Review by David Baldwin

In the present day, Anne Frank’s diary is housed within a glass display in her home in Amsterdam. As the crowd queues up around the block to see all of the artifacts on display, the glass suddenly breaks and Kitty (Ruby Stokes), the fictional friend Anne wrote her diary entries to, is conjured into reality. She is invisible and confused – why is she there and Anne is not? Whom are all these people walking through the house? As Kitty begins to read the diary and discover more about Anne’s story, she begins to understand what happened and how not much has changed since the Holocaust.

WHERE IS ANNE FRANK is one of the most bold and ambitious films at this year’s festival. It takes a book so many of us have read and know all too well, and examines it from an entirely different point of view. On top of that, the Film merges multiple forms and styles of animation to tell its story, often in imaginative and exciting ways. Great care was taken by Writer/Director Ari Folman (an Oscar nominee for the astonishing Waltz with Bashir) to make the Film feel like as much of an adventurous journey of discovery as it does a gut-wrenching portrayal of one of the darkest times in human history. He pulls no punches here with his ghastly depictions of the Nazi regime, as well as the on-going refugee crisis in the modern times. It is painful and heartbreaking to watch, but also feels completely necessary.

Where Folman stumbles is in the tone of the piece. It is a little too light hearted for adults and a little too mature for children. The Film is a depiction of recorded history, and I am not sure the younger audience will be in tune with the profound and damning comparisons Folman is making. And by making the lead character be Kitty, who has the mind of a naïve young girl, he risks alienating the older audience who know the story already (and will likely need to better explain to their children after the credits roll). It is a delicate balancing act that Folman is successful in managing in some areas, whereas others are a total mess. I kept watching and felt like I was getting lost in the narrative he put together. I feel like WHERE IS ANNE FRANK could have been better finessed in some areas and clearer as to who the intended audience was. This is an important, must-see film for all ages, and it deserved to be a much stronger film.

WHERE IS ANNE FRANK screens at TIFF ’21:

Tue, Sep 14 Princess of Wales 6:00 PM

Wed, Sep 15 digital TIFF Bell Lightbox 1:00 PM

Sat, Sep 18 digital TIFF Bell Lightbox 1:00 PM

Review by David Baldwin

Alma (Maren Eggert) is a scientist longing for a relationship yet is too busy with cuneiform studies to form a bond with anyone new. With funding for a huge project hanging in the balance, Alma signs up for a three-week trial with Tom (Dan Stevens), a Humanoid Cyborg designed and determined to make her happy.

I have been unable to shake I’M YOUR MAN days after watching it. It creeps up on you almost immediately and stays with you long after its haunting finale. Co-Writer/Director Maria Schrader subverts any expectations you might have with this high concept romantic Science-Fiction Dramedy, all while delivering an emotionally stirring message about what it means to be human and what it means to be in love. That may sound like a few too many ideas to balance, yet Schrader’s guiding hand makes it look easy. While it could have used some tightening up editing wise, the world building here is subtle and remarkable, depicting a future that seems attainable. The Script is witty and sweet, and the CGI is minimal and used sparingly. Even the deeper, darker moments of this tale have a lovely charm to them.

All of this would mean nothing without the Cast however, who are game for everything Schrader throws at them. Sandra Hüller (who you will recognize from the Oscar-nominated Toni Erdmann) has a delightful bit part as a Scientist/Therapist keeping track of Tom’s progress in the field, while Hans Löw turns in memorable work as Alma’s ex Julian. They are barely noticeable whenever Eggert and Stevens are together though – their simmering chemistry is the beating heart of I’M YOUR MAN, with the sparks flying immediately and never letting up. Eggert spends much of the Movie skeptical and narrow-minded, completely unconvinced of Tom’s act and trying her very best to stay straight laced. She does a great job of it, and is so very funny and natural in the role. Stevens is even better, delivering his most incredible and accomplished work to date. His robotic movements are precise, and his fluent German dialogue is crisp and flawless (cannot do much about hiding that debonair English accent though). He is having a blast here, reworking and reimagining the archetype he has gotten so good at embodying. Together or apart, Eggert and Stevens create one of the best on-screen couples of the year and one of the most welcome surprises of the festival. Keep this one on your radar.

