By David Baldwin

Cesar Catilina (Adam Driver) is a brilliant and obscenely wealthy architect who can harness time itself and has grand plans for the future of New Rome (which not so inconspicuously looks like what we call New York). His latest project which he dubs Megalopolis has made him a thorn in the side of the city’s mayor Cicero (Giancarlo Esposito). The animosity the pair have for one another is further exacerbated when Cesar falls in love with Cicero’s daughter Julia (Nathalie Emmanuel of Game of Thrones and the Fast franchise).

That description only hints at the wonder and madness housed within MEGALOPOLIS, legendary Oscar-winning Writer/Director Francis Ford Coppola’s long-gestating passion project that has become one of the most-talked-about films of the year. I was not quite sure what to make of the film and days after seeing it, am still very much speechless when it comes to describing my feelings about the final product.

What I can say is this: MEGALOPOLIS is big, bold, brash filmmaking that is uncompromised in terms of vision and scope. It is unlike anything you will likely ever see and stands in sharp contrast to any “epic” film made over the past fifty years. The dialogue can become rather dicey even at the best of times, but Coppola’s grasp of the Film’s visual language is staggeringly unique and often downright beautiful. It deftly blends practical with artificial and practically explodes with its use of vivid colours and sumptuous costuming. For better or worse, we will never see a film like this come out of the American cinema system ever again. Full stop.

That may sound like typical festival hyperbole, but no film can even come close to matching the audacity of MEGALOPOLIS. Like what other film can boast about containing chariot races, Shia LeBeouf dressed in ancient Roman drag, and Jon Voight commenting on the size of his “boner”? What other film stops dead in order for someone to pop out of the audience and literally speak to Adam Driver on-screen for an extended period of time? I am not kidding about any of this – it all happens and somehow these are not the most ludicrous examples of what Coppola was able to sneak into this film.

Acting wise, everyone is all over the map putting in ranging from subtle, controlled work to wildly animated, over-the-top insanity. Everyone is committed to the bit here and to Coppola’s incredible vision. For my money, the clear standout is Aubrey Plaza, who plays the scheming TV personality Wow Platinum (yes, that is seriously her character’s name). She commands the screen with every breath and overshadows nearly everyone with her certifiably deranged performance. It may border on being a little too campy, but in a movie like this, fits in rather snuggly alongside every other crazy thing around her and needs to be seen to be believed.

MEGALOPOLIS screens at TIFF’ 24:

Monday, September 9 at 9:30PM at Roy Thomson Hall

Tuesday, September 10 at 8:00PM at Scotiabank Theatre Toronto

By Amanda Gilmore

Director Jason Reitman pays joyful homage to Lorne Michaels and his troupe of young comedians who changed television forever with the smash-hit Saturday Night Live.

SATURDAY NIGHT depicts what happened behind the scenes in the 90 minutes leading up to the first taping on October 11, 1975. Reitman and his Co-Writer Gil Kenan capture the frenetic energy and stress at 50 Rockefeller on the 17th floor the night that made history. This hectic atmosphere is elevated by the outstanding score by Jon Batiste who developed it after working and witnessing what happened on set each day. He captures the anxiety, joy and playfulness those comedians felt and managed to fit it all into his Score.

The Script is fast-paced, which brings us right into the madness of putting on a live program, and is loaded with witty jokes, each of which are delivered by the ensemble cast with impeccable timing. Reitman has cast each of these beloved people to perfection. His idea to focus on a collective ensemble rather than any one individual is genius. It parallels the collective unit of the cast members working on SNL both past and present.

If there was a primary character Reitman focuses on it would be Michaels, for obvious reasons. This beloved Canadian changed television forever. He swung big and he didn’t know if he was going to stick the landing. Gabriel LaBelle’s performance allows for the anxiety and stress to be brimming just below the surface of the restrained and calm demeanour Michaels is known for. Other notable performances come from Cory Micheal Smith as Chevy Chase, Dylan O’Brien as Dan Aykroyd and Matt Wood as John Belushi. Each get their own moment to shine and show just how charismatic they and those they portray are. And finally there’s Rachel Sennott as Writer Rosie Shuster. She’s got a magnetic energy on the screen and the intimate moments she shares with Labelle are strong.

