6301 Results for “Open ”
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TIFF 2018 Critic’s Notebook 6: Maya, A Million Little Pieces
Mia Hansen-Løve is on my shortest list of favorite working filmmakers; after the extremely strong opening one-two of All is Forgiven and The Father of My Children, Goodbye First Love and Eden were whiffs. She came back strong with Things to Come, and now there’s Maya, almost certainly destined to be the most poorly-received of her films to date, in part for reasons that I’ll get into below. It appears, talking to a lot of colleagues, that they simply didn’t think the film was very good, but I liked it a lot: Maya‘s got unexpectedly strange energy, does a number of things Hansen-Løve hasn’t done before […]
by Vadim Rizov on Sep 11, 2018 -
TIFF 2018 Critic’s Notebook 5: Her Smell, Rojo, A Faithful Man
World premieres x3, appraised in greater haste (and mercifully smaller word counts) than usual, starting with this morning’s viewing. I woke up to a slew of tweets saying that the first half of Alex Ross Perry’s Her Smell is an impossibly testing experience that dares audiences to walk out; now that I’ve seen it, it appears people have a remarkably low tolerance for abrasion. Five real-time scenes tracking the disastrous, inevitable rock bottom and sort-of rebirth of ’90s riot/it-grrl-turned-serious-hot-mess Becky Something (Elisabeth Moss), Her Smell strays noticeably outside of ARP’s normal comfort zone, in which people are reflexively, casually bruising and vicious to […]
by Vadim Rizov on Sep 10, 2018 -
TIFF 2018 Critic’s Notebook 3: In Fabric, The Grand Bizarre
Like The Duke of Burgundy, Peter Strickland’s In Fabric isn’t a giallo but feints at the genre, wrapping itself in lovingly reproduced trappings to pursue an entirely different agenda. Burgundy was an unexpectedly emotional examination of the difficulties of mutually negotiating the obstacles of a long-term relationship; Fabric is unemotional, its primary instincts either mischievous or satirical. It’s a pretty good time—too long, which makes it just like pretty much every cult movie ever made, so that’s appropriate. The opening credits list legendary British soundstage Twickenham Studios as one of the production companies, and the credit’s no joke: the movie takes place almost entirely […]
by Vadim Rizov on Sep 8, 2018 -
TIFF 2018 Critic’s Notebook 2: Our Time, Hidden Man, Ulysses and Mona
Our Time stars Carlos Reygadas and his wife Natalia López as Juan and Ester, a married couple whose definitely fictional open relationship in no way bears any resemblance to the performers. Even the TIFF write-up barely pretends to believe in this author-vs-character divide: “It’s fascinating when you realize that the director is effectively filming himself secretly watching his real wife’s affair.” Setting this aside (at least until someone asks Reygadas about it in an interview), the premise isn’t a huge change of pace: for all its Dreyer trappings, Silent Light is an adulterous love triangle, and Reygadas’s manic peak Post Tenebras Lux made one […]
by Vadim Rizov on Sep 7, 2018 -
“Capitalism and Democracy are on a Collision Course”: Astra Taylor on her TIFF-Premiering What is Democracy?
I went down yesterday to the port of Piraeus. …I was delighted with the procession of the inhabitants. –Plato, The Republic, Book 1 In her third feature, What is Democracy?, premiering this year at the Toronto International Film Festival, director Astra Taylor takes on the role of ombudswoman to talk to a plethora of individuals about the concept and idea of democracy. As she did in her previous feature, the philosophy doc Examined Life, Taylor poses open-ended questions to her subjects, generously giving them a free rein to not only tell their personal stories but to grapple with big ideas […]
by Pamela Cohn on Sep 7, 2018 -
12 Films to Anticipate at the 2018 Toronto International Film Festival
With the Toronto International Film Festival beginning today, Vadim Rizov — who is on the ground and filing his Critics Notebooks — and I offer you this humble list of films that we are more than reasonably sure are worth your viewing time. The Grand Bizarre. In her previous Dusty Stacks of Mom, animator and experimental filmmaker Jodie Mack turned a familial tale of Pink Floyd merch into a formal treatise on the demise of physical media. Mack’s focus in this new short feature (61 minutes) is similarly material: she looks at the semiotic uses of fabric and textiles as […]
by Scott Macaulay on Sep 6, 2018 -
“We Need to Strive for a Better, More Inclusive, Emerging Tech Landscape”: Paisley Smith on her VR Project Homestay and Advocating for Women in VR/AR
For the past eight years London’s Open City Documentary Festival has been dedicated to “celebrating the art of non-fiction,” and the upcoming 2018 edition (September 4-9) looks to be doing so in a creatively cutting edge way when it comes to immersive media. In addition to a wide-ranging Expanded Realities exhibition (divided into three themed sections, A New Lens, Motion and Sonic), OCDF will present a full day (September 7) Expanded Realities symposium featuring deep-thinking speakers tackling some of the most pressing issues affecting new media-makers today. One discussion I’m especially looking forward to is the “Barrier to Entry: Accessibility […]
by Lauren Wissot on Sep 6, 2018 -
TIFF 2018 Critic’s Notebook 1: Boy Erased, Burning
An adaptation of Garrard Conley’s memoir (which I haven’t read) about attending a “gay conversion” camp at age 19, Joel Edgerton’s Boy Erased scans as, and turns out to be precisely, textbook Oscar-bait: it’s topical, its heart is in the right place, the cast is stacked, and despite all good intentions the final effect is very meh (“powerful” is a word I expect to see used a lot). Edgerton’s directorial debut, The Gift, was (minus its vile ending) a tautly commendable thriller; visually, Boy Erased looks very much in the same pocket at the outset, all nighttime darkness and tightly composed […]
by Vadim Rizov on Sep 6, 2018 -
Venice 2018 Critic’s Notebook: Luca Guadagnino’s Suspiria and Tsai Ming-liang’s Your Face
The Venice Film Festival’s main competition does not enjoy a reputation as a go-to place for adventurous cinema. So far, this year’s selection has been pretty much on brand: big-name directors, “important” themes and very little risk-taking. It’s safe to assume Venice will again be well represented on Oscar night. Against all expectations (or at least mine), the first film to break this frustrating mould proved to be Luca Guadagnino’s Suspiria. Judging from the cast and crew — cinematography by Sayombhu Mukdeeprom!; music by Thom Yorke!; starring Tilda Swinton, Dakota Fanning, Mia Goth, Chloë Grace Moretz, Ingrid Caven and Angela […]
by Giovanni Marchini Camia on Sep 3, 2018 -
What Keeps You Alive‘s Colin Minihan and Brittany Allen on Their Survive-the-Night Serial Killer Grinder
Film directors casting their significant others is a trend as old as film itself, but Colin Minihan and Brittany Allen are different. They met when he cast her in his 2014 alien invasion pic Extraterrestrial. Not only did they start dating, she started producing his films, in addition to being their star. There was the zombie-thonIt Stains the Sands Redin 2016. Now there’s What Keeps You Alive, a romantic cabin getaway that abruptly turns into a survive-the-night serial killer grinder. It’s not just about putting the one you love on screen; theirs is a true collaboration. Ever since his debut […]
by Matt Prigge on Aug 30, 2018