I’M YOUR MAN screens at TIFF ’21:

Mon, Sep 13 Scotiabank Theatre 7:30 PM

Tue, Sep 14 digital TIFF Bell Lightbox 5:00 PM

Tue, Sep 14 RBC Lakeside Drive-In at Ontario Place 9:00 PM

Sat, Sep 18 digital TIFF Bell Lightbox 3:00 PM

While TIFF ’21 wraps this coming Sunday, today will be our final day our and about. And what an awesome way to cap things off! We saw the amazing Steven Soderbergh arrive at Princess of Wales Theatre. While it remained a mystery what Film exactly he’d be screening at the Festival, we can confirm that the Film that screened tonight was called MR. KNEFF, a Silent Film with only music and background noises. The Film is subtitled and 15 years ago he had a second go at it, though the Film still is incomplete. The Film originally was titled KAFKA starring Jeremy Irons, though all dialogue has been removed and some hues were adjusted. The Film was made originally about 30 years ago.

Soderbergh arrived together with Cameron and his wife Carolynne at the screening, and they waited as he signed an endless line of autographs, doing Selfies as well. He finally arrived at our side joking that we were waiting on the wrong side of the barricade. A true Class Act. And an epic way to cap-off a great Festival! So many of our faves were made under his meticulous vision and crafty storytelling: Ocean’s Eleven, Traffic, Erin Brokovitch, Behind the Candelabra, Magic Mike (lol!)….

Earlier, Lily-Rose Depp arrived at Princess of Wales Theatre for her second Film at the Festival, WOLF in which she co-stars alongside rising star George MacKay. The Film is about a boy who believes he’s a wolf and is set in a clinic which treats the condition. Depp arrived in Toronto fresh-off the Met Gala which took place earlier this week in New York City. Once again, she wore pink Chanel as she did to her Premiere last night at Roy Thomson Hall for SILENT NIGHT. Director/Writer Nathalie Biancheri also was in attendance.

Do not forget to check-out the TIFF TRIBUTE GALA AWARDS, airing Saturday, September 18, 2021 at 7PM ET on CTV and the CTV App!

… and that’s a wrap! We appreciate so much your following our adventures and Reviews this TIFF once again. While we’re a bit exhausted, next week we’ll be counting down the days to TIFF ’22!

Tomorrow we’ll be sharing our Highlights, Best-Ofs and Predictions for the People’s Choice Award!

(Photo credit: Mr. Will Wong)

By Amanda Gilmore

We’ve seen many Films about Christmas, but none quite like this. It’s Christmas Day and also the last living night for humans on Earth. The Government and Scientists have proclaimed that poison will sweep across the world, wiping out humanity. A group of upper-class friends decide to spend their last Christmas and night together at a cosy house in the English Countryside. They are part of the fortunate who get to choose between taking a Government-approved ‘exit’ pill or letting the poison take them.

Silent Night takes on the challenge of the Dramedy. Feature-Debut Writer-Director Camille Griffin successfully navigates these tonal changes with control and ease. Her Script is laced with deep themes on climate change and wealth. Typically with apocalyptic-type films, it’s zombies or aliens who are to blame for the end of the world. However, Griffin blames the more likely culprit, climate change. In a powerful scene set around the dinner table, Art (Roman Griffin Davis) informs the guests that this is happening because the Earth is sick of consuming the garbage we have given it. The theme of wealth is highlighted in regards to the ‘exit’ pill. In one scene, Simon (Matthew Goode) informs his son, Art, how they’re lucky to be given the pill as others weren’t.

Additionally, it’s through wealth that we get these comedic, self-absorbed yet lovable characters. Griffin has assembled a strong cast consisting of Keira Knightley, Goode, Griffin Davis, Annabelle Wallis, Lily-Rose Depp, Sope Dirisu, Kirby Howell-Baptiste and Lucy Punch. Each is perfectly cast for their respected characters but Wallis and Griffin Davis are standouts. 

