By Amanda Gilmore
Aspiring fashion designer Ellie (Thomasin McKenzie) leaves the English countryside of Cornwall to attend fashion school in London. Ellie loves the 1960s and to her luck, when she moves into her new flat she can mysteriously enter into ’60s Soho. It’s there she encounters fashionable aspiring singer Sandy (Anya Taylor-Joy). However, Ellie quickly learns that the glamour of the era isn’t what it appears to be. She gets pulled into the grim life Sandy was forced into until the past starts haunting Ellie into the present.
Director and Co-Writer Edgar Wright swings us into the dazzling world of London in the ’60s, with the help of outstanding set and costume design. During Ellie’s first foray, Wright uses mirrors to show how Ellie and Sandy are separated but attached. It’s magical to watch these mirror scenes, especially when they become more sinister. He spins this nostalgic fun into a Psychological Horror filled with terrifying ghosts. Wright uses lighting, sound and creative camera work that creates tension, suspense and scares.
Wright along with Co-Writer Krysty Wilson-Cairns have crafted a psychological horror centred around the horrors an aspiring female singer in the 60s, and even today would experience. Making it an examination of a moment in time when women would be conned and forced into a life where they were treated as currency. Without giving too much away, this is also a story of women taking back their agency.
Sandy’s story is being witnessed by modern-day Ellie, along with its audience. And Ellie, like us, iscarrying the beliefs of today into what she sees in the 60s. McKenzie excels at showing the increment changes in Ellie’s personality changes. She begins as a joyful, innocent girl heading to the big city. Once she visits the 60s, she becomes emboldened. And once we hit the third act, McKenzie shows the terror of Ellie’s daily life. It’s a feat to accomplish and McKenzie excels at every turn.
She’s joined by the force that is Taylor-Joy. Her undeniable talent to express emotion with one single glance is fully utilized. In the beginning, she shows Sandy’s determination and hope. As time passes, Sandy’s life becomes a prison run by her manager Jack, an impressive performance from Matt Smith. With this, Taylor-Joy makes us witness the light in Sandy’s eyes disappear. Additionally, there is a delightful performance from Diana Rigg as Ellie’s rulemaking live-in landlord.
Last Night in Soho is a Psychological Horror that builds tension and gives scares. It’s got a strong central storyline, pitch-perfect performances and has ample amounts of creative flair.
Last Night In Soho screens at TIFF ’21:
Fri, Sep 10 at 9 PM at Roy Thompson Hall
Thu, Sep 16 at 6 PM at Princess of Wales
Review by Amanda Gilmore
Body Horror has never looked so good as in Writer-Director Julia Ducournau’s Titane.
An automobile accident creates life-altering repercussions for child Alexie (Agathe Rousselle). In order to survive, she’s forced to get a titanium plate in her skull. But this one moment has disturbing ripple effects throughout her remaining years.
Ducournau has managed to make a Body Horror film laced with themes of sexual and gender fluidity. She introduces us to adult Alexie in a hyper-sexualized car show where she dances on the hood of a flame-painted car, gawked at by the male onlookers. Her use of music, dance and camera angles from this early scene evoke a high-octane thrill ride that kicks off and never stops. Ducournau shoots this scene in a way that shows the hyper-sexualized view of the female body. Later (without giving too much away), she brilliantly flips this on its head when Alexie performs in a similar way but under different circumstances. It’s with these two pivotal yet parallel scenes, Ducournau explores sexual and gender fluidity and makes us question our views.
Another theme Ducournau explores is parenthood. This is where true Body Horror is born. It’s hard to speak of Titane because it’s best to go in blind. Yet, this theme of parenthood must be highlighted as it results in a change in our lead. It’s through this parenthood theme the layers of the story and Alexie’s complexity become exposed. Rousselle shows immense depth with Alexie, exposing her rage, fear, anguish but also a longing ache simmering beneath the surface. She uses her entire body, hypnotizing and captivating audiences from beginning to end. Rousselle gives one of the best performances of the year.
