It's been a bit since my peers and I went to the Toronto International Film Festival. The numbers don't lie. I saw 14 films, attended four conferences, walked 33.6 miles, and have been finding a way to crawl back ever since. Wondering how to feel about these new films? Disregard my opinions or get really mad! Let's talk about it!
★Do I Know You From Somewhere? dir. Arianna Martinez
There's nothing like starting your first film festival in Canada by seeing a Canadian directorial debut! A conversation starter, to say the least!
With a hypnotic yet quasi-misleading opening sequence, we're given an excellent premise,
charming characters (not the same for the actors), and beautiful moments of imagery. However, a film that gains its momentum over halfway through the film and tries (and semi-succeeds) to redeem the film school constraints that stripped the authenticity of the story isn't going to be a groundbreaking start to TIFF. Certainly one to start the discourse, though. A Little Dark Age needle drop never hurts. I just wish that the person I think of when I hear the name Olive wasn't exactly how she was.
★The Luckiest Man in America dir. Samir Oliveros
"Do we HAVE to air this?"
I felt warm, false nostalgia. just like watching Stranger Things in 2016 on my phone in my room back home. I felt just as attached to Walton and Walter Hauser as if they were my own beloved icons I worshipped on TV, except Walton wasn't a sponge or square. I felt a deep warmth in my chest when I saw Shaunette Renee Wilson in that long red dress and the most beautiful makeup look I could attribute to the period.
For a developing creative, Samir gave a thrilling story displayed with engaging characters and iconography out the wazoo. Go Planters Cocktail Peanuts!
Feeling a range of emotion through this screening, I appreciated its versatility to tug at different strings to make the story unfold. Kept me hooked, kept me charmed, but I fear this one might blend in a bit too much in background when it hits main audiences. We'll see!
P.S. Ed is THE name of the '80s.
★The Substance dir. Coralie Fargeat
<--(eileadesign)
The word that is "were." Who you WERE, and what once WAS. Every woman, person rather, has had THAT breakdown in the mirror. all you want to do is rip your f***ing face off.
Inside of you are two egg yolks. Not really, but just think about it. and those yolks make sound effects unlike anything you've seen in a completely full theater at tiff. you're locked in, and you're about to be taken on one of the wildest rides i've personally had alongside a film ever.
It's shocking, sexy, sickening, but above all, sincere. The message is clear, and the reception was all-encompassing. I felt a theater of people holding their breath as bones snapped in places they shouldn't EVER, the warmth of laughter each time Dennis Quaid echoed with every steel boot stomp, and heavy, sad sighs each time Demi mourned a part of herself we all see through and through. Every part of you is the most lovable part of you. Fred would've known.
It's so beautiful...but that's if you're in for some straight-up disgusting stuff. I warn you VEHEMENTLY. Body horror! Foley! Also Best Screenplay at Cannes, which is kind of a big deal!
★Dead Talents Society dir. John Hsu
What does it mean to be seen?
I've never laughed/cried in such EQUAL amounts in the span of a film. Sometimes, even when it feels we've lost our chance, we just want to make someone proud. Wrapped with a quirky premise of a pop culture realm in the afterlife, the desire to be idolized is shrouded by the desire to be remembered.
A ragtag team, an internet obsession, the Golden Ghosts instead of Globes? A thrilling journey of self-discovery and coming of age...after you die. Just trust me, this one needs to gain traction! Hulu and/or Prime Video has gotta get this on streaming!
This was my first Midnight Madness screening at the Royal Alexandra Theatre, which meant any film screening there was having its world premiere. Dead Talents is the first film that I got to say that I was one of the first set of eyes to see it. How wonderful! Go Taiwan!
★Piece By Piece dir. Morgan Neville
You know I have to start this with the fact that it's directed by a guy with the same name as me. Go Mo's!
Parents, aka the cool ones, take your kids to see this! You're getting something super colorful, vibrant, energetic, and YOU get some clean, bumpin' BOPS! grin-DING!
