#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

#TIFF20: “SHIVA BABY”

Review by Amanda Gilmore for Mr. Will Wong

Perennial undergrad student Dani (Rachel Sennot) is at a crossroads in her life. She doesn’t know what to do with her career and she’s in a money-exchange relationship with an older man Max (Danny Deferrari). When her parents haul her to a Shiva (a Jewish mourning event), her past, present and future converge in one house. Surprisingly, she encounters her ex Maya (Molly Gordon) and current flame Max. At once, she is hounded by questions from extended family and friends at the affair. As the pressure surmounts, Dani’s anxiety reaches a breaking point.

It’s hard to believe Shiva Baby is a first-time Feature. Writer-Director Emma Seligman navigates her story with the precision and confidence of a seasoned Filmmaker. She has a clear vision and executes it masterfully. Her Script includes heavy themes of inner-turmoil laced with Comedy, making can make this tightrope to walk. Seligman manages to balance herself steadily.

Another feat Seligman achieves is giving this Dramedy a very distinct feel. She borrows a bit from the Horror genre to heighten Dani’s anxiety. The disquieting Score by Ariel Marx could easily have been used in a Horror film, yet it triumphs in this heartfelt Coming-of-Age story. Not only does it parallel the trepidation of the protagonist, but instills great tension in its audience.

There are moments where Seligman’s whip-smart dialogue is delivered by multiple characters in succession, overpowering us as we immerse ourselves in Dani’s building unease. As a result, we feel both a mix of empathy and anxiousness. Cinematographer Maria Rusche adds to the escalating tension with close-up shots that induce a claustrophobic feeling. This is further aided by the stellar, concise editing by Hanna Park, who for example, makes quick jumps between dialogue, close-up shots and the ear-piercing cries of a baby.

At the heart of Shiva Baby is its endearingly-flawed characters. Seligman manages to get us invested in each character because she gives the same detailed attention to her one-line characters as she does Dani. Our protragonist is placed in a series of cringe-worthy situations which many of us relate to. Refreshingly, she’s never pigeon-holed and is perfectly brought to life by the outstanding performance from Sennot.

As the lead, Sennot commands the screen and encapsulates the essence of Dani – her anxiety, her secretiveness and her fire. However wrong Dani’s actions are, we sympathize with her because Sennot makes it hard not to. She also excels at understanding the power-dynamics within each scene in Seligman’s Script. Sennot is surrounded by an immensely-talented Ensemble. Gordon is delightful as the still-in-love ex. Polly Draper and Fred Melamed are superb as Dani’s supportive, yet overbearing parents. And Dianna Agron is just captivating as a woman slowly learning of her husband’s deceit.

Overall, Shiva Baby is a hilarious, heartfelt Film about the surmounting pressures of family expectations and growing up. At its core are its stellar performances and expert filmmaking all around.

Shiva Baby screens at TIFF:

Thu, Sep 10
Online at Bell Digital Cinema
Streaming in Canada Available from:
6:00pm

Thu, Sep 17
TIFF Bell Lightbox
12:00pm

#GIVEAWAY: ENTER TO WIN A COPY OF “DC SUPERGIRL: THE COMPLETE FIFTH SEASON” on BLU-RAY™

DC SUPERGIRL: THE COMPLETE FIFTH SEASON is available now on Blu-ray™ and Digital and we want to give our Readers a chance to win a copy!

Synopsis:

In season five, Supergirl faces threats, both new and ancient. National City becomes enthralled with addictive virtual reality technologies created by CatCo’s charming-but-secretive new owner, Andrea Rojas. As Kara uses the power of the press to try to expose this danger, she must contend with challenges put up by rival reporter William Dey, renegade Martian Malefic J’onzz, a shadowy organization called Leviathan, and the shocking return of Lex Luthor who, in addition to his plot for world domination, seeks to claim the soul of Supergirl’s best friend (and his sister) Lena. With humanity choosing to lose itself in technology, can Supergirl save the world yet again?

