The 36th Toronto International Film Festival
By Ron Gordner and James McCaskill, DC Film Society Members
The Toronto International Film Festival.
The 36th Toronto International Film Festival (TIFF) was held from September 8-18, 2011 and included an additional second Sunday of screenings this year. Only a few films from major studios or highly anticipated indie films this year did not see the need to spend advertising at festivals for films like J. Edgar; Carnage; The Iron Lady; Tinker, Tailor, Soldier, Spy; The Girl with the Dragon Tattoo; My Week with Marilyn; and In the Land of Blood and Honey. The success of last year’s Oscar winning film The King's Speech, which was TIFF’s 2010 Audience Award winner, may have influenced more films coming on the festival circuit. Major stars, major directors and major films all come to Toronto. As part of TIFF2011, over 300 films including 200 features from more than 60 countries, including 57 world premiers, and many other international and North American premieres, are chosen from over 3,000 films submitted. TIFF is a charitable cultural organization whose mission is to transform the way people see the world through film. An international leader in film culture, TIFF projects include the annual Toronto International Film Festival in September; TIFF Bell Lightbox, which features five cinemas, major exhibitions, and learning and entertainment facilities; and the innovative national distribution program Film Circuit. TIFF has a large economic impact on Canada, Ontario and Toronto since it brings in over $170 million Canadian dollars annually and currently employs more than 100 full time staff, 500 part time and seasonal staff and over 2,000 volunteers. The use of volunteers at TIFF really maintains the festival’s reputation as one of the best organized film festivals and one of the largest festivals still geared somewhat to public screenings unlike the Cannes Festival.
TIFF also has sections or categories of films and also has some art installations. Sections this year were: Gala Presentations, Masters, Special Presentations, TIFF for free (some free films publicly screened outdoors and a free additional screening of the Audience Award winner on the last Sunday), Discovery (first and second time filmmakers), Real to Reel (documentaries), Vanguard, Mediations: thoughts on contemporary film culture, City to City (this year’s selection was several films about the city of Buenos Aires), Mavericks, Contemporary World Cinema, Canadian Programming, Canada Open Vault (retrospective films), Short Cuts Canada, Visions (filmmakers who challenge our notions of mainstream cinema), Wavelengths (avant garde cinema), Future Projections (cinema meets visual arts with moving image projects throughout the city of Toronto), and their famous Midnight Madness section (primarily horror and black comedy films screening at Midnight with usually an appreciative and rowdy crowd).
With the opening of the Lightbox last year and the press screenings now being shown at the Scotia Theaters downtown instead of the Varsity theaters near Yorkville, the festival has all but moved to the downtown Queen Street area of trendy restaurants, bars, and CityTv. The Cumberland Cinemas, Varsity theaters, and Royal Ontario Museum were not used as screening venues this year, leaving only Isabel Bader theater as screening centers in Yonge and Bloor Streets area. Last year you could elect to stay all day at the Scotia cinemas which also have several small fast food restaurants within the multiplex building.
The Lightbox building
TIFF2011 was also a landmark year since the almost one year old finished Bell Lightbox theaters in its building complex were used for many screenings. Three of the theatres were used for TIFF screenings this year, the largest of which held 1200 seats. The facility shows first run independent and foreign language films, much like our AFI Silver theatre and also handles many Cinematheque Ontario screenings. Like our AFI also, TIFF polled film critics, Festival-goers and TIFF supporters, asking which films they considered essential cinema. The resulting Essential Cinema list has identified 100 International and Canadian important films. These films are also listed on an installation and wall kaleidoscopic presentation inside the Lightbox. Panels on the walls allow patrons to choose a film from the list and a segment of the film or information on it is presented. The ground floor now also houses an exhibit area: TIFF Bell Lightbox's HSBC Gallery. A large interactive exhibition on Fellini: Spectacular Obsessions and his life and films ended at the end of the Festival this year. A brief collage of some of the photographs can be seen on You Tube. The press release on the Fellini exhibit can be read here. The exhibition included filmclips and sketches from films like La Dolce Vita and 8 1/2 and his love of women in films. A new exhibition opening November 4th and ending January is "Grace Kelly: From Movie Star to Princess," covers her life, films, and fashion. Learn more about it here.
Over 30 films were bought at or just after the festival this year. Cameron Bailey, Co-Director of the Toronto International Film Festival, announced an impressive list of film sales resulting from participation at the 36th Toronto International Film Festival. As the festival ended this year, U.S. sales confirmed for key acquisitions include: Shame, Trishna, Wuthering Heights, Killer Joe, The Lady, Goon, God Bless America, Elles, Your Sister's Sister and Into the Abyss. Nearly 4,000 industry delegates attended the Festival this year – a 20% growth over 2010 – and worked closely with the Festival’s Sales & Industry Office, which facilitates information sharing and fosters relationships between accredited buyers, sales agents, producers and filmmakers. Some other titles were picked up also soon after the festival ended.
