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TIFF 2019 – Day #6

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Hi Everyone!

I’m now well beyond the half-way mark, and today’s 4 screenings took my grand total to 22 films so far…this means I’ll certainly hit the 30+ mark for this year’s TIFF.

AERONAUTS was my first movie of the day. “The Theory of Everything costars Eddie Redmayne and Felicity Jones reunite for Tom Harper’s high-flying tale about a 19th-century scientist and hot-air balloonist making altitudinal and meteorological history.” (taken from TIFF catalog)  This thrilling adventure is a little too “easy,” but it is also rather fun.  That said, I can’t imagine watching it on a television screen at home – the thrills are best felt on a big screen with a great sound system.  Redmayne and Jones are charming as can be, and though the costumes are sometimes a little “too much,” I felt like there’s certainly an audience who will revel in this tale – and cheer for the bold and brave female character in the central role.

Though it’s getting a wide release that won’t include us at THE NEON, I had to go see THE GOLDFINCH – based on one of my favorite novels of the past several years. “Theo Decker (Ansel Elgort) was only 13 when his mother died in a museum bombing, sending him on an odyssey of grief and guilt, reinvention and redemption. Through it all, he holds on to one tangible piece of hope from that terrible day: a priceless painting of a bird chained to its perch, The Goldfinch. The latest from John Crowley (Brooklyn) is based on Donna Tartt’s bestselling novel.” (taken from TIFF catalog)  Though I felt like the film was off to a great start – making a lot of great decisions, this movie is one that actually needs more time.  We meet too many characters and never get to know them…which in turn makes the material lose its heart.  We never get too attached.  The source material is more intended for a mini-series than a 140 minute feature film, and I’m sad to say that I don’t think this film will go too far.

The new documentary THE CAPOTE TAPES was my third screening of the day. “Newly discovered interviews with friends of Truman Capote made by Paris Review co-founder George Plimpton invigorate this fascinating documentary on the author (and socialite) behind Breakfast at Tiffany’s and In Cold Blood, while situating Capote in the 20th-century American literary canon.” (taken from TIFF catalog)  There is so much to love about this film – because at its center is the brilliant, hysterical, and tormented Truman Capote.  The interviews are divine, but the piece starts to lose steam in the last 30 minutes.  Though there’s not much room in the “marketplace” for an hour-long documentary (too long for a short and too short for a feature), it would be a much stronger piece at 1 hour.  That said, there’s so much good material here…but unfortunately, the director had to use cutaways because evidently there aren’t enough photos to put on screen during the tape recorded interviews…so he resorts to tracking shots of dinner plates, silverware and crystal goblets – thus so many visuals are uninteresting and do nothing for the story.  Luckily, interviews are great – so I stuck with it…and feel I know Truman a bit better.

USA. New York City. 1966. Truman CAPOTE at his “Black and White Ball” at the Plaza Hotel.

The premiere of HARRIET, the very first feature film ever made about Harriet Tubman, was my last film of the night.  “Tony-winning Broadway actor Cynthia Erivo stars in Kasi Lemmons’ inspiring biopic about renowned abolitionist Harriet Tubman, who escaped slavery and risked her life to lead others to freedom through the network of safehouses known as the Underground Railroad.” (taken from TIFF catalog)  From seeing the trailer, I was a little fearful that this film was going to be too polished and not raw enough.  And though I think it could still use a little more indie grit, the story did indeed envelop me.  Kasi Lemmons explained that they decided not to use the often seen violent tropes of other slavery stories, they wanted to focus on this movie being about freedom.  Though we know some of what characters have suffered, we aren’t forced to watch it as with other recent films about slavery like 12 YEARS A SLAVE or BIRTH OF A NATION.  Instead, we get an adventure film with a true woman – a human being, not a super hero – who saves lives and should inform us all.  Though there were some devices that I thought wore a little thin, I still was completely invested in the story and loved learning more about this American Hero…and having many from the cast do a Q&A was incredibly insightful and all the more powerful.  This film really got the crowd going, and I think it will be well received in Dayton, too.

