#TIFF20: “I CARE A LOT”

By Amanda Gilmore for Mr. Will Wong

J Blakeson’s dark Thriller follows a legal Conservator with insidious intentions. Marla (Rosamund Pike), along with her life and work partner Fran (Eiza González), have created a despicable business of defrauding their elderly clients. Their newest target is the rich and unassuming  Jennifer (Dianne Wiest). After lying to a judge in an emergency hearing, claiming Jennifer has Dementia, Marla gains guardianship of her. However, Jennifer isn’t who she appears to be. Marla and Fran quickly realize they are messing with the wrong woman.

This could have been a Drama about seniors being taken advantage of by the state and appointed guardians. But thankfully, it’s a lot more than that. Blakeson adds a mafia storyline which turns this Drama into a Thriller.

At the forefront is Pike  who delivers her best work since Gone Girl.  She excels as the icy Marla. Being an Antagonist, she finds herself battling against an Antagonist of her own, that being Crime Lord (Peter Dinklage) who has close ties with Jennifer. Dinklage is outstanding as a Gangster who will stop at nothing to get his mother back and away from Marla‘s control. The Film’s shining moment is when Pike and Dinklage come face-to-face and we witness their shifts in power.

I Care A Lot is a cautionary tale about the corrupt web of elderly abuse. We don’t get to see these feminist characters as this in leading roles nearly enough, but we sure wish we did.

I Care A Lot screens at TIFF ’20 as follows:

Sat, Sep 12 9:30pm
RBC Lakeside Drive-In at Ontario Place

Sun, Sep 13 6:00pm
Online at Bell Digital Cinema

#HORSERACING: “MIGHTY HEART” TAKES THE 161st EDITION OF THE QUEEN’S PLATE

The 161st edition of the Queen’s Plate was run at Woodbine Racetrack yesterday, headlining a stakes-filled card of racing. While the public was not permitted to attend this year, owners and connections were allowed to be present with safety guidelines in-place including mandatory temperature check, face coverings and social distancing measures.

Even without fans in attendance, betting totaled $14.5 million, a very impressive number helped by American fans hungry for the sport amidst this Pandemic. They continue to turn to Woodbine‘s quality product for entertainment.

The marquee race saw top Canadian-bred three-year-old horses facing-off at a distance of 1 1/4 miles for a purse of $1 million, drawing a field of 14 competitors. Winning the race was one-eyed colt MIGHTY HEART under Jockey Daisuke Fukumoto for Trainer Josie Caroll and Owner and Breeder Larry Cordes. While the grandstand has largely been quiet of late with restricted visitor access, cheers were loud for the son of Dramedy, who overcame his physical limitation to run the second-fastest edition of the Queen’s Plate ever at 2:01.98 leading all the way. No cheers were louder though than those of his handlers Siobhan Brown and Renee Dockstader who were overjoyed at the win. It has been a phenomenal year for 23-year-old Japanese import Fukumoto who just earlier this year won his first stake race on another Carroll trainee, Court Return after arriving at Woodbine in 2016. Carroll last won the Queen’s Plate in 2011 with filly Inglorious.

While he still has yet to win a race, NK Racing and LNJ Foxwoods’ BELICHICK ran a stellar second at 26-1 odds under Slade Callaghan, giving Carroll a 1-2 finish in the prestigious race.

CLAYTON, who was the morning line favourite for the race, ran third under Rafael Hernandez and Trainer Kevin Attard. He went off as the second choice at 3-1 odds.

The $250k Bison City Stakes for three-year-old Canadian-bred fillies born in Canada, known also as the second leg of Canada’s Triple Tiara, was taken by American-based MIZZEN BEAU under Jockey Steven Bahen. The daughter of Mizzen Mast is owned by Daniel Investment Holdings and trained by Norm Casse and has been spending much time at Woodbine the past bit gearing-up for this Summer campaign with the help of his father Mark Casse‘s Toronto team. She prior had finished fourth in August’s Woodbine Oaks.

Sam-Son Farm‘s RIDEFORTHECAUSE sprung an upset at 22-1 odds in the $250k Canadian Stakes for fillies and mares at 1 1/8 miles on the turf. David Moran piloted the win which saw her make a big sweeping move at the top of the stretch after exhibiting some nerves in the pre-race. The Gail Cox Trainee is a daughter of Candy Ride and came off another win early August at Woodbine.

