When you watch films as often as I do, you sit in a surfeit of sameness. Green screens film often bore me; the behemoth that is Marvel and caped leotards running about saving the world from evils, all one-dimensional, mostly eliciting yawns from me…then I saw Black Panther.
The Golden Globe awards are popcorn and candy floss; bread and circus for the masses still stunned from holiday comas.
It’s just fluff. Or is it?
This year, a seismic shift turned the tables on a creative community reeling from one announcement after another of powerful industry men being rooted out from their plush and seedy man caves.
Instead of rainbow gowns, women—actors and all their peeps—were wearing black for a movement they hope will open the gates to true equality in pay, in production, and so on.
Is it a true shift?
Wearing black is easy. Ditto a lapel pin. Real change comes with money.
I’m staying in tonight. Spending the last day of the year with my main squeeze, my only squeeze, who has mopped the floor three times this holiday season and knows how to make a bed better than any hotel maid. He has many tricks but these are two you appreciate after a long marriage. That he makes me laugh daily is why this party girl is content with our plans to cook up Nigella’s champagne risotto and tick off happy moments in our cosy abode. I promised him chocolate mocha creme brûlée. I too have other tricks but that’s one of them.
Last day of a very rich year. Rich in lessons. Rich in moments. Rich in howling at the moon or the tv screen. A year I almost threw my phone in the toilet for surely nothing good was worth reading on it, or in my still-delivered-daily newspapers.
On the first day of this year, I made a toast with my family present, a toast to buoyancy in heavy times. I’m thrilled to say I think we made it. The world is not broken. Aim for the light.
Here is my Best of 2017: or what I can remember after the holiday coma.
Favourite moments on the page:
In a year rocked by revelations of terrible deeds, one author’s words screamed at me from the page. Of course it was Alice Munro (Lives of Girls and Women). “There is no protection, unless it is in the knowing.”
from Felicity by poet Mary Oliver, this line from her poem Moments: “There is nothing more pathetic than caution, when headlong might save a life, even, possibly, your own.”
from The Girls by Emma Cline: “That was our mistake, I think. One of many mistakes. To believe that boys were acting with a logic that we could someday understand. To believe that their actions had any meaning beyond thoughtless impulse. We were like conspiracy theorists, seeing portent and intention in every detail, wishing desperately that we mattered enough to be the object of planning and speculation. But they were just boys. Silly and young and straightforward; they weren’t hiding anything.”
from Fierce Kingdom by Gin Phillips: “She doesn’t picture them as Arabic—she has been wondering, of course. But they do not sound like that kind of terrorist. They sound like young, obnoxious white men—aren’t they always young white men?—and she is not sure whether this makes them more or less dangerous than fanatics on a jihad.”
Canadian poet/novelist Steven Price wrote the kind of big fat novel you want to hide out by the fire with and speak to no one but the characters on the page. I loved it, and read it in the moody month of March and I wish to return to exactly that sensation every time I read. By Gaslight was my favourite read of 2017.
Favourite moments on the stage:
Come from Away was the first show I saw early January 2017. What a start to my year of theatrical highs, thanks to an early birthday present from my sister. My 2017 personal theme of buoyancy was shared by those actors on that stage delivering the most heartfelt piece of Canadian theatre I have seen in years. Come from Away later opened on Broadway and scored seven Tony nominations, and won for best direction of a musical.
The Shaw Festival’s Michael Therriault as Bill Snibson in a note perfect production of Me and My Girl
The brilliant new musical Life After featuring a sensitive and intelligent performance by lead actor Ellen Denny who brought me to tears. “If you grow, then you know it was worth a little bruising. And it’s alright, as long as your height gains in inches what you’re losing.” I’ll be watching everything playwright Britta Johnson does now.
Kristen Thomson made me howl in The Crow’s Theatre production of A Wedding Party
In the lobby of the small but mighty Coal Mine theatre, following a fantastic production of Superior Donuts, I was introduced to Sarah Polley (there, along with many other actors, to wish the cast well following the show). Polley has zero airs. That she penned a brilliant piece in the New York Times later this year made me even prouder of this true Canadian gem.
