By David Baldwin

On January 8, 2020, Ukraine International Airlines Flight 752 was shot down just as it left Iranian air space. Everyone on board died, including the wife and young daughter of Newmarket Dentist Hamed Esmaeilion. Devastated, he immediately flies to Iran to claim their remains and after witnessing a partial cover-up first hand, Hamed begins a quest for justice and the truth as to why this tragedy occurred at all.

752 IS NOT A NUMBER is harrowing and frustrating. The answers do not come easy – if at all – and the way Filmmaker Babak Payami portrays Hamed’s grief is consistently heartbreaking. It is not an easy watch, especially when he cuts in candid family footage from happier times. Yet the Film feels absolutely necessary in how it captures government priorities and corruption. In case you forgot, the Pandemic was starting to heat up at the exact same time this tragedy took place (a fact that is acknowledged but thankfully not dwelled on), so uncovering Iran’s reasoning for shooting down the plane was more challenging than it should have been.

While 752 IS NOT A NUMBER could have been tightened in certain areas, Payami’s film remains compelling from start to finish. Just do not expect any catharsis at the end for Hamed and all of the other families affected by this tragedy.

752 IS NOT A NUMBER screens as follows at TIFF ’22 as follows:

Sun, Sep 11 IN-PERSON Scotiabank Theatre 3:15pm

Sat, Sep 17 IN-PERSON Scotiabank Theatre 12:50pm

By David Baldwin

Mr. Williams (Bill Nighy) is dying. He has been given six months to live, nine if he is lucky. More than enough time to get affairs in order, but what does Williams need to figure out? He is a widower, he is estranged from his son and daughter-in-law (despite their living in his home), he has no friends or confidants, and his only joy is going to the Pictures on Tuesdays. Williams, filled with grief and regret, decides immediately to make some changes – and start living instead of simply going through the motions.

Nighy, a brilliant Character Actor who rarely gets his due, is outstanding from the very moment he appears on-screen in LIVING right through until the bittersweet ending. His cadence and charisma is unparalleled and his delightfully dry wit had the audience around me laughing aloud. That same audience hung on every tragic word and moment Nighy delivers, where he does not command the screen so much as he burns a hole in the centre, practically daring the supporting cast to try to make a stronger impression on the Film. They are all uniformly good (especially Aimee Lou Wood of Sex Education), though they are well aware that they cannot match up to Nighy’s powerful turn.

And while the sumptuous art design and booming score are exquisite, I wish LIVING was slightly less episodic in nature. Worse, its real issue is the final 20-30 minutes of the Film. It lands on multiple perfect ending moments, only to pivot and move onto something else. Frustrating to say the least, though the tradeoff is more time for Nighy to light up the screen in his own magical, mythical way.

LIVING screens as follows at TIFF ’22:

Sun, Sep 11 IN-PERSON TIFF Bell Lightbox 3:45pm

Mon, Sep 12 IN-PERSON Scotiabank Theatre 6:30pm

Fri, Sep 16 IN-PERSON TIFF Bell Lightbox 12:15pm

By Justin Waldman

The issue with Anthologies is that there is always a weak link or two in an otherwise strong chain. Sometimes the Anthologies get to overcome that curse, and others they fall victim to the tragedy of this circumstance. We Are Still Here shares nine Directors and ten Writers that help tell the stories spanning 250 years, sometimes even in the future, about a celebration of native land being colonized and the native inhabitants being invaded.

There is a lot to love and appreciate throughout the ninety minutes of We Are Still Here, including some brilliant animation and stop motion. However, on the same note there are segments of the Anthology that unfortunately fall drastically short and go on a little too long and lose the intensity that the Movie has set up for it. There are eight stories that are interweaved, all focusing on the colonization that started 250 years ago from Captain James Cook unwanted arrival in the South Pacific. Each story tries to convey its message in a variety of mediums, some more successful than others.

