By Amanda Gilmore

Writer-Director Kenneth Branagh makes his most personal Film yet with the semi-autobiographical Belfast.

This deeply-affecting coming-of-age Film is set during the troubles in 1969 Belfast. It follows young Buddy (Jude Hill) as he witnesses familial hardships, cultural changes, and Northern Ireland’s Civil War. His father, Pa (Jamie Dornan), fears for his family’s life and starts making plans to move them out of Belfast. However, Buddy and his Ma (Caitríona Balfe) desire to stay in their hometown with Buddy’s grandparents (Ciarán Hinds and Judi Dench).

From the beginning, Branagh shows us the uncertainty of living in late-1960s Belfast. A street filled with laughter, children and neighbourly conversation is swiftly thrown into chaos. Branagh’s camera circles Buddy, mirroring his confusion at witnessing the mob set fire and wreak havoc on his home’s street. By telling this story from a child’s point of view, the heavy themes have an innocence to them. For example, the horrific sectarian violence is shown with the gravity it deserves. However, levity comes when Buddy speaks about the two religions and makes a funny comment about why he wants to be Catholic rather than Protestant.

Branagh and Cinematographer Haris Zambarloukos make each black and white frame of Belfast breathtaking. The choice of music perfectly captures the resilience of the Northern Irish people in the face of hardship and uncertainty. Branagh’s decision to focus on one family, with each distinct member, creates an intimate and rounded view into the struggles of those who decided to leave and those who chose to stay.

The family is cast perfectly with a breakout performance from their young leader Hill. He shows Buddy’s confusion, frustration and fear at the war. Additionally, he shines as a young boy yearning for his first crush. It’s wonderful watching Hill and Hinds, who gives a delightful performance as Pop, concoct plans to get him closer to his crush. Dornan gives a charismatic performance as Pa, a man desperate to give his family safety. Balfe encapsulates Ma’s restraint to leave the only home she’s ever known while displaying worry as the war continues. And Dench gives a touching performance has the hardy matriarch, Granny.

Belfast screens at TIFF ’21:

Sun, Sep 12 at 5:30 PM at Roy Thompson Hall

Mon, Sep 13 at 3 PM on Digital TIFF Bell Lightbox

Thu, Sep 16 at 12 PM at TIFF Bell Lightbox

Today is the final day most major trade publications have their pop-ups, so it’s one last hurrah for star sightings before things quiet down significantly for the remainder of TIFF ’21. Which is wonderful for us as we can take a breath finally, and focus on seeing Films.

Causing the most commotion around town were BELFAST Director/Writer Sir Kenneth Branagh and its star Jamie Dornan, who did the rounds today. They premiered the Film at Roy Thomson Hall, receiving a standing ovation. The story is said to be deeply-personal to Branagh who grew-up in the titular city during the ’60s, and Dornan is receiving accolades for his work here. So thrilled to catch Dornan and Branagh out and about at different points in the day! Dornan was so kind to stop for a snap with beanie and I, whom I brought out with me on my travels. Her first TIFF and also tomorrow is her first birthday! What better way to celebrate than by her meeting Dornan?

So happy also to get an invite from Variety Magazine and Canada Goose to check-out their lounge, which hosted several A-Listers the past few days at the Festival including Rebecca Ferguson, Jessica Chastain, Benedict Cumberbatch and more. Today we saw Dornan and Branagh in the lounge, picking-out some new outerwear. Branagh is a huge fan of Canada Goose and we heard that he still has a parka he’s been wearing for over ten years!

Can I saw how cool it was meeting Kenny G? The legendary Saxophonist helping propel Smooth Jazz to a wider audience, was in town for Director Penny Lane’s Documentary, LISTENING TO KENNY G. The Film premiered today at Scotiabank Theatre.

And last but not least, we were so happy to see stunning Jessica Chastain as she head-off to the Premiere of highly-buzzed THE EYES OF TAMMY FAYE, which has her portraying Evangelist Tammy Faye Bakker. She was so smitten by beanie!

Totally dozing-off but will be up and at it early with a few screenings tomorrow including THE EYES OF TAMMY FAYE and BELFAST! Can’t wait to share my thoughts!

(Photo credit: Mr. Will Wong)

By Amanda Gilmore

Wealthy couple David (Ralph Fiennes) and Jo (Jessica Chastain) are making their way to friend Richard’s (Matt Smith) lavish weekend party deep in the Moroccan Desert. On their drive, high-functioning alcoholic David hits a young Moroccan boy with his car, killing him. They arrive at the party with the boy’s dead body unsure of what to do. Soon, David finds himself with the boy’s father, on the way to the burial. While Jo and the rest of the privileged Western guests spend the weekend continuing to party, David is forced to confront his sins.

