2 items from 2012
I'm glad you caught Oliveira's Gebo and the Shadow too, and inadvertently placed it next to To the Wonder. I felt like those were inverse films of each other: one constantly floating, the other firmly rooted; one whose spoken words are all offscreen, the other who's words are all stringently, theatrically on camera; the Malick repeating abstractions on light and love, the Oliveira on loss and misery. And each resolutely, repetitiously dedicated to these methods of presentation, fluid, searching philosophy in flitting figures vs. the concrete weight of bodies, age, poverty. Gebo, based on a play by Raul Brandão, saves its magic for outside of its single setting house, a glimpse of a Virgin Mary on a street corner, the flat, computer generated harbor you mention that opens the film, hands coming out of the shadows to grasp at the audience like the gunfighter who ends Edwin S. Porter »
September is here again, and it's time to delve into the cinematic bounty of the Wavelengths section of the Toronto International Film Festival, that rambunctious and idiosyncratic corner of the Reitman Machine largely cordoned off from commercial concerns and set aside for lovely and sometimes difficult film art. Despite the ever-changing profile of Tiff, stalwart programmer Andréa Picard has [cue needle-scratching-record sound] What? Yes, last year at this time, the avant-garde community thought we were seeing Ms. Picard leaving this position behind. Fortunately for us all, Tiff won her back.
And this is where things get interesting. Starting with this 2012 edition of the festival, the Wavelengths section is a much more broadly based, festival-wide category. In essence, it now subsumes the old Visions designation, which was Tiff’s home for formally challenging, feature-length arthouse fare. This merger, which may seem like a bit of a shotgun wedding to some, does in fact make sense. »
2 items from 2012
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