Additionally, the theme of parenthood brings us firefighter Vincent (Vincent Lindon in a commanding performance) who lost his son 10 years ago and desires to be reunited with him. Once again, Ducournau uses music and dance to visualize the inner life of her character. Therefore, giving Vincent desperation and empathy that’s opposite to the rage-infused Alexie. Alone, Lindon and Rousselle are powerhouses but together, they are explosive.
Overall, Titane is a gory, high-octane thrill ride with a dose of needed dark humour. Ducournau is an artist that has something to say and a wild creative vision to get her voice heard. She is truly a master of her craft and in a lane of her own.
Titane screens at TIFF ’21:
Fri, Sep 10 at 11:59 PM at Princess of Wales
Sat, Sep 11 at 7 PM on Digital TIFF Bell Lightbox
Thu, Sep 16 at 8 PM at Cinesphere IMAX Theatre
Press has begun for many of the Films premiering at TIFF ’21 and since Red Carpets aren’t public this year, we have to use a bit more creativity getting that snap! No worries, we’re managing!
We spotted the Cast of DEAR EVAN HANSEN out and about today as they did the rounds and captured a few lovely moments among Ben Platt, Julianne Moore, Danny Pino, Nik Dodani and Director Stephe n Chbosky!
We also were thrilled to attend the Premiere of Clint Bentley‘s JOCKEY which had won much acclaim at Sundance, winning Clifton Collins Jr. the award for Best Actor. Collins and Bentley were at TIFF ’21 today to premiere the Film at Scotiabank Theatre, giving the audience to understand an authentic story about the world of Horse Racing and what it’s like to be an aging athlete. Bentley tells the audience he is actually from a family involved very much with the industry. Don’t forget to check our running TIFF ’21 link here for the Review.
We also finally saw Pablo Larrain‘s SPENCER starring Kristen Stewart and were floored! So much detail and a super portrayal of Diana by Stewart. While our Review is coming shortly, here is a short thread on Twitter I Tweeted:
#TIFF21: Can we talk about #Spencer for a second? #KristenStewart pic.twitter.com/HnsQqLL4lS
— MR. WILL WONG 📸 (@mrwillw) September 10, 2021
We are positively exhausted. Going to rest-up early for along day ahead including the TIFF Tribute Gala bright and early!
(Photo/video credit: Mr. Will Wong)
Review by Amanda Gilmore
Yusuke Kafuku (Hidetoshi Nishijima) is a successful Stage Actor and Director and married to Oto (Reika Kirishima), a successful Playwright and Screenwriter. The two share a long life filled with artistic collaboration. But then Oto dies suddenly. Still coping with the loss two years later, he accepts an offer to direct a play in Hiroshima. It’s there he is forced to have a driver, the young, headstrong Misaki Watari (Toko Miura), who will drive his red Saab 900. The two slowly develop a bond linked to their similar bereavement.
Co-Screenwriter and Director Ryusuke Hamaguchi has adapted Haruki Murakami’s short story into a deeply moving film about loneliness, grief and forgiveness. Both Kafuku and Watari have lost loved ones. For Kafuku it was a secretive wife and for Watari it was her troubled mother. Oto’s wife was sneaking around behind his back, Watari’s mother physically abused her. Along their developing friendship, comes the poignant story of grieving for loved ones who treat us poorly and learning to forgive them along the way.
Hamaguchi dives deep into the importance of artistry in understanding human nature. Throughout the narrative, Kafuku is directing a multilingual stage production of Uncle Vanya. In doing so, the actors Kafuku are directing learn more about themselves. Along the way, so does Kafuku. The edits made and the interwoven story of life and theatre are impeccably crafted. By the time we reach the end of Drive My Car, one thing is crystal clear: artistry brings us catharsis.
Drive My Car is like a Russian Doll of thematic layers and drama. All of which the entire cast unveil. The layers of drama come primarily through Kafuku casting his wife’s lover, Takatsuki, in his play. The two men share many tense yet tender moments playing to both their talents. Nishijima is outstanding in the lead. He carries Kafuku’s grief in his entire body and is able to evoke anguish, anger, and release all at once. And Miura is a pleasure to watch. It’s midway through the Film when we are introduced to her and she barely speaks until the Final Act, but she steals the show.
Most impressively, at one minute under the three hour mark time still manages to fly by.
