TIFF '23: The Origin of Our Discontents

by Cláudio Alves

Aunjanue Ellis-Taylor in "Origin"

Dealing with complex sociological issues in cinema is tricky. The risk of didacticism is hard to avoid, but abstraction can also be the enemy of clarity, especially when the filmmakers want to posit movies as an instrument of change, a spike of awareness. Writing about this type of film, I'm often confronted with inner conflicts about how to approach criticism. It's tempting to celebrate cinema that confirms one's worldview and political alignments. But does that alone make for a good film?  Many films at this year's TIFF confront issues of systematized injustice on the basis of race, gender, sexuality, and other forms of identity. Two such films, Ava DuVernay's Origin and Nora El Hourch's Sisterhood present distinct visions though a striking sense of confrontation unites them...

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TIFF '23: Love! Sex!! Cinema!!!

by Cláudio Alves

"The Beast"

So far at TIFF '23, no film has more stubbornly remained in my thoughts than Bertrand Bonello's The Beast, an ambitious genre-bending experiment with shades of Henry James' "The Beast in the Jungle" and incel rhetoric. You can't fault the French maverick for a lack of ideas, but I'm not sure they all coalesce. Still, it persists in the upper levels of my mind, nagging for reconsideration, spiking me with lost images I saw projected monument-like on an IMAX screen. Truthfully, I've never been as intimately acquainted with Léa Seydoux's face, and at times, she looked like a beautiful titan about to devour the audience, mayhap the whole universe.

The Beast's thoughts on love across the ages are especially fascinating in how they compare to other artists' visions of the amorous realm. The Feeling That the Time for Doing Something Has Passed and Fallen Leaves couldn't be more different, so let's talk all three after the jump...

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TIFF ’23: In “Monster,” we’re all alone and that’s beautiful

by Cláudio Alves

Part of being alive is coming to grips with some harsh truths intrinsic to the human condition. For instance, we’ll never know the other, not entirely, no matter how hard we try. Even mothers can’t hope to fully grasp their children’s interiority, each human being a galaxy unto themselves. You can either fight against that notion in fruitless despair or accept it. We’re all alone, trapped in the mystery of ourselves, but so is everyone else. Reach out, and you’ll come close to the infinite unknown. Look at it right, and you’ll see beauty beyond belief.

The cinema of Japanese master Hirokazu Kore-eda has long reflected on such ideas, but Monster is still a high mark of cinematic compassion in his filmography. Penned by Cannes Best Screenplay-winner Yuji Sakamoto and set to the sound of Ryuichi Sakamoto’s last score, this film broke my heart…

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TIFF '23: Sophie Nélisse in ‘Irena’s Vow’

By Abe Friedtanzer

There’s a reason that there are so many films about the Holocaust. The attempted conquest of Europe and the whole world by the Nazis resulted in millions of innocent lives lost and countless others irreversibly altered. Fortunately, there were more than a few people who made the brave decision to stand up for those who couldn’t advocate or fight for themselves. These stories typically make for poignant cinematic tales. The latest is Irena’s Vow, which stars Sophie Nélisse as a Polish nurse who risked her life to safeguard a group of Jews…

Like La Rafle, The Zookeeper’s Wife, and A Hidden Life, this film centers on someone who was not Jewish but who found herself significantly disenfranchised when the Nazis invaded her country...

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TIFF '23: "Do Not Expect Too Much From the End of the World" is one wild ride

by Cláudio Alves

So many films wear the label of "provocative" as a medal of honor, boasting about their challenges to the audience and engaging shock. Yet, most of those reveal themselves as anything but, their provocation an empty buzzword  for a press release. Because disappointment is so common, it feels doubly refreshing when a genuinely provocative film comes about, like a punch to the solar plexus that makes you smile and beg for more. That's the case of Radu Jude's Do Not Expect Too Much from the End of the World, a Locarno prize-winner recently announced as Romania's official submission for the 96th Academy Awards. Pardon the vulgarity, but it's a fucking masterpiece...

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