The entire cast of Soulpepper/Bad Hats Theatre coproduction of Peter Pan lifted me high into the rafters of imagination. I felt blessed to have seen it, alongside my nine-year old nephew who told me after the play he wished he could learn swordplay to take on Captain Hook. I’m with you, Henry.
the kids of the youth programme at Wavestage theatre who truly nailed my favourite Christmas classic, A Christmas Carol, in particular the mature performance of young Lucas Guesebroek as Marley
Is it cheating to say I loved a performance on ice? A stage of sorts, no? My six-year old niece Charlotte sparkled and held her own in a year end skating show that also featured dazzling performances by Canadian Olympians. Made me itch to get my old skates out. See you on the ice this Saturday.
Favourites on screen: A near impossible task for this film nerd as you regular readers will know by now. Best place to start is my Scrumptious Films list from TIFF 2017 for my favourites, many now released in theatres.
In addition, these films all impressed and moved me in some way:
The Meyerowitz Stories (New and Selected)
The Big Sick
I, Daniel Blake
Land of Mine
The Man who Invented Christmas
Favourite moments lived (in no particular order because memory doesn’t work like that!)
Moving was an unwelcome theme this year. Moving kids from residence to home and back to university and out of apartments and then to another country and my own belongings to pack up while my house was under repair from a flood and then unpack when it was done and through all of it, the kindness of family and friends who didn’t know they saved me from myself with their extra arms (my godson Ben who responded so swiftly when we asked for help moving heavy stuff that he surely deserves a medal, my sister Mary who arrived, flood-ready with rubber boots and towels in the middle of the night, my friends who offered houses and food and come sit in my garden).
My entire wedding party gathered at the start of the year here in our home to, among other things, recreate our wedding photo from 25 years ago. One of my bridesmaids brought a surprise. She unzipped her winter coat and there underneath was the dark red velvet dress made, along with all the others by my mom way back when women did these kinds of heroic domestic duties. We all shared laughing fits when she told me it didn’t zip up quite as readily in the back but she still wore it with panache. Later that night, my other bridesmaids brought out letters I had written about this crazy man child I adored, way back when taking a pen to paper and gushing about love was still in fashion. Both my girls were there to listen to it all. When I showed a movie I made about our wedding to my mom, who sometimes forgets, she said, “weren’t we lucky to have that talented man to make your sparkly dress?” I won the lottery that night. Yes indeed.
My eldest graduated from University of Toronto this year (Victoria College) and was able to celebrate this with her grandparents, who graduated themselves from this very institution six decades ago, and other cherished family members who attended the university. After a glorious day on the lovely campus, as we drove away, came this from our newly minted graduate: I learned a lot here. This was a good place for me. Later, my daughter told me her beloved Pappou, who hasn’t been well and was unable to attend her ceremony, gave a long diatribe about having no mother or sisters (he grew up an orphan, and was raised by his four older brothers) and then told her, our family needed more women. You were born and you are a smart woman, We need more like this.
I will be in a bad mood if you don’t come. Blessed are you if you get that kind of text from your sister.
Barenaked laps in a lake that time forgot in Algonquin late summer. I was there for a solo retreat courtesy of my brother John who joined me on the first night for a beer. Did he himself deliver that perfect sunset? Or the autumn Ontario heat wave that made warm water that felt like a hug? Who knew I needed it that badly that moment?
Dancing in the aisles to Earth,Wind& Fire with Peter and the girls. Best moment of the summer, second only to a spectacular weekend of wine, theatre, friends and gorgeous weather in Niagara over the Canada Day weekend.
Attending McGill Homecoming and I get to sit in a dazzling new Montreal resto (Jatoba) and hear my own McGill kid tell me, over the course of a fantastic meal, about the hardest paper she’s ever written, and did I say yet it is likely the best I’ve written too?
A three-way tie between the absolute glee when we sat down together in my dining room for our annual Christmas book club table with all our wee trinkets for one another- you’d think we were opening diamonds; when my pal Jo went to dig her dish gloves out of her purse to do all the dishes and everyone pitched in to dry; the recitation of A Night Before Christmas by another member Jill, complete with perfect eyebrow punctuation.
Sitting beside my folks at Christmas dinner. My dad clinks a spoon to his wine glass; we all stop talking. “Let’s remember this is a good country. And I’m lucky to have my wife.”
