party for TIFF attendees last night, so it was a bit of a struggle to get up this morning.  But I made it to my first screening – FIRST MAN, directed by Damien Chazelle.  Almost every year, I go ahead and see one big film that is too big (too Hollywood) to make it to THE NEON.  This year, I chose Chazelle’s follow-up to LA LA LAND (which is still THE NEON’s highest grossing film).  “The Academy Award–winning team of director Damien Chazelle and star Ryan Gosling reunites for this biopic on the adventures and life of Neil Armstrong, from his entry into NASA’s astronaut program in 1961 to his epoch-making walk on the moon eight years later.”  This film is beautifully done and best seen via IMAX (ALERT:  If you don’t want a fun aspect of the film ruined, don’t read this parenthetical.  SPOILER: The film plays with aspect ratio that can only be accomplished to full effect on an IMAX screen…this happens upon landing on the moon – and it’s magical.)  The film feels more indie than Hollywood in its use of close-ups and medium shots and its overall quiet approach to its lead character.  It will certainly be a big player in this year’s Award Season.

GIANT LITTLE ONES, a Canadian feature directed by Keith Behrman, was my next film of the day.  “In the latest from Canadian director Keith Behrman, Kyle MacLachlan and Maria Bello star as divorced parents whose teenage son (Josh Wiggins) faces seismic personal upheaval after an unexpected incident at a party.”  This touching (and scary and frustrating and exhilarating) coming-of-age story is truly intended for a teenage audience.  Though not without storytelling flaws (including some major tonal shifts), it’s a good film.  That said, I couldn’t help but think “Who is the intended audience for this film?” during the entire screening.  It wouldn’t work for a theatrical release…thus I think it will mostly find a home on the festival circuit and as a popular streaming film.

https://www.youtube.com/watch?v=3hfVG2u5Icw

VITA & VIRGINIA, directed by Chanya Button, was my next film.  Here’s the brief TIFF synopsis: “Gemma Arterton and Elizabeth Debicki shine as socialite and author Vita Sackville-West and literary icon Virginia Woolf, respectively, in director Chanya Button’s sumptuous double portrait of two uncompromising women and the unconventional affair behind one of Woolf’s greatest novels.”  This film has a lot of merits…but it ultimately turned me off.  There is a lot of attention to period detail, but the contemporary score pulled me out of the movie at every turn.  It’s not like a stylized use of contemporary music (ala MARIE ANTOINETTE), it’s almost a dance club beat that interrupts the drama.  (There are also a couple moments of strange, fanciful special effects that didn’t work for me…is this a trend – period films with overdone special effects?  They didn’t work in TELL IT TO THE BEES for me either.)  The best thing about this film for me is that it makes me want to pick up and re-read my copy of ORLANDO when I get home.  (there’s no trailer for this film – just the clip below)

https://www.youtube.com/watch?v=zfwQG7T9X6E

Up next was PAPI CHULO, directed by John Butler (Butler directed HANDSOME DEVIL, the awesome little film we screened last summer for our special PRIDE selection).  “A solitary and alienated television weatherman ‘hires’ a middle-aged Latino migrant worker to be his friend, in this darkly comedic reflection on class, ethnicity, and companionship in contemporary Los Angeles.”  This modest little film is funny/sad and really kind of charming…but takes a darker, sadder, scarier and then pathetic turn in act 3.  Matt Bomer lets loose in this performance, and Alejandro Patiño is hysterically dry.  It’s a sweet little matinee film, but I don’t see much of a life for it theatrically.  (there’s no trailer for this film – just the clip below)

https://www.youtube.com/watch?v=Cr3bSXRnRMI

My final film for the day was EVERYBODY KNOWS, directed by 2-time Oscar winner Asghar Farhadi…but this time he’s moved landscapes from the Middle East to Spain.  “Academy Award winner Asghar Farhadi (A Separation, The Salesman) directs Penélope Cruz and Javier Bardem in this layered, psychological drama about a family wedding interrupted by a shocking crime and some long-buried secrets.”  The performances in this film are spectacular, and I could have watched scenes from the wedding for hours – so jovial, so vibrant, so steeped in tradition.  Penelope is radiant in the opening scenes of this film (think VOLVER or BROKEN EMBRACES).  There’s so much to like.  It’s naturalistic, something terrible happens and the stakes are high…but it never seems phony.  Ultimately, I really liked this film – but it lacks the wallop of other Farhadi films.  I wanted more…but I’d also want to trim it down a bit.

I’m now at 31 films in 7 days, and I still have 2.3 days left.  I’m trending for a personal best.

Thanks for stopping by.

More tomorrow,

Jonathan

TIFF 2018 – Day #6

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Hi there, Folks!

I saw five films today, and I’m slated for five tomorrow.   (We’ll see if that happens.)

THE LIE, directed by Veena Sud, was my first film of the day.  The premise intrigued me, and then I heard a few people talk it up at a party a couple nights ago.  Here’s the brief TIFF synopsis: “In this thriller from Toronto-born writer-director Veena Sud, two parents wrestle with the consequences of their teenage daughter’s lethal mistake, proving just how far any parent would go to protect their child.”  This film has won my “most eye rolls per scene” award.  Idiot dialog.  Over-the-top moments complete with lots of furrowed brows and indicating.  It’s a turkey.  This film (ultimately about white privilege) had me wanting to leave within the first half hour.  But because all other screenings were in progress, I decided to stick it out.  I also stayed for smug reasons.  20 minutes into the film, I wrote down my suspicion as to how the film would end.  I wanted to know if I was right…and I hit the nail on the head 100%.  I really hate it when a bad film happens to an actor I like (Peter Sarsgaard).

TELL IT TO THE BEES, directed by Annabel Jankel, was my next film of the day.  “Academy Award winner Anna Paquin and Holliday Grainger star in this wrenching drama of a shunned small-town doctor and beekeeper in postwar Britain who befriends a struggling mother and son, helping them discover that love can be found in many forms.” This film is full of lovely period details and lush cinematography, but it’s the central performances that shine (while many other characters aren’t fleshed out).  It’s a slower-paced film that works on some levels, but there are plot points and character attitudes that shift and change without much notice.  In addition, there are special effects regarding swarming bees that are too over-the-top.  There’s a line that comes toward the end of the film via voiceover that says “what I saw and what I thought I saw” – and that would have been helpful at the beginning (but maybe it was there and I really didn’t contextualize it). Ultimately, the message is great – but it’s not a film that will find great commercial success.