Talented Chad Brown Trainee CAMBIER PARC shipped-up for the race and ran a credible second in the Canadian Stakes.

The Ruling Angel Stakes, named in honour of another great Sam-Son Farm filly, was taken by ARTIE’S PRINCESS whom while based in the U.S. under the care of Trainer Wesley Ward, has capitalized off her Canadian breeding running in restricted races, finding success at Woodbine. Finally, she notched her first stakes score in the race under Justin Stein.

Justin Stein also took the King Corrie Stakes earlier on the card aboard Cathal Lynch-owned and trained FRANCATELLI, continuing his red-hot riding streak of late, taking three races on the card.

Leo Salles also took three wins on the card earlier in the day.

While largely quiet this year, some sights from the day including a visit from Lieutenant Governor of Ontario, Elizabeth Dowdswell and a visit from retired top Jockey, Eurico Rosa Da Silva.

Special thanks to David Dunkley, official Millner of the Queen’s Plate for sending me this elegant mask he designed!

Another stakes-filled weekend of racing takes place next weekend at Woodbine with the Grade I $1 million Woodbine Mile, plus also the Grade I Natalma and Summer Stakes!

(Photo credit: Mr. Will Wong)

#TIFF20: “AMMONITE”

By Amanda Gilmore for Mr. Will Wong

Francis Lee’s latest takes us to 19th-century Dorset. It follows real-life Palaeontologist Mary Anning (Kate Winslet) as she searches the coastline for marine fossils. She spends her days alone, walking the shore and helping at her mother’s tiny shop. Soon she finds her solitary life becomes upended when she’s asked by another Palaeontologist to care for his melancholic wife, Charlotte (Saoirse Ronan). In need of the money, she agrees. Gradually, Mary and Charlotte grow close.

Lee does an amazing job shooting the Film in a show-don’t-tell way. There is limited dialogue throughout. Instead, he creates scenes where the weather, objects and characters actions speak volumes. This becomes integral in escalating visually the blossoming love between Mary and Charlotte. In the First Act, Mary is rightfully angry and curt, while Charlotte is mourning the loss of her child. The beautiful coast’s weather parallels their emotions. There are overcast skies and violent waves attacking the coastline. As they spend time together, the clouds clear and the waters calm.

Ammonite is more than a period-Romance. Lee focuses on the work of the incredible Mary and the theme of women taking ownership of their work. During the 19th-century, no Scientific Society would take-in a woman. No matter how hard and astounding Mary’s work was, she was excluded. However, there were male Scientists who were interested in learning from her, being the best in her field. But in the end, they knew she was in need of money. So, they would pay her for what she found and put their names on it. In focusing on this, Lee enhances his Script with a love story involving ownership and class.

Mary loved and lived for her work. It didn’t matter that in doing so, she wouldn’t be part of the upper-class. However, Charlotte is part of the upper-class. It’s here that conflict arises in their relationship. So many times, we have witnessed a forbidden same-sex romance. Although that is at play here, Ammonite focuses on their differing upbringings and that divides them no matter how badly they want to be together. Once again, Lee shows us this instead of telling us. He places his characters on opposite sides of Mary’s glassed sea-creature on display inside the British Museum.

With the talent of Winslet and Ronan in the Film’s lead roles, we are expecting greatness, and they do not disappoint. Winslet is always dynamite. Here, she gives one of her strongest performances. She encapsulates the anger Mary has for having to sell her work and her vulnerability when falling in love with Charlotte. Ronan gives a performance like we’ve never seen from her before. She’s strongest in portraying Charlotte’s grief and her desperation to keep Mary close to her. Their raw emotion feels authentic and honest, especially in their love scenes that are shot meticulously and delicately. And with minimal screen time, Fiona Shaw captivates as a previous love of Mary’s.

While at times it lags a little, this period-Romance which fuses Gender Politics and Classism, is made-up for with stellar performances, particularly by Winslet.