Drive My Car screens at TIFF ’21:
Fri, Sep 10 at 5 PM at Scotiabank Theatre
Wed, Sep 15 at 7 PM on Digital TIFF Bell Lightbox
Thu, Sep 16 at 1 PM at TIFF Bell Lightbox
Sat, Sep 18 at 1 PM on Digital TIFF Bell Lightbox
Review by David Baldwin
In the not too distant future, war has broken out across North America and has resulted in the military taking control of what is left. They take children to train at State Academies, never to be seen from their parents again. Niska (Elle-Máijá Tailfeathers) has been living off the land, protecting and keeping her daughter Waseese (Brooklyn Letexier-Hart) away from the military’s prying arms for her entire life. But after Waseese gets injured and taken away, Niska must find a way to get her back.
NIGHT RAIDERS feels timely and incredibly relevant given the controversies around Residential Schools over the past few months. In her feature-length debut, Writer/Director Danis Goulet has created a searing portrait of Native Canadian life that pulls no punches with its allusions and references to everything from colonialism to genocide to assimilation. She has a lot on her mind and does her best to wrap all of these elements under the guise of a futuristic dystopic Thriller that does not look far off from our current hellscape. While Goulet’s work here will make you stand up and take notice, it feels like the script and pacing could have been better finessed and tightened. None of the supporting characters has any chance to develop beyond being a plot device, and many of her set-ups get very little in the way of payoffs. Goulet knows the story she wants to tell, but the prologue is too long and makes the rest of the Film feel rushed and disjointed. It feels like the story would have been better suited to a mini-series than a feature.
All of that said, I was impressed with the minimal Special Effects, the grimy Production Design and the lead performances from Tailfeathers and especially Letexier-Hart. Both are just as terrific together as they are apart, and are more in tune with the story than the film around them. Their characters and relationship feel genuinely lived in, and their raw emotions give the Film its heart. This is the story of a mother and a daughter first, and a Sci-Fi film second.
NIGHT RAIDERS screens at TIFF ’21:
Fri, Sep 10 Roy Thomson Hall 5:30 PM
Sat, Sep 11 digital TIFF Bell Lightbox 1:00 PM
Fri, Sep 17 digital TIFF Bell Lightbox 9:00 PM
Sat, Sep 18 TIFF Bell Lightbox 2 4:00 PM
Review by David Baldwin
I did not adore and embrace Portrait of a Lady on Fire as much as the critic and fan communities did back in 2019 (where it screened at TIFF). The visuals were beautiful and sumptuous and the relationship between the leads was raw, intimate and moving. Yet something about it all did not click for me as much as I hoped it did. Rather fortunately, Céline Sciamma is back at TIFF with her follow-up PETITE MAMAN, and it was everything I hoped it would be and more.
Nelly (Joséphine Sanz) has just lost her grandmother and is spending time at her mother’s childhood home as her parents clear it out. While they work, Nelly explores the nearby woods and becomes fast friends with Marion (Gabrielle Sanz), a young girl who has more in common with Nelly than either realizes. As their friendship grows, events from the past and present begin to converge in a way neither one could have ever expected.
This tender tale of friendship between young girls is emotionally rich and stunning to watch unfold. While it is inherently a story about grief and loss, Sciamma never lets either element intrude on the core relationship between the two characters. She would rather let that darkness linger in the background as we watch the pair have fun together in the foreground. The pacing is light and breezy, which may prove problematic for some viewers. Others will just be awestruck by the brilliant work from these two young powerhouse performers (who are sisters in real life). I could not help but smile and laugh at what they get up to, using their real life bond and childhood innocence to breathe life into the film around them. It is the kind of truly wonderful film we could use more of right now.
And for all current and future bloated blockbuster Filmmakers, please take note: Sciamma achieves everything she needs to in just under 70 minutes and crafts a complex portrait that most Filmmakers need two plus hours to pull off. Brevity like this is rare and should not be easily dismissed.