The Forgiven is a dark British Comedy with something to say. Writer-Director John Michael McDonagh creates laughs in the bleakest moments. This mostly excels due to the outstanding performance from Fiennes who delivers lines in a hilariously dry way. The Comedy has a purpose: to make the darker themes about privilege, Neocolonialism, forgiveness and judgement easier to swallow. For example, ignorant dialogue is said by Western characters about the Moroccan people. The comedy lands and the point gets across due to the powerhouse ensemble McDonagh has assembled.

The Cast is led by Fiennes who revels in playing pompous David. While David is on his journey to the burial he’s faced the truth of his sin and the pain it inflicted on the family. Chastain is great as the unhappy Jo who gets carried away at the party and commits a sin of her own. The talented Christopher Abbott, who plays flirtatious Tom, spends most of his time trying to seduce the intelligent Jo. These scenes are wonderful to watch because of the witty rhetoric and the chemistry they share. Rounding off the Cast is Smith who delights in playing lavishly wealthy Richard and Caleb Landry Jones who gives a memorable performance as Richard’s party-enthusiast boyfriend, Dally.

The Forgiven screens at TIFF ’21:

Sat, Sep 11 at 5:30 PM at Roy Thompson Hall

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

Wed, Sep 15 at 7 PM on Digital TIFF Bell Lightbox

Wed, Sep 15 at 9 PM at RBC Lakeside Drive-In at Ontario Place

We’ve hit peak starpower at TIFF ’21 and even with Red Carpets and talent scaled back there’s still plenty enough to keep us busy!

The 2021 TIFF Tribute Gala took place earlier today at Roy Thomson Hall with this year’s Honourees taking the stage to accept their awards. Those in attendance included:

Jessica Chastain — TIFF Tribute Actor Award supported by the Tory Family
Benedict Cumberbatch — TIFF Tribute Actor Award
Denis Villeneuve — TIFF Ebert Director Award
Alanis Obomsawin — Jeff Skoll Award in Impact Media supported by Participant Media
Ari Wegner — TIFF Variety Artisan Award
Danis Goulet — TIFF Emerging Talent Award presented by L’Oréal Paris and supported by MGM
Dionne Warwick — TIFF Special Tribute Award

We caught some special moments as the stars arrived and we even saw Benedict Cumberbatch and Dionne Warwick share an embrace. R&B Legend Warwick, here for Documentary DON’T MAKE ME OVER, shared that she admittedly was a little starstruck seeing Cumberbatch, whom she admires for her work on SHERLOCK, which she was obsessed with streaming during the Pandemic! Cumberbatch is receiving tons of Oscar buzz for his work in Jane Campion‘s THE POWER OF THE DOG. Review here.

Chastain and Villeneuve, both busy with Press Days today for their respective films THE FORGIVEN and DUNE, made time to walk over to the fans, snapping Selfies and signing autographs. Chastain was stunning in a colour block Moschino outfit!

The Awards air Saturday, September 18, 2021 at 7pm ET on CTV, CTV.ca and the CTV app in Canada.

Some Snaps:

Several other Premieres took place across the City including MONTANA STORY which stars Owen Teague and Haley Lu Richardson, which many are commending for its heart and compassion. We spotted the stars and Co-Directors Scott McGehee and David Siegel, Ubering about with the Film’s stars earlier. Review to come shortly.

One of our greatest highlights finally is a moment with Rebecca Ferguson, whom we admire so deeply. This chameleon of an Actress has won acclaim for her work on the Mission: Impossible Franchise, The White Queen and more popularly, The Greatest Showman. Oh yeah, her! Ferguson stars in DUNE, which premiered at Ontario Place‘s Cinesphere and will be busy with Villeneuve with a day of press in support of the hotly-anticipated October 22, 2021 release. Review here.

One parting note, I attended a screening of Edgar Wright‘s LAST NIGHT IN SOHO and it was incredible! My thoughts below…

How amazing Wright even threw me a “like”!

We decided to take it easy tonight, wrapping early. Tomorrow will be pretty much the last day we’ll be out snapping content with more of a focus on the Films after Monday. Who knows, I might even have a little special sidekick out with me tomorrow!

(Photo credit: Mr. Will Wong)

Review by David Baldwin

After years of anticipation and fan hype, Co-Writer/Director Denis Villeneuve’s take on DUNE has finally arrived. The tale of warring house factions and the native Fremen people over spice on the planet Arrakis is dense to say the least, but fans and novices like myself will equally find something to enjoy in this science fiction epic for the ages.

