TIFF: Christian Petzold returns with "Transit"

Nathaniel R reporting from the Toronto International Film Festival

Fans of the haunting post-war German drama Phoenix (well loved right here), will want to check out the latest from one of Germany's greatest directors Christian Petzold. Like Phoenix, Transit is a story of lives tragically ruined by war and new identities emerging from the rubble. Transit isn't as much of an eery mystery as Phoenix, but it plays with similar themes. Our protagonist Georg played by the arresting, highly watchable Franz Rogowski (Happy End) initially appears to be an opportunist, doing two dangerous jobs for cash involving personal letters or actual transport for desperate people trying to escape attention in Germany on their way out of the country, and stealing another man's identity as his own ticket out. But our first impression is quickly complicated...

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TIFF Review: "Wildlife"

by Chris Feil

Paul Dano’s directorial debut Wildlife is a period domestic drama with a fire in its gut. It’s the kind of piercing portrait of a family that makes you want to marinate in all of its surprising details just as you desperately want to escape its breathlessly realized pain.

Picturing an emotionally desolate suburban America of shitty lawns and ranch style homes, Dano strikes a balance between toughness and compassion, cruelty and honesty. It's as if its family was built on the fault line of two massive tectonic plates and no matter how violent the inevitable eruption that is to come, it might be sadly better that they be ripped apart. For everyone.

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TIFF Review: "The Old Man and The Gun"

by Chris Feil

David Lowery has already proven a difficult director to pin down easily, giving us film’s as divergent as Aint The Bodies Saints, Pete’s Dragon, and A Ghost Story. His newest film, The Old Man and the Gun, fills some of the spaces between those, and a clearer directorial voice is beginning to take shape. Lowery’s films want to immerse us in a feeling, to mire over circumstances that have inevitable ends we fight against. And this time, his film also pointedly faces its own metafictional end by showcasing what is to be the final performance of Robert Redford as a con man refusing to give up the habitual ghost of robbing banks.

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TIFF Review: "Widows"

by Chris Feil

If you thought that Steve McQueen’s Widows would be less of a body blow as his other films simply because the genius director is dipping into the mainstream, guess again. A quaint notion that is thankfully not the case - McQueen hasn't softened a bit, and thank goodness.

Watching the film is like laying on a bed of nails, danger at every turn as you dodge its narrative and formative land mines. McQueen’s previous films such as 12 Years a Slave and Shame depicted viscerally physical experiences, making for intense films that can be felt as deeply in the body as well as the soul. Though Widows is less concerned on physical tolls taken on its characters than those efforts, that doesn’t mean you don’t still feel Widows down to your bones.

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Queer TIFF: "Can You Ever Forgive Me?"

by Chris Feil

Marielle Heller’s Can You Ever Forgive Me? is the rarest of comedies, as lovely as it is scabrous, and able to craft a film cohering as many dualities and tonal contradictions in its construction as its protagonist. The film stars Melissa McCarthy as the shamed Lee Israel, once noted biographer and journalist whose late career stumbles found her forging letters of noted dead writers and famous personalities.

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