Ammonite screens at TIFF ’20 as follows:

Fri, Sep 11 9:15pm & 9:30pm
TIFF Bell Lightbox

Sat, Sep 12 6:00pm
Online at Bell Digital Cinema

Mon, Sep 14 12:30pm
TIFF Bell Lightbox

#TIFF20: THE DRIVE-IN EXPERIENCE

By Mr. Will Wong

As you know, we’ve been attending TIFF for several years now and we in all honesty were kinda excited for the first time to experience it in Drive-In format. This screening option is reserved more for the higher-profile titles at the Festival, with films divided between RBC Lakeside Drive-In and OLG Play Stage (Ontario Place Boulevard x Remembrance Drive) , plus VISA Skyline Drive-In (20 Polson Street).

We had the joy of seeing a Film at RBC Lakeside Drive-In and it was a pleasurable, well-executed experience which we can see being used again in future editions of the Festival. We loved the private experience of seeing a Movie with plenty of personal space from others. We could even make comments and not worry about distracting others. And the acoustics were perfect. Above this, we loved the retro charm of all this.

A few key things on the experience to guide you through it if you plan to see your films this way at TIFF ’20:

1. Doors open two hours before your Movie starts, but we arrived an hour early and had plenty of time to settle-in comfortably without having to queue to get in.
2. Upon arriving at the gate of the venue, you should have your digital tickets ready for scanning on your phone and you will be guided along by volunteers on a path to the theatre.
3. On your ticket, you are provided a reserved parking spot (sorted by colour coding) for your car and volunteers will guide you to that spot. Ensure you turn your headlights off. This is a courtesy to others.
4. A volunteer will brief you on the experience, including where washrooms are and what station to tune-into on your car radio to enjoy the Movie.
5. Concessions are available at the venues. You will be provided instructions or a link how to order on your phone and they will be brought to you, usually in a contactless manner. It also is totally fine to bring your own food. We did!
6. RBC Lakeside Drive-In has a stage with a live musical guest during the pre-show. It is good etiquette to honk your car to show appreciation for the performance.
7. With your car being on Accessory mode to keep your radio on to watch the Movie, it will turn off on its own at some point. If that happens just turn your car back on, carefully keep your headlights off so not to distract others.
8. There are Mazda Guest Automative Services available in case your car battery dies.
9. If you must leave your car during the Movie, ensure you keep at least 6 ft away from others and ensure you have a face covering on.
10. Do your research and check the length of your Film. It is a good idea to get a head start on the exit rush of cars out the venue once the Film ends, unless you do enjoy sitting through the credits. Which is totally fine too, but be prepared to wait!

Some snaps of our experience, which we were able to enjoy at TIFF ’20 courtesy of the 2020 Acura ILX!

A special thanks to H&M Canada for the fashion as well! Many of you are asking about the face covering and this is an official TIFF ’20 mask available only at the TIFF Bell Lightbox Gift Shop!

View this post on Instagram

Nomadland at RBC Lakeside Drive-In. Made possible with the 2020 #AcuraILX. Fashion by @HM Canada. Official face mask available at @tiff_net Gift Shop.🙏 #TIFF20

A post shared by Mr. Will Wong 📸 (@mrwillwong) on Sep 11, 2020 at 6:13pm PDT

(Photo credit: Mr. Will Wong)

#TIFF20: “NOMADLAND”

By Mr. Will Wong

All eyes are on Chloé Zhao who debuted at TIFF ’17 with The Rider, topping several best-of lists that year. While her work on Marvel’s The Eternals is on its way to us, sophomore effort NOMADLAND comes with high hopes and she does not disappoint.

The Film centers on Fern (Frances McDormand), a widow whom after the economic crash in 2008, loses her home and lives a content life free to roam as a nomad. Not yet able to retire, she lives out of her sometimes reliable van, taking-on odd jobs as a means of survival. Once a supply teacher, she now takes on temporary work at the Amazon warehouse for a bit. She works as a host at an RV park for a while, among other one-off gigs. She is our eyes and ears into this little-known about world travelling place to place with no destination, meeting several fascinating people along the way, who also live the nomadic life and through Fern, we learn their stories as well. These characters, played by non-actors give the Film an earthiness and soul that feels so authentic and Fern blends right into the world.