Overall, SATURDAY NIGHT is a hilarious, fun, entertaining Film that captures the moment a dreamer took a huge chance and won.

SATURDAY NIGHT screens at TIFF ’24:

Tue, Sept 10 at 5 PM at Royal Alexandra Theatre

Wed, Sept 11 at 3 PM at VISA Screening Room at the Princess of Wales Theatre

Fri, Sept 13 at 3 PM at VISA Screening Room at the Princess of Wales Theatre

Sat, Sept 14 at 9 AM at Scotiabank Theatre

By Nicholas Porteous

In Joshua Oppenheimer‘s first narrative feature The End, our planet has become uninhabitable, and an opulent, extended family (Tilda Swinton, Michael Shannon, George MacKay, Bronagh Gallagher, Tim McInnerny and Lennie James) clings to existence in a salt mine. Their days are spent hanging paintings, tending to toy models of the past, and getting in a bit of exercise. If you’re feeling a bit aimless–in any aspect of your existence–wait til you meet these people. In spite of their rudderless lives, they seem pretty content–at least on the surface. They are still coping, to one degree or another, with their responsibility for how the end of the world went down, maintaining comforting narratives about their past lives. When an unexpected visitor appears (Moses Ingram), the family is forced to recalibrate everything they’ve taken for granted about their routine lifestyle and personal narratives. Did I mention it’s a Musical?

The End is, for better and worse, unlike most movies I’ve ever seen. It takes a classic post-apocalyptic premise and injects the whimsy of a musical, while maintaining a core sense of a drudging, daily existence leading nowhere. It’s paradoxically expansive–infused with generous, super wide frames full of characters and set design–and also deeply interior. Near-motionless. These isolated beings, trapped in a social bubble of their own design, come off like aliens, completely out of practice when it comes to connecting with others. It’s as charming as it is confounding. Michael Shannon is particularly compelling as the aloof patriarch, giving what is likely the most tender performance of his career.

Outside of its songs, there’s little to no attempt to fight the inertia of this dying world. The End is a movie that feels longer than it is, and refuses to weave its various character threads into a compelling shape, abandoning one subplot for the other as its runtime drags onward. It’s a perplexing experience. I’m glad I saw it at the festival on a giant screen with an excited audience, because it’s so singular, but I can’t recommend The End as anything beyond a big swing novelty that may very well leave you cold and tired.

The End screens at TIFF ’24:

Thursday September 12th at 9:00 PM at Scotiabank

Our fave part.of the Festival! We get to actually see movies and hello to friends!! Our Day Seven!

•Kaia Gerber and Kate Hudson at TIFF ’24 for SHELL
•Halina Reijn at TIFF ’24 for BABYGIRL
•Edward Burns, Christy Turlington, Juliana Margulies, Morena Baccarin, Ben McKenzie, Gretchen Mol, Benjamin Bratt and Patrick Wilson celebrating MILLERS IN MARRIAGE

…and Elevation Studios END OF BRAT SUMMER Bash!

Highlights here:

(Photo/video credit: Mr. Will Wong)

By Amanda Gilmore

Will Ferrell’s close friend of 30 years, Harper Steele, wrote him an email informing him that she’s coming out as a Trans woman. Shortly after, the two decided to embark on a cross-country road trip to process this new stage of their relationship.

Will and Harper’s friendship started on Saturday Night Live. She got hired as a Writer on the late-night show in 1995, the same week Will joined the Cast. Will & Harper is a very funny Documentary. Watching these two hilarious people on a road trip across America leads to many funny jokes and situations. Along their travels, they even check in with previous SNL cast members where more fun is to be had.

But the best part of Will & Harper is watching two close friends being completely open with each other. Will’s been open about knowing nothing about the trans community before Harper came out. This documentary captures the trust and honesty these two share. Harper is willing to answer any question Will has about her transition while Harper asks Will questions about his feelings regarding her transition. What Director Josh Greenbaum (Strays, Barb and Star Go to Vista Del Mar), Will, and Harper have created is a documentary that will change minds.

Will & Harper is an entertaining, heartwarming, and informative portrait of friendship, transition, and America.

