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

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

MOVING ON

WOMEN TALKING (written/directed by our Sarah Polley)

TRIANGLE OF SADNESS

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

(Photo/video credit: Mr. Will Wong)

By Nicholas Porteous

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

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

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

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

TRIANGLE OF SADNESS screens as follows at TIFF ’22:

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

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

By Amanda Gilmore

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

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

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

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

Falcon Lake screens at TIFF ’22 as follows:

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

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

By Amanda Gilmore

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

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

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

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

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

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

Women Talking screens as follows at TIFF ’22:

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

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

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

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

By George Kozera

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

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

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

BROKER screens at TIFF ’22 as follows:

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

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

By Amanda Gilmore

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

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

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

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

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

EO screens at TIFF ’22 as follows:

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

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

By Amanda Gilmore

Set in the 1980s in a seaside town in England, Empire of Light follows Hilary (Olivia Colman) and Steven (Michael Ward) who work at The Empire picture house. Hilary has worked at the movie theatre for a long time, however, Steven is a new employee. The two share a connection and begin a relationship that changes them both.

Writer-Director Sam Mendes gives us a love letter to Cinema through the love story blossoming between his two characters. The Empire picture house is one we don’t often see anymore. For instance, it has the bright lights of a marquee on the outside. Inside, it looks more like a theatre rather than a cinema. This picture house, and the love story, is beautifully captured by the immense talent of revered Cinematographer Roger Deakins.

The Empire is the backdrop of the connection Hilary and Steven have. It’s one based on respect, care and empathy. The two are experiencing life differently. Hilary lives a repetitive, mundane life. Oh, and she’s never seen a movie before. While Steven has his whole life ahead of him and desires to go to college. As their relationship goes on, we notice that they are struggling with more than we thought.

Hilary has been dealing with mental health issues. She recently sought help and returned to work. However, she came off her medication and begins to relapse. Colman, once again, gives a breathtaking performance. Steven is dealing with racism and nationalism happening. He gets assaulted both verbally and physically. Ward is a revelation as the empathetic, patient Steven. Colman and Ward have undeniable chemistry. Although the audience is aware that this relationship won’t last due to their life experiences, we still root for them because the connection they share changes them both for the better.

Empire of Light screens as follows at TIFF ’22:

Mon, Sep 12 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 3:00 pm

Tue, Sep 13 IN-PERSON at Visa Screening Room at the Princess of Wales Theatre at 3:00 pm

Sat, Sep 17 IN-PERSON at Royal Alexandra Theatre at 5:00 pm

By Amanda Gilmore

Ti West brings us back to the killer farm from his hit slasher X, but this time to tell us the origin story of psycho-biddy Pearl (Mia Goth).

The Film takes place decades before X, in 1918. The war is happening in Europe and influenza has swept its way across America. Because of this, Pearl has been trapped and isolated on her family’s farm tending to her ill father (Matthew Sunderland) and enduring her cruel, controlling mother (Tandi Wright). However, Pearl has had enough of her life on the farm and dreams of becoming a star. She wants her new life so bad, that she’ll kill for it.

Co-Writers West and Goth have brought us a riveting character study of a murderess. Pearl is mesmerizing from the first moment we see her. West and Goth have achieved creating a sinister character we feel conflicted by. This tug-of-war with our emotions works due to the insurmountable performance from Goth. Her full commitment makes us sympathize with a psycho-killer. Both her performance and the script give Pearl depth that causes us to relate.

However, we are constantly shown how her short fuse leads to merciless acts of violence. And the kills in this one are to die for. There are pitchforks, axes, and that alligator from X is back — waiting patiently for its feed. But again, West and Goth humanize their murderess. And even after everything we’ve witnessed her do, an enthralling monologue makes us empathize with her suffering. Goth is outstanding in both the psychotic moments of her character and the starry-eyed dreamer. She truly gives a tour-de-force, masterclass in acting.

Not only is the story tightly written, but the overall film is thoughtfully put together. Everything is shot with a vibrant Technicolour hue from Cinematographer Eliot Rockett, and the whimsical score by Tyler Bates gives classic Hollywood vibes. Therefore, bringing us into the world of 1918 and Pearl’s stardom dreams.

You don’t have to watch X to have a devilishly good time watching Pearl. However, they are the two halves that make a killer whole and complete a wicked double feature.

Pearl screens at TIFF ’22 as follows:

Mon, Sep 12 IN-PERSON at Royal Alexandra Theatre at 11:59 pm

Tur, Sep 13 IN-PERSON at Cinesphere IMAX at 9:30 pm

VVS Films releases PEARL in cinemas Friday, September 16, 2022.