THE PUBLIC, directed by Emilio Estevez, was shot and set in downtown Cincinnati.  “A sit-in by patrons at a public library escalates into a police standoff and a media sideshow, in Emilio Estevez’s arresting drama that explores issues surrounding homelessness, mental health, and community. Featuring Estevez, Alec Baldwin, Taylor Schilling, Jeffrey Wright, Jena Malone, Gabrielle Union, Christian Slater, and Michael K. Williams.”  This film has some powerful moments and great messages (regarding homelessness, mental health, substance abuse and public libraries as a democratic pillar), but it attempts to tackle too many storylines in a short amount of time.  The film has clearly been condensed for time, and though the narrative holes can easily be filled in by savvy viewers – it seems too choppy.  This film has a lot of heart, but it still needs some editing help to truly make it sing.

COLETTE, directed by Wash Westmoreland, was my next film.  Here’s the brief TIFF synopsis: “Keira Knightley stars in this historical drama about the eponymous French novelist, whose provocative debut — falsely credited to her husband — becomes the toast of Paris, triggering a battle for identity, equality, and self-determination at the dawn of the feminist age.”  Here’s my brief response: LOVED IT.  From the performances to the production design to the smart dialog, I really loved this film.  I’m happy to report that we have it booked to open at THE NEON on Oct. 19.  The heartfelt Q&A with this screening was spectacular…particularly Wash Westmoreland (STILL ALICE) talking about dedicating the film to his recently deceased co-director and husband.  Knightley is superb, and the history lesson has me wanting to read even more of Colette’s work (I have only read some short stories and CHERI – now I want more). From the tone and look of the trailer, I suspected I would like this film…but it delivered so much more.

BOY ERASED, directed by Joel Edgerton, was my last film of the day.  “The teenaged son of a Baptist pastor is forced into a gay-conversion program by his parents, in actor-director Joel Edgerton’s emotive drama starring Nicole Kidman, Russell Crowe, and Lucas Hedges.”  This film is meant for mass consumption – and for that reason, I give it a bit of a pass.  The cast does a fine job with the material, and certain scenes even elicited rounds of applause from the audience…but there’s something a little too sterile for me to put the film on the top of the list.  It’s as though the filmmaker was scared to get too close.  And I get it on some level.  At some point, a filmmaker (or distributor) has to ask “who do we want to see this movie?”  If the film pushed the envelope too much, then it would only preach to the choir.  In this instance, perhaps the film can actually be seen by more than the queer community…and possibly save some lives – and for that, I give it my blessing (plus the fact that Kidman is pretty awesome here).  The Q&A with Kidman, Edgerton, and the author of the source material (as well as his mother) was pretty spectacular.

Thanks for checking in,

Jonathan

TIFF 2018 – Day #5

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Hello Everyone!

I only got to see three films today.  🙁

8 o’clock this morning was my on-line ticketing window to secure tickets for the second half of the festival.  I got up early (with very little sleep), showered and got ready for the day and logged on right at 8:00…and the system was down.  I stuck around for another 15-20 minutes, hoping it would be back up.  At about 8:30, I decided to pack everything and hustle to the physical box office (which means I missed my first screening of the day).  Luckily, I beat the crowds of people who were also experiencing technical difficulties and I secured all the other tickets I wanted for the next several days.

My first screening was instead at 10:45.  FREE SOLO, directed by E. Chai Vasarhelyi & Jimmy Chin, was another film that my PR friend highly recommended (I had more faith in this film than I did in CLIMAX as it comes from the directors of MERU – which was wonderful).  Here’s the brief description from TIFF: “The documentarian duo behind 2015’s acclaimed Meru return to high altitudes, this time as renowned rock climber Alex Honnold attempts to do what no climber has done before: ascend free solo — without safety ropes — up the 3,000-foot cliff of El Capitan in California’s Yosemite National Park.”  More than just an outdoor adventure documentary, this film is also a very interesting character study about a man who had to teach himself how to hug (because it’s something people do – but he never had).  I never knew or understood exactly how much planning would go into something like this, and it’s pretty spectacular.  The last 10 minutes become incredibly emotional – for Alex’s girlfriend, the entire camera crew and the viewer.

WILDLIFE, directed by Paul Dano, was my second film of the day.  “In Paul Dano’s evocative and emotional directorial debut, a teenage boy (Ed Oxenbould) in 1960s Montana experiences the breakdown of his parents’ marriage and his mother’s (Carey Mulligan) struggle to keep their lives afloat after his father (Jake Gyllenhaal) leaves.”  This low-key and quietly observed film is about a boy who is caught in the middle of his parents’ discontent.  It’s a slow burn that actually packs quite a punch.  The production design is lovely, the performances are strong, and the “small town America” vibe seems just right.  One issue I had with the film was the teenage boy.  Though playing 14, at times it seemed like he’s pushing 25…he just has a certain look that is hard to nail down an age.  At the end of the day, it’s a really well-made film, and I think Dano will have quite a career as a director (and IFC is going to push for an Oscar nomination for Mulligan).

After the screening, I came back to my apartment and tended to some NEON business before heading to IFC’s WILDLIFE party.  I met a few new folks (cinema operators and a critic) and enjoyed some deliciously crafted cocktails.  Mulligan and Dano were at the party and seemed quite at ease…they know they have a great film on their hands.

THE OLD MAN & THE GUN, directed by David Lowery, was my last film of the day.  With scenes shot partially in Dayton, I was all the more interested to see this film.  And boy was I happily surprised.  Here’s the TIFF synopsis:  “Academy Award winners Robert Redford and Sissy Spacek lead an all-star cast, including Danny Glover, Tom Waits, Elisabeth Moss, and Casey Affleck, in director David Lowery’s true-life dramedy about an unrepentant bank robber and jail-breaker determined to live life by his own rules.”  This is one of the best films I’ve seen so far at TIFF 2018.  It’s tender and funny and laced with (non-sappy) cinematic nostalgia.  I think it’s a gem, and I’m delighted that we are set to open it on Oct. 12.  (Our FilmDayton preview on Oct. 11 has already sold out!)  Take a look at this new trailer.  Dayton (though playing the part of St. Louis in the film) is featured quite a bit!

And now I need to finish up my NEON weekly newsletter. If all goes as planned, I’ll be back to five films tomorrow.

Thanks for checking in!

Jonathan

 

TIFF 2018 – Day #4

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Hello NEON Fans,

Thanks for checking out my Day #4.

