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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.

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.

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.

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.

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

 

TIFF 2017 – Day #3

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Hello Everyone.

I had a couple nice surprises today.  Though I have liked some of Alexander Payne’s work (I adored his short in PARIS J’TAIME and I liked DESCENDANTS and NEBRASKA and ABOUT SCHMIDT), I wasn’t terribly excited about seeing DOWNSIZING.  It’s a satirical allegory about a man who decides to partake in a new government subsidized program that shrinks you – thus taking up less space, consuming less food, etc…it also allows you to live a potentially more lavish lifestyle – because your dollars go further when you need less of everything.  I wasn’t prepared for just how funny this film was going to be…yet still provide a mirror to contemporary injustices.  Critical response has been mixed, but I was engaged from beginning to end and liked what this film had to say.

Next up was the world premiere of THE CHILDREN ACT, directed by Richard Eyre (director of IRIS and NOTES ON A SCANDAL).  Emma Thompson and Stanley Tucci star in this British film about a family court judge who must determine difficult cases – i.e. should a set of conjoined twins be separated if one will certainly die even though they’ll both die if left conjoined.  The screenplay is so smart, and Thompson is in top form.  There is no trailer yet for this film, and it has not been picked up for distribution…but I’m certain it will.  Thompson and others were there to introduce the film and then answers questions after the film.  It was a wonderful Q&A and I did manage to get a couple pictures. (there is no trailer yet for this film)

My last film of the day was the terribly dark and disturbing film THE KILLING OF A SACRED DEER, directed by Yorgos Lanthimos.  (This film was shot in Cincinnati!) Starring Nicole Kidman and Colin Farrell, this film will is about a teenage boy who forms a relationship with the doctor who he believes is responsible for the death of his father.  After he befriends the entire family, he begins to terrorize them. With parallels and similarities to Greek tragedy (and in my opinion – Michael Haneke), this film is a in a category of its own.  The performances are intentionally a bit stifled and peculiar, but everyone is 100% invested in the off-kilter world that Lanthimos has created.  The sound design and score are an eerie and terrifying addition, and many audience members didn’t know what to make of this film.  (Which is kind of what happened with the diretor’s most recent film THE LOBSTER.)  Though I applaud the craft and was entirely absorbed during the screening of this film, it’s one that I have no intention to see again.  In my opinion, DOGTOOTH is still this director’s masterpiece. (my pic from the Q&A is below)

 

Thanks for reading!

Jonathan

TIFF 2017 – Day #2

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Hello Everyone.

Today was my 2nd day of screenings for the festival, and the first film I saw was ON CHESIL BEACH, directed by Dominic Cooke – based on the novel by Ian McEwan (McEwan wrote the screenplay too and was part of the Q&A).  This very British film has an incredible central performance by Saoirse Ronan.  Set mostly in the 1960s, the film is about two newlyweds who are having trouble consummating their relationship while on their beachside honeymoon. A series of flashbacks help us understand their backstories and courtship, and the story is beautifully told.  The film might be described as a bit staid by some, but I think it’s quite eloquent…though it could use one more cut.  There are a couple scenes that are absolutely brilliant, and I think this film will eventually find distribution.

GRACE JONES: BLOODLIGHT AND BAMI was the second film I saw today.  Directed by Sophie Fiennes, this documentary was funded by folks in Ireland and the UK.  Though Ms. Jones is an exceptional and striking performance artist, this film is entirely too long given the footage on display.  It makes sense that the director attempted to make an unconventional doc given her subject, but the grainy (VHS-looking) quality of the footage does a disservice to the material – especially the concert footage.  There are a lot of gems in this film, but an hour-long version would be much stronger.  (And I’d still love to see a documentary that contextualizes Ms. Jones and her artistic process in the fabric of the music scene.)

