Review by David Baldwin

Decorated Marine Malik Khan (Riz Ahmed) has been living off the grid, studying a parasitic threat that could put all of humanity in danger. Fearing for their safety, Khan kidnaps his two children from the home of his ex-wife and takes them on a road trip to find the cure. With the authorities in hot pursuit and general skepticism abounding, Khan must stay a step ahead in order to save his children’s lives.

ENCOUNTER is emotionally resonant and poignant in its exploration of the lengths a parent will go to in order to keep their children safe while adding emphasis to the plight of veterans suffering from mental illness and PTSD from their time at war. The Film moves at a consistent clip, knowing just when to flip the switch between an intimate Character Drama and an anxiety-ridden Thriller. Sometimes it jumps between both styles in a matter of seconds. Though I never imagined Ahmed in a fatherly role before, he soars here and really builds on his previous work depicting the ticks and peculiarities of a man facing a crisis. His chemistry with both children, especially Lucian-River Chauhan, is rich and feels lived-in. He knows he is making up for lost time and really hones-in on that heroism that all young children believe their fathers imbue. Above all else, Ahmed’s work here is intensely captivating and suggests this past year’s Oscar nomination will not be his last.

Where ENCOUNTER falters for me is how Director Michael Pearce (last at TIFF with Beast in 2017) reveals his cards explaining what is going on. It comes far too early in the picture, and genuinely throws off the rhythm and enigmatic nature of everything that follows. What was initially riveting and mysterious becomes stale all too quickly. The power of the reveal would have landed substantially stronger had it been unveiled much later on. Spelling it all out so quickly does a disservice to Ahmed’s performance, as well as the supporting turns from the likes of Oscar winner Octavia Spencer and Rory Cochrane. While I would not call the Film disappointing by any stretch, I feel like ENCOUNTER might be a bit of a letdown for anyone expecting a very different kind of movie.

ENCOUNTER screens at TIFF ’21:

Fri, Sep 10 Princess of Wales 8:45 PM

Sat, Sep 11 digital TIFF Bell Lightbox 7:00 PM

Sat, Sep 11 West Island Open Air Cinema at Ontario Place 9:00 PM

Tue, Sep 14 digital TIFF Bell Lightbox 7:00 PM

Review by David Baldwin

FLEE is one of the most celebrated and talked about films of the year. It won the Grand Jury Prize for World Cinema – Documentary at Sundance this past January and has been on the tip of nearly every Oscar Blogger’s tongue ever since. The Film is a mostly animated tale telling the “true story” of Amin, who fled Afghanistan with his family during the 1980s in search of a better life and ended up being separated from just about everyone.

To say that FLEE is extraordinary is an understatement. What Writer/Director Jonas Poher Rasmussen has committed to film is a vital and emotionally eviscerating exploration of the refugee experience, told in an unbelievably compelling fashion. Rather than stitch together narration over a series of real life news clips, Rasmussen and his team have concocted a script that tackles a huge, sprawling timeline that feels wonderfully suited for the material covered. The animation style is mostly hand drawn, though it differs in terms of crudeness at certain intervals. By factoring in the constant narration from Amin and his discussions with high school friend Rasmussen, FLEE bypasses the trappings and melodramatic recreations of other documentaries of its ilk and instead creates a uniquely animated experience that will no doubt influence a generation of Documentary Filmmakers to come.

For me, FLEE is a masterwork that needs to be seen to be believed. Full stop. Yet I found myself at odds with the narration of the piece, which alternates between being incredibly somber and intensely distressing. There is no real inflection given to anything said aloud here (though to be fair, I did not expect there to be much), and the tone sounds the exact same no matter the context. I found myself being lulled to sleep more than once, despite how invested I was in this incredibly relevant story. This is original and bold work worthy of the praise it is has received – and I wish the narration better reflected that.

FLEE screens at TIFF ’21:

Tue, Sep 14 Ontario Place Cinesphere 4:00 PM

Tue, Sep 14 digital TIFF Bell Lightbox 9:00 PM

Fri, Sep 17 digital TIFF Bell Lightbox 3:00 PM

By Mr. Will Wong

Catherine Hernandez adapts her award-winning Novel SCARBOROUGH to the big screen with Co-Directors Shasha Nakhai and Rich Williamson. What we get is a Film that feels very “now” addressing with a fly-on-the-wall’s authenticism the issues facing under-heard and under-seen voices in a low-income part of the story’s titular town.