My first film of the day was SKIN, directed by Guy Nattiv.  Here’s the brief TIFF synopsis: “Jamie Bell stars in the true life story of Bryon Widner, a young man raised by skinheads, for whom turning his back on hatred and violence meant undergoing painful and expensive operations to remove the tattoos that signified his terrible past life — a process only possible with the support of a Black activist.”  This powerful story is a grim reminder that hate isn’t just something on TV in a far-away rural landscape (or public office)…it lives right next door.  With opening shots of a white supremacy group in Columbus, Ohio, the film constantly reminded me that Ohio is home to some of the most hate-fulled groups in the nation…and that’s terrifying.  This film is a tense and disturbing look into a cult of white supremacists, and it’s a reminder of how any cult can organize and assemble their followers.  They’re looking for the disenfranchised, the lost and angry, or even just the hungry – and they brainwash these people until they become lackeys.  The images are horrific, the mind-sets are intolerable, and actions  of these groups need to be made more and more public.  That’s one reason I think this film is successful…and this story in particular provides a small ray of hope and will hopefully also serve as a call to action.

THE WEDDING GUEST, directed by Michael Winterbottom, was next on my list. “A mysterious British man (Dev Patel) with a hidden agenda travels to Pakistan to attend a wedding, but things take an unexpected and dangerous turn when his plans begin to unravel.” Patel is quite good in this tight little thriller.  I know that critical response has been mixed, but I was engaged and often on the edge of my seat for this tight storytelling from the director of more recently well-known films like TRISTAM SHANDY, THE TRIP and THE TRIP TO ITALY.

THIS CHANGES EVERYTHING, directed by Tom Donahue, was next on my list.  Here’s what TIFF had to say about it: “In this timely follow-up to his documentary Casting By, Tom Donahue explores the insidious and systemic sexism in Hollywood through the voices of marquee celebrities, including Geena Davis, Meryl Streep, Sandra Oh, Jessica Chastain, and many other ambassadors of the #TimesUp movement.”  This film is a powerful exploration (with data collected by an initiative by Geena Davis) of women’s roles in the film industry…and the lack of representation (as well as the boys’ club mentality that keep them from having a place at the table).  There is some very interesting data presented in this film – particularly from the CEO of FX.  Ultimately, the film makes us understand that if we bring more women into the filmmaking fold – we’ll get better content as well as a better and stronger self-image for women and girls on a national and global scale.  The glaring issue I had with this film was the fact that it was directed by a man.  Huh?

The next film was one that I’ve been looking forward to for quite a while. IF BEALE STREET COULD TALK – directed by Barry Jenkins. Here’s the brief TIFF synopsis: “Director Barry Jenkins’ ambitious follow-up to Moonlight adapts James Baldwin’s poignant novel about a woman fighting to free her falsely accused husband from prison before the birth of their child.”  This striking film is about love (as well as an unfair judicial system and the black experience in America).  The production design is sublime and the performances are incredible.  I fell in love with this love story and the strong sense of family.

A friend of mine who works in PR convinced me that I needed to check out CLIMAX, directed by Gasper Noe…so I went to my first midnight screening of the festival.  Here’s what TIFF wrote about the film: “Set in 1996 and inspired by real-life events, the latest from art-house agitator Gaspar Noé (Love, Enter the Void) depicts the malevolent madness that envelops a dance troupe’s post-rehearsal party after a punchbowl of sangria is spiked with LSD.”  The film opens with a high energy dance performance that elicited a round of applause from the audience…then it went into a series of two-shots where people talked as though being interviewed about various life experiences (this went on way too long)…and eventually the party happened (with the aforementioned spiked sangria).  Though I appreciate the craft that goes into creating such an effective nightmare, I absolutely loathed this film.  I wanted to leave multiple times, but I also wanted to make sure I could tell you all about it.  On my way out, I heard one audience member say, “The thing that really depressed me about it [this film] is that I haven’t tripped balls like that in years.”  That response made me think, “I’m happy to be as square as I am.”

Before my last film of the day, I stopped by the Fox Searchlight party – a celebration of their two films in the festival – CAN YOU EVERY FORGIVE ME? and THE OLD MAN & THE GUN.  I met a handful of folks in the industry, caught up with a couple old friends and was within arm’s reach of Melissa McCarthy, Richard E. Grant, Casey Affleck and Sissy Spacek.  It was a fun little respite (with great appetizers and delicious cocktails), and I always appreciate being invited.

https://www.youtube.com/watch?v=DQ3Dc3poDJQ

Thanks for reading!  18 films in 4 days.  Let’s see what the next days hold…I’m trending to set a personal record.

Jonathan

TIFF 2018 – Day #3

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Hello NEON Fans!

I started off Day #3 with some big star moments.

My first film of the day was GLORIA BELL directed by Sebastian Lelio.  Lelio has remade his film GLORIA (which played at THE NEON 4+ years ago) for an English-speaking audience…this time with Julianne Moore in the lead role.  During the Q&A, Moore admitted that she had been approached to play the role, but she said she’d only do it if Lelio was attached.  (Lelio is most recently know for directing DISOBEDIENCE as well as the Oscar winning film A FANTASTIC WOMAN.)   Folks wondered why he would want to remake his own film, and he told our audience today that musicians shouldn’t be the only artists who get to re-work their art over and over “with a different band.” Here’s the brief TIFF description of the film: “Academy award winner Sebastián Lelio (A Fantastic Woman) directs Academy Award–winning actor Julianne Moore (Still Alice) in this English-language remake of his 2013 film about a free-spirited, middle-aged divorcee hoping to find love on the dance floor.”  I had an interesting response to this film.  I was completely invested, I laughed at times, I felt hurt for our lead at times.  Though engaged from beginning to end, I wasn’t 100% connecting with the material…until the last 10 minutes.  It was the final scene that completely took my emotions by surprise.  I already knew how the film would end, but I suddenly felt a connection with Gloria that made me love the entire film.  I felt a sisterhood with her, and I had a small breakdown in the theater.  This is a film for all the single people who keep putting themselves out there.

Next up was CAN YOU EVER FORGIVE ME? directed by Marielle Heller.  Here is the TIFF description of the film: “A jaded, out-of-work biographer (Melissa McCarthy) resorts to selling forged historical letters on the black market, and grapples with the ethical complications that arise, in Marielle Heller’s charming biopic about bestselling writer Lee Israel.”  Melissa McCarthy is a complete gem in this film…and it is her best work to date.  She’s still able to give us comedy, but it’s so much more human than anything I’ve seen her do before.  This touching movie has you rooting for a criminal, and she’s someone you probably wouldn’t like if you just met her on the street.  This film is polished and endearing, and I think it will find a good audience.  (I’ll attend the Fox Searchlight party for this film as well as OLD MAN AND THE GUN tomorrow night.) In person, Melissa McCarthy is smart, funny and clearly in love with the character she played and created with her co-star Richard E. Grant.  The Q&A after the screening was wonderful.