We thought the selections this year extremely good, having only viewed 2-3 films that could be described as poor or very mediocre out of about 55 films seen between the two of us. We usually have many screenings at the Ryerson College theater, but they had primarily American films and others that were set to open soon. Many of the films this year had a theme or sidestory that dealt with people either trying to emigrate from their country, the travails of getting to another country, or trying to stay there amid the political, legal, and social culture. Also we noted a resurgence in excellent British films or co-productions as seen at Toronto and our soon-to-be-reviewed BFI London Film Festival. Our collective recommendations from TIFF 2011 are:
MUST SEE FILMS: (We did not include some excellent films at TIFF2011 already seen at DC previews and that have already opened now in DC such as Drive, 50/50, Martha Marcy May Marlene, and Moneyball).
Jean Dujardin in The Artist.
The Artist (Michael Hazanavicius, France, 2011). Hazanavicius' paean to the silent film era follows the rise and fall of Hollywood matinee idol George Valentin (Jean Dujardin) who refuses to adapt to sound. The Artist never falls into the melodrama trap so common in films honoring the silent era. The Toronto catalogue says, "Above all, The Artist offers a joyous look back to a golden age, and will leave audiences nostalgic for a cinematic form that, as Hazanavicius proves, hasn't lost its resonance." One of our top picks for 2011. There may be some Oscar nominations here as a dark horse film, despite it being a black and white silent film. It has some of the elements of Singin' in the Rain and A Star is Born. Many were surprised this was not the TIFF Audience Award winner.
Death of a Superhero (Ian FitzGibbon, Germany/Ireland, 2011). An adolescent dying from cancer might not be seen as a comedy but that's not the case with FitzGibbon's take on 14 year old Donald (Thomas Brodie-Sangster) which uses live action and animation in Donald's determination not to die a virgin. Sadly the theme of a young male whose friends come to help in the fight has recently been explored by 50/50 in the US, so Death of a Super Hero may not have a U.S. release, at least not for some time. The strength of this film lies in the honest characters. Andy Serkis is a death therapist here and not a cartoon character as in his previous roles. Aisling Loftus (seen here in Oranges and Sunshine), comes across as a worldly teenage girl who makes Donald realize that he is more like the muscular cartoon creations he comes up with. Unlike 50/50, Death of a Super Hero does not shirk the pain of a teenager dying young and its impact on his family.
The Deep Blue Sea (Terrence Davies, United Kingdom, 2011). Adapted from a famous British play by Terence Rattigan, this is the story of post WWII England, with a younger wife of a high court judge in love with a young former wartime pilot trying to find his place in the new postwar world. Rachel Weisz gives an Oscar worthy performance as the clinging lover who feels the romance may be over. As the former Lady Collyer she has given up access to a rich lifestyle and is also trying to rebuild her life. The cinematography and furnishings beautifully recreate postwar England in every detail. The film will screen at AFI's EU Festival this month.
Elena (Andrey Zvyagintsev, Russia, 2011). This is a finely layered film that addresses class differences in Russia. Elena, who was a nurse to the rich, older Vladimir, is now his wife in an expensive house. Their relationship is unclear, since she still seems, at times, to be treated like an employee. Vladimir's disdain for Elena's family and their financial problems mirrors class attitudes also. A very quiet film, scored with Philip Glass' music, it slowly builds as Elena carries out her daily duties as wife and mother. Elena won a Special Jury Prize at the 2011 Cannes Film Festival.
Hysteria (Tanya Wexler, United States/United Kingdom, 2011). The funniest film seen at TIFF this year, retraces the history of the use of electric massage and vibrators used in 1880's Victorian England for women diagnosed with hysteria. Maggie Gyllenhaal, Hugh Dancy, Felicity Jones, Rupert Everett and Jonathan Pryce star in the real-life-based story of a doctor in Victorian England who invents an early prototype of the vibrator in his efforts to cure women diagnosed with "hysteria." The film also addresses the rights of women, social welfare, and health care in general and for the poor, but still manages to be a sweet, romantic comedy. Sony Pictures is in deals to distribute the film in the U.S.
The Kid with a Bike (Jeanne-Pierre and Luc Dardenne, Belgium/France/Italy, 2011). Cyril is an 11 year old boy abandoned by his father who still believes his father will be back. Cecile de France plays a hairdresser who enters the film and seems to be the only change agent left who can steer Cyril from an eventual life of street life, detention, drug abuse or worse. Why does she care about this troubled youth and what is society's responsibility to him? As usual, an excellent moral tale that the Dardennes Brothers so deftly craft. The film will have screenings at the AFI EU Festival in November.
Land of Oblivion (Michale Boganim, France/Germany/Poland/Ukraine, 2011). An excellent depiction of a small town near Chernobyl and its inhabitants, just before the environmental catastrophe happened--the immediate horror, and lingering changes to its landscape and people who survived years later. Although this is a feature film, it has a documentary feel. The film opens with the pastoral wedding arrangements for Anya and Piotr underway; Anya's life and hopes are changed forever.
Monsieur Lazhar (Philippe Falardeau, Canada, 2011). Bachir Lazhar, a middle aged Algerian immigrant who is a substitute teacher in Quebec, replaces a Montreal elementary teacher who committed suicide in the classroom. Some of the children are traumatized by the experience and Mr. Lazhar also has very different teaching methods to reach his students that do not mirror school administration policies and procedures. Excellent acting from the adults and children and character development of how adults and children deal with death and grieving. This is Canada's entry for best foreign language film for the Oscars and it also received the TIFF award for best Canadian feature film.