Long thought unfilmable (though there have been a few attempts to differing results), Villeneuve has taken everything he has learned as a Filmmaker over the past decade and has created something truly breathtaking. The world (or worlds in this case) are fully realized through incredible Production Design and Cinematography. The Visual Effects are spectacular, as are the Makeup Effects and Costuming. Hans Zimmer’s Score is legendary. I do not even have words to describe the sound design; it really is that great. Every single detail is precise, specific and may find you losing focus on the story just to take in everything Villeneuve has packed into the frame. This is not actors playing dress up in front of a green screen – this is next level filmmaking on a grand scale with everyone behind the scenes firing on all cylinders.

While I soaked in every single minute of Villeneuve’s take on DUNE, I found myself held back from truly adoring it because it is only half a story. People who have been following its development will not be surprised to see it called DUNE Part 1 in the opening reel, though some casual audience members may not be particularly pleased to see the Film end on a cliffhanger (nor the multiple false stopping points that make up the Film’s last half hour). I found myself increasingly annoyed by the prophetic visions lead character Paul Atreides (Timothée Chalamet) because I knew I would need to wait until Part 2 in order to see them come to fruition. Moreover, being only half a story takes away from the magnificent performances given by the entire cast because they are not fully formed whatsoever. Zendaya is very clearly pivotal to this story, yet only hovers in the background as an enigmatic presence for the majority of the Film.

All of that may sound like a pan, but it is actually quite the opposite. I was so taken by the story of DUNE and what Villeneuve created that I really did not want to see it end. I wanted to see the next part of the story immediately and genuinely hope the film finds its audience in order to make Part 2 become a reality. Like every great artist, Villeneuve left me wanting more. So believe the hype. DUNE is everything you hoped it would be. Villeneuve is at the top of his game here and this just might be his finest hour.

DUNE screens at TIFF ’21:

Sat, Sep 11 Ontario Place Cinesphere 7:15 PM

Sun, Sep 12 Ontario Place Cinesphere 7:30 PM

Mon, Sep 13 Scotiabank 12 8:00 PM

Sat, Sep 18 Ontario Place Cinesphere 8:00 PM

Review by David Baldwin

Cattle ranchers George and Phil Burbank (Jesse Plemons and Benedict Cumberbatch) have made a successful enterprise for themselves in Montana circa 1925. Phil rules the men they employ with an iron fist, while George is a bit more wholesome and understanding. George takes to widow Rose (Kristen Dunst) after meeting her at a restaurant stop and quickly marries her much to Phil’s chagrin. When she and her son Peter (Kodi Smit-McPhee) move into the Burbank family home however, Phil starts making things difficult for everyone.

Academy Award-winning Co-Writer/Director Jane Campion return to feature filmmaking after a decade long hiatus is a methodical and deliberately paced take on a Western. I would not call it revisionist as others have, yet it does very much feel like a deconstruction of a classic American genre. There are no real heroes and villains here – just troubled individuals trying their best to get on with their lives and not doing a great job of it. Campion’s pacing varies throughout the Film, with some scenes being particular zippy and others slowed to a crawl. She captures the intimacy and heartache of the old West (with gorgeous New Zealand vistas subbing in for Montana) but is more interested in the feelings of her characters than she is in anything else. I would never call THE POWER OF THE DOG boring, though will admit that it may be a great challenge for some viewers to get through.

The Production Design and costuming are sumptuous and Jonny Greenwood’s brooding score is absolutely brilliant, morphing from something soft and sweet to horrific and overbearing faster than you can snap your fingers. Plemons and Smit-McPhee are great in their roles, though they end up getting lost in the margins of some sections. Red hot Thomasin McKenzie (also at TIFF ’21 with Edgar Wright’s Last Night in Soho) pops-up as a house servant, yet really has no bearing on the story. And while Dunst gives it her all, transforming into a desperate and anxious alcoholic over the course of the Film’s running time, THE POWER OF THE DOG belongs entirely to Cumberbatch. Never have I hated a character so thoroughly and viscerally within seconds of seeing him pop up on screen. He is an absolute monster here, spewing acidic and vile remarks carelessly and genuinely toxifying everything around him just by being present. Cumberbatch’s performance feels lived-in, with even his most tender moments still coming off as repulsive. This is easily a career best performance for the Oscar-nominated thespian, whom Doctor Strange fans will not recognize whatsoever. Do not be surprised if he becomes the front-runner for Best Actor.

THE POWER OF THE DOG screens at TIFF’ 21:

Fri, Sep 10 Princess of Wales 5:00 PM

Fri, Sep 10 VISA Skyline Drive-In at Ontario Place 8:30 PM

Fri, Sep 10 digital TIFF Bell Lightbox 9:00 PM

Fri, Sep 17 digital TIFF Bell Lightbox 1:00 PM

Sat, Sep 18 TIFF Bell Lightbox 1 3:00 PM

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:

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