By David Baldwin

Luyanda Masinda (Noxolo Dlamini) is a South African investigative journalist who just watched her friend be murdered as he sat right beside her. He had been telling her about a story he was working on involving deep government corruption and secret chemical warfare tests dating back several decades. Luyanda starts digging to learn more about what he was researching and quickly finds herself in way over her head.

DEATH OF A WHISTLEBLOWER is a Political Thriller with a lot on its mind. It plays in the conspiracy space for a large chunk of the Film, extrapolating on genocide and apartheid allegories and the nose-to-the-grindstone brand of journalism exemplified by Oscar-winners like All the President’s Men and Spotlight. It becomes more horrifying and harrowing than I expected, made worse by the fact that this fictional film is very much based in truths of what actually happened – and continues to happen. The cinéma verité-style cinematography drives that point home and will keep you breathless for the first two acts.

Where the Film goes off the rails is in the third act, when it turns into a gritty revenge picture that bares little resemblance to the Film proceeding it. It is over-the-top and nowhere near as pulse pounding, trading real-world horror for something substantially more bombastic. I nearly lost the plot from the tonal whiplash. I do not fault Director Ian Gabriel nor his screenwriting team for making the pivot – as the Film is pretty explicit about what happens after the truth is exposed. I just wish it was more grounded. Thankfully, the Cast makes up for this, all uniformly solid no matter their length of screentime, Dlamini in particular. She soars through the Film, commanding your attention at every turn. The Film asks a lot of her and she more than delivers on it.

DEATH OF A WHISTLEBLOWER screens at TIFF ’23:

Saturday, September 9 at 2:45 PM at TIFF Bell Lightbox

Sunday, September 10 at 9:40 PM at Scotiabank Theatre Toronto

Sunday, September 17 at 3:00 PM at Scotiabank Theatre Toronto

By George Kozera

After a 50-year career with the National Ballet of Canada (first as a dancer then as the company’s Artistic Director), Prima Ballerina Karen Kain chose Swan Lake as her retirement project. Under the skillful eye of Director Chelsea McMullan, SWAN SONG is an intimate and fascinating Documentary that takes the viewer into the world of Ballet; an artform that gets the cinematic short shrift when compared to other entertainment-based industries. Actress Neve Campbell has signed on as Executive Producer.

Karen Kain has been in the public eye since she received worldwide acclaimed for her performance in Swan Lake in 1971. Her ease and demeanour in front of the camera is impeccable, engaging the audience with the minutiae of choreographing and directing a classic piece. There also is an acknowledgment of the racial diversity within the ballerinas, and a decision for them not to wear the traditional pink tights but show their skin colours. I particularly loved Kain’s story of how Rudolf Nureyev whisked her off to a party where she was overwhelmed with being in the centre of celebrities and bowls of cocaine then taken aside by Andy Warhol who made her pose a certain way, snap a Polaroid and ultimately making her the first Canadian to be immortalized on canvas by the Artist.  

Kain is not the only focal point of SWAN SONG. Many young ballerinas talk about their dreams, insecurities, triumphs while we watch their gruelling rehearsals and preparations. The insight provided the Principal Ballerina for this production of the Ballet, Jurgita Dronina, is invaluable as it graphically shows us the toll dancing takes on the body.

I was transfixed throughout SWAN SONG and will admit to shedding a few tears of awe and wonderment.

SWAN SONG screens at TIFF ’23:

Saturday, September 9 at Roy Thomson Hall, 2PM

Monday, September 11 at TIFF Bell Lightbox, 8:30PM

Friday, September 15 at Scotiabank, 1PM

By Amanda Gilmore

Acclaimed Writer-Director Azazel Jacobs delivers a moving portrait of the complexities within sibling dynamics with His Three Daughters. The story follows three sisters, the eldest Katie (Carrie Coon), middle Rachel (Natasha Lyonne) and the youngest Christina (Elizabeth Olsen) who coverage to care for their father when his health declines.

Jacobs heartbreakingly captures the feeling of being in limbo while watching a loved one slowly die before your eyes. It’s the mental state of grieving something that hasn’t yet completely gone. Jacobs’ meticulously written and distinct characters handle this state of being in different ways. And it’s clear from the first shot that His Three Daughters is like attending a masterclass in acting.