Will & Harper screens at TIFF ’24:

Wednesday, September 11
Roy Thomson Hall
5:30 pm

Thursday, September 12
TIFF Lightbox
3:30 pm

Saturday, September 14
TIFF Lightbox
9:30 pm

By Mr. Will Wong

If you loved Michael Gracey‘s THE GREATEST SHOWMAN, there is plenty to love about Robbie Williams’ lively Biopic-Musical BETTER MAN.

While Robbie Williams dominated the Pop world internationally in the early 2000s, often he was a tabloid fixture. The former Take That member went on to achieve superstardom around the world after going solo and this dazzling spectacle manages to balance high energy with Williams‘ personal struggles including being bullied as a boy, his relationship with his father, his failed relationship with Nicole Appleton, to his battle with drug and alcohol addiction.

Though presenting as a monkey the entire film, Jonno Davies channels Williams’ essence perfectly and is fantastic nailing the physicality of the role in some ofthe Film’s demanding dance numbers. This decision helps visualize Williams‘ feelings of self-deprecation and inner voices constantly telling him he isn’t worthy.

We did feel the pacing was a bit rushed towards the end as Williams begins to face his demons and work on his relationship with his father, whereas much of the focus is spent on his trouble times. BETTER MAN still is a triumph for this icon and his fans, hitting the right notes late in a big finish and visually looking spectacular.

BETTER MAN screens at TIFF ’24:

Monday, September 9
Roy Thomson Hall
5:30 pm

Tuesday, September 10
Scotiabank Theatre Toronto
4:45 pm

Thursday, September 12
Scotiabank Theatre Toronto
5:30 pm

Saturday, September 14
Scotiabank Theatre Toronto
5:00 pm

Today, Nikon Canada Inc. announced the NIKKOR Z 50mm f/1.4, a lightweight prime lens with a wide and bright f/1.4 aperture. This affordable lens is compact enough to take anywhere, while offering a versatile and classic focal length that’s ideal for portraits, landscapes, street snaps, travel, still life and more.

The large f/1.4 aperture of this lens affords users the ability to create images and video with three-dimensional emphasis and naturally soft backgrounds that draw the viewers’ attention to a subject.

The NIKKOR Z 50mm f/1.4 lens features a compact, comfortable and lightweight design, measuring approximately 2.9 in x 3.4 in (74.5 × 86.5 mm) and weighing only 14.8 oz (420 g). The lens is engineered with a premium feel and superb handling, featuring a dedicated focus ring and customizable control ring.

Additional Features of the NIKKOR Z 50mm f/1.4:

• Close minimum focus distance lets users get as near as 14.5 in (0.37 m) from the subject, which is great for flowers, still life and food photography.
• Nine-blade diaphragm helps to create a natural, circular bokeh for a pleasing out of focus area.
• Focus breathing is effectively suppressed to minimize the shift of the angle of view when adjusting the focus.
• Near Silent operation for video production, with a click-less control ring and near silent lens drive thanks to the use of STM motors.
• Weather Sealed and designed with careful consideration for dust- and drip-resistant performance*.

Price and Availability
The new NIKKOR Z 50mm f/1.4 will be available in late September 2024 for a manufacturer’s suggested retail price (MSRP) of $679.95**. For more information about the latest Nikon products, including the extensive lineup of NIKKOR Z lenses and the entire range of Z series cameras, please visit Nikon.ca.

About Nikon
Nikon is a world leader in digital imaging, precision optics and technologies for photo and video capture; globally recognized for setting new standards in product design and performance for an award-winning array of equipment that enables visual storytelling and content creation. Nikon Canada Inc. distributes consumer and professional Z Series mirrorless camera, digital SLR cameras, a vast array of NIKKOR and NIKKOR Z lenses, Speedlights and system accessories, Nikon COOLPIX® compact digital cameras and Nikon software products. For more information visit www.nikon.ca, which links all levels of photographers and visual storytellers to the Web’s most comprehensive learning and sharing communities. Connect with Nikon Canada on Facebook, Instagram, Twitter, TikTok and YouTube.

Culinary connoisseurs, prepare to be dazzled as the viral CEO of croissant tasting chef Romain Avril joins forces with chef Arnaud Bloquel for an extraordinary one-night evening of French culinary mastery exclusively at Restaurant Lucie, the fifth collaboration in the La Collab series. The France-born chefs promise to deliver a harmonious blend of classic French techniques and contemporary flavours, designed to tantalize the senses with a four course menu. Hosted on Thursday, October 3 from 6-8pm, tickets are priced at $285 per guest, inclusive of wine pairings and gratuity.

