By Mr. Will Wong
In many ways, Annette Bening‘s long overdue recognition mirrors that of the subject she plays, Diana Nyad in NYAD. In 2013, after multiple failed attempts, she became the first person ever to swim from Cuba to Key West, without a cage to protect her from sharks. And Diana did this at the age of 64 above this.
Elizabeth Chai Vasarhelyi and Jimmy Chin co-direct this Biopic which recounts Diana‘s painstaking journey to overcome the odds, and also her relationships with those around her who helped make it happen. We meet her best friend and trainer Bonnie (Jodie Foster) and navigator John (Rhys Ifans) who also are pushed to the limits, putting aside their lives to help Diana accomplish her impossible goal.
Cinematography by Claudio Miranda is magnificent, capturing the hypnotic beauty and also deadly dangers of the waters on which Diana and crew must tread to reach their destination. This, paired with a Soundtrack that is deeply personal to her, helping immerse us into our subject’s world, told both through flashbacks and in linear fashion in the timeframe Diana decides to embark her journey once again. The Film explores the price of ambition and the trickle effects of this
NYAD is immensely uplifting and perhaps the Movie that many of us need right now. Bening has never been better and is so convincing, nailing the physicality, vulnerability and strength that define Diana Nyad. Foster‘s Bonnie is that one BFF we all need in our lives, turning in a performance that feels truly lived-in. A Film made with its sights set on Awards Season glory and it very likely will get there.
NYAD screens at TIFF ’23:
Thursday, September 14
Visa Screening Room at the Princess of Wales Theatre
Descriptive sound
5:45 PM
Saturday, September 16
TIFF Bell Lightbox
Closed captioning
9:30 PM
By David Baldwin
“Someone is inside.”
That is what Hyun-su (Lee Sun-kyun) tells his pregnant wife Soo-jin (Jung Yu-mi) one night from the foot of the bed before immediately falling back asleep. She is visibly shaken by this admission yet finds only the dog after inspecting the apartment. As the days go on, Hyun-su begins sleepwalking and gradually doing more disturbing things. They go to a doctor who tells them it is just a REM sleep disorder, but as paranoia sets in, Soo-jin begins to think there may be more to it.
SLEEP is Writer/Director Jason Yu’s first feature and it is likely going to shake you right through to your bones. He tells this couple’s story in three distinct chapters, each more horrifying and unsettling than the last. I was on edge watching the film unfold, frequently stunned by just how far Yu takes the concept and how he loves to toy with his audience in a way that a cat would toy with a mouse. He is also economic with his storytelling, skipping some moments and extraneous plot beats in order to get to other scenes quicker. That may suggest he leaves some glaring plot holes, except it is quite the opposite. He is efficient and precise, never wasting a frame and always finely in tune with where he wants the audience to be at all times.
And the way he uses the confines and claustrophobia of the couple’s small apartment? Simply brilliant.
Lee is remarkable balancing Hyun-su’s daytime confusion and nighttime nightmares, adjusting his demeanour almost too seamlessly. Jung is even better. Her character lives by the mantra of a wall plaque in the couple’s living room – “Together We Can Overcome Anything” – and does everything she can to stick by her man even when she should be running for the hills. Watching her progress through the film and witnessing the exacerbation in her face and body language is terrific, as is the paranoia that propels the film forward. She is our conduit for all of the on-screen horrors that happen from the quiet to the downright shocking, and some expressed just through her spectacular reactions. Jung makes an excellent film become that much more extraordinary.
Fair warning though, you might not like what happens to certain furry four-legged characters.
SLEEP screens at TIFF ’23:
Friday, September 15 at 11:59 PM at Royal Alexandra Theatre
Saturday, September 16 at 9:30 PM at Scotiabank Theatre Toronto
By David Baldwin
The year is 1981 and the South African rugby team is touring New Zealand. People nationwide are upset and taking to the streets to protest. Bullied teenager Josh Waaka (Julian Dennison) is happy to stand aside whenever he sees the protestors. When Josh’s teacher Brother Madigan (Rhys Darby, also at the Festival with Next Goal Wins) witnesses some of his acting, he pushes Josh to audition for drama school. But with a splintered homelife and raging protests outside, Josh is not sure drama school is his best choice right now.
That cynical blurb may not sound like anything special, and the directing team of Paul Middleditch and Hamish Bennett (who also Co-Wrote) seem keenly aware of that. They pack in every coming-of-age trope you can think of alongside rugby and a tribute to the men and women who protested against social and racial injustices. The Directors jump recklessly from comedy to heartbreak to harrowing moments like Josh filming a protest as the police step in to forcibly disperse the crowd. It is a lot to take in and more dramatic than it may sound reading the description off the TIFF website.
