This was
to be my 16th attending TIFF. Unfortunately, COVID-19 put a damper
on the proceedings. Yes, there were in-person screenings at the Lightbox, and
Drive-In showings – no I didn’t attend those. If I haven’t gone to my Toronto office
since March, I wasn’t going to Toronto to see a movie. The good news is I was
able to attend a total of 9 digital screenings. It isn’t the same of course –
even if the commercials that I see every year played before them brought a
comfortable familiarity to the proceedings. But ultimately, it’s watching films
from home – which I’ve done a lot since COVID. Still, I was happy to support
TIFF – and overall I had a pretty good festival. As always, my recap doesn’t
really go in any real order – just a loose collection of thoughts on the films
I saw – I always start with the weakest, and end with the strongest, but other
than that, it’s just kind of go-with-the-flow.
With that
in mind, the weakest film I did see was still not horrible. Shadow in the Clouds (Roseanne Liang) was
part of Midnight Madness, and it is a kind of bonkers horror/action/WWII film,
and it may well have played differently for me at Ryerson at Midnight. It stars
Chloe Grace Mortez, as a flight officer in WWII, boarding a plane at the last
minute, with a mysterious package, and orders from on high. That certainly
doesn’t stop the all-male crew from making misogynistic remarks throughout her
flight – and like women everywhere, she just kind of has to grin and bear it.
They place her in the under plane turret for take-off – and she’s stuck there
for roughly the first half of the very short (83 minutes – with credits) film.
They don’t believe her when she says she sees Japanese fighter planes – and
they certainly don’t believe when they see something else – something tearing
at the wing of the plane. But, of course, she’s right. The direction by Liang
is actually pretty good – the film moves at a breakneck pace, so you don’t
really have time to think of how absurd it all it, or how really every
character in the film is an insufferable prick (Mortez less so then the
others). No, I didn’t know that the movie started with a screenplay Max Landis
– which they have apparently reworked as everyone involved has distanced
themselves from Landis (with good reason). But you can see those roots here
still. Basically, the film is silly and goofy, and gets violent, but also rings
a little hollow.
The only
other Midnight Madness I saw (there were only three) was significantly better. Violation (Madeline Sims-Fewer & Dusty
Mancinelli) does have some hallmarks of being a debut film – the symbolism
with the animals and bugs is a little thick, the mixed up timeline structure is
probably too complicated for its own good. Yet, the heart of the story - a
different take on the rape/revenge film, this time told from the female gaze,
is quite disturbing, and the emotions quite raw. Sims-Fewer herself plays a
woman, who is spending the weekend away with her husband – who she’s on the
brink of divorce with – and her sister and her husband, who was childhood
friends with them. Since you know this is a rape/revenge film – you know where
it’s going. What I will say is that the rape is in no way eroticized – it’s
seen in extreme closeups, so you don’t really see what’s going on, while the
revenge gets brutal and graphic – and there is far more male nudity here then
female nudity. It’s a challenging, promising debut feature for Sims-Fewer and
Mancinelli – a disturbing film that will haunt you. I don’t think it’s quite as
good a subversion of the genre as Coralie Fargeat’s Revenge, which I saw at
TIFF 2017 (coincidentally, on the digital Q&A, they bring in Fargeat to ask
a couple of questions – and it just made me angrier we have yet to see a
follow-up from her yet) – but it’s another interesting, female led version of
the controversial sub-genre.
I saw
more docs than usual this TIFF – they were more on offer on the digital
screenings. Undeniably the most visually stunning of these was Notturno (Gianfranco Rosi) – which
admirers of his last film, the Oscar nominated Fire at Sea will likely admire
as well. That film was about the Italian island of Lampedusa, the first place
in Europe that migrants coming via boat land – the tragedy that unfolds there,
and how the residents are basically just going about their lives. Notturno is
visually similar – this time, it takes place on the border cities on the war
torn Middle East. It isnt really about living during wartime, but rather the
long tail of living through war – the trauma suffered, etc. The film is
gorgeous – but you really do feel Rosi is staging these shots for maximum
impact. You also feel uncomfortable at times – sometimes Rosi intends you to,
and sometimes it’s just because you feel you shouldn’t be watching this, and
Rosi shouldn’t be there (in particular, the scenes involving children reliving
their trauma, that perhaps shouldn’t be fodder for a movie). Still, it’s
undeniably beautiful, and stirring emotionally – but it’s not quite Fire at
Sea.
The most
traditional of the doc offerings I saw was MLK/FBI
(Sam Pollard) is a fascinating documentary that basically tracks all the
work the FBI did to track Martin Luther King during his years as a Civil Rights
Activist. The film lets you know up front that more documents and especially
recordings related to this surveillance will be released in 2027 – and although
you kind of think that perhaps this film should have waited until then, rather
than to have as much speculation as it does, the film is still a valuable
historical document. In 2020, we have pretty much granted King sainthood, and
his adversary here – J. Edgar Hoover – is looked upon far less charitably, so
it’s important to remember that King was far from beloved during his lifetime –
and not just among racist Southerners, but by nervous white Americans
everywhere – in one appearance they literally ask King if he worries that by
pushing for “too much, too soon” he will alienate white Americans. He does not.
The film is made up of valuable historical footage – and features voiceovers by
historians who have studied the record. The film doesn’t shy away from the most
explosive aspects of what was apparently on those tapes – King’s extra-martial
affairs – but does ask us to remember King, like us all, was human.
