By Amanda Gilmore

Writer-Director Martin McDonagh’s latest is set on the fictional island of Inisherin, just off Ireland’s west coast. Pádraic (Colin Farrell delivering a knockout performance) and Colm (a hilarious Brendan Gleeson) have been lifelong friends, well until now. Out of nowhere, Colm tells Pádraic that he doesn’t want to be friends anymore. For the life of him, Pádraic cannot figure out why.

This pitch-black, pitch-perfect comedic fable is McDonagh at his best. It touches on wounded friendship and grievances that lead to shocking consequences, fittingly set during the Irish Civil War in 1923. Just like in true McDonagh fashion, his Script is laced with brutally honest characters. Farrell and Gleeson reunite with McDonagh after their 2008 smash hit In Bruges to give us the two nuanced, distinctive characters.

At first, Pádraic can’t understand why Colm doesn’t want to be his friend anymore. And neither can the audience. However, we soon see that Colm just wants to leave an indelible mark on the world with his music. And he doesn’t think he can achieve that by spending all his time with Pádraic. Yet, it’s Pádraic’s refusal to accept the end of their friendship that leads Colm to make a gruesome ultimatum. It’s one that is so absurd, it’s hilarious.

Just like in many small towns, this feud between lifelong friends becomes everyone’s business. The most impacted is Pádraic’s sister Siobhan (Kerry Condon). She must deal with the depression her brother falls into over the feud. Condon is outstanding as the smart Siobhan. Then there’s the young, often daft, Dominic (Barry Keoghan). Dominic isn’t the brightest guy in town, but he’s the nicest guy with the biggest heart. Keoghan leaves a lasting impact.

Overall, McDonagh delivers a hilarious narrative that makes us think about forgiving our past grievances. All the laughs make us consume the heavy themes of the Film. Primarily that fact that feuds tend to grow bigger and lead to more serious, often violent, outcomes. This is shown in the intimate story of their wounded friendship and the war seen across the bay. The entire Cast knock it out of the park. It’s truly one of the greatest Films of the year.

The Banshees of Inisherin screens as follows at TIFF ’22:

Mon, Sep 12 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 6:30 pm

Tue, Sep 13 IN-PERSON at Royal Alexandra Theatre at 1:30 pm

Thu, Sep 15 IN-PERSON at Scotiabank Theatre at 9:00 pm

Sat, Sep 17 IN-PERSON at Real Alexandra Theatre at 8:30 pm

As TIFF ’22 begins to wind-down, things are coming at a bit more manageable pace. But that doesn’t mean the talent and caliber of Films are any less as there’s still plenty to be excited about. So happy to have gotten a little bit more sleep today and look forward to actually seeing some movies back-to-back the next few days!

We spotted some pretty major talent today, including an icon!

MOVING ON

WOMEN TALKING (written/directed by our Sarah Polley)

TRIANGLE OF SADNESS

Our Reviews are coming begin to pile-in. Click here for more including our thoughts on TRIANGLE OF SADNESS, WOMEN TALKING and more.

(Photo/video credit: Mr. Will Wong)

By Nicholas Porteous

A group of vapid rich people and Social Media influencers go on an ill-fated cruise. This is Ruben Östlund‘s second Palme d’Or winner in a row, and all the things that make his work captivating are on full display: dynamic and inventive blocking, an absolutely lavish production, laugh-out-loud moments of excess, and an ensemble of grounded yet deliciously absurd performances across the board.

Unfortunately, his limitations as a Writer are also particularly sharp here. The dominant themes of rich and poor, skilled and inept, culture assigning value to those least deserving, and absolute power corrupting you know what… they’re all rather tired, which would be easier to swallow if the Movie wasn’t an hour longer than it should be.

Structurally, there are a number of odd choices–our presumably lead characters are introduced and fleshed out for the First Act, then basically forgotten for the pivotal middle section. Arguably, the most interesting character of the Film is kept out of the narrative until near the end, and while I understand Östlund might be making a statement by hiding them, it comes at the expense of what could have been a far richer story of personal transformation. He has a habit of leaving the most potentially interesting moments of character development off-camera.

While there is a lot to be enjoyed here–and I would still consider Triangle worthy of your attention–be aware that this lengthy journey out to sea is a shallow one.

TRIANGLE OF SADNESS screens as follows at TIFF ’22:

Tues, Sep 13 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 9:30pm

Wed, Sep 14 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 5:30pm

By Amanda Gilmore

This summertime coming-of-age tale follows 14-year-old Bastien (Joseph Engel) on his and his family’s getaway to a cottage in rural Quebec. They spend their days there with his mother’s best friend and her 16-year-old daughter, Chloé (Sara Montpetit). Soon, Bastien is beguiled by Sara’s moodiness and her tales of the ghost of a boy who drowned in the very lake they swim in.

