Sixteen from Toronto. (And Your Input, Please.)

Festival season heading your way out there in the dark. Even if you only experience film festivals through blog mania for the same, that's still something. That's how most of us experience Cannes each year, yes? This year TFE will be doing a lot from NYFF as it's close to home (5 stops on the subway close!) and quite inexpensive since there's already a bed to sleep in: one's own! But we have lined up a few foreign correspondents to give you bits and bobs from Venice (Aug 31st-Sept 10th), Toronto (Sept 8th-18th), and London (Oct 12th-27th). Quite often commenting is light on film festival pieces, which one assumes is because of the unfamiliar factor of the films, though sometimes it's quite distressing -- I even drew you cartoons from Nashville and there was nary a peep! --  so some feedback would be greatly appreciated:

What interests you and what doesn't about film festivals?

Bizarre Typecasting Alert! Saoirse Ronan is playing her second consecutive teenage assassin in "Violet and Daisy"

The full Toronto International Film Festival schedule is up at their website. I won't be there but I am leaving town right about then because I do not want to be anywhere near Manhattan when the 10th anniversary of 9/11 rolls around. That's just going to be a nightmare and I don't mean in the fear-of-terrorism sense. Someone on TV the other day was theorizing about small scale terrorism as they do -- fear being our great masochistic national addiction -- and deadly gas or whatnot in crowded places came up. Movie theaters were mentioned. I know it's perverse but my immediate unbidden thought was  this: 'If I have to die by terrorism, that'd be an awesome. At least I'd be enjoying myself when the end came!'

Oh but Toronto, yes, yes. Rather than attempting to type up their entire 200+ film list, after a very quick glance through of the titles and summaries here are 16 that I'd probably try to snag tickets for had I gone this year. Festival moviegoing is much different from regular moviegoing in that you have to not only consider your normal desires but balance those out -- you can't go all drama or all France or even (gasp) all actressy -- and you have to immediately rule out films you'll be able to see in a week or two after you get back like all the NYFF titles.

So here we go...

Auteur Lust
Andrea Arnold's Fish Tank was so mesmerizing and incisive that I'm naturally curious to see her follow up Wuthering Heights, even though I prefer it when wonderfully contemporary filmmakers tell original stories. Despite reservations that come with yet another Bronte adaptation the TIFF write up promises a stripped down power... "No starched lace, no panoramic views, no sweeping score"; After Reprise Joachim Trier should win automatic eyeballs for Oslo, August 31st which might be Norway's Oscar submission; I hadn't realized until just now that A Funny Man, one of Denmark's Oscar finalists, is by the director of Applause Martin P Zandvliet. Though the praise for that film was mostly directed at Paprika Steen's shattering lead work, if Zandvliet can work similar magic with Nikolaj Lie Kaas who takes center stage here perhaps we'll have to regard him as one of the world's finest directors of actors?; Yorgos Lanthimos's follow up to Dogtooth called ALPS sounds juicily provocative "A mysterious underground outfit, going by the name of ALPS, offers bereaved individuals a very unusual service: they stand in for their dearly departed." Yes, please. If you can already surprise just from a concept line, I'm in.

Gender and Sexuality: Love and Bruises follows an international love affair between Tahar Rahim (A Prophet) and newcomer Corrine Yam. It's from Lou Ye, the director of Summer Palace and Spring Fever which were both successfully sensual and evocative pieces; Lost in Paradise is supposedly a sympathetic leap forward for gay depictions and characters in Vietnamese cinema; Leave it on the Floor is a coming of age musical about a young gay man in the vogueing underground ball circuit. That milieu, such a cinematic one, hasn't been center stage since what, 1992?; Finally the French Canadian Nuit #1 investigates a one night stand. Films which focus tightly on one event can often reap big rewards, because film is such a great medium for short stories as it were. Plus it's a debut feature (from Anne Emond) and festivals are a great place to discover new directors.

For the Actressing: Christophe Honoré's Beloved is about the love lives of a mother and daughter. They're played by real life mother/daughter Catherine Deneuve and Chiara Mastroianni (who also did that trick for A Christmas Tale) and  Ludivine Sagnier co-stars so this is must-see-times-three; Huh Jong-ho's crime drama about a collection agent and a con artist Countdown features Korean actress of the moment (and TFE obsession of the moment) Jeon Do-yeon of Secret Sunshine and The Housemaid fame.;  Albert Nobbs and We Need To Talk About Kevin... regarding both: I'm just impatient, y'all!