LADY BIRD, Greta Gerwig’s feature-length directorial debut, was the winner for today.  Saoirse Ronan stars as a high school senior living in Sacramento, California who really wants to get out of town, and her parents are expertly played by Laurie Metcalf and Tracy Letts.   This quirky comedy seems to have flavors of so many people with whom Gerwig has worked.  It’s a little bit Baumbach, a little bit Stillman…but still a whole lot of Gerwig. This film is a treat.  (Timothee Chalamet also has a small part in this film.  This officially makes Saoirse and Timothee two of the “It” gang for the season.  Both have incredible ranges and are a joy to watch on screen.)  During the Q&A (check out the photo I took below), Gerwig said that the film is about realizing how much you love something as you’re preparing to leave.  When she came to the stage to a standing ovation, she was in tears.  This personal film is certainly worth celebrating, and it’s clear that the film is coming from someone with a sincere, lovely attachment to the material.

During the Q&A, Gerwig also noted that the casting of Saoirse Ronan was born at TIFF in 2015.  The two both had films at the festival that year (BROOKLYN and MAGGIE’S PLAN) – and that’s when they met and read the script together in Ronan’s hotel room (Ronan read the lead and Gerwig read all the other parts).  Gerwig knew that Ronan was perfect for the role, and she pushed back production by 6 months to make certain it would work for everyone’s schedule.

I capped off the night at a fun party hosted by IFC with a couple friends who I met in Dayton over the years.  My friend Glenn works at Dolby and was a guest of the Dayton LGBT Film Festival several years ago (we’ll see several films together over the next few days), and Charlie is a publicist (representing a great roster of films this year) who regularly visits Dayton with his partner who grew up in Miamisburg.  It’s been great catching up with both of them.

Thanks for reading!

Jonathan

TIFF 2017 – Day #1

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Hello NEON Supporters,

Yesterday was a super easy day of travel.  Though there was one minor delay with a flight, we made up for it in the air…and customs was a breeze.  I was on a bus en route to the subway within 15 minutes of landing (perhaps an all-time record).  After about 40 minutes of travel to get to the central hub for Press & Industry folks, I got my credentials and first round of tickets, and I was feeling good.

Though my check-in with my airbnb was rather frustrating, I managed to get a lot of work done for the LGBT Film Fest while I awaited the key to my room…so yesterday was productive (albeit in a rather corporate setting and not on the streets of Toronto).

Today was my first day of screenings…and I’m off to a good start.

My first film this morning was LOVELESS – directed by Andrey Zvyagintsey (director of LEVIATHAN – nominated for “Best Foreign Film” a couple years ago…and won the Golden Globe). This Russian film won the Jury Prize at this year’s Cannes Film Festival.  It’s a film about a marriage that’s on the verge of divorce…and how the couple has become so consumed by themselves that they “abandon” their young son.  They don’t even immediately notice when he goes missing.  The film is a slow, slow burn, and I think some editors (or distributors…you know who I mean) would be inclined to chop a good 30 minutes out.  But this is all part of the point.  There’s a stillness in its lonely composition and a desire to hold a frame longer than usual…as though the director is provoking you to search for clues within the frame.  Overall, I think it’s a hard sell, but I’m glad I was along for the ride.

IN THE FADE was my next film – directed by Fatih Akin (director of EDGE OF HEAVEN – a lovely film we featured at the Dayton LGBT Film Fest several years ago.)  This German film stars Diane Kruger – who won “Best Actress” for her role in this film at the Cannes Film Festival.  It’s the story of a German woman who loses her husband (of Turkish descent) and son in an explosion…and soon finds out that the explosion was set by Neo-Nazis with the intent to kill foreigners.  This film turns from a courtroom drama into a tale of revenge on a dime (the original German title is “Aus Dem Nichts” – aka “Out Of Nowhere”), and the tension builds pretty quickly and effectively – until it becomes a little too absurd.  I liked it, but a few major eye rolls kept me really liking it more.