I’m getting this done a bit earlier than usual…and heading out to a party or two tonight.  My first screening isn’t until Noon tomorrow, so sleeping in is a possibility.

Thanks for checking in!

Jonathan

TIFF 2019 – Day #5

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Hello Most Metro!

Today was my fullest day so far.  I’m so glad I had an auxiliary battery for my phone.

MARRIAGE STORY was my first film of the day.  “Academy Award nominee Noah Baumbach’s incisive and compassionate portrait of a marriage breaking up, and a family staying together, stars Scarlett Johansson and Adam Driver, and co-stars Laura Dern, Alan Alda, and Ray Liotta.” (taken from TIFF catalog)  Within the first five minutes of this film, I wrote “It’s incredible” in my notes.  The script is fantastic, the performances are right on, and material is taxingly honest, and the supporting cast are lovely additions to the mix.  At one point, I felt like “this is getting to be too long” (a feeling I’ve had numerous times this year), but then I reconciled it by thinking “getting a divorce is tedious and insufferable – so maybe that’s the point…perhaps it suits the material to be a little too drawn out.  In a very clever marketing strategy, there are actually 2 trailers for MARRIAGE STORY…watch both in one sitting below.

After my first screening, I went to a delightful hour+ event in which Allison Janney was interviewed about her career – along with clips that illustrated some of her cinematic touchstones.  This was a pretty hot ticket, and Allison’s mother Macy was the person who scored the ticket for me.  In the coming days, I believe that TIFF will post this interview on-line, and I’ll make sure to share the link with you if I find it.  Allison is funny, smart, gracious and a great storyteller – it was a delight to hear some of her personal history.

After listening to Allison, I got to see her new film – BAD EDUCATION.  “Hugh Jackman, Allison Janney, and Ray Romano star in this fact-based dramedy directed by Cory Finley (Thoroughbreds), about an infamous school-larceny scandal that rocked Long Island in the early aughts.” (taken from TIFF catalog)  This film is pretty terrific (though I questioned some of the motivation for the queer content)!  The story’s upsetting subject matter is handled in such an interesting fashion and Jackman’s performance is unlike any I’ve seen him give before.  Janney is also in top form, and I think this film will get snatched up in no time.  Below is the image being used with this film…there is no trailer yet.

THE TRUTH – with two leading ladies I adore – was next on my list. “Acclaimed director Hirokazu Kore-eda’s (Shoplifters, Like Father, Like Son) first film made outside his native Japan stars Catherine Deneuve and Juliette Binoche as a mother and daughter in the film industry whose professional collaboration triggers long-buried resentments.” (taken from TIFF catalog)  My “review” of this film might be a little unfair because I was a bit tired when I walked into this screening.  The first half hour was pretty wonderful, but then my eyes got very heavy and I fought to stay awake.  Ultimately, I kept feeling like I wanted the pace to pick up – but maybe that was just my exhaustion speaking…or maybe it was a little too slow.  At the end of the day, I think it’s a nice film…but it won’t get the roll-out that SHOPLIFTERS did for this director.

TWO POPES was my last film of the day.  Fernando Meirelles and Jonathan Pryce and others from the team introduced the film, and Meirelles said that the reason he likes Pope Francis so much is because he wants to build bridges when so many leaders want to build walls.  Of course that deservedly got a huge round of applause. “In 2013, progressive incoming Pope Francis (Jonathan Pryce) and conservative outgoing Pope Benedict (Anthony Hopkins) debate the best path forward for the Catholic Church, in this surprisingly funny chamber piece from Oscar-nominated director Fernando Meirelles (City of God).” (taken from TIFF catalog)  That description kinda sums up the film…but not really.  It’s not just a chamber piece, it’s a pretty big, fully realized film with two incredible central performances.  I’m not a Catholic, thus I can never understand the ways of the church, but I’ve always felt like the regality surrounding the papacy seems to contradict some of the church’s messaging…and it appears that Pope Francis holds a similar sentiment.  This film made me appreciate him more. Through flashbacks and archival footage, we get a much bigger picture than just two Popes chatting.  Though the film loses a little steam in its third act, I think audiences will nonetheless adore it.  I hope Netflix does a theatrical release – more than just a couple cinemas. (I personally know many people who don’t subscribe to Netflix who would love to see this movie.)