Then something extraordinary happens. You want to stand up and cheer. You want to smile and feel the joys and pains of the actors on-screen. What was a throwaway film we had all seen before becomes a heartwarming underdog story you will not soon forget. And most of these feelings come as a result of Middleditch and Bennett framing and hinging the entirety of UPROAR around Dennison. The young actor, who you will likely remember from Deadpool 2 and Hunt for the Wilderpeople, is captivating and commanding as Josh. He pulls at your heartstrings without trying and lands every emotional beat flawlessly. He is hilarious, self-deprecating and most of all, fearless. He gets propped up by some solid supporting work from Darby and Minnie Driver, who plays Josh’s Mom Shirley, but Dennison knows he is the star of the show. He has always been a scene-stealer and a crowd-pleaser. Let’s hope this role catapults him to the leading man status he so richly deserves.
UPROAR screens at TIFF’ 23:
Monday, September 11 at 12:15 PM at Scotiabank Theatre Toronto
Tuesday, September 12 at 2:45 PM at Scotiabank Theatre Toronto
Sunday, September 17 at 3:05 PM at Scotiabank Theatre Toronto
…and that’s a wrap for us! What a TIFF it’s been! And while we were a bit worried about being impacted by a smaller number of talent coming through, somehow we still found ourselves putting in the same amount of time and enjoying the Films just as much as we usually do.
A notable theme among some of our favourites this year was a deep exploration of male-female dynamics as we see the world through a post-#MeToo lens. Some of our favourite films namely MEMORY, DADDIO, THE ROYAL HOTEL and FAIR PLAY, explored deeply-intricate and complex human interactions, which we actually have been craving after periods of isolation these past few years.
While we still have a few movies to see, the star sighting has capped-off for us and we hope you’ve had fun on our adventures! It was so amazing getting to meet some of you in-person finally, old supporters and new!
Day nine sightings were actually loaded were mega-starpower. We saw Sylvester Stallone at TIFF Bell Lightbox heading to his In-Conversation, which we are hearing was amazing. Tomorrow he premieres his Netflix Documentary SLY at Roy Thomson Hall.
Some additional Snaps from our David Baldwin who attended the event:
The legend himself, Sylvester Stallone! #TIFF23 pic.twitter.com/y4zffsGhmX
— Dave Baldwin @ #TIFF23 (@davemabaldwin) September 15, 2023
You know we love our Andy Lau and it was amazing seeing the Chinese-Canadian community come out in droves to see this icon, whose career has spanned five decades. Incredible! He walked the Carpet with Director Ning Hao at Roy Thomson Hall.
A huge thanks again to our supporters and partners including:
CP24
Acura Canada
Cabano’s Cheeseburgers
Starbucks Canada
H&M Canada
Happy Natural Products
Arterra Wines
A reel of highlights here:
Catch-up on all our coverage here.
So grateful for the help of David Baldwin, Amanda Gilmore, George Kozera and Nicholas Porteous for their review contributions!
Until next year! Trust me, we’ve earned some rest!
Mr. Will
Toronto-based Revolver Films celebrated its 40th anniversary with a party during the Toronto International Film Festival on Thurs. Sept. 14, 2023 at Liberty Grand Entertainment Complex, celebrating the people who have helped them achieve four decades of scripted and unscripted storytelling.
Sponsored by Don Julio, the event brought together notable Canadian filmmakers, producers, talent, media and influencers to celebrate 40 years of storytelling. In attendance were Revolver Founder Don Allan (pictured above, right) and partners Luc Frappier and Richard Cureton, chef Susur Lee, Olympic athlete Donovan Bailey, Kevin O’Leary, Director X, and Michael Jewison.
Revolver Films is behind Award-winning TIFF film Bang Bang Baby, Swimmer, and David Bowie’s Dead Man Walking. Revolver directors have worked with industry icons like Rihanna, Timbaland, Elton John and Drake.
Revolver has four major titles coming out over the next few years, including one movie about the life of jazz icon Miles Davis. Revolver is currently co-producing a six-hour documentary on The Tragically Hip for Amazon. With this international success, Revolver is pleased to be celebrating its 40th anniversary during TIFF.
Revolver, founded by director Don Allan, is credited with being one of the oldest music video production companies in the world. It went on to produce groundbreaking videos for the likes of Canadian icons such as Rush, The Tragically Hip and Leonard Cohen and later, made its mark internationally with videos for artists such as David Bowie, The White Stripes, and Christina Aguilera.