Regarding my third and final film of the day, I have to make a confession.  I had already seen it!  Sony Classics screened this and several other films for exhibitors in our market over the past several weeks…but this is one that I had to see again (there are 4 other films playing at the festival that I have already seen – but I won’t see any of them for a second time).  CALL ME BY YOUR NAME, directed by Luca Guadagnino (director of I AM LOVE  – one of my absolute favorite films of the past decade) – is an Italian film that’s mostly in English.  Based on one of the best novels I’ve read in quite some time (with a screenplay by James Ivory), this is the story of a teenage boy and his sexual awakening during the summer of 1983.  This film is absolutely one of the best films of the year, and the central performance by Timothy Chalamet is unbelievable.  The film is sensual in so many ways, and the soundtrack is one that I’ll own as soon as it’s available.  Checkout the trailer below…it’s only a small, delicious taste of what’s in store for you.  **Director Luca Gaudaanino and actors Armie Hammer and Timothee Chalamet did a brief and insightful Q&A after the screening.**

Thanks for checking in with me today.

I only have three films scheduled for tomorrow…and then it gets crazy after that.

All the best,

Jonathan

NEON Manager Preparing For Toronto International Film Festival

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Hello Everyone,

My bags are mostly packed, a third draft of my “Must See” list has been deciphered from my scribbled notes, and I can hardly contain my excitement as I prepare to embark on my 13th Toronto International Film Festival.

Over the past several years of attending TIFF, I’ve seen almost everything I set out to see.  I had a rhythm (which involved very little sleep), and I knew how early I needed to wake every morning in order to be one of the first dozen people in line (which helped to secure the really hot tickets).  But this year, they’ve mixed it up.  Instead of waiting in queue every day, I’ll have two small windows of opportunity to get on-line and request the tickets I desire for the entire festival…thus luck will have more to do with it than gumption.  My fingers are crossed.

I’ll be keeping a daily log of all the films I see (and stars I encounter).  Though I wish I could do all the festivals – like Berlin and Cannes and Sundance and NYFF and  Telluride – I’m actually quite happy that TIFF is the one that fits so well with my schedule.  I’ve loved going to the festival over the years, and I love being able to report my findings to all of you.

Here are a few films that I’m quite anxious to see:

SHAPE OF WATER – Sally Hawkins is divine.  Here’s the trailer:

LEAN ON PETE – from the director of WEEKEND and 45 YEARS (and creator of HBO’s LOOKING).  Here’s a clip:

CALL ME BY YOUR NAME – from the director of I AM LOVE (one of my favorite films of the past decade).  Here’s a trailer:

FACES AND PLACES – from the incomparable Agnes Varda and JR.  (I’m pretty certain that JR. has been to Dayton!)

Stay tuned.  I start screening movies Thursday morning!

Thanks for reading,

Jonathan

AN INCONVENIENT SEQUEL Now Playing at THE NEON + FALSETTOS News!

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Hello Everyone!

We opened a new film yesterday that many people have been asking about – AN INCONVENIENT SEQUEL: TRUTH TO POWER. In addition to this powerful  new film, we’re holding LANDLINE and THE BIG SICK (this winner just keeps going and going) for one more week. (Details about a special screening of AN INCONVENIENT SEQUEL followed by a panel discussion can be found at the end of this newsletter.)  Next week, we plan to open MAUDIE.

Synopsis for AN INCONVENIENT SEQUEL – TRUTH TO POWER: “Former Vice President Al Gore continues his tireless fight, traveling around the world to train an army of activists and influence international climate policy. Cameras follow him behind the scenes — in moments both private and public, funny and poignant — as he pursues the inspirational idea that while the stakes have never been higher, the perils of climate change can be overcome with human ingenuity and passion.” (Paramount Pictures) Click this LINK to visit the film’s official site.

