Film Festival Reviews

Toronto International Film Festival, 2004

From Perverted Sex to Karaoke in Toronto

LES REVENANTS (France, Robin Campillo)

French cinema has been delving into such societal issues as traditional home and work life in recent years in such films as Laurent Cantet’s L’EMPLOI DU TEMPS and HUMAN RESOURCES. Now, in his bold directorial debut, Robin Campillo, Cantet’s screenwriting partner in the aforementioned films, tackles death and how society deals with their lost loved ones. It happens one bright sunny day when all the town’s dead (the phenomena seems worldwide) from the past 10 years or so, come marching out of the graveyards, healthy and whole, if a slightly dazed, and with no memory of the intervening years. The film focuses on one young woman who has difficulty accepting the fact that her husband has returned from the fatal car accident that took him; a couple whose 6-year-old son returns with all his warmth and energy, but little else, and the mayor, whose elderly, deceased wife returns with renewed vigor and a tendency to trying to wander off in the night. As the town struggles to deal with the sudden influx of the dead, from providing shelter and jobs, to ultimately keeping the recently-dead contained, we see a chilling tale of societies’ class divisions coming into play. LES REVENANTS swings emotionally from the sudden joy at a loved one’s return to the renewed grief and horror that accompanies tragic loss, all with a strong undercurrent of dread as the film progresses to its startling conclusion. There is one thread to this film that falls flat, but all-in-all a solid debut. 3 ½ cats

CHILDSTAR (Canada, Don McKellar)

In what may be the most disappointing film at the Festival (not because it was so bad, but because of what McKellar has already produced), CHILDSTAR is the second film written and directed by Canadian talent Don McKellar after the superb LAST NIGHT. Combining his wry, quirky humor with a pointed look at Hollywood, particularly the child actor’s forced to grow up ahead of their time; McKellar’s CHILDSTAR tries a little too hard, and ultimately fails to deliver the goods. Along the way, we do get some terrific moments, especially the first quarter of the film, before things start to go awry. McKellar plays Rick, an independent film director who finds himself employed as a driver for Taylor Brandon Burns, a twelve-year-old, American, child-actor who has come to Canada to star in a big-budget, Hollywood action film. Also in the mix is Taylor’s mom (Jennifer Jason Leigh) who uses a variety of methods to protect the interests of her son, and quickly ends up sleeping with Rick. There’s not much point to elaborating on the plot, since that is the major weakness of the film. Still, CHILDSTAR is worth seeing if you’re a fan of McKellar’s, which I certainly am. 3 cats

A HOLE IN MY HEART (Sweden/Denmark, Lukas Moodysson)

Lukas Moodysson is without a doubt, a talented and intriguing filmmaker. He’s also clearly one angry guy. His first two films, the adorable SHOW ME LOVE, and the feel-good TOGETHER, focused on the possibilities in the world, and they were good. Then something must have happened to Moodysoon to seriously piss him off. His third film, LILYA 4-EVER tells the dark tale of white slavery and the sex trade in Sweden. It’s a cinematic assault that goes for the heart, attacking your emotions. With A HOLE IN MY HEART, there is a level of emotional detachment, which is a very good thing. Instead, Moodysoon’s cinematic assault is a physical one, with images and sounds that confront and horrify. Set almost entirely in a small, squalid apartment in a 24-hour period of time, it documents the actions of two men and a woman making an amateur porn film. Add to the mix one of the men’s withdrawn, physically-deformed teenaged son, and prepare yourself for one of the most unpleasant cinematic experiences I can imagine. While A HOLE IN MY HEART is an amazing piece of filmmaking, I would never recommend it for anyone. At least 37 walked out of the screening we attended, and I don’t blame them in the least. Most surprising is the fact that the film has been purchased by Newmarket for U.S. distribution. I can’t imagine it playing in theatres in Boston. 4 cats

INNOCENCE (France, Lucile Hadzihalilovic)