Once Upon a Time in Anatolia (Nuri Bilge Ceylan, Turkey/Bosnia and Herzegovnia, 2011). The Turkish director of Distant this time follows a police procedural of a murder committed in the countryside. A convoy of prisoners and police and forensic experts travel through the night to various pastoral spots as clues are revealed on this road trip. The beautiful landscape and the lighting and cinematography create painterly depictions of rural Turkish life and a character of its own. The film requires concentration to detail, moralistic questions, revealing in the end what is truth. Another masterpiece from Ceylan. This film shared Grand Jury Prize at Cannes 2011 with The Kid with a Bike.
Wim Wenders' Pina
Pina (Wim Wenders, Germany/France, 2011). One of the few 3D films shown at TIFF this year, Pina is a documentary about celebrated choreographer Pina Bausch who died of cancer. Wonderful archival footage and recently shot dances in the streets and in nature make this an intoxicating joy of modern dance. The company also has dancers that have remained for years and the film provides a rare experience of seeing the mature, experienced dancers and intergenerational and international dancers representing various ages and cultures. This has already played in Europe and is Germany's submission for foreign language Oscar. Like The Cave of Forgotten Dreams, it will be interesting to see if it comes to DC and if it will play 3D in standard theaters or just 2D in the art theaters.
A Separation (Asghar Farhadi, Iran). Golden Bear winner at the 2011 Berlin Film Festival and Iran's nominee for best foreign language Oscar, this is a character study of a middle class family's marital and family problems and other ensuing religious and social issues. When the husband's father who is sufferering from Alzheimer's disease requires special care, the caretaker calls the religious hotline to ascertain what she can do professionally that will not cross moral and religious boundaries. Separation and possible divorce, and emigration in modern Iranian society are also presented. This should be on the short list of 9 foreign language nominees.
Additional Must See Films recommended by others at TIFF: The Descendants, Edwin Boyd, Shame, Take This Waltz, and Where Do We Go Now.
VERY GOOD FILMS:
11 Flowers (Wang Xiaoshuai, China/France, 2011). The director of Beijing Bicycle and Shanghai Dreams this time goes to Southwest rural China in 1975, and ten years already into the Cultural Revolution. The family of Wang Han, an 11 year old boy who goes to school with his sister while the parents work in the factory, is presented in daily format. A coming of age tale where the boy learns the harsh realities of life and what happens to those who do not toe the line. The importance of a new white shirt for school and his emerging appreciation for his parents' hardships are delicately woven in the tapestry of this film.
Albert Nobbs (Rodrigo Garcia, Ireland, 2011). Glenn Close co-wrote and stars in this adaptation of a short story by George Moore. Albert is a shy, middle-aged butler in a large Dublin hotel in the 19th century, but he has a secret. Expect Glenn Close to possibly get an Oscar nomination for her low key acting as the introverted butler, but the standout performance is Janet McTeer who should really be nominated for supporting actress.
Cafe de Flore (Jean-Marc Vallee, Canada, 2011). From the director of C.R.A.Z.Y. and Young Victoria the film covers two stories. One story taking place in present day Montreal shows how a father and successful DJ deals with his current wife and children and an ex-wife who hasn't really moved on after the divorce. A second story centers on a mother in Paris in 1969 whose son with Down's syndrome befriends a new female student also with Down's syndrome. Both stories deal with the raw emotions of love and loss.
Footnote (Joseph Cedar, Israel, 2011). The writer/director of Beaufort has a new film about the older father Eliezer Shkolnick, a Talmudic scholar who is going to receive a special honor of the prestigious Israeli Award, or is he not? Dryly humorous, intellectual study of fathers and sons and the politics of academia. This is Israel's foreign language nominee for the Oscars and won the Best Screenplay Award at this year's Cannes Film Festival.
Free Men (Ismael Ferroukhi, France, 2011). Occupied Paris in 1942. Younes (Tahar Rahim from The Prophet) is an Algerian immigrant and black marketeer who agrees to spy on others after being arrested. But he soon finds the more interesting hidden world of the Muslim men and women who join the French Resistance and the wonders of the Paris Mosque.
The Good Son (Hyva Poika, Zaida Bergroth/Finland/2011). A child is forced to assume adult responsibilities and take care of a very needy mother as well as a younger brother. Bergroth's film uses one troubled stay in a remote Finnish village to primarily explore the troubled mother-son relationship that is brought to the boil by the appearance of her drinking buddies and a screenwriter with whom the mother is enamored. It is this relationship that reveals the seventeen year old son's limitations at protecting mom. An interview with Poika is in this issue of Storyboard.
A Happy Event (Remi Bezancon, France, 2011). From the director of The First Day of the Rest of Your Life comes a new film about the life-altering experience for women of their first childbirth. Barbara is a graduate student with an unexpected pregnancy wondering if her lover will support her and how she will cope with her pregnancy, labor, delivery and motherhood.
In Darkness (Agnieszka Holland, Canada/Germany/Poland, 2011). From the heralded director of films like Europa, Europa and Washington Square comes a new film based on a composite of the real stories of Polish Jews who survived in the Lvov sewers during World War II thanks to the help of a Catholic sewer worker. Excellent character development of the survivors and the changing attitude of their rescuer, Leopold Socha and his family. The film addresses many moral issues and the good and evil that is within all of us but keeps you on the edge of your seat throughout the movie.