Wallis is hilarious as self-centred Sandra. She believes everyone is in love with her yet yearns for the love of her only daughter. She truly knocks it out of the park. Then there is young Griffin Davis, who you’ll remember from Jojo Rabbit. Here he plays a cheeky, intelligent boy who is frightened to be facing his death. Both Knightley and Goode give touching performances as parents spending their last night with their children.

Overall, Silent Night is a delightful British Dramedy that turns the traditional Christmas Film on its head.

Silent Night screens at TIFF ’21:

Thu, Sep 16 at 7 PM at Roy Thompson Hall

Fri, Sep 17 at 5 PM on Digital TIFF Bell Lightbox

Sat, Sep 18 at 7 PM on Digital TIFF Bell Lightbox

By Mr. Will Wong

Screen legend Sigourney Weaver returns in THE GOOD HOUSE from Co-Directors Maya Forbes and Wallace Wolodarsky. The Film is a portrait of a successful Real Estate Agent Hildy (Weaver), who is a high-functioning Alcoholic. She reunites with a former love interest in Frank (Kevin Kline), but must confront her own destructive behaviours, despite maintaining a well-kept presence to others in her affluent neighbourhood.

Weaver does a superb job embodying Hildy. She is a mother paying her adult children’s bills, coping with the fact that business is a bit tougher than it used to be, finding herself involved in others’ personal problems, all while a rekindled romance looms between her regal self and garbage man in Frank. She speaks to us from the Fourth Wall where we witness her most genuine self and when she blacks-out from her drinking binges we are just confused what she missed.

If anything, THE GOOD HOUSE is an intimate glimpse how insecurities and troubles exist even among the wealthy. While they can be rich in ways, they can be poor in others and even at Hildy‘s stage in life and despite all her success, there still is room for another chance at growth and self-discovery.

THE GOOD HOUSE screens at TIFF ’21:

Wed, Sep 15 IN-PERSON Roy Thomson Hall Premium 7:00pm

Thu, Sep 16 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox Premium Availability: Canada 7:00pm

Sat, Sep 18IN-PERSONTIFF Bell Lightbox11:00am

Sat, Sep 18 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox

PremiumAvailability: Canada 5:00pm

By Amanda Gilmore

Writer-Director Stephen Karam exquisitely adapts his Tony-winning Play for the big screen.

The Film follows the Blake family over one eventful Thanksgiving. Brigid (Beanie Feldstein) and her boyfriend Richard (Steven Yeun) host the holiday event at their new rundown duplex in downtown Manhattan. They are joined by Brigid’s parents Erik (Richard Jenkins) and Deirdre (Jayne Houdyshell), dementia-afflicted grandmother, Momo (June Squibb), and lawyer big sister Aimee (Amy Schumer). Throughout the holiday, the family make niceties that soon turn to cruel jokes, past grievances are revived and secrets unfold.

The Humans is rich in character study and a meditation on existential dread, told during a holiday that is rarely explored in Film — particularly in this way. Karam places the camera in unique angles and closes up on rundown things, such as water damage. This, along with a supernatural aspect where sounds are heard, a ball drops from above and lights break at an alarming rate, give an eerie feeling that something isn’t quite right about this particular Thanksgiving.

This Story is anchored in the textured characters all experiencing their individual dread. Jenkins gives a momentous performance that’s both expressive and contained. Going between moments of mentioning how close his daughter lives to where 9/11 happened and how their home will be wiped out in the next Hurricane Katrina, and moments of staring off into the distance like he can see the distressing future ahead. 

Yeun shines in showing the need Richard feels to get his girlfriend’s family to like him. Feldstein is wonderful as the ever positive yet secretly cruel Brigid. Her natural charm aides in making audiences still like Brigid in her crueller moments. Schumer does outstanding work as career-driven Aimee who is going through a breakup. A powerful moment comes when Aimee calls her ex-girlfriend in a quiet area of the apartment complex.