TEEN SPIRIT, directed by first-time feature director Max Minghella (son of Anthony), was my next film.  Not being a fan of any of the pop-star-creation shows (like The Voice or American Idol), my expectations weren’t terribly high.  But Elle Fanning & Zlatko Buric delivered.  Here’s TIFF’s brief synopsis: “A shy teenager dreams of pop stardom and enters an international singing competition as an escape from her small town and difficult family life, in actor Max Minghella’s (The Handmaid’s Tale) feature debut.”  I was pleasantly surprised by how invested I became in this film.  Though not without a couple eye-rolls and moments where I felt like story arcs shifted too quickly, I was ultimately a fan of this film (though the last 2 minutes left me a little flummoxed).

SPLINTERS, directed by Thom Fitzgerald, was my last film of the day.  In a word, it was terrible.  Here’s the TIFF synopsis: “Two decades after his inspired feature debut The Hanging Garden won best Canadian Feature at TIFF, Thom Fitzgerald again explores interconnections of sexual identity, family, and small-town Nova Scotia life, in this intimate drama about a young woman reassessing her relationship with her mother following the death of her father.” In most circumstances, I would have simply left the screening after 20 minutes.  But when I leave a screening early, I don’t feel like I have the right to write poor criticism.  However, because there weren’t other options for screenings this late at night and because I didn’t have any concrete post-screening plans, I stuck it out and watched the entire film (even though 90% of the audience walked out).  Though there are a couple good scenes (which come really late) and some great agricultural landscapes, this film is full of some really poor, on-the-nose performances with lots of “indicating” and over-the-top body language.  The screenplay was at times quite trite and there were moments when I wish a camera could have been on my face to show my bafflement as to what was happening on screen.  Overall, I can’t imagine this film ever getting picked up for American distribution.

I stopped for a quick beer before coming back to my Airbnb apartment, and I ended up running into a couple industry folks that I knew.  Upon hanging out with them for a few moments, I was then introduced to someone who I have been e-mailing for years.  It was fun to put a face with a name, and we chatted for about an hour before I decided I needed to get back to all of you.

Thanks so much for taking the time to read my rundown of Day #3.

More tomorrow!

Jonathan

TIFF 2018 – Day #2

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Hello NEON Fans,

I caught four films today.

My first film of the day was DUELLES (MOTHERS’ INSTINCT), directed by Olivier Masset-Depasse.  This domestic, period thriller has made an interesting choice in renaming itself for English speaking audiences.  Whereas the French title actually means “dual,” they’ve gone a different direction by calling it “Mothers’ Instinct” for English speakers. Here’s the short synopsis from TIFF: “When a sudden tragedy uproots the lives of two women and their families, they begin to question the relationships they once held so dear, in this psychological thriller from Olivier Masset-Depasse (Illégal).”  This doesn’t really tell you much of anything…so I’m going to spoil the first 12 minutes.  A little boy is involved in an accident that results in his death, and the neighboring mother who witnessed the accident begins to feel as though the boy’s mother blames her for not saving the day.  As the story progresses, more unfortunate circumstances occur, and the mother in question begins to feel more and more suspicious.  We often wonder “is this maternal instinct at work…or is this just paranoia (bordering on mental illness)?”  Some of the score at the beginning of the film sets up the idea that we might not have the most reliable narrator, so we as audience members have to doubt whether or not we are always shown the truth.  Though the film works on a number of levels, there’s ultimately something missing. I’m glad I saw it, but it’s not a masterpiece.

FIRECRACKERS, a French Canadian film from director Jasmin Mozafarri, borrows a lot of spirit and tone from FISH TANK and AMERICAN HONEY.  Here’s TIFF’s short synopsis: “An intense drama about two young women desperate to escape their repressive small town, whose friendship is challenged after a night of debauchery threatens to undo their grand plans for freedom.”   The yearning to escape their current life is honest, the performances are rich, and the camera is restless.  But I couldn’t help feeling that we’d seen this before (and better) from Andrea Arnold.

And finally…a Masterpiece.  CAPERNAUM, directed by Nadine Labaki, is a film that will clearly be a highlight for me at this year’s festival.  I fell in love with Labaki with her film CARAMEL that played at the festival (and at THE NEON) several years ago.  She’s a gifted director and a talented actress.  Here’s the brief synopsis from TIFF: “Nadine Labaki (2011 TIFF People’s Choice Award winner Where Do We Go Now?) explores the lives of children living on the fringes of Lebanese society, in this political and heartbreaking story of a young boy who sues his parents for bringing him into the world when they couldn’t properly care for him.”  This film is about so many things, and it’s Labaki’s call to action for us to help the disenfranchised children of the world…and for the people who need paperwork to prove their worth.  This film is heartbreakingly honest, and I couldn’t avert my eyes.  The central performance is so strong – among the best child performances ever on screen.  With over 500 hours of material shot for this film, the documentary-like style helps create a realism that is so refreshing in a narrative film.  This movie has been picked up by Sony Classics.  That means THE NEON will almost certainly play it…and I have a feeling it will almost certainly be nominated for “Best Foreign Film” this year.

BEAUTIFUL BOY, directed by Felix van Groningen, was my last film of the day.  Though van Groningen was the only person to introduce the film, the audience was in for a treat when the cast and authors of the source material all came onstage after the screening for a Q&A.  Here is the brief TIFF synopsis: “Based on the bestselling pair of memoirs by father and son David and Nic Sheff, Felix van Groeningen’s film chronicles the heartbreaking and inspiring experience of survival, relapse, and recovery in a family coping with addiction over many years.” Timothée Chalamet gives another Oscar-worthy performance as a boy dealing with drug addiction, and his performance along with Steve Carell’s, are what help to keep this film above water – they are both magnificent.  The repetition of using, recovery, relapsing, recovery is all part of  how recovery from drug addition often works, but it becomes a little exhausting as a narrative device (as I’m certain it does for the families dealing with this very issue).  I think this film could be used as a tool, and I think as the death toll rises annually for drug overdoses, it’s a much-needed topical film about an epidemic that is plaguing us.

I met up with a friend for a couple drinks after my screenings this evening, and it was good to catch up (and realize that he’s even working with more people I know).

Looking forward to a couple even bigger films tomorrow.

Thanks for reading,

Jonathan

 

TIFF 2018 – Day #1

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Hello!

Thanks for checking out my daily TIFF blog.  I hit the ground running on the first day of TIFF…I saw 5 films.  4 of the screenings were strictly with press & industry folks, and one was public screening that had all the glitz and glamour of the fest (red carpet, big stars, etc.).

