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Entries in TIFF (310)

Thursday
Sep172015

TIFF: Embrace of the Serpent (and Oscar Foreign Film Updates)

TIFF tends to be the best opportunity all year to see several Foreign Film Oscar submissions in quick succession. The trick is you don't often know which ones they well be and sometimes,  due to release dates in their home countries, they end up as submissions the following year. Last September, at this same festival for example I saw Labyrinth of Lies and Sand Dollars which are now the Oscar submissions for this year's race from Germany and The Dominican Republic.

Two days before Embrace of the Serpent was proclaimed Colombia's official submission, I attended the screening. Good luck for me and good choice for them: it's mesmerizing.

Ciro Guerra's third film wraps itself all around you with otherworldly danger. And this is not just a word choice via subliminal suggestion from the slimy encircling imagery of an enormous snake giving birth that occurs before the title. This journey film's stunning black and white photography by David Gallego (a relative newcomer!) only adds to the dreamlike visuals of the Colombian Amazon, totally transporting you into a rickety boat on the water, on two different journeys 40 years apart. The film was inspired by real life journals of explorers and both trips involve a white scientist searching for a mystical plant called Yakruna, which is said to have great healing power. Each of them take as their guide the same Amazonian shaman Karamakate who is played by as a younger man by Niblio Torres and and older man by Antonio Bolivar, neither have acted for cameras before but Karamakate in both forms has real screen presence.

The dangerous stops along the river's way angrily condemn the decimation of indigenous cultures by colonized rubber plantations and missionaries. We also get a taste of religious insanity on par with The Devils, and the jungle madness of Apocalypse Now and Aguirre the Wrath of God. And the films it recalls don't stop there. The snake birth is just one of three spectacularly trippy off-narrative sequences, the final one daring to invoke 2001: A Space Odyssey, with its psychedelic mysteries. If Embrace of the Serpent never feels wholly original as a result and only Karamakate registers as a three dimensional character, it's still an intense journey and very rewarding visual feast. This Colombian wonder won the top award at Directors’ Fortnight at Cannes earlier this summer, and could well impress Oscar voters who love a visual epic. Oscilloscope will distribute it in the States. Cross your fingers that it'll play on the biggest possible arthouse screen near you. B+/A- 

Related: There have been several foreign film submissions announced while I've been festivaling it up in Toronto. So make sure to check out the updated foreign film charts.

Current Predictions plus all time stats/trivia
• Afghanistan through Estonia  11 official
• Ethiopia through The Netherlands 20 official
New Zealand through Vietnam 16 official 

We now have 47 official titles, with probably 20-25 more yet to be named with the biggest missing links (i.e. countries that Oscar is fond of) being Denmark, France, Israel, Poland and Spain.

Thursday
Sep172015

TIFF: French Sexy Time Movies

Nathaniel, reporting from TIFF, where the French still love la petite mort. Due to the graphic nature of these films the reviews of Gaspar Noé's 3D explicit sex movie Love and the French teens-gone-wild Bang Gang: a modern love story (which is about exactly what it sounds like it's about) are both hidden after the jump where naughty things must go... Think of the children!

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Thursday
Sep172015

TIFF: Mustang, 3000 Nights

Amir continues our coverage of the Toronto International Film Festival with a duo of middle eastern films directed by women, the first of which is one of five films shortlisted for Oscar submission selection by France.

Mustang (Turkey/France)
Deniz Gamze Ergüven’s first feature is an astonishingly assured debut. The story of five orphaned sisters who live with their grandmother and uncle in rural Turkey is at once a joyous celebration of youth and a rage-inducing depiction of young girls’ lives in religious, conservative societies. Locked inside their house after they are found innocuously playing with male classmates at the beach, the girls are forced to stay away from school and spend their days getting primed to be housewives.

The first half takes on a mostly comic tone, as the girls defiantly rebel against increasingly harsh measures by finding inventive ways to step out of the house or sneak off with their boyfriends. One forced marriage and an unfortunate disaster later, however, the film takes a sharp turn for the serious. [More...]

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Wednesday
Sep162015

TIFF: Jake Gyllenhaal in "Demolition"

This review originally appeared in abridged version in Nathaniel's column at Towleroad

All throughout Demolition, which opened the 40th annual Toronto International Film Festival which closes this coming Sunday, new widower Davis Mitchell (Jake Gyllenhaal) is putting the title into action. His wife has just died, he is convinced he feels nothing about it, and he begins to tear things down and scatter their parts about. The general idea is ‘take something apart to see how it all fits together’ but he doesn’t bother with the fitting back together part.

He’s also demolitioning his own life, of course, in the process. This peculiar destructive streak starts out small with his morning routine. At first, in montage, this includes lots of preening and shaving (including his chest. *sniffle*) to turn him into a smooth starched and well dressed executive but it’s quickly abandoned. Cue: sexy scruff and increasingly erratic behavior. (Unfortunately we are not shown the return of the chest hair. Stingy move, movie!)

Everything has become a metaphor…”

…Davis intones in the middle of the picture to his confused and impatient boss and father-in-law (Chris Cooper), as an attempt to explain his new and frankly worrisome headspace. But he’s right. Everything is a metaphor in Demolition and thus, apart from Gyllenhaal’s work, the movie sparked polarized reactions. More...

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Wednesday
Sep162015

TIFF's Red Carpet, Much Improved

Jose here, with a new life mission: make someone as happy as Kate Winslet looked at the premiere of The Dressmaker.

 The Oscar winner was the epitome of radiance as she walked the red carpet in a stunning Badgley Mischka design. Official reports say she was blowing kisses to the crowd, signing autographs and putting on her best face for her fans, however I choose to believe she was smiling because she saw how improved the looks were at the festival by the time she arrived. See the looks after the jump. 

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