Honestly, Pharrell could've given more of himself to this, but that remains my only qualm to the project. There are steps he took one way instead of another, but it still told a wonderful story of his life and his journey. To whom much is given, much is required, I guess. Now where can I can a copy of a Lego Stevie Wonder vinyl.
Pusha. Missy. KDot. Snoop. Stefani. Timberlake. FLOODED. Imagine being discovered via Madden. What a freak! Go see it!
★The Quiet Ones dir. Frederik Louis Hviid
I'll be frank. I walked in five minutes after it started and my friends said that it basically explained everything, so I had a great time not understanding what the hell was going on and seeing the cast and director afterwards. Here's some help since I had none for myself: this was based on Denmark's biggest heist to date.
Ah-OO-guh.
There's a character named Mo. Got some Stranger Things synth vibes that I miss paired with slow zooms. Definitely would've listened to a podcast about this, but seeing some foxy thieves never hurts. They yearn and one of them has some especially fierce brows!
★Grand Tour dir. Miguel Gomes
A shadow does not obscure, it reveals. Humanity IS a tragedy. It's one of the most beautiful things I saw at this festival, but it's a bad movie with a MESS of a director behind it. Cannes's best!
This man had too many martinis and proceeded to sound unintelligible, completely neglecting his interpreter, and acted flustered at any misstep in communication. His film was too long, tells a tragic story, and holds his art like a dude who bought a camera to record his vacation.
Pops off very well at points, but being the last ones to leave the theater for the night had an unsatisfactory payoff. Can't wait to put this on during a dinner party to admire the shots and ignore the rest.
★The Last Showgirl dir. Gia Coppola
The glamour is UNDENIABLE. THE Razzle Dazzle. Just like Dead Talents: WHAT DOES IT MEAN TO BE SEEN? These are real women.
Stacked cast, unforgettable look, and a story that held me close and easily became one of my favorites of the festival. Every 16mm frame gives everything it can, and I noted constantly on the authenticity of what I was seeing. I then found out I had just watched it WITH Pamela and Gia in the same room, and the house they stayed in was a performer that was having her show canceled. LIVING the film.
"I'm 57. I'm beautiful. You son of a bitch." Pamela Anderson answers to no one, and her work portrays that very same principle in all of its unique ways. This one is palpable in emotion, and her love truly runs deep for her art. Kate Gersten, writer of The Good Place, certainly wrote one for the ages. Sobbing forever and ever for Miss Anderson!
★Friendship dir. Andrew DeYoung
It was one of those nights where I realized that this is exactly where I belong. The universe where a guy named Tim Tobinson, who I inexplicably can't stop mistaking for Craig, who is then named Craig, and his face barely materializes on screen in a film he's in, and the entire theatre is already howling with laughter. Tim, YOU deserve a parade.
Paul Rudd, Connor O'Malley, Kate Mara, Jack Dylan Grazer, IVY WOLK! If you're not into I THINK YOU SHOULD LEAVE's cadence, this film is a series of sketches with feverish ties in between. I legit never knew how we got from one place to the next. Is this...pacing? Don't like it? Go see a Marvel.
IIII...four i's for me, myself, i, and i pt.2...find it hilarious, but there is a sizable margin that will not. A24 getting their hands on this one could be their next DICKS, which means pretty much the same! Groovy score, fun sets, and ridiculous comedic writing/timing synergy.
The last car that my grandmother had was a champagne-colored Chrysler Town and Country we named "FOXYC." She wouldn't have cared for this film, but this film clearly cared for her.
<--(daannnnnnyyyyyy)
★We Live in Time dir. John Crowley
"Hold My Hand" by Jess Glynne started playing as Florence Pugh went on the floor of a cooking competition, and I didn't stop crying until the very end. For all the usual reasons, yes, but also because "Hold My Hand" was a song to one of my old dance auditions and I lost it. That's between me and this film, though. Y'all too now.