First off was DOGMAN directed by Matteo Garrone.  Here’s the festival’s brief synopsis: “In the latest from Matteo Garrone (Gomorrah), mild-mannered Marcello spends his days grooming dogs, hanging out with his beloved daughter and, like most of his neighbourhood, trying to avoid Simoncino, a former boxer and resident bully with whom Marcello uneasily coexists — until a double-crossing prompts an ugly act of vengeance.”  This was the first of two Italian films I saw today – both shot in rather desolate locations that aren’t the Italy we’ve come to know in classic cinema.  This little film started out with some glimmers of hope, but it got really dark really fast.  I loved the protagonist, and I believed his trajectory, but this film isn’t for everyone.

https://www.youtube.com/watch?v=LI2JE_xjAaY

NON-FICTION, directed by Olivier Assayas, was next on my list.  Here’s the festival’s brief synopsis: “French auteur Olivier Assayas probes the promises and pitfalls of art in the age of digital communication, in this comedy about a Parisian publisher (Guillaume Canet) and his successful-actor wife (Juliette Binoche) adapting to the new-media landscape.”  This film covers all the bases in the debate/discussion of whether the digital age is helping or hindering society/artists/publishers/basic human communication.  Though it certainly has some insightful and funny moments, I found it to get tedious after a while.  When it comes to Assayas, I think my favorite is still SUMMER HOURS.

BURNING, directed by Lee Chang-dong, was next on my list.  Here’s TIFF’s brief synopsis: “In this thriller from director Lee Chang-dong, based on a short story by Haruki Murakami, a young man grows suspicious about the motives of a deceptive interloper who is hanging around with his childhood friend–turned–burgeoning love interest.”  This slow burn thriller is heavy on the “slow”…I could easily remove 40 minutes from its 2 Hr 28 Min runtime.  There were certainly some moments that worked, but I looked at my watch one hour in and couldn’t believe we weren’t at the half way point yet.

GRETA was my first public screening of the festival.  Here’s the brief synopsis from TIFF: “Isabelle Huppert teams with writer-director Neil Jordan to play the title role in this psychological thriller about a lonely, mysterious widow whose friendship with a naïve young woman (Chloë Grace Moretz) takes on an increasingly obsessive and sinister air.”  I was delighted that Jordan, Huppert and Moretz were all in attendance…as was Maika Monroe – a supporting star who stole several several scenes while on screen.  (Interestingly, Chloë Grace Moretz is the lead actress in the Opening Night Film of this year’s Dayton LGBT Film Festival – THE MISEDUCATION OF CAMERON POST.)  The film is glossy and full of some fun choices…but it’s perhaps the most over-the-top and campy thriller I’ve seen in years.  At one moment, when a major plot point is revealed, the audience burst into laughter and I immediately thought “Is that what Jordan intended – or was that supposed to be a gut-punch?”  Some of the music cues are so big, and some of the decisions are so on-the-nose – I couldn’t decide how I was feeling for most of the film.  But by the end, I was rooting for the protagonist and laughing along with the brilliant Huppert.  (I’ll post a picture I took of the cast on our FACEBOOK page.)

VICE OF HOPE, directed by Edoardo de Angelis, was my last film of the night.  This was the second film of the day set on the bleak seaside of Italy.  Here’s the brief TIFF synopsis: “To support her family, Maria works as a trafficker of surrogate mothers, transporting them from place to place along a river — but when one disappears, Maria is left with the task of finding her and must enter deeper into a world she wishes to escape.”  This film had more walk-outs than any film I can recently remember.  Granted, it was late at night and there were lots of parties going on, but I couldn’t bring myself to leave.  This was a world I’d never seen before, and Maria, the lead character (played by Pina Turco), was someone I really wanted to see overcome the odds.  Given the subject matter, you can’t escape the overall sad and desperate and humiliating tone of the film…but there were always glimmers of hope – and that’s what kept Maria going (as well as the viewer…well at least for me).

No parties tonight for me.  I’m going to bed early and looking forward to another full day tomorrow (though maybe only 4 films).

Thanks for reading,

Jonathan

TIFF 2018 – Preparing For The Festival

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Hello NEON Fans,

Thanks for checking in with me as I prepare to immerse myself in new cinema for the next several days.  I’ve toiled over the line-up and come up with a list of about 15 must-see films.  I’ve also got over 40 “possible” titles that I will continue to explore and try to fit into my 30+ films that I’ll cram in between Sept. 5 and Sept. 14.

I’m now in Toronto, I’ve picked up my credentials, and I have secured a handful of tickets that were high on my list…but the next step is to start listening to buzz, check in with friends from the industry and structure my first few days at the festival.

Here are a few trailers for a smattering of films that I’m excited to see:

Check in again soon at www.mostmetro.com/tag/tiff for new entries.  I’ll blog each day so I can try to keep my thoughts straight!

Thanks for reading,

Jonathan

 

TIFF 2017 – Day #9

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Hello Everyone,

Today was my last day of screenings at TIFF 2017.  I’ve been all around the world on this trip to Toronto, and I ended up beating my record by one film this year.  In all (meaning I sat through each film entirely – I don’t count or report on the films I walk out of), I saw 34 movies…and I had a marvelous time.

My first film today was KINGS, directed by Deniz Gamze Erguyen.  Because Erguyen had directed MUSTANG (nominated for “Best Foreign Film” Oscar in 2016), I was looking forward to this film about a family caught in the middle of the L.A. riots starring Halle Berry.  Unfortunately, it’s a mess.  The family dynamics are complicated (Berry is a single mother and a foster mother to several children).  She bakes cakes for clients around town and relies on her oldest son to help keep all the kids in check.  Daniel Craig plays a crazy next-door-neighbor who likes to yield and occasionally shoot a shotgun into the air.  As racial tensions are escalating after the brutal police attack on Rodney King, Berry’s family is also going through transition…and everything starts to boil at the same time.  Erguyen attempts to inject the film with some visual poetry of lava boiling under the earth’s surface, but tonally it doesn’t work with some of the silliness we’re seeing on screen (like Berry’s outer space sex dream).  I wanted to like this film, but it just didn’t work.

Next up, I saw DON’T TALK TO IRENE, directed by Pat Mills.  We had Mills as a guest at the Dayton LGBT Film Festival a couple years ago, and I’ve been anxious to see what he would do next.  I’ll be honest, the trailer wasn’t doing much for me…but the film ended up being pretty terrific.  This charming (yet unafraid to be crude) tale of an overweight high school outsider who wants to be a cheerleader is very funny and engaging.  When she gets suspended at school, she has to do volunteer work at a retirement home as punishment.  What results is hilarious and quite touching.

https://www.youtube.com/watch?v=56xfd8POz4c

My last film of the day (and of the festival) was MY DAYS OF MERCY, directed by Tali Shalom-Ezer and shot in Cincinnati.  Dayton’s own Karri O’Reilly served as executive producer, and she invited me to be her “Plus One” for a lovely dinner & the film’s international premiere with some of the cast and crew (including the director, the Director of Photography, folks from Killer Films and more).  After the dinner, we all walked down the Red Carpet with fans, reporters and paparazzi clicking photos and hollering out for “Ellen” as we walked by (Ellen Page was right behind us, and everyone was hoping to get a great picture or an autograph).  The film was introduced by the director and all the key people from the film were onstage and thanked.  The film is a lovely, quiet romantic story about two women on opposing sides of the death penalty debate.  Starring Ellen Page, Kate Mara, Amy Seimetz, and Charlie Shotwell – the performances are all very strong.  This was the first time that many of the people involved with the film had seen it since the score had been added, and the crowd reaction went over quite well.  I think this film will find distribution, which doesn’t hurt to help secure even more films from shooting in the area.