Le Havre (Aki Kaurismaki/Finland/2011). Most European films on illegal emmigrants focus on the dark side of life. Not Kaurismaki who finds humor in a boat load of African emmigrants suddenly descending on the French port town of Le Havre, including one young boy, Idrissa (Blondin Miguel). The entire neighborhood takes on the task of hiding and sending Idrissa to rejoin his mother in England. Everyone seems to enjoy the task of throwing a fund raiser to send the lad on his way. Everyone save Idrissa who is a touch one-dimensional and seldom reacts as a real boy might in this situation. Finland's foreign language submission for Oscars. This will be shown in the EU Film Festival at the AFI in November and is expected to have a commercial release.
Melancholia (Lars von Trier, Denmark/Sweden/France/Germany, 2011). Although von Trier is well known for the Nazi comments that got him into hot water at Cannes, this is an excellent mood piece and science fiction approach to what happens when an approaching planet is getting too close to Earth for comfort. Kirsten Dunst received the Best Actress Award in Cannes for her portrayal of the young woman to be married during all the cosmos commotion. Excellent surreal visuals, cinematography and supporting acting by Charlotte Gainsbourg, Alexander Skarsgard, John Hurt and Charlotte Rampling. The film opens in DC in late November.
Oslo, August 31st (Joachim Trier, Norway, 2011). After his winning film Reprise, Trier's second feature follows Anders, a young addict in rehabilitation, venturing back out into Oslo with all the history and ghosts from his past that may be difficult to face again. Based on the novel of the same name by Pierre Drieu la Rochelle, Anders must find his self-worth and future without the crutch of drugs.
People Mountain, People Sea (Cai Shangjun, China/Hong Kong, 2011). This was an added film at TIFF2011 fresh from the Venice Film Festival where Shangjun won the Best Director Award. A man searches high and low for his brother's murderer in this dark road trip showing the underbelly of poverty and corruption of rural and urban Chinese life with a mood of detachment and futility.
Play (Ruben Ostlund, Sweden/France/Denmark, 2011). A film that will make you squirm somewhat in your seat deals with a story based on real incidents in Sweden where immigrant youth prey on younger middle class and richer kids and take cell phones, or do they? Are some people too trusting or gullible? There is a strange detachment presented by the authorities about kid-on-kid crime, but not for sticking to other minor regulations. A disturbing but later balanced film that may mirror adults in society and an interesting morality tale based on the reality of modern society, crime and vigilantes.
Rebellion (Matthieu Kassovitz, France, 2011). Actor/director Kassovitz presents a film based on the historical incident of 1998 in the French Pacific colony of New Caledonia when local Kank separatists took a number of French gendarmes hostage. The use of separatists and gendarmes as pawns in the government negotiations is documented in this morality tale of conscience.
A Simple Life (Ann Hui, Hong Kong/China, 2011). A very moving portrait of Andy Lau caring for his godmother and former nanny when she has a stroke. It provides a real portrait of abandoned elders and nursing homes in Hong Kong or anywhere. Actress Deanie Ip was named Best Actress at the Venice Film Festival for this role.
The Turin Horse (Bela Tarr, Hungary, 2011). Hungary's entry for best foreign language Oscar is a black and white, almost dialog-free story with a somewhat droning, apocalyptic score. The origin of the film comes from the story that Fredrich Nietzsche, while in Turin, Italy in 1889, witnessed a horse being whipped and threw his arms around the horse to protect it. Nietzche collapsed soon after this incident and, diagnosed as mentally ill, was mute and bedridden until his death 11 years later. This film will divide audiences, but if you are a Bela Tarr fan you will enjoy it. Although little happens, it is mesmerizing. In his post film discussion, Tarr said this will probably be his last film. He made it with his editor/wife (Agnes Hranitsky)assisting in direction and it really is a test of Maslow's hierarchy of basic needs. Tarr said in the future he hopes to help new filmmakers in Croatia and elsewhere.
GOOD FILMS:
Alps (Yorgos Lanthimos, Greece/France, 2011). After last year's Oscar nominee Dogtooth, Lanthimos presents a more accessible but still original film about a group of individuals who offer their services in inhabiting the role of your dearly beloved relative until you complete the grieving process and accept that they are gone. The main characters who take on these roles are pretty much one dimensional beings until they inhabit the lives of others. Some may find it difficult to go back to being themselves. The film took the Best Screenplay Award at this year's Venice Film Festival.
Avalon (Axel Petersen/Sweden/2011). Petersen deservedly picked up the Prize of the International Critics (FIPRESCI Prize) for his focus on real scoundrels. When making the award the jury said this was, "An assured, darkly humorous portrait of an affluent class in hedonistic self-denial, Avalon marks the arrival of a promising new voice in Swedish filmmaking.” The film, as director Peterson told me when I interviewed him, that the concept for this spare, beautifully shot film, came from his own experiences growing up in a Swedish tennis-focused village. The score and Mads Mansson superb cinematography combine to make Avalon one film to see. (Note: We will run the interview with Axel Petersen in a future Storyboard when the film is released).