There is a lovely sense of foreboding and mystery in INNOCENCE, but the failure of the film to deliver any sort of payoff make it one of the losers of the festival. Director Lucile Hadzihalilovic is the girlfriend of notorious filmmaker Gaspar Noé (IRRÉVERSIBLE) and perhaps that is what accounts for the film’s credits being run at the beginning. INNOCENCE does not proceed to tell its story in reverse however, it is more of a circle. The film begins with the arrival of a coffin at an old mansion inhabited by six young girls, color-coded by age with the ribbons they wear in their hair. From this coffin emerges Iris, a gorgeous six-year-old girl who takes her place as the youngest member of this unlikely group. It soon becomes clear that this house is one of several in a compound walled-away from the rest of the dangerous world. There are no men present, and the only adults include a handful of elderly servants, and two authoritarian teachers. As a year passes, the girls pass the time in different ways depending on their ages. Disobedience is frowned upon, as is discussion of the outside world. It doesn’t add up to much, and you are left wondering if you’ve just watched a fairy tale, a science fiction story, or some sort of allegory. Any way you look at it, it’s pretty disappointing. 1 ½ cats

OFF BEAT (Germany, Hendrik Hölzemann)

Hendrik Hölzemann’s powerful debut feature follows in the footsteps of such modern German cinema as RUN, LOLA, RUN. Crash is a young, charismatic paramedic, the sole survivor of a childhood accident that killed his parents. OFF BEAT follows him as he responds to various emergency calls attempting to save victims of heart attacks, accidents and drug overdoses. Crash is entangled in the ups and downs of life, yet seems strangely detached from living a life of his own until he meets a young, pregnant woman whose boyfriend dies from an overdose. When a careless mistake causes the death of a homeless man, Crash begins to falter, and his haunted past begins to adversely affect his life. OFF BEAT explores life, love and death using powerful imagery and an engaging story heralding the arrival of a talented filmmaker (pictured right answering questions at the Q&A with his cinematographer.) 4 cats

PHIL THE ALIEN (Canada, Phil Stefaniuk)

Actor/musician Rob Stefaniuk has written, directed, and starred in a delightfully goofy yet warm first feature about an alien who crashes in the woods of Western Canada, discovers the joys of alcohol, befriends a beaver and a frustrated bar band, discovers Jesus, and becomes embroiled in a secret, American cabal constructing weapons beneath Niagra Falls. PHIL THE ALIEN’s biggest asset is Rob’s performance as Phil. The combination of wacky antics and touching vulnerability make Phil an appealing character. Peppered with loads of anti-American jokes, and well-known Canadian faces, PHIL THE ALIEN may have trouble finding a strong American following, but its outlandish plot and laugh-out-loud humor could build a strong cult following. 3 ½ cats

WILBY WONDERFUL (Canada, Daniel MacIvor)

Featuring an all-star Canadian cast, WILBY WONDERFUL is a warm ensemble comedy written and directed by the talented Chlotrudis-favorite, Daniel MacIvor. The small, island-town of Wilby is populated by islanders and off-islanders alike, but what all the characters share is a desire to love and be loved. Central to Wilby’s difficulties is a scandal that threatens to tear the town apart. Details are scarce, but rumors are flying with the threat of public exposure hovering over the lives of two central characters in the film. Dan (James Allodi) repeatedly attempts to take his own life, but is constantly interrupted. Real estate agent Carol French (the delightful Sandra Oh) frantically prepares for a town-wide celebration while her relationship with her husband Buddy, a town cop (Paul Gross) grows stagnant. Buddy flirts with infidelity with Sandra (Rebecca Jenkins) whose attempts to resuscitate a local restaurant depends on her decision to stay or leave the town a decision Sandra’s daughter Emily (Ellen Page) frets about as she grows closer to a local boy whose motives for declaring his love for her grow suspect. WILBY WONDERFUL is a funny movie, filled with moments of gravity. MacIvor, whose first film was the emotional PAST PERFECT, directs with a light touch, allowing the ensemble of very strong performances shine. In this case, WILBY is truly wonderful. 5 cats.

THE LIMB SALESMAN (Canada, Anais Granofsky)

Despite the intriguing premise and inventive execution, THE LIMB SALESMAN fails to deliver and ultimately collapses into schlocky romance. Set in the far future, where water is the most precious commodity in a toxic world, Anais Granofsky’s THE LIMB SALESMAN attempts to combine science fiction with tragic romance in a low-budget, character-driven tale. The world’s water supplies have become so contaminated that genetic mutations causing physical deformities have begun to emerge in the population. A wealthy industrialist living in a mansion in the frozen wastelands arranges for a doctor who specializes in limb replacement to tend to his adopted daughter whose mutation has left her without legs. The doctor suffers from hallucinatory dreams caused by his heart medication, while the industrialist mistreats his workers (despite his son’s objections) and seems to harbor an unnatural affection for his daughter. Meanwhile, his mother, a former socialite played with daft aplomb by Jackie Burroughs, keeps an eye on everything from behind her aging eccentricities. The lush, antique interiors, barren landscapes, and inventive props make for a visually adept film, but the lackluster screenplay, awkward performances, and melodramatic ending tear it all down. 2 cats