The Film centers on three children: Bing (Liam Diaz) who is gay and struggling with bullying and racism at school, living with his recently-single mother who just found work at a nail parlour; Laura (Anna Claire Beitel) who is sent to live with her temperamental, unfit father; Sylvie (Mekiya Fox) is an Indigenous girl without a permanent home.

Hernandez uses some of her experiences working at a Day Care and gives us some real lived-in insight here. Her characters feel very real and in all honesty, I see a lot of myself in Bing, a boy who always felt excluded and an outsider looking-in at their classmates. Subtly, he is grappling with society’s standards of masculinity, but also a lack of acceptance from his peers who tell him repeatedly the rice he eats is disgusting. The performances by the Film’s young Cast are phenomenal, with Beitel delivering a great depth in her quiet stillness. Fox‘s strength and bravado is the BFF we always wish we had. Another standout is Aliya Kanani as Ms. Hina, an empathetic teacher with a good soul, whom herself is dealing with rigidity in a system which might not be setting these children up for success.

There aren’t big climaxes or payoffs in SCARBOROUGH, but what it gives us is compassion in understanding some very real problems and troubles facing people every day who are close to home. One of the most important films to come out of Canada in quite some time.

SCARBOROUGH screens at TIFF ’21:

Fri, Sep 10 IN-PERSON TIFF Bell Lightbox 4:00pm

Fri, Sep 10 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox

Availability: Canada 9:00pm

Tue, Sep 14 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox

Availability: Canada 5:00pm

Sat, Sep 18 IN-PERSON TIFF Bell Lightbox 6:00pm

By Mr. Will Wong

 Kate (Ruth Wilson) lives a mundane life as a Benefits claims worker. She encounters a former convict claimant (Tom Burke), whom she is seduced by into an all-consuming affair. Her world quickly unravels, finding herself obsessed with him completely. Unsure where she stands, we ride Kate‘s highs and lows waiting on his unpredictability. And through this affair, we see her really come to life as those around her discourage her from moving ahead with this mysterious stranger who can’t seem to give her stability.

Directed by Harry Wootliff, TRUE THINGS successfully captures the feeling and repercussions of lust so authentically. Wilson is a real revelation giving us pure vulnerability as a woman figuring out what she wants as she throws herself into something potentially catastrophic. And this is part of the Film’s allure, we want to see where this all leads even if it might not be clear in the end.

While the pace is languid at times, and we wish we get the clarity we desire through it all, such is life and Wootliff gives us a precise slice of it. Wilson‘s fantastic work is something that perhaps others in similar type relationships can take away and reflect on their own paths.

TRUE THINGS screens at TIFF ’21:

Tue, Sep 14 IN-PERSON TIFF Bell Lightbox 12:00pm

Wed, Sep 15 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox

Availability: Canada 9:00pm

Thu, Sep 16 N-PERSON TIFF Bell Lightbox 9:30 am

Fri, Sep 17 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox

Availability: Canada 5:00pm

By Amanda Gilmore

Kristen Stewart and Director Pablo Larraín do Princess Diana justice with Spencer.

It follows Diana over her final Christmas with the royal family. She arrives at the mansion willing to comply with the strenuous rules the family demand over the holidays. But as the long days and night tread on, Diana begins suffocating in the life she lives. Over the three days of Christmas Eve, Christmas Day and Boxing Day, Diana decides to break free. The Filmmakers have stated this Film is a mix of history and speculation. This is further clarified with the opening title cards that read the film is “A Fable of a True Tragedy.”

Screenwriter Steven Knight refreshingly puts the focus on Diana instead of the royal family and gives a rounded look at the Princess of Wales. There are difficult to watch scenes of Diana binge eating, purging, and self-harming. These are matched with heartfelt intimate moments of Diana with her sons, showing the immense love and bond they shared.