The story we want to know most about though is why she chooses this way of life with no benefits to take care of her should she fall ill and not knowing if she has enough money to cover repairs on her van. While at times appearing uncomfortable, she never once complains about the life. And at once when offered a choice to settle down and live comfortably a few times throughout the Film, she never takes them. If anything, she appears even more like a fish-out-of-water dwelling in the world of others. She is enigmatic and McDormand effortlessly draws us into Fern‘s way of life, which is comprised of constant moving parts.

Zhao not only directs, but adapts Jessica Bruder’s Nomadland: Surviving America in the Twenty-First Century and the Film feels very much like a Documentary and we are just a fly on the wall. The Rider Cinematographer Joshua James Richards teams-up with Zhao once again, capturing breathtaking landscapes and Fern as part of them, so exquisitely. Visually, Nomadland has an understated sense of style yet a comforting familiarity to it. Ludovico Einaudi‘s piano-driven Score is soothing and complements the imagery perfectly.

The Film is about surviving and living one’s own truth and while very much a quiet piece, it is a thought-provoking one.

NOMADLAND screens at TIFF ’20 as follows:

Fri, Sep 11
RBC Lakeside Drive-In at Ontario Place
9:15pm

Sat, Sep 12
Online at Bell Digital Cinema
Premium

#TIFF20: “SPRING BLOSSOM”

By George Kozera for Mr. Will Wong

Despite her luminous smile, it becomes quickly apparent that 16-year-old Suzanne (Suzanne Lindon) is bored. She is clearly not interested in the nonsensical prattle of her friends and classmates and escapes being in their company as often as possible. Even when she decides to go to a classmate’s house party, much to the surprise of her parents and older sister, she doesn’t quite fit in – she doesn’t like beer and when asked to rate all the boys there from 1 to 10, she tellingly replies with “they’re all 5s”. Then one day, passing a theatre on the way home from school, she notices a handsome, curly-haired and bearded man. Raphael is 35 years old and an actor and she senses that they are kindred spirits. They ultimately meet and realize that, despite their age difference, they are compatible in so many ways and a relationship slowly blossoms.

SPRING BLOSSOM, from France, is an atmospheric, languidly paced tale of love, made remarkable due to the immeasurable talents of Lindon. Not only is she the star of this Movie, she wrote the Script when she was 15-years-old and directed this Feature as well. Reminding me of a young Genevieve Bujold, she has the screen presence and charisma that rivals the auspicious debuts of Julia Roberts and Leonardo DiCaprio. Bathed in whites, her directorial choices mostly hit the spot despite a few self-indulgently choreographed moments. As a Writer, her ear for dialogue is authentic and fluid and the Plot is believable, never prurient. Arnaud Valois registers beautifully in the role of Raphael and never fails to captivate.

With Paris as a backdrop, I was swept away in a haze of Gauloise while being transfixed throughout SPRING BLOSSOM.

SPRING BLOSSOM screens at TIFF ’20 as follows:

Thu, Sep 10
TIFF Bell Lightbox
Subtitled
7:30pm

Fri, Sep 11
Online at Bell Digital Cinema
Subtitled
Streaming in Canada. Available from:
6:00pm

Thu, Sep 17
TIFF Bell Lightbox
Subtitled

#TIFF20: IN CONVERSATION WITH…. HALLE BERRY

By Mr. Will Wong

As per of TIFF‘s SHARE HER JOURNEY initiative promoting emerging females in Film, the public got to enjoy a free virtual event, In Conversation with…. Halle Berry tonight, hosted by CBC‘s Amanda Parris.

Having been in the industry for over 30 years, Berry‘s career has been nothing short of legendary. In addition to winning an Oscar for her work in 2001’s Monster’s Ball, her extraordinary catalog has seen her star in the X-Men Franchise, John Wick: Chapter 3 – Parabellum, Jungle Fever, Boomerang and several more impactful films of our time. She has seen an incredible longevity and tonight she reflected on her path to success.

Berry makes her directorial debut at TIFF ’20 with BRUISED, which premieres at the Festival. The MMA Sports-Drama sees her starring as disgraced fighter Jackie “Justice” who must face an up-and-coming rival in the ring and also confront the son she abandoned several years prior. The Film just sold in a huge deal for $20 million to Netflix.