PETITE MAMAN screens at TIFF ’21:
Thu, Sep 9 digital TIFF Bell Lightbox 9:00 PM
Thu, Sep 9 West Island Open Air Cinema at Ontario Place 9:00 PM
Tue, Sep 14 digital TIFF Bell Lightbox 1:00 PM
By Amanda Gilmore
Aging jockey Jackson (Clifton Collins Jr.) has become weathered due to decades on the riding circuit. After noticing changes in his hand, he learns he’s facing a debilitating illness. Realizing this might be his last championship race, he practises with the help of trainer Ruth (Molly Parker) and a promising young horse. Further changes begin happening in Jackson’s life when young jockey, Gabriel (Moisés Arias), claims to be his son.
Director and Co-Writer Clint Bentley has brought audiences into the life of a middle-aged jockey. We witness the importance of the relationship between jockey, trainer and horse. And while peaking on the men who ride, we learn of the costs to body and mind. Bentley’s shots, with help from the talents of Director of Photography Adolpho Veloso, of the Arizona sunsets against the stables and track, are breathtaking. They collide with the heartbreaking performance from Collins Jr.
He steers this touching portrait of a man facing the sunset of his career. He embodies a complex man who has spent his life at something that is about to be ripped away from him. He excels particularly in Jackson‘s refusal to accept Gabriel as his son. And then slowly exposing the hope that grows in believing he might be. Collins Jr. and Arias have beautiful chemistry that leaps from the screen. They depict two men at different stages of their career: one ending, one beginning. We get to see the excitement of beginning in the career you yearn for, and the anguish in watching it slip away.
Arias is strong as Gabriel whose aspiration and ambition are palpable. He’s best in quiet scenes between Gabriel and Jackson discussing the passion for the sport. Additionally, Parker is a standout as empathetic Ruth. She exudes both Ruth’s hunger for a win and her care for Jackson’s condition.
Jockey is a poignant look at the desires of career and family. It brings us right into the world of being a jockey and its taxing costs to the body. Further, it’s an exploration of the importance of family; whether it be through blood or spirit.
JOCKEY screens at TIFF ’21:
Fri, Sep 10 Scotiabank Theatre Toronto 3:30 PM
Mon, Sep 13 Scotiabank Theatre Toronto 6:00 PM
Wed, Sep 15 digital TIFF Bell Lightbox 3:00 PM
Sat, Sep 18 digital TIFF Bell Lightbox 5:00 PM
Review by Amanda Gilmore
Director Eva Husson poetically brings Graham Swift’s post-WWI secret romance novel to the screen.
Jane (Odessa Young) is a maid for the wealthy Nivens (Olivia Coleman and Colin Firth). Behind their back, she’s having a secret affair with their neighbour’s son Paul (Josh O’Conner). Their affair has to remain a secret because of their status differences and because Paul is engaged. When Jane gets the day off on Mother’s Day, the two spend the afternoon having one final rendezvous.
Mothering Sunday is a sexy, lyrical Period Drama that’s as much about the ties between people as it is about the power of discovering oneself. This is captured in Alice Birch’s beautiful screenplay that jumps through past, present and future. Additionally, Birch’s time changes create a poetic flow that Husson amplifies on-screen. She and cinematographer Jamie D. Ramsay SASC thrust audiences into Jane’s emotional state. Particularly in one sensual scene where Paul undresses Jane. Rather than show Jane’s entire naked body, Husson brings us into close-up shots that intensify Jane’s emotions. Therefore, making audiences experience those emotions with her.
One of many themes in the Film is about female agency. This is outstandingly displayed when Husson uses a wide tracking shot. She follows Jane around Paul’s mansion while no one is home as she touches books, eats cake and drinks a beer. This all happens in a house that isn’t hers and in a time where women didn’t have agency. In that sequence, Jane has agency. It’s impossible to imagine anyone but Young playing Jane. She is a force of nature, captivating at every turn. She embodies Jane’s compassion, desire and ambition.
Both Young and O’Connor have an undeniable, palpable chemistry that’s integral to telling this forbidden love story. O’Conner gives a powerful performance as Paul. He displays Paul’s desire for Jane and his survivor’s guilt, as the only son to return from WWI. O’Conner shows Paul’s need to comply with his family’s wishes for his future and the pain of giving what he wants away. In minor but memorable roles is Firth and Colman. Each makes their mark as the adults grieving for all the lost men of WWI.