It’s time to call it a night. Four more films are on the docket for tomorrow.

Thanks for checking in!

Jonathan

TIFF 2019 – Day #3

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Hello Daytonians,

It was a very full day!

My first film this morning was BLACKBIRD. “A terminally ill mother (Susan Sarandon) invites her family to their country house for one final gathering, but tensions quickly boil over between her two daughters (Kate Winslet and Mia Wasikowska), in Roger Michell’s (My Cousin Rachel, Le Week-End, Venus, Hyde Park On Hudson, Tea With The Dames – all films that played at THE NEON) remake of the award-winning 2014 Danish film Silent Heart.” (taken from TIFF catalog) This film is a powerhouse of female talent.  It strikes some wonderful chords and will be a film that will invoke numerous important discussions…but there were some over-the-top moments and on-the-nose dialog that kept me from loving it.  That said, I ran into two women on the street after the screening, and they absolutely loved it.  Am I a little jade?  Perhaps. (There is no preview for this film yet.)

HOPE GAP was my second film of the day. “A together-forever couple (Annette Bening and Bill Nighy) unpack the many complications of splitting up, in Oscar-nominated writer-director William Nicholson’s razor-sharp drama. Featuring brilliant performances from Bill Nighy and four-time Oscar nominee Annette Bening, this exquisite drama from writer-director William Nicholson will resonate with anyone who has ever navigated the choppy waters of long-term love.” (taken from TIFF catalog)  Now here’s a film for adults.  The two central performances are incredible, and each side of this divorce-in-the-works will have you cringing.  And the fact that their son gets used as a pawn is all the more upsetting.  With lovely photography, colorful characters and a great script, I could see this film having a life with us at THE NEON.

LA BELLE EPOQUE was up next. “In this high-concept comedy from Nicolas Bedos (Mr. & Mrs. Adelman), a luddite cartoonist suffering an existential crisis hires a VR company to recreate a happier time in his marriage, as he tries to reconcile the golden-hued past with an inescapable digital present.” (taken from TIFF catalog) I haven’t seen anything this fresh and original since ETERNAL SUNSHINE OF THE SPOTLESS MIND. This wonderful film is a brilliant love story wrapped in a comedy. It’s truly French, and I could have stuck with it for hours.  The performances are on point (I want more Fanny Ardant), and the dialog is fantastic.  This is the first film of the festival where inventive editing has truly stood out.  This is a gem.

I met up for a quick cocktail (and charcuterie board) with a friend and colleague from Fox Searchlight.  In addition to catching up about life in general, we talked about the upcoming slate of films from Searchlight and all the films we’re seeing at the festival. I love this kind of one-on-one with someone I like and admire so much in the business.  After our meeting, I came back to my apartment and typed for a bit…and then I met up with some Daytonian friends who were at TIFF as part of a “bucket list” experience.  They had just wrapped up 5 films over the last 36 hours and I was about to head into my next screening…so our meeting was brief but sweet.

WAVES was my last film of the day, and there’s a lot of buzz around this film.  “Cracks begin to show in the perfect façade of a young athlete’s life, in this palpable and unexpected drama from Trey Edward Shults (It Comes at Night, Krisha).” (taken from TIFF catalog)  This beautifully yet unsettling film has so much going for it, and I think critics will truly take notice.  The story is accessible and we root for the characters and cringe whenever they make poor decisions.  There are so many interesting choices.  The aspect ratio changes several times throughout the film, and the storytelling shifts focus, too.  So much is working for this film, and the languid pace is quite lovely. That said, I would personally like to trim it down.  Currently at 135 minutes, I wish it was more like 115/120.  Unfortunately, I felt like the projection at this particular venue was too dark.  Having just seen the trailer online (below) there was a more interesting and vibrant film under the surface…but projecting the film on an IMAX screen with a “dim” bulb created a hurdle that wasn’t  necessary.