Ever the master of atmosphere, Larraín covers the mansion in a thick, dense fog that envelopes the grounds like dread. Like his previous film Jackie, long tracking shots follow Diana walking or running. It’s here we see the depth of the physical change in stature and stride Stewart has made to embody Diana. One beautiful moment comes in a montage of tracks that pays homage to Diana’s love for dance. Additionally, his close-ups mirror the claustrophobia, horror and immense pressure Diana felt. Diana’s inner world is further highlighted by one of the best Scores of the year from Radiohead’s Jonny Greenwood.

Yet, none of this would work if it wasn’t for Stewart. She embodies Diana while refreshingly making her, her own. She fully encapsulates the suffocation Diana felt, and expertly expresses both desire and fear in leaving. It’s truly one of the best performances of the year. She’s joined by Timothy Spall, who gives a textured performance as staff hired to keep an eye on Diana. And the charming Sally Hawkins, who plays a personal attendant to Diana, is delightful to watch. Particularly, in a scene towards the end, she shares with Stewart.

Overall, Spencer is a perfect balancing act of history and speculation, is impeccably shot, and showcases a top-tier performance from Stewart. Even if you take away the fact that it’s about Diana, this Film works as a story of a woman reclaiming control and agency over her life.

Spencer screens at TIFF ’21:

Wed, Sep 15 at 6 PM at Princess of Wales

Review by David Baldwin

Neil Bennett (Tim Roth) is vacationing with his family at a luxury resort in Acapulco. The wealthy travelers are thrown for a loop when they find out Neil’s Mother has passed away suddenly and need to return to London immediately. When they get to the airport however, Neil discovers that he has forgotten his passport at the hotel. He tells them to go on while he stays to look for it, but instead of heading back to the resort, he decides to check into a different hotel and does not seem intent on ever returning home.

Revealing anything more would be a disservice to Michel Franco’s SUNDOWN, which manages to remain moody and mysterious throughout its brisk 84-minute running time. I was hesitant to watch after being genuinely repulsed by Franco’s nihilistic film New Order at last year’s Festival, and was surprised by just how blown away I was at this Film’s simplicity and depth. We know something is holding Neil back from returning to his former life, yet Franco only gradually reveals the truth. Instead, he lets Roth drink beers on the gorgeous beach and spend time with a beautiful local woman named Berenice (Iazua Larios). All the while, Franco hints at class struggle and the benefits Neil’s family have over the less privileged Mexican people who surround him, and takes a few shocking turns to ensure that message is crystal clear for the audience.

Despite the breezy pacing, I found myself riveted by the journey Roth’s character Neil goes through. He speaks few words and rarely shows any emotion; rather he relies entirely on body language and the character’s melancholic demeanour to carry the Film. That may sound less than ideal on paper, but Roth’s performance is a masterclass in minimalism. He says and conveys everything he needs to in a way that few Actors can. He holds your gaze no matter the circumstance, breathing life into a character who some may despise and others might admire. He is not an inherently bad person per se – Franco just never makes it easy to sympathize with him or his repugnant actions. Roth uses that to his advantage and makes every frame of his performance more compelling than the last. Supporting work from Larios, Charlotte Gainsbourg and Henry Goodman are all solid, though they are difficult to notice whenever Roth is acting beside them. His towering work here makes SUNDOWN practically unmissable.

SUNDOWN screens at TIFF’ 21:

Sun, Sep 12 Scotiabank 2 7:30 PM

Mon, Sep 13 digital TIFF Bell Lightbox 3:00 PM

Fri, Sep 17 digital TIFF Bell Lightbox 5:00 PM

Review by David Baldwin

A wildfire is raging through Los Angeles and police officer Joe Bayler (Jake Gyllenhaal) is winding down the clock on his shift at the 911-dispatch centre. He has a court date in the morning for something that happened while he is on the job and is ducking calls from a persistent LA Times Reporter. While the shift has been hectic and trying for his Asthma, it gets a whole lot worse when Joe gets a call from Emily (Riley Keough). She pretends to be talking to her young daughter when really she is telling Joe that her ex-husband has abducted her. Going into fight or flight mode, Joe takes down the few details she gives him and sets out to save her – all while staying behind the desk and on the phone with LA law enforcement.