Chicken with Plums (Marjane Satrapi & Vincent Paronnaud/France, Germany, Belgium/2011). Marjane Satrapi follows her well received graphic novel inspired Persepolis with Chicken with Plums. This one is not animated as Persepolis was but is live-action. Looking back to the idyllic years before the Iranian revolution, the film follows an internationally famed musician's trauma in dealing with the destruction of his prized violin. Faced with this loss Nasser Ali Khan (Mathieu Amalric) takes to his death bed where he looks back over the good and bad of his life, family and career in a, by turns, comedic and serious perusal.
Faust (Alexander Sokurov, Russia, 2011). Forget Johann Wolfgang von Goethe and Thomas Mann's take on the the man who sold his soul to the devil. Russian auteur Sokurov provides a whole new take on the German legend. Beautifully filmed in some of the Czech Republic's most beautiful locations, Faust comments on the absurdity of life and the case of having your every whim fulfilled. Opera lovers may be troubled by this new interpretation of an opera house staple. Faust won the Golden Lion Award at this year's Venice Film Festival.
The First Man (Gianni Amelio, France/Algeria/Italy, 2011). Based on Albert Camus' moving account of his childhood in French Algeria, his divided loyalties with France, and the problem of colonialism. The film is told in flashbacks to his youth interwoven with Jacques' recent visit to Algeria to visit his mother which triggers all his memories again. The film won the Prize of the International Critics (FIPRESCI Prize) for Special Presentations at TIFF.
From the Sky Down (Davis Guggenheim, United States, 2011). This was the TIFF opening night Gala. Rarely has a documentary and a non-Canadian film opened the TIFF festival. We expected a concert movie, but got more of a biopic with some concert footage. A few added songs would have been welcome in this 90 minute film, but it accurately traces the roots of the band U2 and about the creative process of song writing and interpretation of songs like "One" and "Even Better than the Real Thing."
A Funny Man (Martin P. Zandvliet, Denmark, 2011). From the director of Applause. This is the story of Denmark's famous comic Dirch Passer played by Nikolaj Lie Kaas and his comedy partner Kjeld, the ups and downs of their professional and personal lives, and Passer's determination to become more famous, despite the personal and family costs.
Goodbye First Love (Mia Hansen-Love, France/Germany). A follow up to her successful film The Father of My Children, Mia Hansen-Love this time recounts the difficulty a youug girl has with letting go of her first love. Teenage angst and depression is finely drawn to excess from a feminine view point. The highs and lows of teenage love and later mature love are explored.
Hotel Swooni (Kaat Beels, Belgium, 2011). A compilation of several characters and overlapping stories includes, among others, a hotel maid and her mother who is not happy that her daughter is a lesbian, an illegal immigrant African boy looking for his uncle, and a wedding couple at the rich hotel that outwardly appears to be a paradise with its inviting pool on one sweltering hot day.
The Lady (Luc Besson, France/United Kingdom, 2011). An epic biopic about Aung San Suu Kyi, and her return visit to Burma in 1988. She is married to an Oxford professor and has two sons, but on her return home to visit her ailing mother finds herself thrown into national politics and later the Nobel Peace Prize, although she was under house arrest and unable to leave Burma. Michelle Yeow and David Thewlis portray the couple divided by distance but not strong will and support. Filmed primarily in Thailand and Burma, the continuing political struggle is still poignantly portrayed. The dialog seemed somewhat stilted or simple but otherwise it was good film.
Lost in Paradise (Ngoc Dang Vu, Vietnam, 2011). Heralded as perhaps the first gay feature film from Vietnam. Khoi, a naive young man, leaves the countryside and comes to Ho Chi Minh City. The streetlife of male and female prostitutes is shown as well as the danger of falling in love with other prostitutes and the spiralling fate of drug abuse and theft on young lives.
The Student (Santiago Mitre, Argentina, 2011). One of the films highlighting Buenos Aires in the "City to City" category, this is a briskly paced, but dialog-heavy film about Roque's initiation into university life, love, and above all university and national politics, where he seems to excel.
SuperClasico (Ole Christian Madsen, Denmark, 2011). When Christian loses his sports agent wife Anna to a soccer player in Buenos Aires, he shuts down his failing wine business, packs up his son Oscar and heads for Argentina. A wonderful film to blend with the Argentinian films in the "City to City" category, since it shows much of Buenos Aires and its sports fans. Both father and son discover or rediscover themselves and the world around them. Denmark's foreign language nominee and a warm thoughtful comedy.
Trishnan (Michael Winterbottom, United Kingdom, 2011). An interesting film, taking Thomas Hardy's Tess of the D'Urbervilles and moving the story to modern India. Freida Pinto (from Slum Dog Millionaire) is the young female lead who, as a small village girl, was whisked away by the rich son of a property developer. But what are his intentions and is class difference still a problem in modern India?
Disappointing
Another film viewed was Winnie (Darrell Roodt, South Africa/Canada, 2011) which was given a world preview but still had some scoring and end credits to be added. Jennifer Hudson did a good job as Winnie Mendela, but later issues in her life were not detailed in the film, nor any character arc shown of changed attitude, and Terence Howard seemed miscast as Nelson Mendela. It had a Lifetime like movie feel rather than a true biopic so it was somewhat disappointing.