Chef Romain Avril
Born in Paris, chef Romain Avril discovered his passion for cooking at the age of thirteen. By seventeen, he was already working in a 1-MICHELIN Star restaurant in Brittany, France. After obtaining his bachelor’s degree in French and Chinese gastronomy, he honed his skills in MICHELIN-starred establishments across France and London. Since moving to Canada in 2010, chef Avril has become a prominent figure in Toronto’s culinary scene, holding roles such as Executive chef at La Société Bistro and launching his own ventures, including his highly anticipated new restaurant.

Chef Romain Avril is a social media sensation with his viral “serve it or trash it” series on TikTok, in which he gives his honest opinions on dishes as a renowned chef. He also is considered the CEO of croissant tasting with his very own croissant map, ranking the best croissants across Canada, the US, Australia and France.

“I don’t cook to feed people but to take them on a culinary adventure. What better way and an honour than sharing this voyage with chef Bloquel in a setting as beautiful as Yannick’s restaurant, Lucie?” says chef Romain Avril.

Chef Arnaud Bloquel
Chef Arnaud Bloquel’s culinary journey began in Guadeloupe, where he was deeply influenced by his culturally diverse family and French heritage. He refined his skills in France under the guidance of Michelin-starred chefs before returning to Guadeloupe to open his celebrated restaurant, l’Orchidea. Now at the helm of Restaurant Lucie in Toronto, chef Bloquel continues to push the boundaries of French cuisine, creating dishes that are both innovative and rooted in tradition.

“Collaborating with chef Avril for La Collab No.5 is an inspiring journey that blends our shared passion for French cuisine. Together, we’re creating a menu that honours tradition while pushing the boundaries of innovation, offering our guests a truly unique and memorable dining experience,” says Restaurant Lucie’s executive chef, Arnaud Bloquel.

Guests will indulge in a carefully curated menu but will also have a one-of-a-kind opportunity to engage with the chefs throughout the evening. Prepare to gain insight of their culinary inspirations, techniques, and artistry that go into crafting each dish, making the night truly unforgettable.

The evening begins with a complimentary glass of Mumm Cordon Rouge Champagne upon arrival. Guests will then enjoy a four-course dinner, with each dish expertly paired with selected wines to enhance the flavours and create a truly exceptional experience.

Please note that due to the specialized nature of the menu, dietary restrictions may not be accommodated. This event is for guests aged 19 and over.

Event Details

Date: Thursday, October 3

Time: 6:00PM – 8:00PM

Tickets: $285 per guest, inclusive of wine pairings and gratuity.

Tickets for this collaboration can be purchased HERE.

A special thank you to beverage sponsors San Pellegrino and G.H. Mumm Champagne.

Even at the half-way point, the star power still is electric at the Festival! Our Day Six sightings include:

•Zoe Saldana and Karla Sofia Gascon for EMILIA PEREZ

•Robbie Williams at TIFF ’24 for BETTER MAN

•Jason Reitman, Willem Dafoe, J.K. Simmons, Rachel Sennott, Gabriel LaBelle, Dylan O’Brien, Nicholas Braun, Ella Hunt, Kim Matula, Billy Bryk, Cory Michael Smith and more at TIFF ’24 for SATURDAY NIGHT

Highlights below:

(Photo/video credit: Mr. Will Wong)

Yerin Ha (she/her) (Dune: Prophecy, Halo) will play Sophie Baek. Sophie Baek has been forced to spend much of her life working as a maid for the most demanding employer in the ton. But the resourceful Sophie always finds a way to persevere through her circumstances — which will drastically change after she disguises herself to attend Violet Bridgerton’s masquerade ball and meets Benedict Bridgerton.

Logline: The fourth season of Bridgerton turns its focus to bohemian second son Benedict (Luke Thompson). Despite his elder and younger brothers both being happily married, Benedict is loath to settle down — until he meets a captivating Lady in Silver at his mother’s masquerade ball.
Episode Count: 8
Filming Location: London, UK
Showrunner/ EP: Jess Brownell
Executive Producers: Shonda Rhimes, Betsy Beers, Tom Verica, and Chris Van Dusen

(Photo credit: Nick Walters)