CASUISTRY: THE ART OF KILLING A CAT (Canada, Zev Asher)

In May 2001, Jesse Power, ex-vegetarian and art student, enlisted the help of his friends in a proposed video art project that resulted in one of the most media-exposed criminal cases in years. By creating a series of videos where Jesse would kill, prepare and eat a variety of animals, he sought to examine the hypocrisy of people who ate meat. His first piece features the beheading of a chicken followed by its consumption. Next he was going to try a cat. What resulted was a drug-addled, party atmosphere where a cat was tortured, beheaded, and stored in a freezer for future consumption. When Jesse’s roommate discovered the cat’s corpse, she reported him to the police and a media storm was born. Montreal filmmaker Zev Asher’s documentary about the case has become the most controversial film of the festival. Scot and I were interviewed by television, radio and print while standing in line to get into the film across the street from the crowd of animal rights protesters who felt the film was a platform for the three young men who were convicted of the crime. Had they seen the film they were protesting? Obviously not, as CASUISTRY: THE ART OF KILLING A CAT, while not technically a phenomenal film (it’s low budget, and occasional grammatical errors hurt it) it is an important film. I compare it to THE CORPORATION, which, after seeing it, reminded me about the dangerous behavior and actions that corporations tend to foster. CASUISTRY reminded me of the poor treatment of many animals used for food and animal testing. I was not interested in seeing a film about cat killing (Jesse’s video in question, while described in detail with a court transcript) is not shows in the documentary. There are, however, some very disturbing images in CASUISTRY, as well as the transcript, which is sickening. Still Asher does a commendable job in presenting the facts and the many sides of a hot button issue that is sure to get people talking. 3 cats

SAVING FACE (USA, Alice Wu)

First-time filmmaker Alice Wu has created a delightful, blend of romantic comedy and culture clash in her story about the multi-generational, Chinese-American family. Wil is a successful young surgeon in New York City, but each Friday night she travels to Flushing to join her widowed mother at the weekly singles’ dance. There the Chinese American community of Flushing is out in force, with parents arranging dates for their children. Wil’s mom pursues her matchmaking charge with vigor, but when she herself is ostracized by her parents after she finds herself pregnant, she moves to the city to live with Wil. What Wil’s mom doesn’t know is that Wil has tentatively embarked on a relationship with Vivian, a Chinese-American ballet dancer, whose father happens to be Wil’s boss. As shame is brought upon different generations of this Chinese American family, they must search for what is truly important and fight against the cultural values they have lived by for centuries. Wu manages to tell a delightful story that sidesteps most of the expected conventions of the genre, and does so with grace and humor. 4 cats

BROTHERS (Denmark, Susanne Bier)

Susanne Bier made a splash among Chlotrudis members with 2002’s OPEN HEARTS. In BROTHERS she creates a situation involving Michael (Ulrich Thomsen), a major in the Danish army who is being sent to Afghanistan as part of a UN peacekeeping mission, his brother Jannick (Nikolaj Lie Kaas), a rebellious type freshly released from prison after serving time for a robbery and assault, and his wife, Sarah (Connie Nielsen). When Michael’s helicopter is shot down and he is presumed dead, Jannick must grow up in order to help Sarah and her two daughters deal with Michael’s absence. When Michael returns after months of hellish imprisonment, he is a changed man. In order to survive and return to his family, Michael endured intense psychological distress and he is unable to confide in anyone. The resulting post-traumatic stress disorder affects him and his family in this intense, emotionally arresting film. Bier keeps the story challenging by never allowing things to follow a conventional route. Danish actress Sarah Juel Werner puts in a strong performance as Michael and Sarah’s older daughter. BROTHERS was written by Anders Thomas Jensen, who co-wrote WILBUR WANTS TO KILL HIMSELF. 4 cats

PLASTIC FLOWERS (China/Canada, Liu Bingjian)