Coon’s captivating performance as the tense Katie speaks a mile a minute and is quick to judge any matter. She’s constantly at the throat of Rachel who’s been the one living and caring for their ill father a year before his health took a turn for the worse. Lyonne delivers a nuanced performance as the middle sister who’s quietly carried her pain alone. Then there’s the quirky Christina who attempts to maintain her internal peace while appearing to be on the verge of breaking down. Olsen gives one of her finest performances to date.

The Script is loaded with monologues that showcase the powerhouse talent Jacobs has assembled which causes His Three Daughters to feel ‘stagey’ at times. But it’s these performances that enthral the viewer into the story. An affecting story that examines the bonds between siblings and how grieving takes many shapes and forms.

His Three Daughters screens at TIFF ’23:

Saturday, September 9 at 12 PM at Visa Screening Room at the Princess of Wales Theatre

Sunday. September 10 at 2:45 PM at Scotiabank Theatre Toronto

Sunday. September 17 at 5:30 PM at Scotiabank Theatre Toronto

By George Kozera

SUMMER QAMP take the audience to Camp fYrefly in rural Alberta, where queer, non-binary, and trans teens can spend a few days hanging out and just getting to be kids together “without any of the explanations.” As a group, these young adults are boisterous, adventurous and just thrilled to be in a safe environment where they won’t be judged or bullied; but in their one-on-one interviews with the Director Jen Markowitz, they are more subdued and reflective. They talk about their gender dysphoria, gender identity and sexuality issues with insight and honesty. They are also young. I had to giggle when one participant said they wanted to be either “a criminal justice lawyer or a film director.”

SUMMER QAMP is primarily a talking heads Documentary, and it must be commended for showing a world that may be foreign to some but I think the Director tried to tackle too many issues, some successfully and some redundant. I wish Markowitz had included more teenagers from different ends of the LGBTQ+ spectrum.  I found myself vacillating between fascinated and bored.

SUMMER QAMP screens at TIFF ’23:

 Saturday, September 9 at 12:15 PM at Scotiabank

Sunday, September 10 at 4:30 PM at Scotiabank

It’s Day Two and we’re already exhausted at TIFF ’23. Today was a very long intense day starting with the wonderful Hollywood Suite Annual Breakfast at OMNI King Edward Hotel where we learned about some of their SHOCKTOBER offerings coming next month.

It was a star-filled afternoon. Amazing once again seeing Patricia Arquette, Willem Dafoe and Camila Morrone out for GONZO GIRL. It didn’t stop here. Other sightings included Koji Yakusho, Bowen Yang, Guy Pearce, Neve Camp, Nickelback and so much more!

See our Day Two Albums:

Last but not least, we celebrated the first of two World Premieres for Atom Egoyan’s SEVEN VEILS. Its star Amanda Seyfried is standing in solidarity with her fellow Actors for this ACTRA-SAG Strike, but this didn’t prevent her Canadian Co-Stars and others from still supporting the film at the Four Season Centre for the Performing Arts!

Completely exhausted, but ready for another long day tomorrow!

(Photo/video credit: Mr. Will Wong)

By David Baldwin

Cheerleaders Riley (Devery Jacobs) and her girlfriend Amanda (Kudakwashe Rutendo, TIFF Rising Star ’23 and Share Her Journey Fellow) have just been selected to be part of an elite cheer squad. With a major competition coming up – not to mention needing to impress ice cold head coach Eileen (Evan Rachel Wood) – there is no room for either of them to mess up this opportunity. And Riley is starting to buckle under that pressure.

I am not a gymnast, nor have I ever tried to be. Thankfully, that does not matter because Director D.W. Waterson (in their feature-length debut) does everything they can to make it so that you feel all of the pain, excitement and fear Riley feels from start to finish. The camera is always moving, taking in Riley’s experiences, amd honing in frequently on shots utilizing a Go-Pro to really embed deep into her psyche. When she starts having a panic attack, you feel it with her. When she starts pulling out her eyebrow hairs, you feel it with her. It is frequently disorientating and intense, but that is deliberate. Waterson is not so much making BACKSPOT into a film so much as they are making a visceral experience.