For the Variety: Friends With Kids is the directorial debut of Jennifer Westfeldt (Kissing Jessica Stein) who was once more famous than her husband Jon Hamm but hasn't been for some time now post Mad Men. Hamm is part of the ensemble cast she's collected for this comedy about a group of tight friends who begin to fall apart once children are in the picture. The film co-stars Adam Scott, Kristen Wiig, Megan Fox, Edward Burns and Maya Rudolph; Where Do We Go Now? is a Lebanese musical from the director of Caramel; Alois Nebel is a black and white rotoscoped animated film from the Czech Republic and the style would be enough for me in the festival setting (plainly different than everything around it!) though the content sounds interesting, too; Finally, I'm letting The Encounter stand in for avant garde programs in general. It's a short but I know I need to experiment with more that's truly experimental when given the chance ... and A list festival are that chance. In this film "a woman's synethesia transforms her vision into beautiful song." Wait, is this a Björk biopic?

But really, there are so many that I could do this for several more hours. Wrapping it up, now. Bye!

NYFF Overflows with Fascinating Auteurs & Oscar Contenders

Gael Garcia Bernal gets licked at the New York Film FestivalSince I'm not doing Toronto this year (I hope to convince a few volunteers to do coverage for the site. If you're going and you're a reader/writer...) I plan to go full hog on the NYFF. I will also be enlisting at least one extra member of the Film Experience team to join me so that we have more for you. Below you'll find the final lineup culled from the official site but I've divvied it up for you into categories.  Please do let us know in the comments which films you're most interested in hearing about, or, if you're in NYC, which films you plan to see.

Buzzy Indies
Martha Marcy May Marlene, in which Elizabeth Olsen leaves a cult in time for her Oscar campaign, directed by Sean Durkin (USA)
A Separation, a tense family drama that keeps winning awards, directed by Asghar Farhadi (Iran)
Shame, directed by Steve McQueen, in which sister Carey Mulligan visits her sex addict brother Michael Fassbender. From the director of Hunger so therefore MUST-SEE... even if constant Michael Fassbender sex scenes weren't enough (UK)

Will Their Countries Submit Them For Oscar's 'Best Foreign Language Film'?
The Kid With A Bike, directed by Jean-Pierre and Luc Dardenne, is about an abandoned 11 year old. It won prizes at Cannes because it's a rule that all Dardenne Brothers films do, don'cha know. (Belgium) 
Le Havre, directed by Aki Kaurismäki (Finland)

Miss Bala in danger

Miss Bala, directed by Gerardo Naranjo, in which a beauty pageant contestant runs into trouble with a drug cartel. I'm curious about this one. (Mexico)
Once Upon A Time In Anatolia, directed by Nuri Bilge Ceylan -- I've never really understood the cinephile adoration -- it's a crime drama about the search for a missing body(Turkey) 
The Student, directed by Santiago Mitre, a political thriller about a student who falls for a radical organizer (Argentina) 

Oscar Players... Maybe
The Artist, directed by Michel Hazanavicius, an homage to Old Hollywood (France)
Carnage, directed by Roman Polanski, an adaptation of the hit play (see previous posts) (France/Germany/Poland)
The Descendants, directed by Alexander Payne, in which George Clooney has multiple crises (USA)
My Week With Marilyn, directed by Simon Curtis, about a week in Marilyn's life during the filming of The Prince and the Showgirl (see previous posts) (UK)

Auteur Mania... (I don't make a habit of missing films by these men)
A Dangerous Method, directed by David Cronenberg, about Freud (Viggo Mortensen), Jung (Michael Fassbender) and their crazy subject (Keira Knightley), (UK/Canada/Germany)
 Melancholia, directed by Lars von Trier, in which Kirsten Dunst's wedding plans are plagued by the impending apocalypse. (see previous posts) (Denmark)
The Skin I Live In, directed by Pedro Almodóvar, in which the director finally reunites with Antonio Banderas for a gruesome tale of revenge involving a plastic surgeon. (previous posts) (Spain)