So now I’m done with TIFF 2017.  I’ve seen some tremendous work, a few stinkers and quite few films that I think will do well at THE NEON.

Thanks so much for joining me on my cinematic journey.  (Below are a few pics from last night’s premiere.)

See you at the movies,

Jonathan

MANY CONGRATS to Karri O’Reilly & Her Team for a great film and a great premiere!

Filmed In Ohio, Debuting at Toronto Film Festival

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About a year ago FilmDayton made a set visit with some City of Dayton workers down to  Loveland,  to observe the filming of Mercy.  Executive Producer Karri O’Reilly, who is also a board member of FilmDayton showed us around the set, including  the small bar they took over where Ellen Page was filming a scene, an alley where craft services had set up, around the block where the costume, make up and artist trailers where parked and so much more.  The purpose of that visit was to show firsthand the impact a film can have on the local economy.
Tonight that film, now titled My Days of Mercy, is the focus of a Gala at the Toronto International Film Festival.  The film stars Oscar nominee Ellen Page as Lucy, the daughter of a man on death row. She and her sister Martha (Amy Seimetz) are regular attendees at state executions across the Midwest, where they demonstrate in favor of abolishing the death penalty. At one such event, Lucy spots and eventually falls for Mercy (Kate Mara), daughter of a police officer whose partner was killed by a man about to receive a lethal injection. Mercy is there to celebrate justice served.

This is the fourth film made by NY production company Killer Films in Ohio.  “What initially brought us there was the state tax incentive,” said David Hinojosa, the company’s head of production and development. “It was very attractive.”  The Ohio Motion Picture Tax Credit provides a tax credit of 30 percent on production cast and crew wages plus other eligible in-state expenses.  Killer leveraged the Ohio tax program by hiring a majority of its production crew from the region instead of bringing workers from out of state.

 

O’Reilly explains that while the film was based in Cincinnati,  due to the geographic closeness of our cities, a film being made in the region is a win for FilmDayton.  Whether it’s hiring crew or using local vendors, the Dayton and Cincinnati markets often overlap and that helps the Miami Valley, which is just starting to establish its film commission.

 

When a film like Mercy debuts at a major festival, O’Reilly explains that “it means lots of good recognition” for Ohio.  Area films are repeatedly showing up at the major film festivals.  The Killing of a Sacred Deer starring Colin Farrell  and Nicole Kidman debuted at Canne this year.  In 2016 three Ohio films debuted at Sundance:  Goat (which O’Reilly co-produced), The Land and The Fits. 

 

These movies mean jobs and money for our region.  The Mercy spend was about $225,000 and the recent Robert Redford that shot for 2 days in downtown Dayton spent over $8000 with the City of Dayton for police services and parking, $7000 on hotel rooms at the UD Marriott, hired over 100 extras and had a crew of 75, used a local dry cleaner, bought late night pizzas from Marion’s Piazza and became repeat customers at Table 33.  Crew payroll added even more to the local spend.

 

FilmDayton works to bring these jobs to town that pay well, are mainly union positions which means  benefits and pensions for our local filmmakers.  “Being able to offer Wright State University motion picture students hands on experience in their chosen career field is a real benefit to the region,” shares FilmDayton’s Lisa Grigsby, “and and go along way to keeping young, talented filmmakers in our community.  We don’t receive any funds from the productions we work to bring to town, we depend on contributions, and sponsorships from those that understand the economic impact these productions have on our town.  You can help keep the spotlight on the Miami Valley by making a contribution, volunteering your house, office or property to be added to our location database or volunteering for FilmDayton.”

TIFF 2017 – Day #8

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Hello Everyone,

I’m starting to slow down.  A bit exhausted and a little sore (eyes, butt, etc.), it was time to scale back to four screenings today. Tomorrow will be my last day, and I’ll see even fewer because I have a big event on the books.  Dayton-based producer Karri O’Reilly (who has worked on numerous feature-length films around the world including BLUE CAR and CAROL) has a film premiering tomorrow night – MY DAYS OF MERCY (which shot in Cincinnati) – and she has invited me to be part of the festivities.  You’ll get all the latest before I head out of town on Saturday afternoon.

My first film for today was FILM STARS DON’T DIE IN LIVERPOOL, directed by Paul McGuigan.  Starring Annette Bening and Jamie Bell, this is the story of movie star Gloria Grahame and the last of her May-December romances.  At first, I found Bening’s accent and whispy delivery a little hard to take, but I eventually accepted it and fell for the chemistry of her and Jamie Bell (who is absolutely darling in this film).  The film has a jumpy structure, and I fear that some of our regulars (who prefer linear storylines) might get a little confused regarding the timeline.  Regardless, I think this is a film that could do well for us – especially if Bening gets an Oscar nomination.

MUDBOUND, directed by Dee Rees (PARIAH), was my second film of the day.  This film will get a very limited release (NYC and LA) and then go straight to streaming service on Netflix…which is too bad – because it works really well on a big screen.  That said, I think it will still be a big award contender this year.  With multiple protagonists/narrators, this is the story of two families in the deep South during World War II.  The racial tensions are heavy, and the stories are so well developed – a white family and a black family are trying to do the best they can for their families as they farm their land and try to encourage their children to excel.  This film, though set 80 years ago, is very timely…and it will break your heart.

DARKEST HOUR, directed by Joe Wright, has a lot of Oscar buzz for Gary Oldman playing Winston Churchill.  This is a film about the weeks leading up to Dunkirk…which has been a very popular theme this year (CHURCHILL, THEIR FINEST, DUNKIRK, and some television too).  This film is very polished and has some really wonderful moments, but I don’t completely agree with the Oscar buzz.  Is it a complete transformation?  Absolutely!  But I think his performance borders on camp – as some of his choices are very hammy and singsongy.  So I’m guessing I’ll be in the minority on this one.