Jacobs is revelatory here, excelling equally at the physical and emotional elements of her character. She dives fearlessly into every moment, with the extreme close-ups on her face brilliantly depicting the toil this training is having on her. Her innocent, intimate connection with Rutendo is terrific, as are the standard coming-of-age tropes Riley finds herself falling into. Where the Film falters is in what is happening in the background of Riley’s home life, and more specifically her school work. We only get to see fragments of it or nothing at all, with everything that is not just gymnastics (including Shannyn Sossamon’s thankless performance as Riley’s Mom) kind of fading into the background. The number of scenes taking place at Cineplex Mississauga gave me a giggle though.

All of that said, Wood is the Film’s not-so secret weapon. She relishes at playing such a fiendish and nasty character. But when Riley and Amanda refer to her as middle-aged, despite being in her mid-30s? That innocuous, throwaway of a line hit me square in the gut. I am not sure I will ever forget it.

BACKSPOT screens at TIFF’ 23:

Friday, September 8 at 8:30 PM at TIFF Bell Lightbox

Monday, September 11 at 3:00 PM at TIFF Bell Lightbox

Friday, September 15 at 9:45 PM at Scotiabank Theatre Toronto

By Amanda Gilmore

Patricia Arquette makes her feature debut with Gonzo Girl the adaptation of Cheryl Della Pietra’s semi-autobiographical novel chronicling her time as Hunter S. Thompson’s personal assistant. 

Set in 1992, we follow Alley Russo (Camila Morrone) who’s been hand-picked to be the assistant to the father of gonzo journalism, Walker Reade (Willem Dafoe). It’s been 15 years since Walker’s written anything decent. He’s more interested in consuming cocaine, acid and alcohol than sitting down and writing. Getting him to finish his latest novel is what Alley’s hired to do.

Gonzo Girl is a fast-paced, bold trip through the few months Alley spends with Walker. Arquette and screenwriters Rebecca Thomas and Jessica Caldwell focus on Alley. Allowing the audience to see this man and the women around him, his girlfriend Devaney (Elizabeth Lail) and long-term manager Claudia (Arquette), through her eyes.

Everything she sees is spellbindingly brought to the screen by cinematographer Bobby Bukowski. When Alley first takes acid, he brings us into the world as she sees it. Filled with animation and walls pulsating. Even when no drugs are being taken, Bukowski uses the lens to capture the bizarre world Alley is now a part of, such as seeing the room through the reflection of Water’s sunglasses.

At the centre of Gonzo Girl are two powerhouse performances from Dafoe and Morrone. Dafoe gives a controlled yet outlandish performance as Walker. With a filmography loaded with best performances, his take on Walker will stand near the very top. Rising talent Morrone gives a firecracker performance as Alley who learns more about herself and steps into her independence.

Gonzo Girl screens at TIFF ’23:

Thursday, September 7 at 8:45 PM at Royal Alexandra Theatre

Friday, September 8 at 5:30 PM at Scotiabank Theatre Toronto

Saturday, September 16 at 3 PM at TIFF Bell Lightbox

By Mr. Will Wong

Based on the book THE ANTISOCIAL NETWORK by Ben Mezrich, Director Craig Gillespie (Cruella, I, Tonya) is back with DUMB MONEY, based on the true story of GameStop‘s unbelievable meteoric rise in share price during the Pandemic. This thanks to a Reddit page called r/WallStreetBets, leading a legion of novice investors to band together against two hedge fund giants banking on GameStop to short and disappear into the oblivion. This is a real David vs. Goliath battle that balances what’s at stake for everyone involved, yet at once is educational.

We meet Roaring Kitty/Keith Gill (Paul Dano), a charismatic internet personality who believes wholeheartedly in the potential of GameStop. Through his internet videos, he leads the charge propelling GameStop from just a few dollars a share to $400 a share at its peak, as his supporters and investors become further invested in this fight against those who hold power. An uproar results when trading on GameStop shares suddenly are halted. As allegations of insider trading surface, Gill finds himself in a fight for everything he has built and accomplished, with he and his opponents in high places likewise, ready to risk it all.

Dano is fantastic in Keith’s unwavering in his belief of what is right, even if this all seems a little crazy. He is very easy to root for and Gillespie reins the focus in on his true intention. It is never only about money, it is about winning the fight against the big guys who bank on bankrupting the little guys. Shailene Woodley as Keith‘s wife Caroline, also is a standout acting as his support when the tides begin to turn for the worse. Pete Davidson also delivers a memorable turn as Keith’s younger brother Kevin, navigating humorous and more tender moments well.