Since 1983, Revolver Films has built a reputation for world-class advertising, music videos, TV and films. Revolver’s award winning staying power and brand integrity stem from its dedication to producing cutting-edge content with top international creative talent.
The Little Black Book advertising annual’s 2023 Immortally Awards ranked Revolver Films as the Number 1 Production Company in Canada, the 5th Best in North America and 13th in the World. Revolver Directors have been nominated for more than 60 MMVA’s, winning 30, including 9 for Best Director and several HALL OF FAME AWARDS.
Revolver Directors have worked with industry icons including David Bowie, Elton John, Lenny Kravitz, Drake, Rihanna, Katy Perry, Cardi B, Kayne West, Oasis, Alicia Keys, Pharrell Williams, Kendrik Lamar, Christina Aguilera, Coldplay, Snoop Dogg, Wyclef, Jannelle Monae, Sheryl Crow, Seal, LL Cool J, Def Leppard, Metallica, The White Stripes, Iggy Pop, The Cure and Leonard Cohen, including the Golden Rose-winning I Am A Hotel.
By David Baldwin
A factory fire five years ago is still haunting the plant’s union. They know there is more to it, and with a new incinerator plant being erected and wealthy pockets being lined, the union’s members are starting to get desperate for work. Labour leader Ceca (Tamara Krcunović) is not willing to give up, and with the reappearance of an old union member, starts turning to the occult to turn things around.
Writer/Producer/Director Mladen Đorđević imbues WORKING CLASS GOES TO HELL with a contagious sense of impending dread that never dissipates. You are constantly on edge and not sure of what might happen next; meanwhile Đorđević is ratcheting up the tension in the background to unbearably queasy levels. Additionally, he gives the Film a stark colour scheme, with everything being muted for the majority of time and then illuminates key moments in an extremely bright red (a not so subtle reference to who this group starts praying to no doubt). The settings the union finds themselves in – primarily in and out of Ceca’s apartment – feel so real that you can practically smell the grime and the filth wafting off this Balkan town.
While there are some strange moments permeating throughout the Film and a wild third act flip I was not expecting, I feel like the rest of the Film lacked the energy and zest to make this bleak Political Satire really amount to much. By the time it ended, I was left feeling empty and cold (and rather annoyed by the conclusion of one specific dangling plot thread). Krcunović does her best to steer the ship, bringing an intense wave of emotions with every step she makes. Lidija Kordić is the Film’s MVP however, playing the young and impressionable Danica. Her mother was killed in the fire and she has not spoken since, which is just the tip of the tragedy that befalls her. Kordić commands the screen with her eyes saying all the words her mouth does not. It is the type of quiet, nuanced work that you will not be able to take your eyes off of.
WORKING CLASS GOES TO HELL screens at TIFF ’23:
Thursday, September 14 at 11:59 PM at Royal Alexandra Theatre
Friday, September 15 at 8:00 PM at Scotiabank Theatre Toronto
Sunday, September 17 at 6:45 PM at Scotiabank Theatre Toronto
By Mr. Will Wong
Writer/Director Christy Hall makes a phenomenal feature debut with a brilliant pair of leads in DADDIO. Though the meter is stopped with a flat rate fare, we never quite know where we are headed as we follow a young woman (Dakota Johnson), boarding a cab at JFK Airport, only to be stuck in traffic. She’s driven by Clark (Sean Penn), a foul-mouth taxi driver who tells it like it is. The two make some playful banter back and forth as we learn about their loves and the roadblocks they have faced.
Hall does a fantastic job taking these two unlikely strangers and giving us a story about meaningful human connection. Clark is able to get to the very core of his passenger, whom while able to hold her own against him as a woman young enough to be his daughter, is pensive and we get glimpses of her world through her text message interactions with a love interest. Through Clark, the young woman is forced to confront some uncomfortable truths about her own life, and she is able to unpeel some layers from Clark‘s tough exterior as surely there’s a story there behind his street smarts and wisdom. Our two leads get more than they could ever have bargained before and their lives are changed forever this one night, borrowing a bit from Sofia Coppola‘s Lost in Translation, which explores some similar themes and emotions.
DADDIO is the type of film that leaves you thinking about it days after and we are simply in love with the performances from Johnson and Penn, whom are both absolutely irresistible. Johnson always manages to leave a bit of mystery in her characters, which leaves us wanting to know more.
DADDIO screens at TIFF ’23:
Sunday, September 10
TIFF Bell Lightbox
Closed captioning
3:00 PM
Thursday, September 14
TIFF Bell Lightbox
Closed captioning
4:00 PM
Andy Lau is a recognizable name in any Chinese household and it is absolutely amazing that he’s here at TIFF ’23. What an honour! The multi-hyphenate began his career as an Actor on Hong Kong’s premiere network TVB and from that he became an international Movie Star, and one of the top kings of Chinese Pop.