Been dreading logging this one because it's just so real. Real just can't even breach the realness. Okay, this is bad. This script felt like eavesdropping on your parents having THAT tough conversation you weren't supposed to hear, yet you heard and you sadly understand.
Going through my notes, I've relived every tear and ear-to-ear smile I experienced in this film. exploring different dynamics of love and loss, and the things that we say in the midst of both. The terrifying and liberating burden of our time here. every element feels so gracefully woven in, especially through the flesh-and-blood secondary/tertiary characters that impact Flo and Garf's journey, touching our hearts alongside theirs. Yeah. This one means a lot. I need to talk to my mom. Watch it.
P.S. there are pictures of emma and I sobbing in the streets of Toronto walking back to our hostel after this 9AM screening that are available upon request.
(PosterSpy) -->
★Anora dir. Sean Baker
God bless America.
Ivy Wolk HOW DID YOU DO IT! Tim Robinson AND Sean Baker???? She's 4 months younger than me???? Beginning of the end for me!!!!
Walked into this one a bit late because we got access at the LAST minute, and thank God I stayed because I saw THE superstar that is Mikey and Sean afterwards. Walked right past her. She gave me the sweetest smile. She is perfect to me. Just one chance PLEASE!
This took a direction I wasn't anticipating, Toros's actor could snatch a supporting role because his performance, alongside pretty much everyone else, was phenomenal. It's hot, it's messy, it's HOT. Heavy on that.
Obviously, Sean knows how to make a film look pretty, but this is a big step up for him! Pacing can be iffy at points, but with every kick to the face, bite, or venom-soaked word she threw at these guys, I was there for every minute. This is a fun one. Definitely take a look for yourself.
★Else dir. Thibault Emin
This man introduced his film as something that goes one direction when you think it's another, then said "thank you for not liking my film" in what I guess was a self-deprecation attempt but it really just laid everything out for you. It went in every possible direction and I indeed did NOT like the film.
This was made with multiple uses of AI and the guy was kind of being a phony about it. He dodged a question after the screening relating to the practical vs “CG” balance that he said he “feels reluctant to answer.” There was a strong actress and comedy that landed well when it did, but a total bummer…a confirmation OR denial, please.
The ai fluid laptop background of an opening. AI internet images. AI maybe half of the effects? Sound design pops off a few times, impressive at points for a directorial debut, but this one just really put our night to a frustrating end. A premise with limitless potential, and we end with this. Enough words on this one.
★Flow dir. Gints Zilbalodis
I ask of you reading this: when I SAY that absolutely nothing comes close to being given a free ticket from an older Latvian couple to see your first Latvian animated, completely dialogue free, video game cut scene-turned-feature film, you should welcome it and accept it gracefully.
They (scientists, I think) say that when you lose one sense, the others heighten themselves. The past is washing away, flooding the forgotten, and Jiji from Kiki's gives the performance of a lifetime alongside Glen Powell, THE NintenDog, King Julian, and David Cross. They don't always land on their feet, and the risks within this film don't either, but after I get to see this film again post-TIFF, I will be INSUFFERABLE! about how well this odyssey worked.
It's primal. It's accessible. It's universal. Seeing the premiere of this meant hearing the director introduce the film, where he showed incredulous gratitude for his opportunities that led him to his second feature. The message of acceptance and community was very personal to him, and every second of his creation is palpable in that claim. The states MUST have this on a service to put more eyes on it. PLEASE.
★Escape from the 21st Century dir. Li Yang
"cross pollinated with post-modern maximalist comedies like Scott Pilgrim vs. the World and Everything Everywhere All at Once." via TIFF's description for this film. NEED! I! SAY! MORE!
Y'all. They time travel when they sneeze. That's awesome. They mix art styles and switch mediums on a dime. Exhilarating action sequences. Title card! HOLDING OUT FOR A HERO! So fun! So uplifting! A phenomenal curtain call on TIFF '24. Can't wait for more eyes on this one. SO GOOD!
If you can stream it, do it. Or don't. That's awesome, too!
Cheers,
MO
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