Picking up my kids in the airport following their six week Summer of 17 Sisters backpack trip. There is no better moment than seeing my kids in that airport. Not by a mile.
There are things that, as a parent, you cannot do for your children, as much as you might wish to. You cannot make them happy (if you try too hard they become whiners); you cannot give them self-esteem and confidence (those come from their own accomplishments); you cannot pick friends for them and micro-manage their social lives, and finally you cannot give them independence. The only way children can grow into independence is to have their parents open the door and let them walk out.
-Michael Thompson, Homesick and Happy
I wish all my readers a magical year ahead. What adventures will it hold? I know one thing. It will be more fun with you along. #WeRallinthistogether
Happy New Year.
One year ago I was at a bookstore signing copies of my brand new food memoir. It’s been a wild ride since; some of it away from my home office as well as my kitchen, thanks to a summer house flood that rendered the place wonky with exactly the wrong kind of mayhem.
Houses mend, as do spirits. Before too long, what pained becomes a mere blip in a year resounding with buoyancy.
December is now here and with it, a house full of red and readiness (almost) for family and friends coming home for the holidays. Oh how gorgeous that sounds: home for the holidays. Someone should write a song/book/film/play about it? Wait…what? You say it’s been done already? Well then, I’ll just focus on my own version: another shipment of my books has arrived, marked for new readers. Are you one of them? My store is here. It’s an easy process and you’ll have your books by Christmas* if you order by December 18th. with love and sugar home for the holidays.
Here’s a little film I produced* to give you an idea what’s between the pages. You already know the film nerd. Now meet the home baker, owner of too many aprons and a kitchen never this clean.
*Baking cinematography by Gayle Ye. Editing by Sydney Cowper. Home movies by me. I’ve been making movies off and on for years since the days of sitting with brilliant editors at Global Television in my first (professional) iteration as a storyteller. My love for the medium began in a scholarly forum, but my homegrown offerings are anything but: my films are little peeps—making them hatch is my happy place, second only to spontaneous lick-the-spoon soirées with my favourite humans. Sorry Lucy, dogs can’t have chocolate.
For Canadian orders only. Outside of Canada, email me at firstname.lastname@example.org for your copy.
Hats off to the film programmers. You did another stellar job bringing the world to our screens. Kudos for killer curating! And all the volunteers. You make me happy every year. I love seeing fellow movie freaks in those orange shirts, doing their best to shepherd the line-ups.
Still, TIFF lost some lustre this year. In my final TIFF 2017 post, here is the messier side of the festival. My beefs are few:
When a director comes out on stage and apologies to his audience for what they are about to see, the audience should just get up and leave. Apologizing is patronizing. TIFF audiences have seen plenty of provocative work over the decades. Fainting is for the fawning mobs pressing for selfies outside. There are some movies you never want to watch again but are still glad you saw once (Silence of the Lambs, Schindler’s List, First There Will Be Blood). Mother! the latest from shock darling Darren Aronofsky, isn’t one of them. It’s just bad torture porn. Did this film need a big splashy gala ticket? Jennifer Lawrence, Aronofsky’s romantic partner and star of this insanity, should have run away too.
What’s with the plethora of priority seats? Perhaps Aaron Sorkin papered the audience for his directorial debut, Molly’s Game (indulgent, way way too talky..and I’m a Sorkin fan). But when almost every seat in the first floor of the theatre is reserved, one wonders if TIFF still deserves to be called The People’s Festival.
Delays were the worst I’ve ever experienced; line-up chatter echoed my frustration. A delay in the screening means a carefully curated schedule becomes a wash. Missed endings? Check. Missed Q&A’s? Check. Standing in line is expected. Standing in line outside on the pavement as you watch the start time of a movie come and go, and nobody’s in the theatre yet is a good way to lose your core audience.
I have resigned myself to ads but why not preface each TIFF screening with a film short*? Open it up to artists across the country? Run the ads instead at the end with the credits, with all those who helped make the film. That’s where sponsorship nods belong. I watched a makeup ad over three dozen times. “Real beauty is colourful” (all the models are wearing black). “Real beauty is unique” (all the models are impossibly thin, leggy, and longhaired). Sigh. I understand sponsorship. These things don’t get made on their own. That’s why I support the festival myself. Meanwhile, in the multiplexes year round, moviegoers have to sit through ridiculous and utterly mindless gimmicks to play on smartphones to pass the time before the film begins. And distributors and executives wonder why nobody is going to the movies anymore…
Rant over. Go watch a movie and support filmmakers. This is your season.