 

After my last screening, I met up with some industry folks at a casual gathering.  People from Magnolia Pictures, Netflix, IFC and a couple PR firms were gathered at a quaint restaurant called the The Town Crier.  It was a nice cap to a full day of films, and now I’m ready for bed.

Thanks for checking in!

Jonathan

TIFF 2019 – Day #2

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Hello Dayton NEON Fans!

Today was my second day, and I’m calling it an early night…in bed by 11:00.  It has been a wonderful and emotional day.  I was delighted to see my all-time favorite director just steps away from my seat.  (This wasn’t the first time I’ve seen Almodovar, but it’s been several years…and tonight’s film will be a stand-out for the festival as well as the year.)  I quickly snapped the picture to the left.

RADIOACTIVE was my first film of Day #2.  “Based on Lauren Redniss’s award-winning graphic novel, Marjane Satrapi’s (Persepolis) biopic stars Rosamund Pike as two-time Nobel Prize–winning scientist Marie Curie, highlighting the groundbreaking discoveries she made with her husband, Pierre (Sam Riley).” (taken from TIFF catalog)  This film gave a great historical background on Curie and posed a lot of interesting questions (through the use of flash-forwards to historical nuclear events) as to whether her discoveries and work were “for good” or ultimately the destruction of societies.  Though not without some wonderful moments that were both enlightening and even powerful, this film seemed rather clunky with its attempts to keep it “fresh and modern” while telling a very true story about an incredible woman.

VARDA BY AGNES “The last film from the late French New Wave filmmaker Agnès Varda (Faces Places) traces her legendary career and life with characteristic humour and vibrant energy, presenting a portrait of an artist who lived through her films and revealed the extraordinary in the ordinary.” (taken from TIFF catalog) This film, largely assembled from numerous lectures/master classes from recent years, is a long-form, cinematic essay as to how and why Varda worked.  It’s full of wonderful moments, incredible artistry and ultimately a realization that there’s so much more of her work for me to discover.   There was a lovely post-screening discussion with three women working in the industry…one being Lulu Wang, director of THE FAREWELL – who had incredibly insightful and inspiring things to say about Agnes and particularly THE GLEANERS AND I (a film that truly resonates with me, too).  Though I don’t see this film getting a traditional release, I would love to bring it for a couple special screenings. The still photo below the trailer is a pic I took during the talk-back.

 

PAIN AND GLORY “An aging filmmaker (Antonio Banderas) grapples with an uncertain future and the circumstances that shaped his successful but troubled life, in Pedro Almodóvar’s self-reflexive consideration of identity and desire.” (taken from TIFF catalog)  This gorgeous new film starring Antonio Banderas as well as other Almodovar favorites like Penelope Cruz Cecilia Roth, is a true winner – with the trademark Almodovar touches like a great score and incredible production design.  It’s about recalling childhood, dealing with physical and mental pain, and the return of an old lover.  I got emotional several times during this film, and I think we’ll be seeing it on some level this Oscar season.  Almodovar and Banderas were in attendance.  They gave a very moving and fun curtain speech and then returned to the stage after the screening for an insightful Q&A.  For various reasons, there were tears throughout the evening, and Almodovar is always a charming and appreciative festival guest.  I’m so glad I got to see him in conjunction with this wonderful film – which received a very long and heartfelt standing ovation.

I’ve got a few films tomorrow and will meet up with a couple different folks throughout the day.  Looking forward to perhaps one more night of good sleep before some of the crazy long nights begin.

Thanks for tuning in!

Jonathan

TIFF 2019 – Day #1

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Hello Everyone.

Today was the first day!