Mothering Sunday screens at TIFF ’21:
Thur, Sep 9 at 9:30 PM at Princess of Wales
Fri, Sep 10 at 7 PM on Digital TIFF Bell Lightbox
Fri, Sep 17 at 3 PM on Digital TIFF Bell Lightbox
TIFF ’21 is officially in full swing and while things are a little less hectic this year, we’re still keeping fully busy, Team Mr. Will catching as many Films as we can and fitting in as many sightings as we can!
We are thrilled to have gotten to see this year’s Opening Night Gala, the uplifting and heartfelt DEAR EVAN HANSEN. We absolutely loved it, and while we’ve never seen the original Musical it was based on, the Film by Stephen Chbosky stands on its own strongly. Floored by star Ben Platt‘s work in this and the Music by Benj Pasek and Justin Paul is incredible.
See our thoughts below and Capsule Review here.
We were also lucky enough to find the After Party for the Film, which took place at hotspot Sofia in Yorkville, where we by chance saw Platt leaving, as well as Co-Stars Amandla Stenberg, Danny Pino and Colton Ryan. I cannot wait for you to discover this Film. Bawled my eyes out!
A huge “thank you” also to official TIFF ’21 sponsor RBC for gifting us with tickets which we gave to one lucky Reader to see DEAR EVAN HANSEN at the RBC Lakeside Drive In! Mark Greeno was so lucky to get to see Ben Platt and Amandla Stenberg also in-person as they introduced the Film!
Many thanks to @RBC, official sponsor of #TIFF21! Thanks to them we were able to send @leos_lover_2000 to the RBC Lakeside Drive-In to see #DearEvanHansen! Hope you had fun, Mark! pic.twitter.com/VkGFA2ka5G
— MR. WILL WONG 📸 (@mrwillw) September 10, 2021
It was quiet for most of the day, but so thrilled we saw Justin Bateman here to present her directorial Feature debut, VIOLET, which continues to get warm reception on the Festival circuit. We saw the Film at SXSW and were overjoyed to see THE MALLORY KEATON of Family Ties, here in-person. She was so sweet and even handed me some swag, official VIOLET pens to keep.
It will be another hectic couple days cramming-in as much as we can and we’re so excited to see SPENCER tomorrow morning – this is the Princess Diana film starring Kristen Stewart which has put her in the early lead for the Best Actress race.
Stay tuned for more. Continue bookmarking and checking this rolling link as we post our updates through out the day!
Our next scheduled CP24 appearance will be Saturday morning. Don’t forget to check it out!
(Photo/video credit: Mr. Will Wong)
By Mr. Will Wong
While many Broadway plays have been given the Big Screen treatment, not all have succeeded. Fortunately, Stephen Chboksy‘s DEAR EVAN HANSEN is the real deal!
The deeply-heartfelt coming-of-age story centers on Evan (Ben Platt) who finds himself caught in a spiraling lie after a classmate’s family confuses him aa their son’s secret best friend. The problem is they were never actually friends.
The Musical explores the aftermath of a tragic loss, how we construct the truths we want and at what cost this comes. And ultimately what it means to find your own truth.
Headlined by an outstanding reprised performance by role-originating Platt, the Film is a visceral journey. The odd thing is while many read the humour as Comedy, I could feel his Evan‘s deep anxiety and pain, which was truly palpable.
Supporting turns from Amy Adams, Julianne Moore and Kaitlyn Dever are deeply-affecting. The glue that binds it all is that mesmerizing Soundtrack by Benj Pasek & Justin Paul.
Chbosky ambitiously covers a lot of ground but nails it! Fans are going to love this wonderful translation.
DEAR EVAN HANSEN screens at TIFF ’21:
Thu, Sep 09
IN-PERSON
Visa Screening Room at the Princess of Wales Theatre
Premium
5:30pm
Thu, Sep 09
IN-PERSON
Roy Thomson Hall
Premium
7:00pm
Thu, Sep 09
RBC Lakeside Drive-In at Ontario Place
8:30pm
Thu, Sep 09
DIGITAL PREMIERE SCREENING
digital TIFF Bell Lightbox
Premium
Availability: Canada
9:00pm
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