I saw this young talented actor on stage earlier this summer in a gorgeous production of Me and My Girl at the Shaw Festival and now grieve his passing. Read theatre critic J. Kelly Nestruck’s beautiful obit of Jonah McIntosh
So worth it: (and only one hour long!) Before Jerry was Seinfeld. Streaming now on Netflix.
Missed TIFF? *Try the Toronto Shorts International Film Festival happening this weekend at the Art Gallery of Ontario.
Get excited for Alias Grace. The six episode miniseries adaptation of Margaret Atwood’s novel (yes, another one!) will air in Canada on CBC this coming Tuesday and will stream November 3rd on Netflix.
Simple yet brilliant answer to all this happiness talk:
Part of the TIFF experience is hearing from those who made the film, in brief Questions & Answer sessions following the screening. Cringing at the odd dumb question is part of it; mostly, it’s a peek, a very tiny glimpse, into the one of the world’s most collaborative art forms.
Actors can’t always articulate what it is they do. Directors are often eccentric or mumblers and sometimes they ditch altogether because speaking to an audience who have paid money to see their film as it begins to make the rounds in public isn’t a priority to some. Or they have to dash off to another project. 🎵 There’s no business like show business … These are performances after, all, these sessions with the public. And when they click magically, it makes that TIFF ticket (more $ every year, sadly) a meaty thing.
What have you seen that you liked?
So goes the question rippling through line-ups. Non-TIFF goers are perhaps stymied by the dizzying pace of screenings; the rest of us shrug it off. This is what we do. There are no bragging rights, just crazy ones. See what you can while it’s here and forgive the mess at the edges; the corporate trappings, questionable allowances for priority seats, a steady screeching fan crush stomping out any and all sensible paths to theatres. Ignore it as you sample the banquet table, eyes always on the prize: spectacular voyages and peeks at universal truths, all of it lending instructions for living, and wondrous creative inspiration.
Not bad for ten days.Yes, your eyes will pop, your mouth will drop. Pay attention. School has begun.
I know you like lists. Here is mine from a feast of global storytelling:
Scrumptious: films to love
Call be by your name:
The lights went down and off I went to Italy for a morning of pure bliss. This is sumptuous filmmaking, shot in Crema, Italy, by Italian director Luca Guadagnino, in an Italian, French and Brazilian co-production about a summer coming of age love story starring a beautiful actor you’re sure to see more of, Timothée Chalamet, and Arnie Hammer; both bring to life characters first found on the page in the much-loved novel by André Aciman (adapted for the screen by the genius James Ivory). Luckily for non-TIFF goers: you’ll get your own chance at this heady trip later this fall as it’s set for release late November.
The Shape of Water
This is the eyes-pop-mouth-drop film for sheer beauty and magic throughout. Phooey to one critic who sneered and dismissed it as a “surf and turf romance”. Not so. Sally Hawkins does fall for an aquatic creature but in Mexican auteur Guillermo del Toro’s hands, the creature is spectacular, as is the cinematography, production design, all artful, all dazzling. I loved the story, the cast, the setting, and the soul. Everyone cheered at the end of this one, cheering for imagination—here, it’s strutting in extraordinary strokes, cheering for the Toronto Elgin theatre and other Toronto locations used by del Toro, who loves Toronto so much he lives here part-time. I was spellbound. This one opens in Toronto early December.
Three Billboards Outside Ebbing, Missouri
Hurrah for clever Toronto film audiences who picked this film as this year’s People’s Choice winner. I voted for all the films in my scrumptious list so don’t make me choose one winner but colour me happy to see this film anointed. Frances McDormand is Mildred, a mother who takes action against the police for failing to solve her daughter’s murder. When you see as many films as I do, you are grateful as hell for perfect balance: this one has it. British playwright Martin McDonagh has delivered a script with snap and zero waste. If all films could be this lively, I would be a happy fangirl. Somehow he sneaks in a very rich mix here and makes it look effortless;exploding a study of grief into an angry symphony. One flaw: two brief portraits of minor characters, both sketched as dimwit young women…unnecessary and worth a sigh from this old broad.
