Director:
Writers:
Rubaiyat Hossain, Philippe Barrière (co-writer)
Rubaiyat Hossain, Philippe Barrière (co-writer)
A fictional account of an odd relationship between two men of different backgrounds each forced to come to terms with the horrors of war. One is an Australian photojournalist (Hugo Weaving) and the other a South Sudanese refugee (Andrew Lori). Both take refuge in each other’s company rather than their female companions.
Director Lawrence tells his tale in a plain and straight forward manner which works well getting the message across on the trauma of war. There is one twist in the otherwise simple story. This is Ben Lawrence’s first feature.
He elicits superlative performances from both veteran Weaving (PRISCILLA QUEEN OF THE DESERT) and newcomer Lori. Ben, the son of veteran Aussie director Ray Lawrence who has made minor classics like BLISS shows promise and is a future talent to be reckoned with.
Jill Culton, Todd Wilderman (co-director)
Having fled the secret laboratory where he’s been detained, a young Yeti, that is named Everest (non-speaking, just making abominable snowman sounds) frantically scurries through the streets of Shanghai before hiding on an apartment rooftop, where he takes solace in a billboard advertisement for travel to Everest. It’s also where he meets Yi(Chloe Bennet). Yi and the Yeti discover a shared fondness for Yi’s grandma’s dumplings — which the Yeti consumes in crazy quantities — and a love of music.
Yi quickly surmises and turns correct that her new companion is being hunted by a squad of ruthless militiamen, led by wealthy collector Burnish (Eddie Izzard) and the zoologist Dr. Zara (Sarah Paulson). with red hair looking like an animated Tilda Swinton who usually has roles of this nature in films. Recruiting two cousins as accomplices (Chinese have large families – stereotyping?), Yi determines to help the Yeti get away.
The film draws from other films like E.T. (also from Dreamworks) and HOW TO TRAIN YOUR DRAGON. Animation from Dreamworks is great as expected though there is not much excitement in anything in terms of insight or innovation. Strictly for kids.
Icelandic director Grímur Hákonarson whose best known film the 2015 RAMS that won the top prize at Cannes in the Un Certain Regard section returns with a female protagonist film. An Icelandic woman takes on the corruption of her local co-op and the outdated, exploitative system that supports it. Inga (Arndís Hrönn Egilsdóttir) has always questioned the slavish devotion of her husband, Reynir (Hinrik Ólafsson), to the co-op, even as the co-op’s debt has spiralled out of control and their prices remain much higher than those of their competition.
When disaster strikes, Inga decides to openly take action against the co-op via social media. As her campaign progresses, she soon finds out just how low her adversary is willing to go. Themes of the underdog versus the establishment make good small movies like THE CASTLE ( a farmers fights for his house to be bought over for a new airport runway, women seeking unionization NORMA RAE, MADE IN BANGLADESH) and THE COUNTY is no exception.
Iceland like most Scandinavian countries has been admired for their advancements and the film shows an uglier seedier side of it, like the harsh conditions Icelanders face for their land. Hákonarson’s uncompromising film ends with a realistic ‘unhappy’ ending that makes his film even more effective in getting his message across.
Iana Cossoy Paro (screenplay), Sandra Kogut(screenplay)
Co-written and directed by veteran Sandra Kogut (CAMPO GARNDE), the film is set during the times of Brazilian scandals when politicians and the wealthy were arrested for crimes like money laundering and theft. But Kogut is not interested in these crooks but in what happened to the people caught in their web – like their employees. The protagonist chosen is the caretaker for luxury condominiums (Regina Casé) owned by a wealthy Rio family when arrests are being made.
The caretaker, Madá relies on her resourcefulness and her eye for opportunity to take advantage of whatever comes her way. Unfolding over the course of three consecutive summers — 2015 to 2017 — the film follows Madá as she invests in a roadside snack kiosk while tending to the every need of her condescending employers, becomes bystander in a major money-laundering scandal, and eventually launches a whole new career.