Though screenings for the public didn’t start until this evening, there were several options for press and industry (aka P&I) starting at 9am.  I don’t review films that I don’t watch in their entirety, so I won’t write much about the first film I saw (a portion of) today.  I knew going in that I didn’t have 3 hours to spare, so I watched the first 2 hours.

Then I left that screening in order to attend my first full film – this year’s big winner at Cannes – PARASITE. “A family of cunning derelicts scheme to enter a wealthy household’s employ in this genre-bending, Palme d’Or–winning thriller of class struggle from South Korean master Bong Joon-ho.” (taken from TIFF catalog) Bong Joon-ho directed SNOWPIERCER, MOTHER, and THE HOST – which all played at THE NEON.  PARASITE is a terribly interesting film.  What first starts as almost a zany and fun “stick it to the rich” comedy, has a sudden tonal shift and becomes much more caustic. This film is a brilliant achievement with a lot to say about class, but I suspect the unsettling material in the third act might make it a hard sell to many of our regulars.

My next film of the day was PORTRAIT OF A LADY ON FIRE – “Hired to paint a portrait ahead of a prospective marriage, an artist in 18th-century Brittany finds herself falling for the reclusive would-be bride, in the Cannes Queer Palm–winning fourth feature from writer-director Céline Sciamma.” (taken from TIFF catalog)  Full of lovely photography and told at an elegant pace, this film is absolutely gorgeous.  There’s very little music in this film…in fact, there is no traditional score – just a couple moments of music used with great craft.  That said, the sound design is exquisite – crackling fire and creaking floorboards add their own rhythms.  And I’ve never watched brush strokes on canvas with such interest.  The script is marvelous (it won the screenplay award at Cannes – of which it clearly deserved), and I wrote down several lines I want to remember.  The chemistry between the two leads sets the screen ablaze, and the director makes so many compelling and wonderful choices.  A true gem.  There is no trailer yet for this film, just some clips.  Check this one out:

 

My last film of the evening was also my first public film of the day – THE PERSONAL HISTORY OF DAVID COPPERFIELD.  “Director Armando Iannucci (The Death of Stalin) brings his sardonic wit — and a stellar cast that includes Dev Patel, Tilda Swinton, Hugh Laurie, Gwendoline Christie, Peter Capaldi, and Ben Whishaw — to Charles Dickens’ classic autobiographical novel.” (taken from TIFF catalog).  Armando and Dev and several other cast members were part of a post-screening Q&A after this evening’s screening (but sadly no Tilda!), and their attendance certainly added to the glitz of opening night.  This re-telling of the beloved Dickens’ novel is told with a very contemporary visual style, and some bold choices are made – and many are well executed. There’s a lot of comedy in this adaptation (the screenplay is by VEEP’s Simon Blackwell), but I felt a certain mania in this version that led me to never really care about anyone.  I laughed numerous times and there are certainly some really terrific moments…but overall, it wasn’t as strong as I had hoped.  There is no trailer (and very few images yet) for this film.

Tomorrow has 2 of my highly anticipated films on the docket.  Can’t wait!

Thanks for reading,

Jonathan

Preparing for The Toronto International Film Festival

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Hello Dayton Most Metro!

I’m leaving early tomorrow morning for Toronto…a favorite part of my job.

I’m so glad I can use this platform to once again report back home (as well as sort my thoughts) regarding my time and screenings at The Toronto International Film Festival. There are over 300 films to chose from over the next several days, and I have secured several tickets for films that I’m greatly anticipating.

Though my screening schedule is never 100% locked down, here are trailers for a handful of films that I’m excited to see:
PAIN AND GLORY – the new film from my favorite director, Pedro Almodovar

JOJO RABBIT – the new film from the director of HUNT FOR THE WILDERPEOPLE, Taika Waititi

VARDA BY AGNES – the last film from one of my favorite artists ever, Agnes Varda

Starting Thursday night, I’ll jot down notes about all the films I’m screening (and the stars I’m spotting).