French cinematographer Emmanuel Gras travelled to the Congo for this remarkable documentary about one man’s struggle to provide for his family. We follow Kabwita as he makes charcoal in the Congolese countryside and then carries it on his bike for three agonizingly long days to sell it in the city. There is little here but the very looming present, in real time segments, and the result is mesmerizing. Here is the human condition in extraordinary measures. When the camera follows him into an intense prayer session, I was moved to tears. This is a film that will stay with me long after many others have faded.
Among my very purposeful film picks were debuts and this one is stunning. Greta Gerwig has co-written films before with her partner, Noah Baumbach, but here, she shepherds her own script with confidence and heart and somehow avoids cliché in a well-worn genre. It helps to have the wonderful Saoirse Ronan to play the rebellious teenager in the semi-autobiographical story set in Sacramento, with Laurie Metcalf delivering the second mother of the year performance (first is Frances McDormand, as mentioned earlier) and the talented playwright/actor Tracy Letts as the dad. Again, tone is king here. Gerwig nails it.
The Death of Stalin
I wanted this film, based on a graphic novel, to win the juried section of TIFF’s three year old Platform programming: it seem the three-member jury was seduced by dramatic fare (see below*). If comedy is done well, it looks easy. Scottish satirist Armando Ianucci has a huge fan base, thanks mostly to hilarious projects like VEEP ( he left after the fourth season) and In the Loop. This is his first time delving into history and his dive is as profane as ever, in a delicious black comedy that had everyone in my screening roaring. A superb cast of performers play the Soviet dignitaries who are panicking at the demise of their leader, Joseph Stalin, and so begins a race for the leadership. Thank goodness for wit, on full display here.
The Florida Project
Sean Baker turned the cinematic world upside down with his film Tangerine, shot entirely on an iPhone. His follow-up is shot in regular 35 mm but again, Baker is set to stir things up with this absolutely absorbing story of a ragtag group living on the fringe in a motel on the outskirts of Orlando, Florida. The motel is run by Bobby, played wonderfully here by Willem Dafoe, who tolerates these kids just enough to keep them safe. I was set to hate this movie for the kids in the film have trash mouths and bratty is the behaviour code here, sure to grate on my nerves. Or so I thought. Sneakily, the film won me over. Dammit, those kids are engaging. Think Little Rascals with a contemporary spin and you’re halfway there. Poignant and packing a shimmering heart in ice cream colours, Baker’s film has done a very nifty trick here, capturing the world of childhood wonder in the midst of sober surroundings. The two young actors stole the stage at the screening I attended. More on that tomorrow.
Another habit of my TIFF picks (years in the making) are choosing titles in the Masters section. Sure, there’s the chance the Master has nobody left but sycophants who won’t tell him his latest effort is sour: we’ve seen this many a time. Get too good (or too rich) at your game and nobody tells you the truth anymore. More often than not, choosing a film from a cinematic giant means you’re in for a juicy ride. This film is from Paul Schrader (writer of Taxi Driver, Raging Bill, The Last Temptation of Christ, to name just a few) and it is so engrossing I need to see it again, just to hear the bon mots from Schrader’s script. Ethan Hawke is brilliant as a priest suffering a crisis, one both unnerving and powerful. There are themes here that would be dangerous in the hands of a lesser talent. In Schrader’s hands, they underscore this thriller that might just be mistaken for a masterpiece.
The Other Side of Hope
From Finnish master, writer/director Aki Kaurismäki a fantastic story about a Syrian stowaway who escapes into Finland and begins to work in a restaurant run by a sour middle-aged businessman. In his first performance as an actor, Sherwan Haji begged us to not judge him harshly when he appeared at our screening to introduce the film. Hardly. His was a face (and performance ) easy to love. This film made my list because of the parade of fantastic faces cast and the overall genius tone: droll, deadpan, deadly. Can you make a comedy about the refugee crisis? Yup.