DUMB MONEY screens at TIFF ’23:

Friday, September 8
Roy Thomson Hall 5:45 PM
Premium

Sunday, September 10
Roy Thomson Hall 10:30 AM

By David Baldwin

Helen’s (Louise Brealey) life did not turn out the way she expected. She lives in a room at her (ex?)husband’s home with his new girlfriend, their new baby, and his dying mother Gwen (Sorcha Cusack). Helen cares for Gwen during the day and works nights at the local chicken processing plant. She is thrown out of sorts however when her former neighbour and high school crush Joanne (Annabel Scholey) returns to town.

What follows is an often whimsical love story between two women who refuse to be defined by their past traumas. Did I mention that the characters in the Film have a habit of breaking out into song whenever one of their favourite tunes comes on? That just seems to be the world Helen and Joanne inhabit in CHUCK CHUCK BABY, Writer/Director Janis Pugh’s debut narrative feature. She infuses the proceedings with a sense of wonder, and continually uses floating chicken feathers as a motif in and out of the plant (which somehow seems less grueling than it should). She also does a great job balancing the Film’s cuteness and humour with its fiercely feminist undertones. Some moments might be slighter than others, but I just wish Pugh did not stray away so quickly whenever something dark is added into the mix.

The lead pair of Brealey and Scholey are terrific from start to finish. Their chemistry is off the charts and the intimacy and love they bring to their burgeoning relationship is a delight to watch. They do just as well in their more dramatic moments, ensuring the audience feels every ounce of pain and regret they do. The Supporting Cast around them is solid with Cusack as the clear standout. She gets many of the film’s most profound moments and does an exemplary job landing its most emotional beats. Anytime she popped up, it felt like a warm hug you did not want to pull away from.

CHUCK CHUCK BABY screens at TIFF ’23:

Friday, September 8 at 3:15 PM at Scotiabank Theatre Toronto

Sunday, September 10 at 6:45 PM at Scotiabank Theatre Toronto

Saturday, September 16 at 8:45 PM at Scotiabank Theatre Toronto

Comedian Matt Rife will film his hour-long Netflix comedy special debut on September 22nd and 23rd at DAR Constitution Hall in Washington DC during his sold-out 260+ date ProbleMATTic World Tour.

About Matt Rife: Natural Selection

Logline:

After having amassed a large social following through his viral content showcasing his quick wit and crowd work, Matt embarked on a sold-out world tour. Now in his first Netflix comedy special, Matt leaves no topic untouched – from crystals to social media trolls – and no audience member spared.

Executive Producers: Matt Rife, Christina Shams

Production Company: Irony Point

About Matt Rife

Matt Rife has exploded as one of the world’s fastest growing comedians through his viral content and remarkable engagement on TikTok, where he has amassed over 16.7 million followers, and more than 5.4 billion views globally, making him the most watched comedian on the platform and across social media.

As one of the most buzzed about comedians in the business, Rife has been selling-out theaters and arenas across the country and recently embarked on his biggest tour to date with Live Nation, the Matt Rife: ProbleMATTic World Tour. The 260+ date tour sold out in 2 days.

Rife brings forth his refreshingly genuine presence along with elevated material that is quick witted and vulnerable. From a small town near Columbus Ohio, Matt started performing at the age of fifteen then moved out to Los Angeles two years later where he began his career in Hollywood.

In addition to stand-up, he made his television debut on MTV’s Wild ‘n Out as the youngest cast member in history for four seasons before moving on to other MTV properties, such as hosting the reboot of TRL and appearing on The Challenge. As an actor, his credits include Brooklyn Nine-Nine, Fresh Off The Boat and BET’s North Of The 10.

In 2021, Rife self-produced and distributed through YouTube his first one-hour comedy special, Only Fans, which garnered 9.8 million views. This past April, the comedian bet on himself again and self-released his highly anticipated second stand-up special, Matthew Steven Rife, on YouTube which was taped in Austin, TX and is dedicated to his biggest role model, his grandfather Steven who had recently passed. Matthew Steven Rife has earned more than 15 million views to date. In June, Rife self-released a crowd work focused special with Matt Rife: Walking Red Flag which has amassed nearly 7 million views.