PLASTIC FLOWERS opens with a disconcerting scene involving spousal abuse. Does this scene come chronologically at the beginning of the film? Or the end? It’s unclear, and in this film that blends fantasy with reality, it almost doesn’t matter. After inheriting her husband’s share of a factory that makes plastic flowers, Chunhua, the woman in the opening scene, turns her attention to finding a date. Her latest target is Qiusheng, a shy, flute-playing, young man who stutters. Surprised at first, he is eventually swept up in his dreams of romantic love. Enter Mr. Wang, a more worldly college graduate who ends up sharing a dorm room with Qiusheng. He soon sets his sights on Chunhua, creating a triangular relationship with potentially tragic results. The plastic flowers of the title symbolize the brightly colored, synthetic façade of the quickly changing Chinese society. Superficial appearances are a theme that run throughout the film, particularly Chunhua’s character, from haircuts, to new, modern clothes, to tattoos. While occasionally perplexing, PLASTIC FLOWERS provided some good discussion between Scot and I afterwards. Liu Xiaoqing lights up the screen as the somewhat spoiled Chunhua. When she disappears from the story near the end, things do tend to slow down a bit. 3 ½ cats

SEVEN TIMES LUCKY (Canada, Gary Yates)

We ended the festival with a Canadian caper film, definitely not one of my favorite genres, but first-time feature director Gary Yates has made a delightfully entertaining film that mines the genre to its fullest. Set in a city that seems smack out of the noir-40’s, yet peppered with such modern conveniences as cell phones, SEVEN TIMES LUCKY chronicles the hard times of Harlan (Kevin Pollack) a successful con-man whose penchant for gambling keeps landing him in hot water with his various bosses. He’s got a troubled past (his father was gunned-down in front of his eyes) and a new young gal (Liane Balaban) that he probably shouldn’t be trusting. As is the case in most caper films, part of the fun is just keeping track of who’s conning who, and where the story is going. In addition, Yates throws in lots of sly, humor that not only keeps things moving, but ties in well with the story. An unexpected surprise to top off the festival. 3 1/2 cats

First Time at TIFF

This was my first year at the Toronto International Film Festival and I'm sure it won't be my last. Although I would order my tickets differently, I have no bones to pick regarding how the festival is run and the quality of what was shown. The only other really huge festival I have attended is Tribeca and, by comparison, Tribeca is run poorly.

The accommodations were very nice albeit somewhat eccentric. I took a peek in the library as I was checking out and found The Bobbsey Twins at Meadow Brook next to New Worlds to Conquer by Halliburton (that's Richard, not the corporation). What was fun was talking film over breakfast and late night drinks or snacks.

In five days I saw thirteen films. I could have squeezed more in but by the end of the week I was getting exhausted, constantly darting from one venue to the next. I didn't see a film I disliked although there was one - JIMMYWORK - which I found morally objectionable. My film selection centered on those films which were not likely to see general release. Many of the films I saw were Canadian. At twelve of the films the director was present; eleven stayed for Q & A at the end. Often, members of the cast joined in.

My advice to those of you who could not attend: Go next year. It is not necessary to be there for the entire festival, probably better if you aren't. But the atmosphere is friendly and you will yourself talking to strangers about the festival and films in general at almost every venue. I'm not much of a celebrity hound but I hear that opportunities for spotting film icons abound. 5 cats

Films Bruce Saw (click for reviews)

Themes at the Toronto International Film Festival

1. Religious content – THE HOLY GIRL focused on two girls who are being brought up in a strong religious environment; LAND OF PLENTY has a main character played by Michelle Williams who is very faithful and was raised by missionaries; MILLIONS – the main boy in the film is obsessed with saints
2. Vomit – one of the boys in UNDERTOW regularly makes himself vomit; a memorable scene in HOLE IN MY HEART – for those of you who saw it will never forget what I am talking about – that’s it but those are big parts of those two films so it is worth noting
3. Subways – two midnight movies are set in the underground world – CREEP in London and KONTROLL in Hungary
4. Children – there were many films centering on children – obviously CHILDSTAR, Don McKellar’s newest film, also CLEAN by Olivier Assayas where a mother tries to get control over her life so that she can get custody of her son; NOBODY KNOWS where 4 siblings are abandoned by their mother and have to figure out how to survive on their own; UNDERTOW focuses on two young boys; HOLE IN MY HEART – the son is a teenager but in this environment he is still a child; MOOLADDE – children get protection from the rite of genital mutilation in a small African tribe; MILLIONS – Danny Boyle’s newest film is actually a kid’s movie; THE HOLY GIRL – the main character is a young teenager; ZEBRAMAN – the main character befriends a young boy who ends up being the first fan of his superhero persona; THE BROOD – there are both natural and unnatural children in this Cronenberg film.

Can’t wait until next year!