Berry on getting into acting:

“I was looking for an outlet to explore what I had to say that modelling couldn’t. Originally, I thought I’d be a reporter and travel around the world reporting the news. In acting, I let the universe set forth what I should be doing. It happened with my directorial debut and when I started acting.”.

On being more than her shell and playing a drug addict in Spike Lee‘s Jungle Fever, her breakthrough role:

“I grew-up in an environment where I knew I didn’t always fit in. I knew I was full of substance and had tons of stories to tell. I knew I was always more than my shell. I felt from Jungle Fever on, I could be seen as more than a pretty face model-turned-actor.”.

On her Oscar-winning role in Monster’s Ball:

“I always go for the dark horse character in the race and I’m always drawn to that. This speaks to my own brokenness. I get to have a cathartic experience and share parts of myself I don’t always present so forwardly. I know where exactly the pain of this character lives innately.”.

On whether she watches her performances again:

“I watch them only once to prepare for Press and once at the Premiere. I never go back and watch them. That is the hardest thing to do. In my directorial debut, I had to watch myself over and over and over and that was one of the hardest aspects.”

On how she feels about the thought that Monster’s Ball propagates the idea of a ‘White Saviour‘:

“I stand behind everything I ever said. It was an important story to tell and a character I related to. I never looked at Billy Bob as the ‘White Saviour‘, but instead, two characters who needed love. I’ve never thought of the Film as being about ‘black and white’.”.

On winning an Oscar:

“I’ve never embraced any character thinking this is going to get me an award. Once you get an award, there is nothing to ensure you’ll get another award. The unfair expectation is once you do win an award, you will continue to win like you had control over that the first time. I’ve tried to stay hungry as an Actor and take risks… I can’t say it got any easier after I won that award.”.

On the changing landscape for coloured women in Entertainment:

“I do see things have changed. 20 years ago, we were in a different situation than we are today. Look at our landscape. I think our best movies are on TV. and it’s full of colour. I’m really proud to be part of the evolution. It’s starting to feel better.”.

On her directorial debut, BRUISED, which she had to re-imagine instead with a middle-aged black woman. The role originally was written for an Irish-American white woman.

“I wanna see someone rise above obstacle. That’s what most people relate to. We’re all struggling to survive and show-up for ourselves and our families.”.

“I was charged with finding someone to bring this story to life. After speaking to the Producers, I realized through the prodding of a close friend of mine I could direct this after thinking ‘Nobody understands what’s in my head!'”. “I pitched myself as the Director and I was off to the races.”.

Our Review of BRUISED will be posted later next week, be sure to check back.

(Photo credit: TIFF)

#TIFF20: “SING ME A LULLABY”

By Mr. Will Wong

Premiering as part of TIFF‘s SHORT CUTS Programme 05, Tiffany Hsiung written and directed SING ME A LULLABY has been 15 years in-the-making. The Documentary follows Toronto’s Hsiung who is in search of her maternal grandmother in Taipei, trying to fill-in the missing gaps of her mother Ru-Wen‘s childhood, as she was separated from her family inexplicably as a child.

While the Short which clocks in at 30 minutes, moves along briskly in its first-half, it is the second-half which gets to the true heart of the story. Ru-Wen has spent most of her life giving-up hope she’d ever be reunited with her mother, never understanding why and as a result, Hsiung inherits this pain. We learn the shocking truth eventually why it is Ru-Wen was separated from her family and from this we begin to witness the process of healing as Ru-Wen re-integrates with her family.

Hsiung sums it up beautifully that in looking for her grandmother, she actually finds her mother. The Film is a heart-felt look at lineage and a search for one’s self which in some ways echo sentiments felt in, but is different enough from Lulu Wang‘s The Farewell. Be patient, the camerawork improves vastly in the latter part of the story set in the now, but it is Hsiung‘s storytelling and words which draws us in.

SING ME A LULLABY screens at TIFF ’20 as part of the SHORT CUTS Programme 05 as follows:

September 15, 2020
Bell Digital Cinema
6 pm

#TIFF20: “FALLING”

Review by Amanda Gilmore for Mr. Will Wong

Viggo Mortensen’s Toronto-made directorial debut follows a turbulent relationship between father and son. With Falling, Mortensen examines the strong bond between relatives even after they’ve become severed. The focus here is on the relationship between John (Mortensen) and his ill yet overtly profane father Willis (Lance Henriksen).