In the so
strange it has to be seen to be believes category is Enemies of the State (Sonia Kennebeck) – who tells the story Matt
Dehart – who was targeted by the FBI and local law enforcement, spent 21 months
in prison awaiting trial, where he claimed he was tortured, and then tried to
claim asylum in Canada – all because he says he was running servers for
Anonymous, and had ties to WikiLeaks. Yet, Dehart’s case that he’s another
Edward Snowden, Chelsea Manning or Reality Winner isn’t quite so clear cut – he
never actually released any information – he claims when he shut down the server,
he made a copy of yet, and sent it to someone in the U.K. – but we don’t
actually have physical proof of that. Still, he became a cause célèbre for many
– but he was never actually charged with anything related to Wikileaks – he was
charged with luring online, and then sexually abusing, minors – and by the end,
you’d be hard pressed to claim he’s innocent of those charges – despite the
pleas from his parents, who we see throughout the film, and give lots of
interviews (Dehart himself was supposed to sit for an interview after his
release from prison – but he didn’t show). Kennebeck is obviously inspired by
Errol Morris – a producer of this film – and perhaps wears that influence a
little too much on her sleeve. Still, it’s a fascinating film, that takes turns
you won’t see coming – and generally, looks great.
By far
the longest film I watched was City Hall
(Frederick Wiseman) – at four hours and thirty-five minutes. The
documentary giant – now 91 – has returned with one of his longest films ever –
documenting what happens at Boston City Hall – concentrating on Mayor Marty
Walsh. Basically, for the entire runtime, we sit through meeting after meeting
after meeting – budget meetings, school board meetings, housing meetings,
zoning meetings, etc. Does that sound dull? Perhaps, and honestly, the film
probably could have been a little shorter. Yet, Wiseman’s point does undeniably
become clear here – that government can, and should, work – and it requires a
lot of people to make get involved and make it work. Perhaps if we weren’t
living in the Trump era, the film could be more easily dismissed as dull. But
we don’t have that luxury – and Wiseman’s point is invaluable right now. I
don’t know if the film will go down as one of Wiseman’s best – but it is as
fascinating as any four and a half hour movie about a major City Hall could
possibly be.
It’s easy
to see why Venice’s Best Actress prize went to Vanessa Kirby in Pieces of a Woman (Kornel Mundruczo).
It’s an impressive performance by Kirby, as a woman whose baby dies just
moments after birth, and then struggles to deal with it for the rest of the
movie – as her marriage (to Shia LaBeouf – another impressive performance)
falls apart, her relationship with her mother (Ellen Burstyn) becomes strained
because she doesn’t act the way her mother thinks is right. All the
performances in the movie are actually quite good – and the birth sequence,
which runs about 20 minutes in an unbroken shot, is formally impressive. I do
wish that director Kornel Mundruczo would calm down a little bit behind the
camera – this is a movie requiring subtlety and sensitivity – and if there’s
one thing the director of White God is not, it’s subtle. This one has proven to
be divisive – and I’m right in the middle on it.
I was
originally going to skip New Order
(Michel Franco) – because I saw, and hated, April’s Daughter at TIFF 2017.
But this won one of the top prizes at Venice, so I figured I would give it a
shot. It’s far better than April’s Daughter – the first half of the movie is
actually quite excellent. An upper class wedding in Mexico is interrupted by
protests that have been sweeping the city. At the same time, an old family
employee shows up unannounced asking for 200,000 pesos so his wife – also an
old employee – can have lifesaving surgery. Only the young bride seems to care
about this – something will cost her dearly. The setup of the movie is better
than the payoff though – the second half sees everything descend into chaos,
and will has numerous scenes that are tough to take – and while it’s all
impressively staged, and shocking, but it comes at the expense of the
characters. Its politics are also a little hard to parse – especially since
Franco makes a young, rich woman the most sympathetic character – but I think
it’s more about showing how the privileged will also suffer if wealth disparity
isn’t solved, and protests turn violent – and totalitarianism takes over – but
you got to work to get there.
The best
film I saw at TIFF was undoubtedly Nomadland
(Chloe Zhao) – which not only confirms the immense talent we saw in The
Rider, but sours past it. In the film, Frances McDormand plays a 60-year woman,
who basically sees her entire small town decimated when the local factory
closes down. A widow, with no kids, now no home, or real job, she lives out of
her van – which she has tricked out nicely. She drifts from place to place –
working at a Amazon warehouse over Christmas, meeting up with other Nomads in
the desert, working at a RV park for a while, or in a restaurant, or picking
vegetables, etc. – and then starting the repeat the process over again. Other
than McDormand – and fellow nomad, who drops back in as it were played by David
Straithairn – the rest of the cast are essentially playing themselves. Zhao
picked perfectly when casting McDormand, the type of actress capable of great
depths of humanity – this is another one of her very best performances – but
also someone who blends right in with the swath of humanity she is in (ditto
Straithairn). It is also the TIFF film I most regretted not being able to see
on the big screen – the beautiful vistas captured by Zhao and cinematographer
Joshua James Richards, makes this one of the beautiful portraits of the
American West I have ever seen. It’s also a painfully relevant movie – a
portrait of older Americans with few choices in life but to live this way. What
it isn’t, in anyway, is poverty porn though. In a COVID-19 world, you cannot
help but wonder about them now. It is a subtle, stirring film – clearly one of
the year’s best.
And so,
that closes the door on another TIFF for me. It wasn’t the same – wasn’t close
to the same – to what the experience normally is. But it was probably the best
we could expect under the circumstances. I hope to be back to normal screenings
in 2021 – but who knows?