While there are a few other actors on-screen during THE GUILTY (an Americanized remake of a Danish film from 2018), the majority of the Film focuses squarely on Gyllenhaal’s increasingly manic and psychologically distressing performance as he communicates entirely with the ensemble Supporting Cast (which includes the likes of Keough, Ethan Hawke, Peter Sarsgaard and Paul Dano) over a device. That may not sound exciting, but THE GUILTY ends up feeling like one of the most intense, white-knuckle Thrillers of the year. Director Antoine Fuqua (last at TIFF with 2016’s Opening Night film The Magnificent Seven) gradually ratchets-up the tension to unbearable heights, moving the story in equally shocking and terrifying terrains – all while never leaving the call centre. Fuqua creates a breathless atmosphere that rarely slows down and makes scenes of Gyllenhaal dialing on a keypad be more nerve shredding than you might have ever thought possible.

The Supporting Cast on the phone is great, yet they never have a chance to compete with Gyllenhaal, who is positively electric throughout THE GUILTY’s 90-minute running time. His desperation is palpable and the way he screams into a phone is enough to leave you shaken for days. He says so much with his bloodshot, emotionally dominant eyes and consistently reminds you exactly why he is one of the very best actors working in the business today. He commands the screen no matter what he is doing, and where others might overact their way through this kind of performance, Gyllenhaal pivots to something more nuanced and measured that quickly becomes positively spellbinding. I was sweating and clutching my seat every second I watched him on-screen, and may have been broken some blood vessels in my face during some of the unspeakable twists. It may get a bit outrageous and unrealistic, but the combination of Fuqua and Gyllenhaal here make for a gripping picture you will not soon forget.

THE GUILTY screens at TIFF ’21:

Sat, Sep 11 Princess of Wales 9:00 PM

Sun, Sep 12 digital TIFF Bell Lightbox 3:00 PM

Mon, Sep 13 RBC Lakeside Drive-In at Ontario Place 9:00 PM

Sat, Sep 18 digital TIFF Bell Lightbox 7:00 PM

By Amanda Gilmore

Montana Story follows Cal Thorne (Owen Teague) who is drawn back to the family ranch to be with his ailing father, Wade. He joins nurse, Ace (Gilbert Owuor) and longtime employee Valentina (Kimberly Guerrero) as Ace cares for Wade and Valentina manages the vast property. To Cal’s surprise, he also becomes reunited with his estranged sister Erin (Haley Lu Richardson) who continues to carry her pain over past family abuse. Her decision to quickly leave is halted when she finds out what they are planning on doing to her beloved horse.

Filmmakers Scott McGehee and David Siegel have created an empathetic Film about confronting past family trauma in the face of losing the one that inflated the harm. It’s beautifully-shot and set in the vast, mountainous landscape of this Montana ranch. Anchored in its bond between brother and sister, it’s a quiet film that slowly creeps up on you. Family abuse is exposed through each sibling, showing the effects of those abused and those who keep quiet. McGehee and Siegel’s steady camerawork allows for the characters to drive the story and the actors to shine.

Richardson certifies herself as one of the strongest up-and-coming Actresses of her generation. She carries Erin’s pain and resentment for her abuse while showing compassion for the ill father who inflicted it. In one prominent scene, Erin confronts Cal for standing by as the abuse took place. Richardson exposes the anguish she feels but also the catharsis for finally letting out what she’s been swallowing her entire life.

Additionally, this scene allows Teague to show the guilt Cal has been carrying. Cal not only kept quiet but left his sister to continue receiving the abuse. Teague physically shows the guilt in this scene as we watch Cal crumble, finally being able to apologize. In turn, forgiving himself and releasing that guilt. The two of them are a perfect match in every scene.

Montana Story screens at TIFF ’21:

Sat, Sep 11 at 4:30 PM at TIFF Bell Lightbox

Sat, Sep 11 at 9 PM on Digital TIFF Bell Lightbox

Wed, Sep 15 at 5 PM on Digital TIFF Bell Lightbox

Thu, Sep 16 at 4 PM at Cinesphere IMAX Theatre

Review by Amanda Gilmore

This heartbreaking animated feature tells the remarkable true story of Charlotte Salomon (voiced by Keira Knightley), a young German-Jewish artist who painted a masterpiece she titled Life? or Theatre? during World War II.