Other Reviews and Awards
An indieWire poll of film critics and bloggers selected their favorite films at TIFF2011 as: (1) Shame; (2) This is Not a Film; (3) A Separation; (4) Miss Bala and (5) Martha Marcy May Marlene. Their favorite documentaries were Pina, Girl Model, and Into the Abyss.
Another criticWire@Toronto poll of input from 25 critics is available for review.
THE OFFICIAL AWARDS
The SKYY Vodka Award for Bests Canadian First Feature Film
This award went to Nathan Morlando for Edwin Boyd. The jury remarked: “The SKYY Vodka Award for Best First Canadian Feature goes to a film that sets a tone, stays with it, and shows you what it is to be a soldier returning from war only to find that the world has no place for you. This is a film that puts a human face on a Canadian myth.” The award carries a cash prize of $15,000.
The jury gave a special citation to Anne Émond’s Nuit #1: “Anne Emond’s Nuit #1 was simple and raw. It reminded us of the power of two actors with incredible chemistry, a courageous filmmaker, and a dingy apartment. We can’t wait for Nuit #2.”
The City of Toronto Award for Best Canadian Feature Film
The City of Toronto Award for Best Canadian Feature Film went to Philippe Falardeau for Monsieur Lazhar. The jury remarked: “Very rarely does a film come along that does everything perfectly. At the end of this movie, my jury members looked at each other, with tears in our eyes. We came to a unanimous decision: The City Of Toronto Award for Best Canadian Feature goes to a film that explores loss, exile, and the truths we tell our children: Philippe Falardeau’s Monsieur Lazhar.” The award carries a cash prize of $30,000.
Award for Best Canadian Short Film
The award for Best Canadian Short Film went to Ian Harnarine for Doubles With Slight Pepper. The jury remarked: “Through the humble but moving story of a family in crisis, this film expresses truths that resonate in Canada and around the world. It is the debut of an exciting new voice from whom we hope to see a great deal more.” The award offers a $10,000 cash prize. Honorable mentions went to Mathieu Tremblay’s Of Events (D'aléas) and Ryan Flowers and Lisa Pham’s No Words Came Down.
The International Federation of Film Critics Awards (FIPRESCI PRIZES)
The Festival welcomed an international FIPRESCI jury for the 20th consecutive year. The jury members consist of jury president Diego Batlle (Argentina), Carmen Gray (United Kingdom), Freddie Wong Kwok-Shiu (Hong Kong), Sam Adams (United States), Pascal Grenier (Canada) and John Semley (Canada).
The Prize of the International Critics (FIPRESCI Prize) for the Discovery programme was awarded to Axel Petersén for Avalon (Sweden). The jury remarked: “An assured, darkly humorous portrait of an affluent class in hedonistic self-denial, Avalon marks the arrival of a promising new voice in Swedish filmmaking.”
The Prize of the International Critics (FIPRESCI Prize) for Special Presentations was awarded to Gianni Amelio for The First Man (Le Premier Homme) (France, Algeria, Italy). The jury remarked: “Gianni Amelio’s realization of an unfinished Albert Camus novel explores the legacy of colonialism with the tenderness of a memoir and the unflinching gaze of a war reporter.”
Cadillac People's Choice Award
The Cadillac People's Choice Award is voted on by Festival audiences. This year’s award went to Nadine Labaki’s Where Do We Go Now? Set against the backdrop of a war-torn country, Where Do We Go Now? tells the heartwarming tale of a group of women determined to protect their isolated, mine-encircled community from the pervasive and divisive outside forces that threaten to destroy it from within. The award offers a $15,000 cash prize. First runner up was Asghar Farhadi’s A Separation and Ken Scott’s Starbuck.
Cadillac People’s Choice Documentary Award
The Cadillac People’s Choice Documentary Award goes to Jon Shenk for The Island President. In this whirlwind political documentary, Mohamed Nasheed wins the presidency after a 20-year battle for democracy in the Maldives, only to face an unfathomable challenge: to save his island nation from rising seas. The Island President follows Nasheed as he takes the climate fight to backroom chambers of power in New York, London, Delhi, and finally into the fierce realpolitik of the Copenhagen Climate Conference. First runner up was Bess Kargman’s First Position and second runner up was Cameron Crowe’s Pearl Jam Twenty.
Cadillac People’s Choice Midnight Madness Award
The Cadillac People’s Choice Midnight Madness Award went to Gareth Evans for The Raid. Starring Indonesian martial arts sensation Iko Uwais, The Raid follows a SWAT team that is trapped in a rundown apartment block in Jakarta filled with heavily armed drug dealers and killers. First runner up was Adam Wingard’s You’re Next and second runner-up was Bobcat Goldthwait’s God Bless America.
You can find more information about TIFF at their website.
Calendar of Events
FILMS
American Film Institute Silver Theater
The AFI's 24th European Union Film Showcase runs from November 3-22. Forty-four films from EU member states include many official Oscar submissions for Best Foreign Language Film, award-winners from international film festivals, local box-office hits and debut works by promising new directors. Titles include The Woman in the Fifth, Le Havre, The Kid with a Bike, The Deep Blue Sea and A Dangerous Method.
