TIFF 2019
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TIFF 2019, Day 6: A Beautiful Day in the Neighborhood, Marriage Story
A Beautiful Day in the Neighborhood is the inspiring story of a magazine writer, Lloyd Vogel (Matthew Rhys), who filed way over word count (by 9,600 words!), which delighted his editor so much that Vogel got the cover. It’s 1998, and Vogel, on staff at Esquire, has developed a reputation as a savage profiler no one wants to talk to anymore. Editor Ellen (Sakina Jaffrey) throws him a softball: 400 words on Fred Rogers (Tom Hanks) for an issue on cultural heroes. Vogel tries to beg out of the ill-fitting assignment, but no dice—as Ellen correctly notes, “Didn’t I hire you to do […]
by Vadim Rizov on Sep 10, 2019 -
“Deragh Had Never Skydived Before…” Five Questions for Writer/Director Kazik Radwanski about His TIFF-Premiering Anne at 13,000 Ft.
Overwhelming anxiety, bad workplaces and ill-advised self-medication are all very on-trend for 2019—Kazik Radwanski’s Anne at 13,000 Ft is right for the moment. A Torontonian child care worker at a government-run facility, Anne (Deragh Campbell) is the protagonist of a handheld drama whose initial energy is very in a post-Dardennes vein, with nervy-but-not-illegibly-jumpy camerawork following her. One way to add production value to your lowish-budget production is suggested by the opening, where Anne skydives out a plane as part of a bachelorette party (!). The footage is clearly unfaked and my nightmare; smartly intercutting between the build-up and her job, a […]
by Vadim Rizov on Sep 9, 2019 -
Five Questions for The Vigil Director Keith Thomas About His TIFF-Premiering Film’s Religious Horror
As a weighty, academic-like subgenre of the horror film, “religious horror” presents endless opportunities to explore both the occult and the minutiae of organized worship. Prepackaged with historical baggage and preconceived expectations, religious horror films play on our belief of the supernatural, however naively broad it may be; like any religion, most horror film films require some suspension of disbelief. While William Friedkin’s The Exorcist continues to stand as the most explicit cinematic example of clergy-meets-devil, other classics such as Rosemary’s Baby present a more subtle depiction of messianic workship: in an unexpected shock, the title character gives birth to […]
by Erik Luers on Sep 9, 2019 -
Diana Sanchez, TIFF’s New Senior Director of Film, on Her First Year at TIFF and the Future of Film Festivals
In March Diana Sánchez was promoted to the newly created role of Senior Director of Film for the Toronto International Film Festival. Previously, Sanchez was the Spanish language selector for the Canadian festival. She now oversees the programming strategy for the main festival; TIFF Cinematheque; Film Circuit, the Canadian organization’s nationwide film network; and theatrical programming at the TIFF Bell Lightbox. Given the size of that job, it was inevitable that she would have to relinquish her role as Artistic Director of the Panama Film Festival, the festival she helped start in 2011. Under her direction, the Panama Film Festival […]
by Kaleem Aftab on Sep 9, 2019 -
Frightening with Cosmic Consequences: Justin Benson and Aaron Moorhead on their TIFF-Premiering Synchronic
Working for the past several years as a directing tandem, filmmakers Justin Benson and Aaron Moorhead return to the Toronto International Film Festival with Synchronic, a film described by TIFF programmer Michael Lerman as “both suspenseful and subversive.” Following two paramedics based in New Orleans as they uncover a series of odd, drug-related deaths, Synchronic represents the next step forward for the two genre-filmmakers. Complete with two franchise-leading stars (Anthony Mackie of Avengers fame and Jamie Dornan of Fifty Shades of Grey), the film marks the directing duo’s return to TIFF after a five-year hiatus (when their gory foreign romance, […]
by Erik Luers on Sep 9, 2019 -
TIFF 2019, Day 5: Knives Out, The Moneychanger
A passion project Rian Johnson has been mentioning since at least 2010, Knives Out will presumably be a cornerstone of some future retrospective on movies made after fulfilling the imperative to successfully execute a blockbuster, alongside Ridley Scott’s The Counselor and Colin Trevorrow’s The Book of Henry. In 2010, Johnson pegged it as “an old fashioned murder mystery, like an Agatha Christie,” and I’d be curious to read the earliest draft to compare/contrast with the final product — the world has worsened considerably since, and the present is unavoidably imprinted. This begins as a locked-room mystery, concerning the suicide (or is it murder, etc. […]
by Vadim Rizov on Sep 9, 2019 -
“It Was an Era of Reinvention After a Terrible Trauma”: Five Questions for Ebs Burnough about His TIFF-Premiering Doc, The Capote Tapes
Dramatic feature films like Bennett Miller’s Capote have dramatized the life of the late Southern author by focusing on the time surrounding the writing and release of his classic piece of non-fiction storytelling In Cold Blood — a work that’s had astounding influence on today’s true-crime landscape. Now, another chapter of Truman Capote’s life is analyzed and evoked in the documentary debut of Ebs Burnough, The Capote Tapes. Although it covers Capote’s whole life, the doc, which premiered at the Toronto International Film Festival yesterday, focuses heavily on Capote’s final years and the writing of his unfinished novel, Answered Prayers, […]
by Scott Macaulay on Sep 8, 2019 -
TIFF Wavelengths 2019, Program One: Double Iambs
It grows more difficult with each passing edition to assent to the standard line that the Wavelengths program is a small clearing for artistic purity amidst a shrill, militaristically corporate environment. This has nothing to do with Andréa Picard’s curation—as deft and illuminating this year as any in the decade I’ve attended the Toronto International Film Festival—and everything to do with ongoing shifts in the social and institutional situations of artists interested in making work whose form is other than that of the commercial narrative feature. Shifts within the institutional priorities of the festival itself have required that Picard take […]
by Phil Coldiron on Sep 8, 2019 -
TIFF 2019, Day 4: Dolemite Is My Name
Eddie Murphy was all of 21 when he started shooting 48 Hrs. There were no years of supporting player quips to work himself up the ladder—instead, he landed the lead in an excellent, commercially successful movie first time out. He wasn’t the kind of comic who needed a movie to be built around his limitations, but an instantly seasoned player with serious dramatic chops. There’s a moment in Coming to America where the subway doors slam shut on him registering surprise and disappointment, and Murphy nails the look without overplaying—I think at that point in his career he was capable of […]
by Vadim Rizov on Sep 8, 2019 -
TIFF 2019, Day 3: The Personal History of David Copperfield, Cunningham
Does Armando Iannucci’s The Personal History of David Copperfield have an obvious/meaningful relationship to his other work, and what attracted him to this adaptation in the first place? The former is easier to answer: Iannucci, age 55, studied English literature at Oxford and almost wrote a PhD on Paradise Lost, so it’s not surprising he has an affinity for Charles Dickens, any more so than it’s unexpected that the overeducated Oxbridge students at Monty Python’s core would perform a sketch about Proust. Nor is Iannucci’s love for Dickens recent news: check out his hour-long 2012 BBC special Armando’s Tale of Charles Dickens, where […]
by Vadim Rizov on Sep 7, 2019