Actress-turned-Director Charlotte Le Bon makes a splash with this Gothic Romance, her directorial debut. It’s a tale of summer love told through two nuanced characters. Bastien and Chloé are different from the other teenagers around. They spend their days speaking of the ghost and even posing for photos dressed in a white sheet. Oh, and they think it’s a fun game to bite down on the spot between their thumb and forefinger to see if they can penetrate the skin. Both Engel and Montpetit give textured performances and remind us of a time in our youth when everything seemed immediate.

Falcon Lake seeps into the atmosphere. One that balances the lightness of summertime vibes with the creepy tension of a Horror. These chilling moments are highlighted even more with a haunting score by Shida Shahabi and Wilhelm Brandl. Le Bon captures a moment in time with scenes of parties by a fire on a summer’s night. She contrasts these lively scenes with quiet, calm ones of Bastien or Sara in or by the lake, sometimes with an image of a ghost watching them.

Although this coming-of-age tale feels familiar, Falcon Lake masters its tone and atmosphere while delivering developed characters.

Falcon Lake screens at TIFF ’22 as follows:

Tue, Sep 13 IN-PERSON at Scotiabank Theatre at 6:30 pm

Wed, Sep 14 IN-PERSON at TIFF Bell Lightbox at 12:30 pm

By Amanda Gilmore

This exquisite Adaptation of Miriam Toews’ acclaimed novel follows a group of women in a Mennonite colony who have experienced generations of epidemic abuse. The men, who hold the power, have told the women that the sexual assaults inflicted on them were the cause of ghosts or their own imagination. But when one of the men is caught and names others as culprits, a group of women are tasked with deciding if they should stay and fight or leave.

Writer-Director Sarah Polley is back with this simple yet complex film. It’s straightforward in its narrative, however, it examines the intricate meanings of justice, forgiveness, and faith. Further, it shows women reconstructing the future they want for themselves and their children. Each character has a different perspective, which helps examine the many themes in Women Talking.

Salome (Claire Foy) seeks retribution for the evils inflicted on her and her fellow women. Level-headed and soon-to-be-mother Ona (Rooney Mara) hopes to leave the colony and pave a new life for her unborn child. Mariche (Jessie Buckley) can’t agree to stay or leave and bluntly questions each opinion that is given. The trios’ mothers, Greta (Sheila McCarthy) and Agata (Judith Ivey) symbolize the generations of silence that have led to the perpetuated abuse. An emotional knockout scene happens when Greta apologizes to Mariche for her part in the abuse.

The entire female Ensemble deliver top-tier performances that make it hard to pick a standout. Yet, Buckley is given the biggest character arch and gives an indelible performance as a woman grappling with the painful truth. Among these women is school teacher August (Ben Whishaw), who takes the minutes of the meeting. He symbolizes the men who support and care for women. Whishaw gives a heartbreaking performance.

In lesser hands, Women Talking would come off as stagey. However, Polley, along with Editors Christopher Donaldson and Rosyln Kalloomakes, make it cinematic. Polley uses imagery to convey the subtext and further the themes. Such as repetitive visuals of the women’s hair being braided. This shows them being tied in their experiences and banding together in their decision for a future. Additionally, the exceptional Direction from Polley effectively shows the violence while never being exploitative. She achieves this by showing the aftermath rather than the actual abuse.

Women Talking is one of the best films of the year.

Women Talking screens as follows at TIFF ’22:

Tue, Sep 13 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 6:30 pm

Wed, Sep 14 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 2:30 pm

Fri, Sep 16 IN-PERSON at Royal Alexandra Theatre at 8:30 pm

Sat, Sep 17 IN-PERSON at TIFF Bell Lightbox at 6:00 pm

By George Kozera

Acclaimed Japanese Director, Hirokazu Kore-eda, had graced TIFF with every movie he had directed since 1995 and with his latest, BROKER, he once again proves he is a master of his craft.

Sang-hyeon (Song Kang-ho) and Dong-soo (Gang Dong-won) steal babies from the Busan Family Church where there is a “baby box” for mothers to drop off infants that they cannot care for and the two men sell them on the adoption illegal black market. But when So-young (Lee Ji-eun) returns for her baby and discovers their illegal business, she decides to go with them on a road-trip to interview potential parents for her baby, all while two detectives, Soo-jin (Bae Doona) and Detective Lee (Lee Joo-young) investigate them. As back stories are revealed, BROKER expertly navigates many cinematic themes: not only is it heartfelt and heartbreaking with surprising bursts of humour, but it is also a murder mystery.

Song Kang-ho (“Parasite”) leads a letter-perfect cast as this movie touches on some of themes of family and repercussions of errors made which was explored brilliantly in the Director’s Shoplifters, but BROKER is an astonishing piece that will leave the audience invested to its very end.