Miscellania
4:44: Last Day On Earth, directed by Abel Ferrara, bills itself as an "apocalypse trance film". Starring Willem Dafoe. (USA)
Corpo Celeste, directed by Alice Rohrwacher, is about a young girl struggling with religion. (Italy)
George Harrison: Living In The Material World, music documentary directed by Martin Scorsese (USA)
Goodbye First Love, directed by Mia Hansen-Løve, tracks a first love over eight years (France/Germany)
Pina, directed by Wim Wenders, which is a 3D dance film and tribute to Pina Bausch (Germany/France/UK)
Play, directed by Ruben Östlund, which is a provocative movie about African immigrants taking advantage of Swedish peacefulness (Sweden)
Policeman, directed by Nadav Lapid, which includes wealthy anarchists and anti-terrorist police (Israel/France)
Sleeping Sickness, directed by Ulrich Köhler who won Best Director at the Berlin Film Festival. It involved doctors combating an epidemic of, well, the title (Germany/France/Netherlands)
The Loneliest Planet, directed by Julia Loktev, is an English language drama about a couple falling apart. Starring Gael Garcia Bernal. Yay. (USA/Germany)
The Turin Horse, a meditation "on the interconnectedness of things", directed by Béla Tarr and Agnes Hranitzky (Hungary/France/Germany/Switzerland/USA)
This Is Not A Film, directed by Jafar Panahi who is currently appealing his prison sentence in Iran, and Mojtaba Mirtahmasb (Iran)

Have at it in the comments!

Judy Fest: "The Harvey Girls"

Silly me. I had the greatest time at the Judy Garland festival at Lincoln Center this week and the movie I didn't write about Presenting Lily Mars was probably my favorite viewing experience. Rent it! Judy was just so funny in it, it was really charming and I liked her chemistry with Van Heflin (I confess I had to look him up since Shane had slipped my mind and I'd never seen his Best Supporting Actor Oscar performance for Johnny Eager (1941). Have any of you seen that one? Is it worth checking out?

But enough about Lily Mars... on to Judy in another incarnation. The Lincoln Center portion of the festival ends tomorrow though the celebration continues at the Paley Center for Television (since Judy did a lot of variety work on TV in the 50s). The last two films I caught were period musicals and here's the first of them.

The Harvey Girls (1946)
I always forget that Judy Garland and Angela Lansbury were contemporaries. They were just three years apart in age (Angela is younger) though in this western musical, Lansbury is clearly meant to be the older woman. Or at least the more experienced one, if you know what I'm saying. Angela is a hardened showgirl (i.e. prostitute) at a rowdy saloon (i.e. casino/brothel) and she's just about the only person in the frontier town who isn't thrilled when Judy Garland arrives "On the Atchison Topeka and the Santa Fe".

In fact, that first big ensemble musical number hilarious stops halfway through just so everyone can gawk at Judy as she steps off the train, like she's the most famous beloved celebrity in the world. The showstopping entrance makes no narrative sense whatsoever -- Judy's "Susan Bradley" being a nobody who is about to start work at Harvey's restaurant -- but it makes perfect movie-movie sense because Judy Garland IS famous and beloved. And if there's a musical number already in progress when Garland arrives at the scene it's basically the Red Sea to her Moses.

The town is divided too, right down the middle, between the wild saloon and the proper restaurant. It's basically a battle for both the soul of the town and the town's most powerful man (John Hodiak) with Lansbury and Garland representing for either side. Guess who wins: The good girl or the bad one? The headliner or the newbie (this was only Lansbury's fourth picture)? I'll give you one guess.

The Harvey Girls hasn't aged as well as some of Garland's output. It's pretty creaky and I don't think it's only due to the print we saw that badly needed some restoration and color correction. Part of the problem is that the film grinds to a halt whenever the typically able Garland isn't front and center. Plus, the songs aren't as memorable as those from her other films. Though the young Cyd Charisse is all porcelain loveliness and Angela Lansbury's perma-scowl is amusing the plot points connecting their numbers and several other characters feel insufficiently developed to hold interest in The Harvey Girls as an ensemble piece. It's always "Can we please get back to Garland?" Still, you can't beat that rare opportunity to see Dorothy dance with her Scarecrow again (Ray Bolger). I think she had missed him most of all. B-

NYFF "My Week With Marilyn" as Centerfold. Er.... Centerpiece!

News continues to trickle in about this year's New York Film Festival, the 49th (September 30th through October 16th). So, yes, expect 2012's festival to pull out all the stops to honor its own 50th birthday. We always cover this festival since its the easiest for The Film Experience, being NYC based, but this year we're aiming to do thrice the amount of our usual coverage. Stay tuned.

Here's what we know so far.

Opening Night ~ Roman Polanski's CARNAGE
Centerpiece ~ Simon Curtis's  MY WEEK WITH MARILYN (World Premiere)
Closing Night & Lineup In General ~ TBA... though it's usually selections that previously debuted at Cannes or Toronto. THE SKIN I LIVE IN is frequently rumored.

The Burmese Harp (1956)Masterworks ~ This is the section where they show old films, rare prints and retrospectives.