MARROWBONE, directed by Sergio Sanchez (THE ORPHANAGE), was my final film of the day.  This ghost story/thriller is in the vein of THE OTHERS and SIXTH SENSE – but is clearly made for a more tweenage crowd.  It’s the story of a group of kids who lock themselves away from the world after the death of their mother.  With lovely photography and successful moments intended to make your jump, it works on a certain level…but the story too conveniently leaves out important plot points so it can reveal them later – which feels like cheating.  I also felt like some of the revelations were trite while others were genuinely fresh.

https://www.youtube.com/watch?v=1FaRYVCZZyo

Only one day of screenings left.  In some respects, those first movies I saw exactly a week ago seem so far away…but it also seems like I just got here yesterday.

I’m going to try and get a good night of sleep so I don’t scare people with bloodshot eyes tomorrow.

Thanks for reading,

Jonathan

TIFF 2017 – Day #7

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Hello Everyone,

Today was another day with 5 films…and it was an impressive day of films. That said, I’m not quite certain how/why I’m still standing.

LEAN ON PETE, the new film from Andrew Haigh (WEEKEND, 45 YEARS) was my first film of the day.  This is a touching story about a teenage boy who is mostly left to fend for himself – his mother abandoned the family and his father works a lot and is consumed with a new relationship.  While on a morning run, the boy stumbles across a race track stable and is taken with the idea of getting to know how to tend horses.  Lean on Pete is an older quarter horse with whom the boy becomes enamored, and a slow, eloquent, sad story follows.  This film won’t be for everyone…and though I didn’t like every turn it took, I ultimately think this film is a gem.  (there is no trailer yet for this film)

A FANTASTIC WOMAN, the second film in the festival directed by Sebastian Lelio, was my next film for the day. It is brilliant!  When her boyfriend wakes up not feeling well and dies due to complications of an aneurysm, Marina notifies the family…and trouble ensues.  Marina is a trans woman, and the family doesn’t want her to be a part of the man’s wake.  Sad and inspiring and with a couple fantastical moments, this movie will end up as one of my favorites of the festival.

PROFESSOR MARSTON AND THE WONDER WOMEN, directed by Angela Robinson, is the story of William Marston’s polyamorous relationship and the creation of the Wonder Woman comics.  The story focuses heavily on the controversy of the early days of the comic that included lesbianism and BDSM.  Though beautifully shot and containing some wonderful performances, there were some details that kept me from fully embracing this story.  The script seemed contrived and too easy at moments, and the framing device of a hearing with Child Study Association of America could easily have been a powerful scene instead of a recurring element that ultimately weakens as the film progresses.  This film will find an audience, but its rough edges will keep it from going too far.

FACES PLACES, the new documentary from Agnes Varda and JR, is a cinematic, magical gift. I adore so much of Varda’s work, and this film was just the warm and joyful and insightful film I needed.  If you have a chance to see it on the big screen, don’t miss it!  Check out the trailer below for a taste. (added note: JR was in Dayton several years ago with his mobile photo printing truck!  You might remember large scale photos pasted to the Dayton Art Institute and the former Chin’s building.)

LOVING PABLO, directed by Fernando Leon de Aranoa was my last film of the day.  This is the story of Colombian drug lord Pablo Escobar as told by one of his lovers – famed journalist Virginia Vallejo.  This engaging story has two great central performances from Javier Bardem and Penelope Cruz.  And though I was fully engaged and admired many of the filmmaker’s choices, I found some of it hard to take.  When rampant killing sprees are backed by celebratory-like rock music, it seems as though the filmmaker is elevating the crimes to “rock star” proportions.  Almost as though they should be admired (which doesn’t sit well for me).  Overall, I liked the film…but I doubt I’ll revisit it.

https://www.youtube.com/watch?v=NSDaVVqAm4o

Thanks so much for reading.  Only two days left for my festival experience.

More soon,

Jonathan

TIFF 2017 – Day #6

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Hello Everyone,

Today was a busy day.  I considered seeing 6 films, but I was backed up with NEON obligations (the weekly newsletter, emails, etc.), so I only saw 5…and then met a friend for a quick drink at a little gay industry soiree.  (I’m exhausted.)

My first film of the day was THE WIFE, directed Bjorn Runge and starring Glenn Close and Jonathan Pryce.  This film opens with a husband and wife preparing for bed and awaiting big news.  Within the first few minutes, we find out that he has just been awarded the Nobel Prize for Literature, and the couple are off to Stockholm to receive the award.  Close’s reactions seem supportive but with reservation.  It’s clear that something more is simmering under the surface.  Though well done, this film is pretty simple. The handful of flashback scenes almost do the film a disservice – as they aren’t particularly well done (and performances don’t live up to Close’s).  I think this film will find an audience, but its slow pace and somber tone will mean a limited reception.

I, TONYA, directed by Craig Gillespie, was my second film of the day.  This film is based on actual interviews about Tonya Harding and the assault of Nancy Kerrigan.  The film is a mix of colorful characters, and on the surface it seems like fun.  That said, there are moments when characters break the fourth wall…and those moments made me feel that they were making light of the domestic violence in the film – and that was hard to stomach.  Overall, it’s a good film with an absolute standout performance by one of Dayton’s own – Allison Janney (people are buzzing about a supporting Oscar nomination).  I think many people will love this film, but I have some major reservations.  The film made headlines a couple days ago when  it got picked up for distributional after a festival screening.

BPM (BEATS PER MINUTE), a narrative feature about ACT UP PARIS, directed by Robin Campillo, was my third film of the day.  This tender and engaging film about a group of activists during the height of the AIDS epidemic had me rather emotional.  There tactics were rather non-traditional and a bit aggressive, but they were clearly responsible for the government taking notice.  Though there are a couple narrative arcs in the story, it’s the one about the young couple (one positive and the other negative) that will break your heart.

A much-hyped film that made its premiere at Sundance – THE DISASTER ARTIST, directed by James Franco – was my next to last film of the day.  This film is about the making of THE ROOM – a film that is regarded as one of the worst films ever made.  Franco plays Tommy Wiseau – the director of the terrible film…and his brother James plays Greg Sister – Wiseau’s friend, co-star and collaborator.  This movie works without knowing anything about the film on which it is based…but it helps.  Franco’s performance seems so weird and out-of-control – but it’s truly based on a terribly odd man.  This film is destined for cult status – much like THE ROOM itself.

My final film of the day was a documentary called SCOTTY AND THE SECRET HISTORY OF HOLLYWOOD, directed by Matt Tyrnauer.  This is the story of a former Marine who opened a gas station in L.A. and catered to the sexual desires (either by himself or by finding and providing specific requests) of numerous Hollywood legends from the late 40’s to early 80’s.   Based in part on Scotty Bowers’ tell-all book about his time and clients at the gas station, this films starts off like a gossipy recount.  But then it turns into so much more.  Unapologetic and full of stories, Scotty is quite a character and the film is both hysterical and terribly sad.