The largest issue with We Are Still Here, and Anthologies as a whole is when something that isn’t as captivating as the other stories get just as much screen time if not more, and they’re the least captivating parts. The Animation and Stop Motion animated segments were truly the highlights of the entire Anthology and starting off with a stop motion that sets up the entire Anthology as an overarching story of Colonialism has a very jarring and provocative way to get that across. We Are Still Here gives a voice to the indigenous filmmaking community to express the challenges of their past and present.

WE ARE STILL HERE screens at TIFF ’22 as follows:

Sunday September 11th at 3:45 pm at Scotiabank theatre
Wednesday September 14th at 8:30 pm at Scotiabank theatre
Thursday September 15th at 10 am on TIFF Digital at home
Sunday September 18th at 3:35 pm at Scotiabank theatre

Now that’s more like it! Day Three of TIFF ’22 was crammed with goodness, and this isn’t even all of it! We are rolling into Sunday with some very terrific Premieres scheduled to take place!

Some Cast sightings on TIFF ‘22 Day Three.

THE GOOD NURSE

HILLARY & CHELSEA CLINTON IN-CONVERSATION WITH

BROS

BIOSPHERE

NANNY

BUTCHER’S CROSSING

DOCUMENTARY NOW

CARMEN – the directorial debut by Benjamin Millepied, whom you might know as Natalie Portman’s husband.

BLACK ICE

SUSIE SEARCHES

WHAT’S LOVE GOT TO DO WITH IT

LIVING

A JAZZMAN’S BLUES

ONE FINE MORNING

HOW TO BLOW UP A PIPELINE

We managed to make it home before midnight after a few late nights in a row! Relieved. Can’t excited to see who we spot tomorrow, Day Four!

(Photo/video credit: Mr. Will Wong)

By David Baldwin

With the kids away at camp for the week, Josh (Jonas Chernick) and Emma (Schitt’s Creek’s Emily Hampshire) have the house to themselves. Initially unsure of what to do next, they quickly land on recapturing the sexual energy of their youth. Except that spark is not there anymore, just a never-ending routine of going through the motions. Dissatisfied, the pair come up with different ways to spice up their marriage – each more wild than the next.

THE END OF SEX is a sweet little Canadian romp that is just as charming as it is raunchy and cringe inducing. I laughed, I shrieked and I stared wide-eyed in bewilderment at some of the situations this couple finds themselves in. And just when you think it could not get any more mortifying, Colin Mochrie drops in for an extended bit you will not forget anytime soon.

While Chernick’s writing is nothing spectacular, the tonal pivoting honesty he brings to his performance as Josh is wonderful, as is Hampshire’s as Emma. They have a winning chemistry and a shared history that enriches the backstory we are only given precious few details of. The Comedy here is some of the most awkward you will see this year, yet it comes from a place of love and truth. I just wish the terrific supporting players like Lily Gao, Gray Powell and Melanie Scrofano were given so much more to do. They get many of the best and wildest lines in the Film, but their character development rings hollow.

And as a Hamilton boy, I loved seeing the way the city is portrayed here. Minus that terrifying moment when the Film turned a bar I used to frequent into a sex club.

THE END OF SEX screens as follows at TIFF ’22 as follows:

Sat, Sep 10 IN-PERSON Scotiabank Theatre 7:30pm

Wed, Sep 14 DIGITAL digital TIFF Bell Lightbox 10:00am

Wed, Sep 14 IN-PERSON Scotiabank Theatre 2:00pm

By Amanda Gilmore

Bones of Crows is important, powerful and necessary while also being incredibly well-made.

This powerful Film tells the story of Cree matriarch Aline Spears (played at different ages by Summer Testawich, Grace Dove, and Carla Rae) who was born in Canada in the 1920s. It follows her from her childhood, being taken away from her family and thrust into the residential school system, her time in the military during WWII, and her inspiring determination to bring her oppressors’ crimes to light.