However, the real knockout of the Cast is delivered by Houdyshell, who is the only member reprising her role from the play. She gives a tour-de-force performance as the matriarch. Karam’s Script is loaded with the intimacy families have. They know each other best, meaning they know how to console and how to obliterate each other. This is truly examined through Deirdre and Houdyshell excels at showing the anguish and gratification her family give her.

Overall, The Humans is a powerful film about the human condition and is perfectly cast.

The Humans screens at TIFF ’21:

Sun, Sep 12 at 1:30 PM at Princess of Wales

Sun, Sep 12 at 7 PM on Digital TIFF Bell Lightbox

Sat, Sep 18 at 1 PM on Digital TIFF Bell Lightbox

Review by David Baldwin

Decorated Marine Malik Khan (Riz Ahmed) has been living off the grid, studying a parasitic threat that could put all of humanity in danger. Fearing for their safety, Khan kidnaps his two children from the home of his ex-wife and takes them on a road trip to find the cure. With the authorities in hot pursuit and general skepticism abounding, Khan must stay a step ahead in order to save his children’s lives.

ENCOUNTER is emotionally resonant and poignant in its exploration of the lengths a parent will go to in order to keep their children safe while adding emphasis to the plight of veterans suffering from mental illness and PTSD from their time at war. The Film moves at a consistent clip, knowing just when to flip the switch between an intimate Character Drama and an anxiety-ridden Thriller. Sometimes it jumps between both styles in a matter of seconds. Though I never imagined Ahmed in a fatherly role before, he soars here and really builds on his previous work depicting the ticks and peculiarities of a man facing a crisis. His chemistry with both children, especially Lucian-River Chauhan, is rich and feels lived-in. He knows he is making up for lost time and really hones-in on that heroism that all young children believe their fathers imbue. Above all else, Ahmed’s work here is intensely captivating and suggests this past year’s Oscar nomination will not be his last.

Where ENCOUNTER falters for me is how Director Michael Pearce (last at TIFF with Beast in 2017) reveals his cards explaining what is going on. It comes far too early in the picture, and genuinely throws off the rhythm and enigmatic nature of everything that follows. What was initially riveting and mysterious becomes stale all too quickly. The power of the reveal would have landed substantially stronger had it been unveiled much later on. Spelling it all out so quickly does a disservice to Ahmed’s performance, as well as the supporting turns from the likes of Oscar winner Octavia Spencer and Rory Cochrane. While I would not call the Film disappointing by any stretch, I feel like ENCOUNTER might be a bit of a letdown for anyone expecting a very different kind of movie.

ENCOUNTER screens at TIFF ’21:

Fri, Sep 10 Princess of Wales 8:45 PM

Sat, Sep 11 digital TIFF Bell Lightbox 7:00 PM

Sat, Sep 11 West Island Open Air Cinema at Ontario Place 9:00 PM

Tue, Sep 14 digital TIFF Bell Lightbox 7:00 PM

Review by David Baldwin

FLEE is one of the most celebrated and talked about films of the year. It won the Grand Jury Prize for World Cinema – Documentary at Sundance this past January and has been on the tip of nearly every Oscar Blogger’s tongue ever since. The Film is a mostly animated tale telling the “true story” of Amin, who fled Afghanistan with his family during the 1980s in search of a better life and ended up being separated from just about everyone.

To say that FLEE is extraordinary is an understatement. What Writer/Director Jonas Poher Rasmussen has committed to film is a vital and emotionally eviscerating exploration of the refugee experience, told in an unbelievably compelling fashion. Rather than stitch together narration over a series of real life news clips, Rasmussen and his team have concocted a script that tackles a huge, sprawling timeline that feels wonderfully suited for the material covered. The animation style is mostly hand drawn, though it differs in terms of crudeness at certain intervals. By factoring in the constant narration from Amin and his discussions with high school friend Rasmussen, FLEE bypasses the trappings and melodramatic recreations of other documentaries of its ilk and instead creates a uniquely animated experience that will no doubt influence a generation of Documentary Filmmakers to come.