Very good: films not quite perfect but admirable and eminently watchable
The Killing of a Sacred Deer
Weird and wonderful, this dark tale surrounds a strange teenager who has wormed his way into a family’s life. No spoilers here — if you saw The Lobster or Dogtooth, you’ll understand the twisted world you find yourself wandering around in, courtesy of Greek writer/director Yorgos Lanthimos. Here things could be merely sinister but you’ll laugh too, maybe nervously, and hold your breath right to the end. Nicole Kidman and Colin Farrell lead the cast but the star of this show is Irish actor Barry Keoghan (last seen in Dunkirk), who has thrown down a masterful performance. Keep your eye on this actor. He’s fascinating to watch. Is it a horror film? That would be far too easy. Lanthimos doesn’t fit into a box other than he is the guy everyone wants to work with right now. The film will be released in Canada November 17th.
Still on the subject of Irish actors, TIFF Rising Star Jessie Buckley may be known in the UK for her musical theatre chops but during TIFF she was mesmerizing filmgoers with her performance in Beast as the misfit Moll who falls for a man who may or may not be a serial killer. British director Michael Pearce has his own killer eye for visual detail and sets the tone at tense from beginning to end. This was another gem in the juried Platform series of films: all twelve films were picked for their strong authorial visions from mid-career talents, and most of them deserved that spot. I loved Beast as much it terrified me.
If you saw his heart
Another Platform film (check) another debut (check), another female director (check, check, check)-would I go wrong with this pick?
Like Greta Gerwig, French film director Joan Chemla, who took part in the Toronto Talent Lab, stunned me with her first feature, a story she adapted from the Cuban book, Boarding Home, a series of portraits about the disenfranchised in a rundown hotel. In this film, Mexican star Gael Garcia Bernal acts as her hero, a gypsy thief with a heart of gold, haunted by his past. Lots of brooding atmosphere and worthy production design made up for some of the weaker parts but Chemla is most certainly a star to watch.
Still in Platform territory comes a film from one of the Arab world’s best known directors, Nabil Ayouch, starring his gorgeous wife, Maryam Touzani in her first acting role. Razzia follows five narratives about Casablanca, weaving in and out of each over a forty year period. l loved this ambitious film, which was just chosen as Morocco’s candidate in the foreign language category of the 2018 Academy Awards. It falters on some of the storylines, but everyone on screen is captivating as hell.
What will people say
Equally captivating is newcomer Maria Mozhdah in this autobiographical film about female oppression from Iram Haq, a Norwegian-Pakistani actress and director. Mozhdah plays Nisha, a contemporary first generation teenager confronting her Pakistani-born parents’s traditional values. This film is perhaps the saddest film I saw at TIFF for it might as well have been a documentary, rather than a fictional piece, as it explores intimately the unravelling of a family caught between two worlds. a family like many here and across the globe. I cried at this one too. It made me miss my daughters terribly (empty nester, can’t help it) but you don’t need a daughter to feel gut-punched.
Australian director Warwick Thornton won accolades and prize for his 2009 debut, Samson and Delilah, and here he’s at it again: this won the $25,000 Platform prize in a race of excellent films. Guess the jury loved brooding westerns: this one set in the 1920’s in the outback of Northern Territory, Australia and centres around an Aboriginal who kills a white station owner in self-defence. My favourite thing about this fugitive narrative was the young kid, newcomer Tremayne Trevorn Doolan, who holds his own in a cast of heavyweight Aussie familiar faces including Sam Neill and Bryan Brown. While others were stronger in Platform section, I liked the film a lot; certainly nobody can argue the continued relevance or lyricism.
American indie darling Dee Rees brought together one of the best ensembles at TIFF for this 1940’s epic about two farming Missisippi families trying to cope during the war. The story overlap wasn’t always a success (the combat scenes were weak) but Rees has huge chops: this sprawling story was gripping and utterly relevant. Hard to watch as is all bold cinema, and some powerful performances across the board. After it premiered at Sundance to raves, Netflix picked it up: it will begin streaming November 17th.
Our People Will Be Healed
This film was the most hopeful film I saw during the entire ten days. I admit I was completely starstruck by the master documentarian behind the lens who wowed us all after the screening. At 85, Alanis Obamsawin is crackling with energy, style, and the ever fierce compassion that has driven all of her work with the National Film Board. This latest film, her 50th, is a celebration of a school in Manitoba, a school indigenous people across Canada hope can be a model in decolonization. Norway House is a joyful place of learning and community projects celebrating Cree culture. Obamsawin’s keen eye for children and their infectious energy is something I won’t forget anytime soon.