BROKER screens at TIFF ’22 as follows:

Tue, Sep 13 IN-PERSON Royal Alexandra Theatre 5:30pm

Wed, Sep 14 IN-PERSON Royal Alexandra Theatre 8:30pm

By Amanda Gilmore

EO is a donkey who is part of a circus in Poland. His owner Kasandra (Sandra Drzymalska) and himself have a strong bond. She protects him even if he is being used by the circus for profit. However, when the circus gets shut down, EO is placed in a new home out of reach from Kasandra. After she pays him a visit one night, he breaks the farm gate in search of her. Instead, he meets good and bad people, experiences joy and pain, and endures the wheel of fortune randomly turning his luck into disaster.

This is a moving Film with a powerful message. We watch as EO is being mistreated by everyone he interacts with on his journey. As we watch the world through his eyes, we see how the world is a torturous place for him. Even at the start, Kasandra does what she can to protect her beloved EO but he still suffers from the Circus owners.

However, the level of cruelty to animals escalates and deescalates throughout. There is one particular moment when EO is beaten by a group that was previously celebrating him. Even though the abuse is off-screen, Writer-Director Jerzy Skolimowski makes sure that each painful hit is felt. This makes for a painful viewing experience, but a necessary one. Even in moments when EO isn’t being used, he is hurt in other ways. Near the end, EO ends up on an estate with a Countess (played perfectly by Isabel Huppert) and a young priest (Lorenzo Zurzolo). Although they don’t intentionally hurt him, they neglect him. He doesn’t have any other animal companions and they don’t respond to his cries.

The situations that EO finds himself in reflect the cruelty of humans to animals. Each situation plays out as a mini-chapter in EO’s journey. They almost feel like their own individual Short Films. Yet, Skolimowski ties them together into a hero’s journey for his Donkey protagonist. EO even gets a shot to fight back and aide fellow animals being abused.

Additionally, it’s one of the most visually stunning films of the year. The Cinematography by Michael Dymek thrusts us right into EO’s view of the world. We see it for all its natural beauty and brutality.

EO screens at TIFF ’22 as follows:

Tue, Sep 13 IN-PERSON Scotiabank Theatre Toronto 4:30pm

Wed, Sep 14 IN-PERSON Scotiabank Theatre Toronto 8:30pm

Charlize Theron stars-in and produces THE SCHOOL FOR GOOD & EVIL alongside Kerry Washington. See the new official Trailer for this Halloween release from the amazing Paul Feig!

Synopsis:
In the village of Gavaldon, two misfits and best friends, Sophie (Sophia Anne Caruso) and Agatha (Sofia Wylie), share the unlikeliest of bonds. Sophie, a golden-haired seamstress, dreams of escaping her dreary life to become a princess, while Agatha, with her grim aesthetic and offbeat mother, has the makings of a real witch. One night under a blood red moon, a powerful force sweeps them away to the School for Good and Evil — where the true stories behind every great fairy tale begin. Yet something is amiss from the start: Sophie is dropped into the School for Evil, run by the glamourous and acid-tongued Lady Lesso (Charlize Theron), and Agatha in the School for Good, overseen by the sunny and kind Professor Dovey (Kerry Washington). As if navigating classes with the offspring of the Wicked Witch (Freya Parks), Captain Hook (Earl Cave), and King Arthur (Jamie Flatters) wasn’t hard enough, according to the Schoolmaster (Laurence Fishburne), only true love’s kiss can change the rules and send the girls to their rightful schools and destiny. But when a dark and dangerous figure (Kit Young) with mysterious ties to Sophie reemerges and threatens to destroy the school and the world beyond entirely — the only way to a happy ending is to survive their real life fairytale first.

Based on the epic international best-selling series by Soman Chainani, THE SCHOOL FOR GOOD AND EVIL is directed by Paul Feig, stars Sophia Anne Caruso, Sofia Wylie, Laurence Fishburne, Michelle Yeoh, Jamie Flatters, Kit Young, Peter Serafinowicz, Rob Delaney, Mark Heap, Patti LuPone and Rachel Bloom with Kerry Washington and Charlize Theron.

Also starring Earl Cave, Demi Isaac Oviawe, Freya Parks, Kaitlyn Akinpelumi, Holly Sturton, Emma Lau, Briony Scarlett, Ally Cubb, Rosie Graham, Joelle, Chinenye Ezeudu, Oliver Watson, Ali Khan, Myles Kamwendo and Misia Butler.

Netflix release THE SCHOOL FOR GOOD & EVIL October 21, 2022.

(Photo/video credit: Netflix)

We finally ger a better glimpse of Damien Chazelle‘s BABYLON! Check out these new Character Posters and Trailer!

OFFICIAL SYNOPSIS

From Damien Chazelle, BABYLON is an original epic set in 1920s Los Angeles led by Brad Pitt, Margot Robbie and Diego Calva, with an ensemble cast including Jovan Adepo, Li Jun Li and Jean Smart. A tale of outsized ambition and outrageous excess, it traces the rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood.

BABYLON IS ONLY IN THEATRES DECEMBER 25, 2022 (LIMITED) AND JANUARY 6, 2023 (WIDE).

(Photo credit: Paramount Pictures Canada)