The film is aided by the sorted and lively performance of Regina Case who basically makes the movie. Kogut has a keen observation of people and relationships. She could have concentrated on more characters than just the caretaker.
Trailer: (unavailable)
WET SEASON is the follow up of Singaporean writer/director Anthony Chen after his successful ILIO ILO which was also screened at TIFF a few years back. This time around, he takes the forbidden romance between a student and his Chinese language teacher while concentrating on the family problems of the teacher, Mrs. Lim. Mrs.Lim has to take care of her invalid father-in-law while her husband carries out an inter-marital affair.
The film is slow paced and one-sided and no one really knows what the film’s aim is or what message Chen is trying to convey. One never gets to see the student’s family in all these troubles.
Chen loves to show the poorer side of Singapore compared to the architectural marvels seen in other films set in Singapore like CRAZY RICH ASIANS. Chen is capable of much better!
A boxer, Leo who has just lost an important bout saves a kidnapped drug addict on the street end up as crossfire between two drug gangs one Chinese and the other Japanese. An undercover cop also comes into the picture. All this is an excuse for lots of gore and blood letting violence found in a typical Yakashi Miike (13 ASSASSINS, ICHI THE KILLER) movie.
The jokes are fierce and plentiful and totally irrelevant. For example, during a shoot out, a thug suddenly stops running screaming: “I got a leg cramp!” or during a boxing match, a big knockout punch sees the opponent’s head rolling into the street.
The whole exercise is totally silly, loud, annoying and unless one is a Miike fan – like the guy sitting beside me laughing his head off, non-stop – the entire film is a waste of time.
A harsh movie using 140 minutes about harsh conditions in Leningrad post war in 1945. Based on the 1985 book “The Unwomanly Price of War”, the film sees the struggle of two tenacious women, one a nurse, Iya and the other a soldier, Masha as they share an apartment. Masha, infertile convinces Iya to bear a child for her, but with disastrous results.
If there is a film at TIFF about women in power over men, BEANPOLE is the one. Iya exhibits gay feelings towards Masha. The film has echoes of D.H. Lawrence’s novella “The Fox” where a man enters the two women farm though the results are different.
Balagov paints a bleak look of poverty in Leningrad especially with the poor hospital conditions and the tended wounded soldiers recuperating. An accomplished piece of filmmaking though not always an easy watch.
The term BLOOD QUANTUM comes from a blood measurement system that is used to determine an individual’s indigenous status. It is always someone or other against the indigenous people. This time around in Jeff Barnaby’s BLOOD QUANTUM, it is the plague, particularly the white man who have contacted the plague who are invading the Indian Reservation.
Director Barnaby attempts some cultural and social critique. Should the Indians offer refuge to the white men who have stolen their lands? But the film deteriorates into the typical zombie movie (full of cliches) with limbs flying, bodies gutted with blood flowing everywhere.
The males get to fight the zombies with swords and assorted weaponry while the women stand around, scream or deliver babies. I expected more from the Indigenous zombie more that was chosen to open TIFF’s Midnight Madness Program, but no such luck.
This war drama is set during the Israeli 1982 invasion of Lebanon at a private school on the outskirts of Beirut. The protagonist is 11-year-old Wissam (bright eyed Mohamad Dalli) who tells a classmate about his crush on a girl, while his teachers — on different sides of the political divide — try to mask their fears, in this poignant debut feature from Oualid Mouaness.
The film will attract audiences for its main actress Nadine Labaki (she directed CAPERNAUM) who plays a schoolteacher Yesmine. Mouaness occasionally captures the urgency of the evacuation of the school children, some fearing that their parents will not pick them up while others are just glad school might be closed for the next few days.
Mouaness provides little insight on the events nor on the history of the war. Nothing transpired on screen is unexpected in a situation like this resulting in a mediocre and often boring film.