This year they'll be screening a restored and aspect-ratio corrected print of William Wyler's much-Oscar'ed Epic BEN-HUR (1959) which is a MUST for big screen viewing. I've had the opportunity once and the chariot race has to be seen blown up for maximum effect. There will be a rare screening of Nicholas Ray's experimental WE CAN'T GO HOME AGAIN (1973) which he tinkered with until his death in 1979. And the bulk of this section is a Centennial celebration of Japan's chameleonic Nikkatsu Corporation. They're showing over 30 of their films including the Oscar Best Foreign Language Film nominees THE BURMESE HARP (1956). More on that sidebar event here.

Tickets go on sale on September 12th unless you're a Film Society member in which case you can purchase early. Among the older films, I'm definitely taking in The Burmese Harp which I've never seen.

Toronto & Venice Lineups: Full of Contenders & Sleepers

Robert here (of Distant Relatives) with some thoughts on the lineups for the Toronto and Venice International Film Festivals which were announced Wednesday morning. And Oh Canada (and Viva Italia!) are they impressive.

Let's begin with Venice since it's up first.

VENICE
First up, the many films that will be vying for awards and spots on prestigious top 10 lists at the end of the year. I mention them first because while there's much to anticipate about them all, there's not too much left to say. They've staked their claim and now we must wait for word to start rolling in. So we can see if Roman Polanski's late career semi-resurgence can continue with the impressive cast of Carnage, or whether Steven Soderberg's Contagion can live up to that buzzy trailer. Meanwhile David Cronenberg's A Dangerous Method sets out to prove that just because he doesn't make movies with gynelogical tools that look like alien lifeforms anymore, he's still a master of psychosexual pathos. George Clooney's The Ides of March will try to be more than Primary Colors redux and Tinker, Tailor, Soldier, Spy (from Let the Right One In's Tomas Alfredson) may finally get Gary Oldman some recognition in the form of little statues. And of course Madonna reinvents herself yet again, this time as feature film director with W.E.

Meanwhile I feel like the lineup has reminded me of how many films have fallen under the radar so far this year. Did you know Jonathan Demme has made a post-Katrina documentary entitled I'm Carolyn Parker? Underachiever James Franco has found time to direct a film about Sal Mineo called Sal. Todd Solondz is back at it with the romance Dark Horse, which I'm sure will be more fun for the whole family. Further representing the ladies are Marry Harron who jumps into the vampire fray with The Moth Diaries, Andrea Arnold who gives us a new version of Wuthering Heights, and Marjane Satrapi of Persepolis fame who, with co-director Vincent Paronnaud presents her sophomore effort Chicken With Plums.

If that weren't enough there's Shame, Steve McQueen's follow up to 2008's Hunger which pairs Michael Fassbender with Cary Mulligan. If you liked 2007's sweetly sad The Band's Visit, director Eran Kolirin presents The Exchange. And if you liked last years not-so-sweetly sad Dogtooth, Giorgios Lanthimos is back with Alps. Plus new films from Philippe Garrel, Abel Ferrera, William Friedkin and more. Exhausting. The full list is available for your perusal at The Guardian.

TORONTO
Now on to TIFF, the official unofficial start of award season. Along with some films from Venice that will be here too (The Ides of March, The Dangerous Method, W.E.), we'll get our first look at "Sad Clooney" in Alexander Payne's The Descendants, "Angry Woody" in Oren Moverman's Rampart, and "Mathy Brad" in Bennett Miller's Moneyball. Rodrigo Garcia's Albert Nobbs rings the bell on the Glenn Close/Meryl Streep steel cage Oscar match we're all looking forward to and/or feeling conflicted about. Meanwhile Francis Ford Coppola continues the "we hope this one will be his big comeback" era of his career with Twixt.

Of course, Toronto could be comeback central. Fernando Meirelles is premeiring 360 in an attempt to put Blindness out of sight. Lasse Hallstrom is back (actually I can't remember if he went anywhere or if we all stopped paying attention). Anyway if he has his way the title Salmon Fishing in the Yemen will be on all of our lips. Also did you know that Roland Emmerich has apparently grown tired of destroying the world and made a film about Shakespeare called Anonymous... seriously. And his subtler and more stylish French counterpart Luc Besson has maybe put thrillers on hold for The Lady.

The list seemingly never ends, but I must. So I'll finish off with two films you might be anticipating if you enjoyed 2004's My Summer of Love and 2007's Away From Her. Pawel Pawlikoski is back with The Woman in the Fifth and Sarah Polley returns to the director's chair for Take This Waltz. As usual there's still plenty more and The Guardian has that list too.

Once your head has stopped spinning with the promise of a busy end of the year sound off. Which of these are you looking most forward to? Which are you having trouble getting worked up for?