For me, FLEE is a masterwork that needs to be seen to be believed. Full stop. Yet I found myself at odds with the narration of the piece, which alternates between being incredibly somber and intensely distressing. There is no real inflection given to anything said aloud here (though to be fair, I did not expect there to be much), and the tone sounds the exact same no matter the context. I found myself being lulled to sleep more than once, despite how invested I was in this incredibly relevant story. This is original and bold work worthy of the praise it is has received – and I wish the narration better reflected that.

FLEE screens at TIFF ’21:

Tue, Sep 14 Ontario Place Cinesphere 4:00 PM

Tue, Sep 14 digital TIFF Bell Lightbox 9:00 PM

Fri, Sep 17 digital TIFF Bell Lightbox 3:00 PM

By Mr. Will Wong

Catherine Hernandez adapts her award-winning Novel SCARBOROUGH to the big screen with Co-Directors Shasha Nakhai and Rich Williamson. What we get is a Film that feels very “now” addressing with a fly-on-the-wall’s authenticism the issues facing under-heard and under-seen voices in a low-income part of the story’s titular town.

The Film centers on three children: Bing (Liam Diaz) who is gay and struggling with bullying and racism at school, living with his recently-single mother who just found work at a nail parlour; Laura (Anna Claire Beitel) who is sent to live with her temperamental, unfit father; Sylvie (Mekiya Fox) is an Indigenous girl without a permanent home.

Hernandez uses some of her experiences working at a Day Care and gives us some real lived-in insight here. Her characters feel very real and in all honesty, I see a lot of myself in Bing, a boy who always felt excluded and an outsider looking-in at their classmates. Subtly, he is grappling with society’s standards of masculinity, but also a lack of acceptance from his peers who tell him repeatedly the rice he eats is disgusting. The performances by the Film’s young Cast are phenomenal, with Beitel delivering a great depth in her quiet stillness. Fox‘s strength and bravado is the BFF we always wish we had. Another standout is Aliya Kanani as Ms. Hina, an empathetic teacher with a good soul, whom herself is dealing with rigidity in a system which might not be setting these children up for success.

There aren’t big climaxes or payoffs in SCARBOROUGH, but what it gives us is compassion in understanding some very real problems and troubles facing people every day who are close to home. One of the most important films to come out of Canada in quite some time.

SCARBOROUGH screens at TIFF ’21:

Fri, Sep 10 IN-PERSON TIFF Bell Lightbox 4:00pm

Fri, Sep 10 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox

Availability: Canada 9:00pm

Tue, Sep 14 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox

Availability: Canada 5:00pm

Sat, Sep 18 IN-PERSON TIFF Bell Lightbox 6:00pm

By Mr. Will Wong

 Kate (Ruth Wilson) lives a mundane life as a Benefits claims worker. She encounters a former convict claimant (Tom Burke), whom she is seduced by into an all-consuming affair. Her world quickly unravels, finding herself obsessed with him completely. Unsure where she stands, we ride Kate‘s highs and lows waiting on his unpredictability. And through this affair, we see her really come to life as those around her discourage her from moving ahead with this mysterious stranger who can’t seem to give her stability.

Directed by Harry Wootliff, TRUE THINGS successfully captures the feeling and repercussions of lust so authentically. Wilson is a real revelation giving us pure vulnerability as a woman figuring out what she wants as she throws herself into something potentially catastrophic. And this is part of the Film’s allure, we want to see where this all leads even if it might not be clear in the end.

While the pace is languid at times, and we wish we get the clarity we desire through it all, such is life and Wootliff gives us a precise slice of it. Wilson‘s fantastic work is something that perhaps others in similar type relationships can take away and reflect on their own paths.

TRUE THINGS screens at TIFF ’21:

Tue, Sep 14 IN-PERSON TIFF Bell Lightbox 12:00pm

Wed, Sep 15 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox

Availability: Canada 9:00pm

Thu, Sep 16 N-PERSON TIFF Bell Lightbox 9:30 am

Fri, Sep 17 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox

Availability: Canada 5:00pm