"New Spanish Cinema" is a collection of ten films from Spain including Every Song Is About Me, The Great Vazquez, With Or Without Love, Kidnapped, Lope, Half of Oscar, Lovestorming, 80 Days and Who Can Kill a Child?
"More Muppets, Music and Magic: Jim Henson's Legacy" begins November 23 and runs through December. Titles in November include The Dark Crystal and Labyrinth.
Susan Orleans, author of "Rin Tin Tin, The Life and the Legend," will be present to discuss her book about Rin Tin Tin whose popularity saved the Warner Brothers studio, and you can see the great dog himself in Clash of the Wolves (Noel M. Smith, 1925) with live musical accompaniment by Andrew Simpson on November 12 at 3:00pm.
Other special events include This Is Spinal Tap, Inni, The Wizard of Oz and The Sound of Music.
"Noir City DC," this year's film noir festival presents 18 noir films with only Angel Face, Beware My Lovely, My Name is Julia Ross, Dark Mirror, and The Haunted remaining in early November.
A new series, "Opera in Cinema" captures live opera performances. On November 5 at noon and November 6 at noon is Puccini's Tosca performed by the Royal Opera Company with Angela Gheorghiu and Jonas Kaufmann.
"Ballet in Cinema" also captures live performances from Europe's top ballet companies. On November 20 at 10:00am is The Sleeping Beauty broadcast live from the Bolshoi Theater in Moscow. An encore performance is on November 21 at 3:00pm.
Freer Gallery of Art
"Uzbek Rhapsody: The Films of Ali Khamraev" is the first North American retrospective of Ali Khamraev's films, hosted by the Freer and the National Gallery of Art. On November 11 at 7:00pm is Without Fear (1972), set a 1920s Uzbek village. On November 13 at 1:00pm is The Seventh Bullet (1972), a "red western" shown with The Bodyguard (1979) on November 13 at 3:00pm. Man Follows Birds (1975) is on November 20 at 2:00pm. More at the Gallery, see below.
Other November film events are "Madame Freedom: Live Rescore by DJ Spooky" on November 4 at 7:00pm and "Film: Intangible Asset No. 82" with a performance by the Bae-Barker-Kim Trio on November 18 at 7:00pm.
National Gallery of Art
Films by Uzbek director Ali Khamraev are shown at the Freer (see above) and the Gallery. Ali Khamraev will be present on November 13 at 4:00pm with Triptych (1979) shown with White White Storks (1966). On November 19 at 2:00pm is I Remember You (1985).
"La Cinema Fantastique" continues in November. On November 6 at 4:00pm is Eyes Without a Face (Georges Franju, 1959), on November 19 at 4:00pm is Black Moon (Louis Malle, 1975), and on November 20 at 4:00pm is Judex (Georges Franju, 1963). More in December.
Other films and events in November include a screening of Franco Zeffirelli's For Florence (1966), a documentary about the Florence flood in 1966 on November 5 at 3:30pm with an introduction by Sheila Waters and Don Etherington of the University of Maryland. On November 25 at 2:30pm British film historian Kevin Brownlow will be present to discuss his restoration work on Abel Gance's Napoleon.
"Seeking Spain in the Cinema" is a series of three Hollywood classics portraying Spanish identity in film plus a film by Carlos Saura. On November 26 at 2:00pm is The Barefoot Contessa (Joseph Mankiewicz, 1954) with Ava Gardner, shown with Behold a Pale Horse (Fred Zinnemann, 1964) with Anthony Quinn. On November 27 at 2:00pm is The Devil Is a Woman (Josef von Sternberg, 1935) with Marlene Dietrich and on November 27 at 4:00pm is El Amor Brujo (Carlos Saura, 1986).
In conjunction with the Gallery's exhibit "Warhol: Headlines" is a series of films shown on Saturdays throughout October, November and December. The dates for November are November 5 at 1:00pm "Afternoon," November 12 at noon "Velvet Underground" and "Nico," November 12 at 4:00pm "13 Most Beautiful ... Songs for Andy Warhol," November 19 at noon "John and Ivy: Soap Opera," and November 25 at 12:30pm "Lupe."
Hirshhorn Museum and Sculpture Garden
On November 15 at 7:00pm is Under Control (2010) with filmmaker Volker Sattel present to talk about his film, a "tour" of nuclear facilities in Germany and Austria.
On November 6 at 11:00am is Andy Warhol: A Documentary Film Part I (Ric Burns, 2006) with Part II at 2:00pm. Narrated by Laurie Anderson, with interviews by Irving Blum, Bob Colacello, Dave Hickey, Jeff Koons, Wayne Koestenbaum, Paul Morrissey, George Plimpton, and others.
On November 10 at 7:00pm author and critic Douglas Crimp will discuss his new book "Our Kind of Movie: The Films of Andy Warhol."
National Museum of African Art
On November 6 at 2:00pm is Black Girl (Ousmane Sembene, 1966) about a Senegalese maid in a French family, shown with Borom Sarret (Ousmane Sembene, 1963), about a cart driver in Dakar.
National Museum of the American Indian
November's daily screening is Silent Thunder (Angelique Midthunder, 2006), a documentary about a Native horse whisperer, shown at 12:30pm and 3:30pm daily except Wednesdays.