Thanks for checking in!
Jonathan

TIFF 2018 – Day #10 (Really Just Part of a Day)

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Hello NEON Fans.

Thanks for checking in.  I’ve been across the country and around the world over the past several days…all via the magic of cinema.  And I have broken my old record!  I saw 39 films over the course of 9.25 days at the incredible Toronto International Film Festival.  This is always a highlight of my year, and I have assembled quite a list of films that I want to bring to audiences in Dayton.

My last film of the festival was SHOPLIFTERS – a film that will almost certainly be nominated for “Best Foreign Film” in this year’s Oscar race.  “Equal parts incisive social critique and nuanced family portrait, the latest from Japanese master Hirokazu Kore-eda — winner of this year’s Palme d’Or at Cannes — follows a small band of marginalized misfits struggling to make ends meet in a merciless urban environment.”  This sad but charming film reveals itself in wonderful ways.  Familial relationships aren’t what they immediately seem, and even when things seem to get a little sinister, you can forgive some of the actions because you’ve walked beside the characters for a while and better understand their motives.  This film has a lot to say, and it was a great way to bid adieu to this year’s festival.

In the coming days, I’ll write a wrap-up and keep you abreast as to this year’s TIFF award-winners.

And don’t forget that we’ve got lots happening at THE NEON over the next several weeks.  From THE DAYTON LGBT FILM FESTIVAL to numerous special events…and of course our traditional engagements (some of which are coming from TIFF in the very near future).

Thanks for sharing in this little journey with me.

Hope to see you soon at the movies!

Jonathan

TIFF 2018 – Day #9

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Hello!

Things are certainly winding down here at TIFF.  I screened 3 movies today (which means I have now seen 38 films at the festival) and then I did a little shopping and eventually met some friends out for drinks.

My first film of the day was JEREMIAH TERMINATOR LEROY, directed by Justin Kelly.  First off, I think this is Kelly’s best work to date.  Many critics and industry folks I’ve talked to mention the fact that several projects have been done on this very same subject…and thus they aren’t necessarily interested in seeing the story again.  That said, I haven’t seen any of them, so I was interested.  “In this captivating true story, a young woman (Kristen Stewart) spends years playing the public role of Jeremiah “Terminator” LeRoy, an enigmatic and celebrated literary persona created by her sister-in-law (Laura Dern).”  This story is too bizarre to be true – but it is (and with MILLION LITTLE PIECES screening at this year’s festival, I guess it’s an interesting recurring theme – books that are later discovered to be untrue).  Laura Dern is maniacal and fun to watch, and I ultimately think this is a solid film that could easily find an audience.

THE DEATH AND LIFE OF JOHN F DONOVAN, directed by Xavier Dolan, was next on my list.  Critics have been savage regarding this next film from Dolan (the young director who has won awards at Cannes, made several films and still is in his 20s). This film is Dolan’s first English-language effort, and it has quite a cast.  Here’s the mini TIFF synopsis: “Xavier Dolan’s highly anticipated drama about a young man’s calculated reassessment of his infamous, and ultimately disastrous, childhood correspondence with an American television star features an all-star cast, including Kit Harington, Natalie Portman, Susan Sarandon, Kathy Bates, Thandie Newton, Jacob Tremblay, and Ben Schnetzer.”  This film was hung up in editing for a couple years, and I think I can see why.  It has all the signature Dolan traits – and I have to admit I was entertained – I liked the story.  That said, it seems like some of the actors are in different movies.  Sarandon’s performance is so big and crazy that it doesn’t seem at all like the rest of the film…though Natalie Portman is a bit over-the-top, too.  Kathy Bates is superb, and Michael Gambon’s short scene is lovely.  The movie is currently too long, but I think it will eventually find distribution (at least via a streaming service).