It’s through Spears’ story that Writer-Director Marie Clements highlights the centuries of abuse and oppression by the Canadian Government and Institutions. The Canadian Residential School System has been a topic on our news a lot recently. However, Clements brings you to this heinous place. This, and other scenes, make for a tough viewing experience, but an essential one.

Bones of Crows tells an important story, while stunning to watch. The Cinematography by Vince Arvidson captivates and works seamlessly with Clements’ direction. And the Cast of women who bring Spears to the screen gives affecting performances.

Warning: Bones of Crows does come with a warning both before the Film and on the TIFF website. It reads, “This programme contains scenes that may distress some viewers, especially those who have experienced harm, abuse, violence, and/or intergenerational trauma due to colonial practices.”

Bones of Crows screens as follows at TIFF ’22:

Sat, Sep 10 IN-PERSON at Scotiabank Theatre at 5:45 pm

Thu, Sep 15 IN-PERSON at TIFF Bell Lightbox at 11:00 am

By Amanda Gilmore

Ren (Carmen Madonia) reluctantly joins her younger sister Siena (Paige Evans) and her parents on a family summer vacation. Throughout the week-long holiday, the family butt heads over many things. But mostly because no one seems remotely interested in spending quality time together other than the matriarch, Mona (Ramona Milano). Ren spends the majority of her days vaping and scrolling social media. Siena’s always out with her vacation fling partying until the early hours of the morning. And the girls’ father Guido (Joey Parro) constantly has his eyes glued to the television in their room.

Something You Said Last Night captures an intimate family portrait. Immediately, Writer-Director Luis De Fillippis introduces us to the nuanced characters while on their car ride to their accommodation. From that point forward, we understand who each of them is. They are all flawed and lovable at the same time. There is something special about De Fillippis’ ability to write such rich characters which allows us to see each situation from all four points of view.

These characters are brought to the screen with a talented Cast. The chemistry between all four is strong. Particularly between the sisters played by Madonia and Evans. They weave between nurturing one another to using words like daggers. The standout in the Cast is Milano who plays the worrying, caring, sometimes overbearing Mona. While her family sits in utter silence either looking at their phones or the television, she’s talking to her parents or her son back home. When she’s not doing this, she’s trying her hardest to start a conversation with her family or get them to do something together. Even in Mona’s harsh bluntness, Milano’s endearing personality allows the audience to sympathize with her.

There’s a nostalgia for a summertime beachside vacation that De Fillippis creates. We are taken to the beach with this family and to the carpark where Siena spends her late nights and early mornings partying. Although there isn’t a major buildup or climax in Something You Said Last Night’s climax is a quiet one, much like the film as a whole. But the Film works because of the lovable, nuanced characters and intimate look at a family that resonates.

SOMETHING YOU SAID LAST NIGHT screens as follows at TIFF ’22:

Sat, Sep 10 IN-PERSON at TIFF Bell Lightbox at 12:30pm

Tue, Sep 13 IN-PERSON at Scotiabank Theatre at 7:30pm

It was an incredibly star-studded second day of TIFF ’22 with various Premieres kicking-off around the City ahead of what will be a busy weekend with mega-watt power at the Festival. See who spotted around town premiering their Films and doing their rounds!

We started out day early with an appearance on CP24 Breakfast with Sonia Mangat! Sbe actually has a Short Film premering at the Festival! So amazing! Thanks to those who tuned-in and sent their supportive messages!

THE WOMAN KING

Such an honour being invited to this event in celebration of Gina Prince-Blythewood‘s film. The Cast really brought home the message of the importance of supporting this black female-led Action Film starring Viola Davis, on its opening weekend, at the #TakeUpSpace event presented by Twitter at Mademoiselle.

TAYLOR SWIFT – IN-CONVERSATION

BROTHER

EMILY

BUTCHER’S CROSSING

ON THE COME UP

THE INSPECTION

BROS

While we’re expecting to see more of the Cast tomorrow, how cool is this moment between Comedy icons Seth Rogen and Judd Apatow? Rogen is here for THE FABELMANS and reunited with his Knocked Up collaborator Apatow at this Premiere for BROS. So happy we met Joel Kim-Booster, who was seen this past Summer in FIRE ISLAND!