Includes:

• The Best of DC TV’s Comic-Con Panels San Diego 2019
• Deleted Scenes
• Gag Reel
• Digital Copy

BONUS DISC

• All Five Epic Episodes of the DC Crossover Event Crisis on Infinite Earths from Supergirl, Batwoman, The Flash, Arrow and DC’s Legends of Tomorrow

Special Features:

• Crisis Past and Present: Kevin Conroy Bat Legend
• Crisis on Infinite Earths: The Architects Return
• Crisis Past and Present – Superman vs. Superman
• Characters in Crisis: Pariah
• Crisis Management
• Character in Crisis: The Anti-Monitor

Artwork:

To enter to win, click “like” on this Post at MR. WILL ON FACEBOOK. You can Re-Tweet this Contest Tweet from @mrwillw or an extra chance. Contest open to Readers in Canada and the U.S. You must be following and we will be verifying!

Enter for a chance to #win DC SUPERGIRL: THE COMPLETE FIFTH SEASON on Blu-ray™!

How: https://t.co/ZWXsbwVTMy pic.twitter.com/mZ0KjF182s

— MR. WILL WONG 📸 (@mrwillw) September 11, 2020

Rules and regulations here.

DC SUPERGIRL: THE COMPLETE FIFTH SEASON is available now on Blu-ray™ and Digital.

Buy it now here.

(Photo credit: Warner Bros.)

#HORSERACING: A PIC BY MRWILL & MR WILL’S PRINCESS AND PRINCE DIARY – SEPTEMBER 2020

He’s back! Just after the anniversary of his being purchased by Michelle Love at the CTHS Premier Yearling Sale in 2018, our William (MR WILL) is scheduled to make his third start ever at Woodbine Racetrack this Sunday, September 13, 2020, race 8, approximately 4:40 PM ET. Princess (A PIC BY MRWILL) also went through that same sale in 2015!

We hope our friends all got what they wanted at this year’s sale. Can’t wait to see new talent at the track next year!

While William‘s last race was disappointing, it was not without reason. After a bit of bumping and being forced wide, he decided to pack it in after stepping-up a bit in class against tougher competition. The top-two finishers were well-meant, so we have absolutely no hard feelings about it. Mr Will returned to his barn full of fire and ready to attack, knowing he was capable of more. He also had a cut on his now-healed hock. Understandably, all these challenges combined made for a less than stellar effort.

Since then, he’s posted a couple breezes in the morning. A couple weeks ago, he went with a horse from Nicholas Gonzalez‘s barn who ran last Sunday in a tough Allowance race and lost narrowly in a multi-horse photo finish to get fourth, so that bodes well. He also did a little tune-up a few days back and Michelle tells us he galloped out strongly. Hoping this confidence transfers to the track in this next race as his first race was so solid and promising. He was meant to run last week although the race didn’t fill completely, so here’s his chance.

I was so happy to be able to see him in-person again in his last race. The last time I saw him was March. Rest assured, I came armed with goodies – he only loves Peppermints (trust me, he’s rejected fancy horsey biscuits from me) – and a stuffie for him. He may be growing-up quickly but he’s still my little boy. You can bet I’ll be there to show him my support!

Some snaps I got of him:

A huge congrats goes to Michelle, who notched her first stakes-placing Sunday in the $250k Simcoe Stakes with Took a Wrong Turn! The talented young man by sire Souper Speedy got third, confirming the potential she saw in him!

We also caught-up with Princess for the first time since the Pandemic started. So happy to see her adjusting to life at her new home with her Mom Emily Fisher. She is so lucky to live in such a beautiful space, with plenty of room to run. As she’s spent much of her life living indoors and recovering in a stall, this change has taken a bit of getting used to. For one, she’s very used to being socialized around people hence admittedly is a bit of a ‘loner’ when it comes to playing with her new sisters who have all gotten acquainted with one another over the years. She will get there and we can confirm, she still LOVES to eat, knowing exactly what ensues when she gets a visit from me! Have missed her so much. Best of luck to Emily and Lakeside Retreat as they embark on their Eventing career together.

Some snaps. And yes, she still does that adorable thing with her front legs when she eats.

Wish us luck! Thanks for all your continued interest and support!

We hope it isn’t long before you are able to be back at Woodbine too and also that you have fun enjoying the Queen’s Plate from home!

Don’t forget to follow Princess and William!

(Photo/video credit: Woodbine Entertainment Group/Mr. Will Wong)