Early, the conflict starts with conservative Willis being forced to move from his rural farm to Los Angeles to be cared for. It’s a difficult decision for John to make. Willis physically and mentally-abused his wife, Gwen (Hannah Gross), while John was growing up. He also relentlessly spews sexist, racist and homophobic remarks. Despite being against his father’s hateful rhetoric, John decides to move Willis in with him, his husband and child.

Mortensen’s Film works. His Script is filled with familial conflict and tension. For example, scenes where John’s family are having or making dinner are filled with tender moments of affection. These moments are often challenged by Willis who figuratively has his hand on the trigger, aiming at his family’s happiness. Although this makes for complex, emotional scenes it creates an irredeemable character. Mortensen doesn’t give much room for the audience to sympathize with Willis. His repetitious hate speech causes our blood to boil. However, this might be Mortensen’s intension. If so, he’s succeeded.

John repeatedly forgives his father’s inexcusable insults. Even when Willis is degrading who John and his family are. This becomes problematic for the story because John is happily married to a man. There isn’t a clear explanation as to why he easily forgives his father’s repugnant insults. Unfortunately, it’s this gray area that’s not clearly explained which hinders the storyline.

The one thing about Willis that isn’t wrong is who’s playing him. Henriksen is a powerhouse as the ailing repugnant patriarch. He’s fully committed to each hideous line Willis spews. Mortensen turns-in a touching performance as a man torn between caring for a hurtful father and protecting his family from degradation. While not getting a lot of screen time, Gross manages to turn in an impactful performance as the endearing Gwen.

Falling screens at TIFF ’20 as follows:

Fri, Sep 11 4:30 pm

TIFF Bell Lightbox

Sun, Sep 13 4:45 pm

TIFF Bell Lightbox

Mon, Sep 14 6 pm

Bell TV customer exclusive

Thu, Sep 17 6 pm

Bell Digital Cinema

#TIFF20: “THE FATHER”

Review by Mr. Will Wong

While many Films before have tackled the issue of Dementia and father-daughter relations, we have yet to see it treated as delicately and with as much sympathy as this. Florian Zeller co-written and directed THE FATHER left us mesmerized and devastated at once.

Anne (Olivia Colman) is ready to move on with her life and desires to move to Paris. Her father Anthony (Anthony Hopkins) has been able to take care of himself for quite some time but now is battling Dementia. Anne takes him in to live with her and her husband Paul (Rufus Sewell). This causes strain on their marriage and it becomes increasingly-difficult for her to achieve balance in her life as she navigates Anthony‘s unpredictable mental and emotional spirals where he finds himself sometimes being vulnerable, sometimes confused or often downright cruel.

Based on Zeller‘s Play, Le Père, this Film Adaptation co-written by Christopher Hampton has an innovative way of making us see the world through Anthony‘s eyes. The narrative weaves in and out of truths and distortions, blurring our sense of time as Anthony confuses faces and facts, but in the end giving us a complete picture and history through unravelling the present.

This Film showcases some phenomenal performances including those by its Oscar-winning leads, Colman and Hopkins. Indisputably, the Film belongs to Hopkins who is compelling, commanding our attention whether he is full of fervour fighting to keep his home, dancing with joy or tenderly reminiscing about his other daughter Lucy. He is overbearing, yet we cannot resist. Colman exercises great restraint where Anne is constantly being done-to, her father’s Dementia stripping layer upon layer off her until she is raw and tormented, no longer sure what to do. We feel deeply for her and when we aren’t as one with Anthony, we are bearing all the weight she carries.

THE FATHER bravely confronts head-on an uncomfortable discussion surrounding care for the elderly which many of us have or will face at some point in our lives. It does so remarkably with an acute awareness of the taxing toll that comes with it on both sides of the matter.

THE FATHER screens at TIFF ’20 as follows:

Mon, Sep 14
RBC Lakeside Drive-In at Ontario Place
9:00pm

Tue, Sep 15
Online at Bell Digital Cinema
Streaming in Canada