Due to local demand, THE NEON is excited to explore bringing a bit of Broadway to our screens. Buy your tickets now, and let’s see if we can make this one-night-only screening of FALSETTOS a success! “Nominated for five 2017 Tony Awards, including Best Revival of a Musical, Falsettos is a hilarious and poignant look at a modern family revolving around the life of a gay man Marvin, his wife, his lover, his soon-to-be-bar-mitzvahed son, their psychiatrist, and the lesbians next door. Originally created under the specter of the AIDS crisis, this timely musical about middle-class family dynamics manages to remain buoyant and satirically perceptive even as it moves towards its heartbreaking conclusion. Lincoln Center Theater’s production stars Christian Borle, Stephanie J. Block, Andrew Rannells, and Brandon Uranowitz, all of whom received Tony nominations for their respective performances.” FALSETTOS will screen Wednesday, August 16 at 7:30. Tickets are $12 each and are currently available on-line via this LINK. They are also available at THE NEON’s box office.

Dayton Writers Movement is gearing up for the premiere of UNWRITTEN – SEASON 2 on Sunday, Aug. 27 at 5:30. “UNWRITTEN is a serialized audio drama podcas – think radio play – written, acted and produced locally here in Dayton. The first season, which was up for several AudioVerse Podcast Awards, has reached 54+ countries and more than 1,600 cities with its dramatic storytelling and comedic timing. In Season 2, the podcast series continues the journey with a group of friends as they deal with the events of season 1 and wrangle mature social issues, uncover a mystery, and tackle their inner demons. The group will be premiering the first episode of Season 2 with a live talk back afterward. Advanced tickets are available for $6 each by clicking this Official Link. One Time Only Public Showing! (Explicit, mature content) For more information about the podcast, visit unwrittenpodcast.com” Tickets not sold on-line, if available, will be available at our box office starting 1 hour before the event.

This year’s Dayton LGBT Film Fest is shaping up, and we’re almost ready to start rolling out details. Mark your calendars for Oct. 13-15, it’s going to be a great weekend-long fest!  And speaking of film festivals, The Toronto International Film Festival has begun releasing titles from this year’s line-up…I’m getting pretty excited about several of them!

Some local organizations are very excited about our engagement of AN INCONVENIENT SEQUEL and the opportunity to continue local discussions about our climate with you. After Tuesday August 15’s 7:30 screening, representatives from Citizens Climate Lobby, Sierra Club Miami Group, The Climate Mobilization, and Move To Amend will hold a panel discussion. In addition, there will be other opportunities to engage with members from these organizations at various locations at different times around town. We’ll have flyers in our lobby this weekend that outline all the opportunities, and you can also find the flyer on our Facebook page by following this LINK.

Thanks so much for your continued support.
We hope to see you soon,
Jonathan

SHOWTIMES for Saturday, Aug. 12 – Thursday, Aug. 17:

THE BIG SICK (R) 1 Hr 59 Min
Saturday (Aug 12): 4:50, 9:30
Sunday (Aug 13): 4:50
Monday – Thursday (Aug 14-17): 5:15

LANDLINE (R) 1 Hr 37 Min
Saturday, Sunday (Aug 12-13): 12:30, 2:40, 7:20
Monday & Tuesday (Aug 14 & 15): 3:00, 7:45
Wednesday (Aug 16): 3:00
Thursday (Aug 17): 3:00, 7:45

AN INCONVENIENT SEQUEL: TRUTH TO POWER (PG) 1 Hr 38 Min
Saturday (Aug 12): 12:40, 2:50, 5:10, 7:30, 9:45
Sunday (Aug 13): 12:40, 2:50, 5:10, 7:30
Monday-Thursday (Aug 14-17): 2:50, 5:10, 7:30

FALSETTOS (NR) 2 Hrs 22 Min
Wednesday (Aug 16): 7:30

COMING SOON:
(All Dates Are Tentative. Dates Often Move And Sometimes Disappear)
Aug. 18 – MAUDIE
Aug. 18 – THE LITTLE HOURS
TBD – LADY MACBETH
Aug 30 – PATTI CAKE$
Oct 6 – VICTORIA AND ABDUL
Oct 13-15 – DAYTON LGBT FILM FEST