What makes Charlotte stand out is it’s a World War II story centred on the life of an individual and her artistic work. Screenwriters Erik Rutherford and David Bezmozgis follow Charlotte over the course of 10 years, from the time she was 16, experiencing the rise of Nazi Germany, to 26, when she died in Auschwitz. In doing so, they have shown one woman’s heartbreaking story that also depicts living during this time. She was refused her education, had to flee Germany and lost those she loved. Along the way, we are taken on Charlotte’s discovery of her family’s history and the impact it had on her decision to paint Life? or Theatre?.

All of this is brought to life with beautiful animation from Canadian filmmakers Eric Warin and Tahir Rana. They make the strong decision to show Charlotte’s life as an animated feature. In doing so, they are able to show her work and depict her short life in a similar art form to the one she loved. Additionally, the choice of animation results in this Film being a World War II story accessible to children. There are some scenes that skew more to adult viewing, but overall, there is a lot to learn from Charlotte for children and adults alike.

Knightley brings Charlotte’s compassion and determination in her voice work for the English version (Marion Cotillard voices the French version). They are joined by a star-studded cast consisting of Brenda Blethyn, Jim Broadbent, Sam Claflin, Henry Czerny, Eddie Marsan, Helen McCrory, Sophie Okonedo and Mark Strong.

Overall, Charlotte is a beautifully animated feature that tells the heartbreaking story of its subject. It depicts Charlotte’s talent, resilience, determination and compassion while being a study on familial mental health and living during World War II.

Charlotte screens at TIFF ’21:

Mon, Sep 13 at Princess of Wales at 6 pm

Mon, Sep 13 on the digital TIFF Bell Lightbox at 9 pm

Mon, Sep 13 for its Canadian Satellite Screening at Galaxy Cinemas Moose Jaw at 9 pm

Fri, Sep 17 at TIFF Bell Lightbox at 11 am

Fri, Sep 17 on the digital TIFF Bell Lightbox at 3 pm

By Mr. Will Wong

Director Michael Showalter (The Lovebirds, The Big Sick) is back with THE EYES OF TAMMY FAYE, based on the 2000 Documentary of the same name. Centering on the rise and fall of Television Evangelists Jim and Tammy Bakker (Andrew Garfield and Jessica Chastain), the subject matter is sensational – but so are the performances!

Showalter and Screenwriter Abe Sylvia create something rather magical here and while on paper, our main subject might be misunderstood, having been so closely-tied to the fraud committed by her convict husband, what we get here actually is a sympathetic portrait of Tammy Faye Baker. We see the lack of privilege from which she is brought-up, to becoming a beloved Television Personality and Singer. She is the woman behind the successful man, and when he stops loving her, all she hopes is that he will love her back, all while living a life of ridiculous extravagance. The Film recounts her downward spiral, which includes addiction to prescription pills as she navigates life through a loveless marriage.

Chastain has gifted us with a phenomenal body of work over the years, however this stands as her finest performance. She captures so perfectly Tammy Faye Baker‘s pain and wounds, as well as her unwavering love of God so beautifully that it is impossible not to be affected by her work. She delivers a real tour-de-force in the Film’s final musical number. And seeing her take a stand for those living with AIDS truly is a visceral moment evincing her true understanding of Tammy Faye Bakker‘s essence. Chastain acts as a vessel for Baker‘s pure soul, and while the subject’s legacy may have been one of embarrassment to many, this performance makes us see exactly why it is so many people around the world were enamoured by her. We were left trembling.

Above this, Garfield truly shows his range here, giving us what it is that made Jim Bakker tick – power and money, sometimes kind and gentle, other times curt and vile. His work here is a true revelation.

Admittedly, the Film feels a bit long at times as we go back and forth on the excesses that filled the world of The Bakkers, but Showalter certainly makes it a fun ride. Without a doubt, we will be hearing a lot about this Film this coming Awards Season and expect the phenomenal Chastain to be front and center.

THE EYES OF TAMMY FAYE screens at TIFF ’21:

Mon, Sep 13 DIGITAL PREMIERE SCREENING digital TIFF Bell Lightbox Availability: Canada 5:00pm

Mon, Sep 13 IN-PERSON Visa Skyline Drive-In at Ontario Place 8:00pm

Sat, Sep 18 DIGITAL SECOND SCREENING digital TIFF Bell Lightbox Premium Availability: Canada 5:00pm