It’s 3 AM, time for bed and yet another early rise tomorrow! We were a little slow to start and hoping to get into our rhythm finally on Day Three. I know this sounds a little absurd since we had so many sightings but trust me, this even is a little off our usual pace. See you again in a few hours!

(Photo/video credit: Mr. Will Wong)

By Amanda Gilmore

Writer-Director Frances O’Connor’s Feature Debut mixes fact and speculation to give us an atmospheric portrait of Wuthering Heights Author Emily Brontë (Emma Mackey).

At the heart of Emily is a story of a girl on her journey toward self-actualization. The overt sexism and patriarchy which was prevalent in 19th-century England caused many upheavals for Emily. She was a young woman whose imagination ran wondrously wild and free. O’Connor reminds us of the restraints put on women at this time. How they should be teachers, rather than follow their creative endeavours. She does this through the demands and comments made by her Father and sister Charlotte (Alexandra Dowling).

There was one sibling, her brother Branwell (Fionn Whitehead), who encourages her to be creative. Branwell was considered the black sheep because of his wild behaviour and desire to become a writer. The way Emily is treated by those in their family and the townspeople, who call her “the strange one”, thrusts the two closer together. This relationship is tangible on the screen thanks to the strong chemistry between Mackey and Whitehead. Whitehead shines in showing Branwell burying his insecurities in alcohol and opium.

O’Connor doesn’t shy away from exposing Emily’s flaws. This aids the story, giving a well-rounded view of a woman who was bold enough to live her truth. Mackey is the perfect choice to bring the provocative, brilliant author to the screen. She revels in Emily’s free spirit and indifference to social niceties. Whether she’s telling stories to herself in a wild, open English field or on an opium trip with her brother, Mackey fully embodies the daring author on her journey toward self-actualization.

Just like any coming-of-age tale, Emily depicts the subject’s first love with her French tutor, Mr Weightman (Olivier Jackson-Cohen). It’s also this relationship that becomes closely tied to Emily’s writing. In showing this, O’Connor connects creativity with passion. Mackey stuns in Emily’s heartbreak and grief when this relationship does come to an end. She gives a performance that’s so piercingly authentic it penetrates the soul.

Emily screensat TIFF ’22 as follows:

Fri, Sep 9 IN-PERSON at Royal Alexandra Theatre at 8:30 pm

Sun, Sep 11 IN-PERSON at Scotiabank Theatre at 12:20 pm

By Mr. Will Wong

Director Christian Carion delivers us something heartfelt at TIFF ’22 with DRIVING MADELEINE. While the unlikely buddy Drama feels familiar at times, this doesn’t mean it isn’t impactful, affecting and good for the soul.

The Film centers around Madeline (renowned Chanteuse Line Renaud) as a woman who is about to enter a care facility for the elderly. She encounters Charles (Dany Boon), her Taxi Driver, asking him to make multiple stops along the way to the home. She revisits places that held important signficance in her life, and this just might be her final jaunt throughout Paris. Charles is down on his luck, dealing with debt and a crumbling marriage, and though he isn’t receptive to the banter at first, like him, we are drawn into Madeline‘s storied life, witnessing her painful traumas and her glories.

DRIVING MADELINE explores how some of the most meaningful crossing of paths in our lives can be those fateful chance encounters and Madeline was meant to come into Charles‘ life at a time he needed it most. It is beautiful storytelling that tugs on the heartstrings. Be warned there may be sobbing. Lots of it.

DRIVING MADELINE screens at TIFF ’22 as follows:

Sat, Sep 10 IN-PERSON Scotiabank Theatre Toronto 6:30pm

Sun, Sep 18 IN-PERSON Scotiabank Theatre Toronto 5:30pm