C’est La Vie!
Pure French pastry, a fluffy farce about a fussy Parisian wedding planner who tries to corral his event planning team for a massive wedding set in an 18th-century chateau. This film will cause you to develop a tickle, then a giggle, then a roar. These kind of confections in the American mainstream are often woefully predictable. In the hands of the directing pair, Olivier Nakache & Éric Toledano, who made the beloved 2012 hit The Intouchables, it is just right.
Imperfect but still listworthy:
A follow-up to the brilliant Amour, this from master Austrian director Michael Haneke is not as fully realized as that earlier gem but is still fascinating in part because of his ever provocative poke (much of it dealing with technology) at the mess of contemporary family life. It helps to have the ever dazzling Isabelle Huppert on screen as the matriarch but equally capable was the rest of the French cast.
Ben Stiller suffers a midlife crisis in a film that is more polemic than a real cinematic narrative, produced in part by Plan B, Brad Pitt’s company. Still, Stiller is fantastic as the dad taking his son to see colleges and who can’t relate to his pondering, often portrayed here in hilarious light from writer/director Mike White. This is the tell part of show, don’t tell, but go along with it. You might recognize yourself. This is first world problem kind of film, the only one I saw at TIFF. For that, I’m glad.
The latest film, another Platform contender, from Swedish director Lisa Landseth brings together her muse, Alicia Vikander, onscreen once again for their third collaboration, this time set in a beautiful forest where the dying go to attend to their last wishes before being put to death by choice. Vikander plays one of two sad sisters (Eva Green) attempting to reconcile their past in this surreal setting. Rounding out the cast are Charles Dance and Charlotte Rampling, both lending some more dazzle to a sometimes sappy story. Still, I think Vikander and Green are huge talents. Nice to see stories by women for women.
Another in the Masters programme: Russian auteur Andrey Zvyagintsev’s Leviathan was one of my faves from TIFF a few years back. He follows it up with another dark tale about the grim turn a bad marriage can take and the child left behind. The only reason this isn’t up higher on my list is for a relentless middle act which dragged the film down. Still, that this guy makes every image poetic is clear. The film is stunning to look at, and as bleak and beautiful as Bergman. It is for these kinds of films I attend TIFF.
Ana, mon amour
From Romanian director Colin Peter Netzer, a rocky relationship is put to the test by mental illness, explored through time shifts and lots of sex, much of it implicit. To quote my TIFF partner, if it’s on a computer in a dark room, it’s porn. If it’s on a TIFF big screen, it’s art. There is always sex at TIFF. Here it comes thanks to two fearless performers in a portrait of a truly toxic union. By the end, I was exhausted. But for awhile, I was mesmerized by these talented actors as they delved into the roots of trauma.
I love Meg Wolitzer’s novels. So it was an easy pick to see this adaptation from Swedish director Björn Runge, especially one starring Glen Close and Jonathan Pryce, as a husband and wife dealing with the news of his Nobel prize for literature. It should be a thrill but there’s a mystery lurking that unfolds with Close at the centre. This movie needed more zip. Still, the mystery and good performances keep the film moving and Close delivers yet another riveting performance, a reason alone to see the film. Somebody please give this woman an Oscar sometime soon.
That’s it for films worth reviewing. The rest of my picks were meh and at least one was downright infuriating…if I had brought a tomato, it would have been pitched at the screen. More to come.
Appearing next in this space: TIFF 2017 wrap: quotables and quips and the messy side of TIFF
TIFF has just announced some of their 2017 lineup so get excited. Still, there’s enough decent fare before then in commercial theatres to tide this fangirl over until then. Here’s my midsummer list of a surprisingly satisfying summer movie season.
150 hugs for the NFB.
Hollywood films are seen around the world. For a very long time, we were a mere footnote. A refuge if you were just a little crazy.
Of course the view changes when newcomers arrive. What do they see then? What happens when you give cameras to refugees and ask them to document their new Canadian world around them as they experience it?
Have a look here.
Who we are depends on what we see, and how we see it. Tomorrow I will show you a beautiful little film that gets it right.