Lau is here this year for THE MOVIE EMPEROR, premiering Friday night at Roy Thomson Hall. The Satire has Lau playing a middle-aged movie star trying to reclaim both the crown snd critical clout by starring in a miserablist film. He also appears Saturday at an In-Conversation at TIFF Bell Lightbox as well giving fans two chances to see him.
It was pure fandemonium as the Megastar made a rare appearance in Toronto. His fans waited at the Arrivals with signs in tow, shouting “See you tomorrow” after he greeted them in an effort to get into his SUV quickly.
Earlier, we were lucky enough to get into a screening of Christy Hall‘s impressive directorial debut, DADDIO starring Sean Penn and Dakota Johnson. Hall calls the Film her Love Letter to New York.
(Photo/video credit: Mr. Will Wong)
By Amanda Gilmore
Director Alexander Payne is in top form with the delightful Dramedy The Holdovers.
The Film takes place in 1970 over Christmas break at an elite boarding school in small-town Massachusetts. It follows strict Professor Paul Hunham (Paul Giamatti) who’s gifted the undesirable assignment of supervising the students unable to return home for the Christmas holidays. Resolved to have the students suffer along with him, he makes them start the next semester’s assignments. However, when only one student remains, the intelligent but belligerent Angus (Dominic Sessa), the two begin to see themselves in each other.
The Holdovers is an intimate, touching portrait of broken, lonely people connecting. Realizing they’re not alone. This is told through three central characters, Hunham, Angus and school cafeteria manager Mary (Da’Vine Joy Randolph). Each of them outcasts and harbouring their own unique melancholy within. Screenwriter David Hemingson and Payne keep the cause of some of their pain a mystery until the end, except for Mary.
She’s just lost her only son in the war. Randolph gives a heartbreaking performance as a mother experiencing her first Christmas without her son. Randolph’s impeccable comedic talent earnestly shines through creating authentic levity woven within the pain. It’s a successful dramatic turn that will have people knocking on her door.
Meanwhile, Hunham and Angus’s reason for despair remains hidden behind their quick wit and short tempers. Giamatti gave one of the finest performances of his career. He plays Hunham as eccentric yet stern, cruel yet empathetic. Similar to Hunham, Angus has a chip on his shoulder. In his first-ever feature role, Sessa stuns. It’s a performance of a seasoned Actor. He portrays the anguish Angus carries and his desire to be understood.
Overall, The Holdovers is a moving exploration of loneliness over the holiday season with captivating performances and a winning Soundtrack.
The Holdovers screens at TIFF ’23:
Monday, September 11 at 3 PM at Visa Screening Room at the Princess of Wales Theatre
Tuesday, September 12 at 12 PM at Visa Screening Room at the Princess of Wales Theatre
Saturday, September 16 at 6 PM at TIFF Bell Lightbox
Sunday, September 17 at 9 AM at TIFF Bell Lightbox
…
By Amanda Gilmore
Ava DuVernay’s poetic and essential Origin is one of the year’s best. The esteemed Director merges Isabel Wilkerson’s life along with her research to create an inspired adaptation of the Author’s New York Times Bestseller Caste: The Origins of Our Discontents.
DuVernay’s focus on Wilkerson’s private life, specifically her losses and grief the years before she began her research, makes Origin part biopic part historical chronicle. In chronicling her life, the audience has a linear storyline to follow while travelling back and forth in time to witness the atrocities that happened.
We open on the last night of Trayvon Martin’s life. It was that horrific night’s 911 calls that initiated Wilkerson’s research. From there we witness the loss of her husband and mother within a year. As she heals, she throws herself into her research. Travelling to Germany and India in search of connections between caste systems there and America.
With each stop Wilkerson makes she learns the connection between each country both presently and historically. DuVernay’s powerful, unsettling images capture the horrors the caste system creates. She delivers distressing moments of the Holocaust, the inhumanity inflicted on the Dalits in India and lynchings in America. These impactful images will haunt audiences long after viewing and visualising the research Wilkerson wrote about in her novel.
Overall, Origin is a captivatingly beautiful and heartbreakingly necessary film that holds one of the year’s most enrapturing performances from Aunjanue Ellis.
Origin screens at TIFF ’23:
Monday, September 11 at 2 PM at Roy Thompson Hall
Wednesday, September 13 at 2:30 PM at Visa Screening Room at the Princess of Wales Theatre
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