On November 17 at 7:00pm is Older Than America, about an Indian boarding school.
Smithsonian American Art Museum
On November 15 at 7:00pm is A Connecticut Yankee in King Arthur's Court (1949) with Bing Crosby.
Washington Jewish Community Center
On November 7 at 7:30pm is 77 Steps (2010) from Israel, with filmmaker Ibtisam Mara'ana present to take questions.
Goethe Institute
"Small Change/Big Changes" is a film series about globalization and progress in science and technology. The last film in the series is Nothing Is Better Than Nothing At All (Jan Peters, 2010) shown with a short film The Simpleshow Explains the Credit Crisis (Adrian Thoma, 2009).
A restored print of Rainer Werner Fassbinder's film World on a Wire (1973) is shown in two parts on November 14 at 6:30pm and November 21 at 6:30pm.
National Air and Space Museum
On November 18 at 8:00pm is Orphans of Apollo (Michael Potter, 2008), a documentary about space entrepreneurs who launched the commercial space industry. A panel discussion following the film includes the film's director Michael Potter, Roger Launius from the Division of Space History at the National Air and Space Museum and Alan Ladwig of NASA.
French Embassy
On November 14 at 6:00pm is a Patrice Leconte double feature with the director in person to present his films. Dogora (2004) is an impressionistic look at Cambodia; it will be followed by with Voir la mer (2011), a ménage à trois comedy.
The Japan Information and Culture Center
On November 16 at 6:30pm is a film TBA, and on November 30 at 6:30pm is an anime film TBA.
On November 18 at 6:00pm is 442: Live with Honor, Die with Dignity (Junichi Suzuki, 2010), a documentary about the Japanese-American combat team during WWII. Terry Shima, a veteran of the 442nd will speak about his experiences and answer questions.
The National Theatre
"Gentlemen Prefer Marilyn" is a series of films starring Marilyn Monroe ending this month. On November 7 at 6:30pm is Bus Stop (Joshua Logan, 1956) and on November 14 at 6:30pm is The Misfits (John Huston, 1961).
National Archives
In conjunction with “What's Cooking, Uncle Sam?” the Archives shows food-related films. On November 19 at noon is The Egg and I (1947) starring Claudette Colbert and Fred MacMurray. On November 30 at 7:00pm is Food, Inc. (2008), an Oscar-nominated documentary.
Interamerican Development Bank
On November 4 at 6:30pm is Passione (John Turturro, 2010), a documentary about Neapolitan music.
The Avalon
This month's "Greek Panorama" film is The Cherry Orchard (Mihalis Kakogiannis, 1999, 2000), with Charlotte Rampling and Alan Bates shown on November 2 at 8:00pm. The November "Czech Lions" film is Walking Too Fast (Radim Spacek, 2009)), nominated for several "Czech Lions" (Best Picture, Director, Actor, Screenplay, Camera) on November 9 at 8:00pm. The "French Cinematheque" film for November is TBA. This month's "Reel Israel DC" film is Naomi (Eitan Tzur, 2010), an award-winning thriller on November 30 at 8:00pm.
Italian Cultural Institute
On November 8 at 6:30pm is The Best of Youth (Part I) (Marco Tullio Giordana, 2003) with Part II on November 15 at 6:30pm.
Georgetown University, Department of Performing Arts
On November 5 at 4:00pm is Night of the Hunter (Charles Laughton, 1955) shown in conjunction with the theater performance "A Child Shall Lead Them: Making 'The Night of the Hunter'," an imagining of the making of the film. The performance is November 3, 4 and 5 at 8:00pm and November 6 at 2:00pm.
University of Maryland, Hoff Theater
On November 4 at 6:30pm is Intolerance (D.W. Griffith, 1916) with live music by Boister.
Smithsonian Associates
Race--The Power of an Illusion
On November 2, 9 and 16 at 7:00pm is a three-part documentary on race. Marya Annette McQuirter, author and consultant leads a discussion following the screening of each episode. Part I "The Difference Between Us" surveys scientific findings and genetics; Part II "The Story We Tell" provides historical context for race and Part II "The House We Live In" shows how our social institutions give different groups vastly different lives.
National Academy of Sciences
On November 10 at 6:00pm is a screening of a restored silent film The Reward of Courage (1921) with musical accompaniment by the Snark Ensemble. An educational film about cancer, The Reward of Courage was a pioneer in public education. A Mack Sennett comedy Lucky Stars (1925) with Harry Langdon playing a cure-all selling huckster. The program will be introduced by historian David Cantor. See the website for location and registration information.
American University
The Smithsonian Latino Center sponsors The DIVEDCO Project in two parts, held at the American University. Part I is on November 13 at 2:00pm with a selection of films from Puerto Rico's Division of Community Education (DIVEDCO) and Part II is on November 20 at 2:00pm. Both programs feature a panel discussion and audience Q&A.
Eurochannel Screening
On November 15 at 7:00pm is a collection of short films from various European countries, shown at the West End Cinemas.
The Lincoln Theater
On November 11 at 7:00pm is Everyday Sunshine: The Story of Fishbone (Chris Metzler and Lev Anderson, 2010), followed by a panel discussion with band members and the directors plus a special performance by the band.
FILM FESTIVALS
