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Tiff 2014 Mubi Coverage Roundup
16 September 2014 4:40 AM, PDT
Below you will find our total coverage of the 2014 Toronto International Film Festival, including a round up on experimental short films, reviews, and the festival-spanning dialog between our two main critics at Tiff. More interviews will be added to the index as they are published.
Between Fernando F. Croce and Daniel Kasman
Daniel Kasman on Pedro Costa's Horse Money, Peter Ho-Sun Chan's Dearest, Roy Andersson's A Pigeon Sat on a Branch Reflecting on Existence, Takashi Miike's Over Your Dead Body, and Sono Sion's Tokyo Tribe
Tiff 2014. Correspondences Postscript: Christian Petzold's "Phoenix"
16 September 2014 4:36 AM, PDT
For a final postscript I don't have so much a correspondence or a round-up of what I've seen for you, but rather I've saved the best for last: Christian Petzold's Phoenix.
Christian Petzold took a bold step into history with 2012's Barbara, exiling Nina Hoss's heroine into the diaphanous threats and suspicions of a provincial, 1980s East Germany. With Phoenix, his follow-up, Petzold takes this movement into history even further, striking starkly, deeply at questions of identity in a post-war Germany quivering silently with destitution, rage, and willful blindness. In a spectral sequence opening the film directly evoking the eerie clinical imagery of Georges Franju's lyrical horror film Eyes without a Face, Nelly, a concentration camp survivor, returns in quiet to Berlin after having reconstructive surgery following wartime mutilations. The woman who emerges from under the knife cannot be recognized. She emerges as embodied by »
- Daniel Kasman
Pascale Ferran's Metamorphic Reversal: "Bird People" and Ovid's "Metamorphoses"
15 September 2014 6:51 AM, PDT
Some eight fifteenths of the way through Ovid’s Metamorphoses, the epic poem relates the tale of an unnamed boy who was turned into a partridge. Flung from Minerva’s high temple by his jealous uncle Daedalus, the nascent inventor free falls into his new form as the Goddess intervenes, spinning his arms into wings. In observance of his near-death experience, Perdix the partridge, as he is identified in a recent translation, “declines the lofty trees, and thinks it best/To brood in hedge-rows o’er its humble nest.” (Pear trees, you’ll note, are conveniently low to the ground.)
Folded into twenty-eight lines of dactylic hexameter, Perdix’s snapshot of a story speaks to primordial self-absorption and condemnation as much as it does the whimsy of divine intervention. One could easily argue that 2006 years later, these two stanzas have been cracked open and scrambled into Pascale Ferran’s Bird People, »
- Sarah Salovaara
Tiff 2014. Correspondences #4
15 September 2014 6:27 AM, PDT
brouillard passage #14
Many of the features you have told me about I have subsequently seen and very much like: Ferrara's tender, banal Pasolini (with a fantastic lead performance by Willem Dafoe, and, as you so justly pointed out, a truly moving homage with Ninetto Davoli), and the eccentric structural romantic comedy from Johnnie To, Don't Go Breaking My Heart 2. Two of the best films at Toronto, so far. Maybe I will return to these films later in the festival to tell you more of what I thought, but first somethings you may not have seen.
The much-anticipated shorts programs of the Wavelengths section wrapped up two nights ago and was presided over as always by indomitable programmer Andréa Picard—practically a cult figure in the festival world these days—who year after year has made it the most distinctive, the most personal, and the most engaged and engaging section at Tiff. »
- Daniel Kasman
Tiff 2014. Correspondences #8
14 September 2014 7:57 PM, PDT
Aye!—you make my festival experience sound like a superhuman toil! If anything, I'm seeing less than you, as you get the pleasures of catching up with the crème de la crème of Cannes. It seems like I see a lot because I'm often reporting on a slew of shorts, but remember, the Wavelengths shorts programs so central to my (any many others') Tiff experience are only four strong, over nearly as soon as they start, the Monday after the festival's opening night. Don't you see what I'm actually doing here? I'm luxuriating in your taking the pressure off me, handling all the much anticipated films by the big auteurs while I get to relax, scribbling notes in the margin about the smaller movies: you make my life easier! That being said, there are still some major films I need to tell you about, to begin wrapping the festival experience up. »
- Daniel Kasman