TIFF 2016 – Day #9 – Wrapping Up This Year’s Fest

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planetarium-posterHello Everyone,

My first film of my final day of screenings was PLANETARIUM – directed by Rebecca Zlotwoski and starring Natalie Portman and Lily-Rose Depp.  This is the story of two sisters who are mediums living in France and their relationship with a film producer.  Though the concept is intriguing (“sometimes you have to turn off the lights to see something” was an early quote that had promise) and I liked moments of the film, this was the biggest mess I saw at TIFF.  I don’t know what happened, but about an hour in, I felt like there were several films happening at once – and not in a good way. There were also a couple moments where Portman let out laughs that seemed like she was becoming completely unhinged…not her character, but Portman herself.  Attempts at “kinda sexy/kinda creepy” were in full swing – but the results were mostly just on the creepy end of the spectrum, and I eventually couldn’t wait for it to end.  Here’s a trailer…but you’ll have no idea what’s in store.

THE SECRET SCRIPTURE, directed by Jim Sheridan, was my second film of the day.  It was also Rooney Mara’s third film in this year’s festival.  Though Rooney was the star of the film, it was Vanessa Redgrave who shined.  This is the story of an older woman in a mental institution who has keep a journal in between the lines and in the margins of her Bible.  One of the first quotes we get from her journal is “I did not kill my child.”  Through a series of flashbacks, we see her as a younger woman in the 1940’s.  A true beauty, she turns heads everywhere she goes, and people in the town are quick to call her a whore…including the town’s priest who is clearly infatuated with her. Though I felt the story got a little muddled, it’s ultimately beautifully told and will easily find fans.  The Q&A with Jim Sheridan was a treat.  With Irish accent seemed to forgive all of his foul-mouthed responses, and the stories of working with actors (Vanessa Redgrave and the children from IN AMERICA in particular) were fantastic and full of insight.  There’s no trailer for this film yet, but here’s a still.

the-secret-scripture

My last film of the fest was THE LIMEHOUSE GOLEM, directed by Juan Carlos Medina and starring Bill Nighy & Olivia Cooke (ME AND EARL AND THE DYING GIRL).  In Victorian-era London, a detective has been given his first murder case – a case that has the city on edge as a serial killer is performing more and more heinous acts.  This beautifully styled period piece is a far cry from what you’d expect given the costumes and set-pieces.  With lots of blood and gory details of the crimes, it’s at times unsettling but ultimately rather predictable. There are some moments that should be big…but the materials isn’t there…so the decision was to over-score them – which actually ends up detracting from the scenes in question.  I wanted to like this film more, but I came out feeling it was really quite average.  There’s no trailer for this film yet, so here’s a still.  (Upon looking for images from the film, I found out that Alan Rickman was originally supposed to play the part of the detective – which would have added a different level of eeriness.)

4744

And so my screenings have come to an end.

I saw 30 films (not counting the two I walked out of), I met several great folks in the industry, I saw numerous big stars and directors, and I ate a lot of poutine.  In all, it was an incredible trip.

So here’s the wrap-up.  (All categories have films listed in the order in which I saw them.) My 3 favorites were: MOONLIGHT, NOCTURNAL ANIMALS and LA LA LAND.  Close behind were JULIETA, LOVING and SOUVENIR (BIRTH OF A NATION would be on this list, but I actually saw it several weeks ago and not at TIFF).  Some really good films that are 100% worth viewing but didn’t make it to the very top of my list are MANCHESTER BY THE SEA, FRANTZ, LION, A UNITED KINGDOM, THEIR FINEST, MAUDIE, PATERSON, JACKIE, and UNKNOWN GIRL.  For the other 15 films and how I felt about them, you’ll have to back-track through my blog.

Thanks so much for reading, and I appreciate your continued interest in THE NEON.

All the best,

Jonathan