By Amanda Gilmore

Visionary South Korean Director Park Chan-Wook is back with this visually stunning romantic Thriller Noir.

After a man falls to his death from a mountain, Detective Hae-joon (Park Hae-il) meets his widow Seo-rae (Chinese Actress Tang Wei). She seems to be unaffected by the death of her husband. This causes suspicion amongst the detectives in the precinct. All signs point to her as suspect number one. But Hae-joon doesn’t believe that this mysterious woman could do such a thing. After stakeouts and an interrogation, Hae-joon becomes smitten with the mysterious Seo-rae. Now he must decide if his feelings get in the way of the investigation.

Decision to Leave starts out as a Detective Thriller and turns into something more heartfelt. In brilliant Chan-Wook style the edits and transitions are a visual feast for the eyes. Chan-Wook makes these transitions feel like they are one continuous take. They transport our detective into another scene that is playing out inside his mind. It’s a mesmerizing camera technique that is a delight to witness. There are shots that will dazzle and make any cinephile gasp.

The first half plays out like a gritty Detective Thriller Noir. Hae-joon is on a mission to find who threw this man off of the mountain. It seems like he found his prime suspect but her demeanour throws Hae-joon off. He finds this woman mesmerizing. The effect she has on him is paramount and the audience understands the emotion, thanks to the strong performance from Hae-il. He looks at her like she has all the answers in the world.

That’s when this noir turns into something more romantic. A blossoming relationship flourishes between the two. In lesser hands, this wouldn’t work. However, Chan-Wook excels in this storytelling. Seo-rae has clearly lived a difficult life. She’s been abused by her deceased husband. She carries this weight with her and it’s part of the reason Hae-joon falls for her. The audience is swept-away in this romance because of the chemistry between the two leads.

It’s in the second half when Seo-rae comes back into Hae-joon’s life that Chan-Wook’s intention comes through. This is a story about two people who fall in love in the oddest of circumstances. It’s about how far someone will go to protect the one they love. Wei’s performance is one of the best of the entire decade. It’s a special one that needs to be seen to be believed. She masters the art of mystery within her character. Although some would play Seo-rae as a psychopath, Wei grounds her. She’s a person who has never received real love and care until she met Hae-joon. Due to this, she will stop at nothing to feel it again. 

Overall, Decision to Leave despite being a Thriller, also is tender and romantic. It has an insurmountable performance from Wei that will not be forgotten. Additionally, it reminds us that love is unexpected, needed and selfless.

Decision to Leave screens at TIFF ’22 as follows:

Mon, Sep 12 IN-PERSON Visa Screening Room at the Princess of Wales Theatre 9:45pm

Thu, Sep 15 IN-PERSON Scotiabank Theatre Toronto 7:30pm

By Amanda Gilmore

Writer-Director Nikyatu Jusu’s Feature debut is a heartfelt love letter to immigrant women who sacrifice everything to give their children a better life.

Aisha (Anna Diop), an undocumented Senegalese immigrant, lands a job as a nanny for a wealthy Manhattan couple. As she spends her days taking care of their daughter Rose (Rose Decker), she is haunted by the absence of the young son she had to leave behind in Senegal. Aisha hopes her new job will afford her the chance to bring him to the U.S. and share the life she’s piecing together.

Nanny is a Horror film about the American Dream. However, Jusu has created a film that functions on many levels. It’s a dramatic character study of Aisha while incorporating the genre elements. In doing so, she’s created a wholly unique genre film. Jusu and Diop work seamlessly together to create an empathetic portrait of the immigrant experience. Diop gives a nuanced performance and is a force as Aisha. She evokes the longing, guilt and anger for the life she is living in order to carve out a better one for her son. 

Additionally, Nanny excels at showing the essential work these marginalized women perform. Jusu achieves this through the relationship between Rose’s mother Amy (Michelle Monaghan) and Aisha. It’s clear the privileged Amy is able to advance in her career because of the help Aisha provides. In doing this, Jusu shows how these women are essential to the functioning of American society.

Nanny’s genre aspects come from visions Aisha sees both while sleeping and awake. Aisha becomes informed that these visions are magic, however, she doesn’t believe in magic so she ignores their warnings. These moments allow for the horror aspects to come through.

NANNY screens at TIFF ’22 as follows:

Mon, Sep 12 IN-PERSON TIFF Bell Lightbox 9:00pm

Tue, Sep 13 IN-PERSON Scotiabank Theatre Toronto 7:35pm

Sat, Sep 17 IN-PERSON Scotiabank Theatre Toronto 3:00pm