As is often the case, it’s not whatcha know as much as it’s whoya know… and, in this case, it means I was invited, again, to participate in The Toronto Star‘s Peter Howell‘s annual pre-TIFF feature called Chasing The Buzz, wherein li’l film-loving bloggers like me get to throw our 2¢ into the pot along with the pocket change from professional film columnists and reviewers, critics and professors, festival programmers and assorted muckety-mucks (Hello, Piers). What’s in the pot, you ask? Well, Pete wants us to explain–in a single sentence (although a garrulous few get away with more)–which three films we are most excited about seeing at the Toronto International Film Festival.
Jeff Nichols wrote and directed one of my happiest discoveries of the past year, Shotgun Stories (2007), which also features the star of Take Shelter, the estimable Michael Shannon. (Okay, full disclosure: I have an extreme case of the h-h-hots for Mr. Shannon. Fair ’nuff? In fact, Shotgun Stories may have been the Shannon performance that hooked me. You might know him best as Agent Van Alden Awesome in HBO‘s “Boardwalk Empire”.) It is a quiet but devastating little film about a feuding family that I highly recommend–the writing and performances are beautiful.
It is on the basis of Shotgun Stories that I am keen to see Take Shelter. Again written by Nichols, it is the story of Curtis–a young husband and father and a crew chief for a mining company in the American Midwest–who may or may not be taking a frightening trip around the proverbial bend. I expect it will be up to the viewer to decide which is the case… as Curtis struggles to understand the same thing onscreen. Continue reading
…however, in a film filled with Werner Herzog’s typically absurd observations, perhaps the funniest (both funny-haha and funny-weird) were those that had to do with penguins. ‘Deranged’ penguins, no less. In one of the many loosely-connected sequences in Encounters at the End of the World, Herzog trains his camera on a lone penguin who resolutely refuses to follow the herd (flock?) and stalks (or, rather, waddles) away from the coastline towards the centre of the continent towards certain death. Was it deranged? Suicidal? Is there such a thing as insanity in penguins, he wonders.
And that penguin may not be the only one (possibly) ‘deranged’ in Antarctica.
The people who find themselves drawn to life in Antarctica do, indeed, seem to have something in common with that penguin… And they have something in common with the sorts of people that Herzog is frequently fascinated with: loners who are obsessed, who may seem a bit ‘off’ because of that obsession, and who often seem to be oblivious about their ‘offness’. They are poets, linguists, philosophers, and probably a few of them are even fugitives from the law. They are thoroughly fascinating, often delightful, sometimes a little bizarre. Kind of like Herzog, himself. Continue reading
Coming out of this film, I again wondered why so many Americans look down their noses at their 39th president. Jimmy Carter was well-regarded by the rest of the world, after all. He has always had the persona of a humble, gracious, honest humanitarian and I don’t think it’s just a facade. The seemingly indefatigable Nobel Peace Prize winner is in almost every frame of Jonathan Demme’s film. And he seems quite comfortable there; he has nothing to hide. Continue reading
Towards the end of a rambling introduction to the North American premiere of his film late Tuesday night, director Julian Schnabel said he wanted to introduce his friend Lou. “Lou, stand up.”
Lou Fucking Reed. In the audience. Now, there was something I’d not counted on! In fact, just a few minutes earlier, I had been pondering the idea… and had decided that hell would likely freeze over before Lou Reed would sit in a movie theatre audience and watch himself perform onstage onscreen. Shows you what I know, eh?
Let me admit right up front that Berlin has never been one of my favourite Lou Reed albums. I know, I know… that makes me a heathen. I agree. But, damn, it’s just so full of anger and sadness and loss… and drugs… and violence… and death. And, (again) honestly, I have just never really been into “concept” albums. They strike me as hopelessly cornball.
Nevertheless, I must say I loved the experience of watching this album being performed onstage in this film. It really turned me upside down in my opinion of the record. The arrangements were lush, the musicians looked like they were really enjoying themselves (even Lou cracked a smile or two!), the set (designed by Schnabel, himself) was dreamy and mysterious, and he used snippets of what were meant to feel like home movies of “Caroline”–shot by his daughter, Lola. And I’d never heard of this guy before, but backing vocalist Antony has an incredible voice and does a fabulous job on one of the encores in duet with Lou. I just wish the performance were longer–I’d’ve happily sat there for another coupla hours.
I’m told by a friend who saw it that Schabel’s other film at TIFF07, The Diving Bell and the Butterfly (for which he was awarded the Best Director award at Cannes earlier this year), is quite brilliant.
→ originally published 2007-09-13
Here‘s a review of the film I wanted to see but couldn’t. Sounds great!
→ originally published 2007-09-13
Ooh, I just discovered that the Midnight Madness blog at the TIFF07 site has video of the post-Stuck Q&A!
And remember, kids, look both ways before you cross the street. And don’t drink and drive.
→ originally published 2007-09-13
A veteran documentary filmmaker, Englishman Nick Broomfield has brought a dramatic treatment of a true story to TIFF this year. And his experience in documentary filmmaking serves the film well: it feels so authentic that you forget it’s drama. Battle For Haditha tells the story of what happened in Haditha, when Iraqi insurgents planted a roadside bomb that killed one marine and injured two others. The marines reacted by killing 24 Iraqis–none of whom had anything to do with planting the bomb.
Lending authenticity is the shooting location in Jordan and the cast–most of whom are non-professionals–which features two major characters who are played by ex-marines who served in Iraq. It really couldn’t feel more real.
The beauty of this film (if I can use that word to describe a film about such a horrendous event) is that it is perfectly balanced. It shows the perspectives of all three sides (the American marines, the innocent Iraqi citizens, and the Iraqi insurgents), and I didn’t find the story pitched in any particular direction. It’s as honest and admirable a look at war as I’ve seen. Very nice work by Broomfield.
→ originally published 2007-09-12
Such a confusing title. I mean, both of them make sense. I’ve overheard a lotta people calling Stuart Gordon’s new film “Struck” but it really, truly is Stuck.
If I were still living in Tronna, the quickest no-brainer for me would be to buy the Midnight Madness programme package. The films in that series are my cuppa and the audiences are a blast. Tuesday night reminded me of the midnight screening of The Descent at the Tower Theatre in SLC at Sundance ’06. I was a volunteer at that theatre and my shift ended as soon as we’d gotten everyone seated for that screening but I stuck (er…) around because I wanted to see it. I swear the guy who sat behind me musta left a stain on his chair. Man, he just screamed his head off throughout the entire film. He was as entertaining–and startling–as the film was! And a coupla nights ago at the Ryerson Theatre there was a very similar vibe as the audience screamed and moaned and laughed and cheered. Continue reading