COLD WAR, directed by Pawel Pawlikowski, is the follow-up to Pawlikowski’s Oscar-winning film IDA (one of my favorites the year it played TIFF).  “Pawel Pawlikowski’s formidable romantic drama features two musical performers in postwar Eastern Europe whose discontinuous love story is hindered by obstacles of time, space, and politics.”  This film is full of absolutely gorgeous black and white cinematography (like IDA, the camera placement is brilliant), and the music (as well as overall sound design) is incredible.  This was a great film to wind up my last full day of the festival.

I have one more film tomorrow morning before I pack my bags and head to the airport.

Thanks for reading,

Jonathan

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 #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 #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 2016 – Day #6

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maudie-movie-poster-lgHello!

Today’s schedule had me down for 5 films…and though I got into the fifth, I just wasn’t loving it enough to stick around (thus I won’t review it).  Instead, I’ll go over the four films I screened in their entirety.

THEIR FINEST was my first screening at 9:30am, and it was packed in one of Scotiabank’s biggest venues.  Lone Scherfig (AN EDUCATION) delivers a very solid film about the film industry in England during WWII.  The story centers around a female writer who is initially hired to help write and flesh out the female voices just as the industry is also realizing that they need to make a picture that boosts morale on the homefront.  Bill Nighy, who plays an egotistical old pro actor, is a scene-stealer…and the film will be an crowd-pleaser.  Full of nostalgic winks and nods as well as colorful characters, this is an “acquisition title,” and I believe it will get picked up.  There’s no trailer yet for THEIR FINEST…so a photo will have to do at this point.

Their Finest Hour and A Half Directed by Lone Sherfig

Their Finest Hour and A Half
Directed by Lone Sherfig

MAUDIE, a biopic about Canadian folk artist Maud Lewis, was next on my list.  With an outstanding performance by Sally Hawkins which is touching, physically demanding and full of hysterical funny moments that make Maud all the more endearing, the film is about Lewis’s relationship with her husband (played by Ethan Hawke) and her rise to fame in the art world.  Challenged by childhood rheumatoid arthritis, everything from daily chores to even holding a brush look painful for Maud – but we fall in love with her desire to paint on just about any stationary object.  Directed by Aisling Walsh (she’s done a lot of television work including FINGERSMITH with Hawkins), this is a slower character piece – but I think it could easily find an audience with Neon patrons.  There’s no trailer for this film yet, but here’s a clip.

Once in a while at TIFF, I let myself see a big, splashy Hollywood movie.  One that clearly won’t be coming to THE NEON, but one that’s receiving some critical buzz.  A couple years ago, it was GRAVITY…this year, it was another sci-fi film – ARRIVAL, directed by Denis Villeneuve.  Though I can rattle off a handful of sci-fi films that I greatly admire, this isn’t a genre that usually attracts my attention, and this alien film intrigued me because it wasn’t going to be full of explosions and battle scenes.  Amy Adams plays a linguist who is hired by the government to attempt communicating with aliens who have landed 12 ships around the world.  There’s some really lovely work happening in this film – from the central performance to terrific special effects.  But there’s also some clunky ideas (especially in the third act) that keep me from embracing the film.  I realize that many, many people will love this one…but it’s not for me.

My last full film of the day was THE SALESMAN, directed by Asghar Farhadi (A SEPARATION and THE PAST).  The film opens with people needing to evacuate their building as it is beginning to crack and may soon crash. We follow a young theatrical couple (who are mounting a production of DEATH OF A SALESMAN) as they are displaced and soon find a new apartment that was formerly inhabited by a prostitute (though they don’t know that immediately).  An incident in the new place leaves the couple forever changed, and the film then becomes a subtle thriller.  With narrative elements and themes that I greatly admire, this film is well-done and solid – though not quite up to par with his previous two films due to a somewhat strained final act. There is no trailer yet for this film, but here’s a clip:

http://www.youtube.com/watch?v=_VcfinMasfw

I wrapped up the night by attending a low-key party for lgbt industry folks.  I was glad to meet a few new people, and I’m crawling into bed before 2:00…so glad tomorrow is the last day I have to get up before 7:00.

Thanks for reading,

Jonathan