I have 5 films slated for tomorrow, too.

Thanks for reading!

Jonathan

TIFF 2017 – Day #5

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Hello NEON Friends,

Today was a long one.  I saw 4 films that had me buzzing to three different venues around town – so there wasn’t much time for food and other such nonsense.

First off was DISOBEDIENCE by director Sebastian Lelio.  This quietly stirring film from the UK stars Rachel Weisz and Rachel McAdams, and the story centers around a woman who is returning to her Orthodox Jewish home after the death of her father.  It’s immediately clear that she is now an outsider, but even more tension seems to exist between her and two old friends.  The way in which this film reveals itself is quite lovely, but I feel like the pace might be a bit too slow for many who might initially be attracted to casting alone.

Next up was UNICORN STORE – the feature-length directorial debut from Brie Larson.  Larson introduced the film and she is one of the most gracious and sincere artists I’ve encountered (she thanked the projectionists, the sound people and everyone behind the scenes).  Because her mother couldn’t attend the screening, she took a picture of the audience (and I captured this sweet moment below).  The film is about a young woman who doesn’t make it at art school and moves back in with her parents.  She suffers from a certain woman-child issues…still wanting everything sprinkled with glitter and painted with rainbows.  When she finally lands a job, she receives an invitation to come to a secret store where a man offers her the ability to buy a unicorn.  This film certainly had fans in the audience…and it is very competently done (cinematography is nice, editing is solid, etc.) – but the story is relatively hokey and I couldn’t buy into it.  The sentiment of continuing to believe in magic and resisting to fit the mold is sweet, but I just couldn’t help but think “grow up.”

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI, the new film from Martin McDonagh (IN BRUGES) was my next film.  Frances McDormand is incredible in the rather rough film about a woman who is trying to get the police to get more involved in finding the person(s) who raped and murdered her daughter.  With a tone not unlike some Coen Brothers material, this script is excellent (though many of these unlikable Southern characters use language that really makes me wince) and I think audiences will really embrace this film.  McDonagh, McDormand and Sam Rockwell were in attendance, and the Q&A was superb.

My final film for the day was one of the best films I’ve seen so far – THE SHAPE OF WATER from director Guillermo del Toro.  This fairy tale for adults will almost certainly receive a lot of Award Recognition this year.  Set in the 60’s, the story follows a mute cleaning lady who stumbles upon a government secret – an underwater creature with whom she begins to feel an attachment.  This really wonderful film is almost of hybrid of CREATURE FROM THE BLACK LAGOON and AMELIE…a fantastical romance that is very much for adults.  There are a couple scenes in the movie that are set in an old cinema…and the setting was actually the the old theatre where I saw the film.  The crowd went nuts – it was a magical moment. Del Toro, Sally Hawkins Octavia Spencer, Richard Jenkins and Michael Shannon were all there for a Q&A that was incredibly special. Hawkins is sheer magic – and should certainly be nominated for her performance.

It ended up being a very late night, and I’ve got at least 5 films scheduled for tomorrow.

Thanks so much for reading,

Jonathan

TIFF 2017 – Day #4

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Hello Everyone.

I just got in from a very full day.  I left the condo at 7:45am and returned at 1:45am.  I saw 4 films and countless celebrities…ranging from Emma Stone and Steve Carell to Judi Dench…and then several folks at a Fox Searchlight party including Nicholas Hoult, Octavia Spencer, Michael Shannon, Sarah Silverman, James McAvoy, and more.

The first film I saw today was a highly anticipated film (in some circles) from auteur Darren Aronofsky (director of BLACK SWAN).  It’s called MOTHER!, and I absolutely loathed it.  Though Aronofsky is a master craftsman, I’m simply not interested in his stories.  I often find his metaphors rather obtuse, and in the case of this film, the violence and brutality in the third act is just too much.  This is on the bottom of the list for me so far this year.

I cleansed the palette with JANE, a new documentary about Jane Goodall directed by Brett Morgen (director of THE KID STAYS IN THE PICTURE).  This new film is largely constructed from footage that was recently discovered (thought to have been lost) that was shot in the 1960’s by renowned National Geographic photographer Hugo van Lawick.  With a tremendous score by Philip Glass, the film is a love story and a gorgeous portrait of Goodall’s early monumental work with chimpanzees.  To make it extra special, Goodall was in attendance, and seeing her speak has been a highlight of the festival.  She’s so inspiring and commands attention through her passion, grace and eloquence. When she was approached to be a part of this documentary, she said “Not again,” but agreed nonetheless – and she said it’s been one of the best experiences of recounting her work. (below is a photo I took…there is no trailer available yet for this documentary)

VICTORIA & ABDUL, the new film by Stephen Frears, was next on the list.  And it didn’t disappoint.  (Fears has had an incredible career.  From MY BEAUTIFUL LAUNDERETTE to DANGEROUS LIAISONS to THE GRIFTERS to MRS. HENDERSON PRESENTS to PHILOMENA – many of his films are quite special to me.) This elegant period piece is not at all stuffy or staid, it’s actually quite funny and charming, and the chemistry between Dench and Fazel is magic.  This is a story about Queen Victoria’s later years and how she befriended an Indian man who was initially only intended to present her with a special gift from India.  This true story, which was supposed to have been wiped from the history books by Victoria’s son – King Edward VII, was discovered several years ago by author Shrabani Basu. I know that our audiences are going to love this film when it opens on October 6.  Extra special…Dench and many others were in attendance for a Q&A.

BATTLE OF THE SEXES was my final film of the day (though the after-party was something special too).  Directed by Jonathan Dayton & Valerie Faris (directors of LITTLE MISS SUNSHINE), this film is so much more than the shenanigans of Steve Carell featured in the trailer.  Based on the true story of Billie Jean King and her famous match with Bobby Riggs, we actually end up getting a lot of King’s personal struggle to live her own truth.  With a strong screenplay and strong performances across the board, I think we’ll do well with this film when it opens on Sept. 29 (this date just got bumped up over the weekend).  Extra special…Billie Jean King, Emma Stone, Steve Carell, Sarah Silverman, the directors and many others were in attendance for a Q&A.

After my final screening, I went to Fox Searchlight’s party that was held to celebrate the three films playing at the festival – BATTLE OF THE SEXES, THE SHAPE OF WATER and THREE BILLBOARDS.  This was the party to be at last night.  The cocktails and food were spectacular, and everywhere you turned, stars were everywhere – from Stone and Silverman to Michael Shannon, Octavia Spencer, Richard Jenkins, Rachel Weisz and Nicholas Hoult.  What a night!

Thanks for reading!

Jonathan