This is the third film out of three dispatches from the 2022 Toronto International Film Festival. You can read the first part here. and the second here.
As always, the final days of the festival run significantly lower than the days before it, with much of the press leaving and most of the noisy movies being screened. However, it’s worth noting when lower profile gems are often discovered, as I was prompted through a few screenings.
World premiere of documentary Freedom on Fire: Ukraine’s Fight for Freedom (still looking for US distribution), Evgeny AfineevskyHis next was nominated for an Oscar 2015 Flaming Winter: Ukraine’s War for Freedom, has so far proven to be an accurate portrait of Russia’s ongoing atrocities – and considerable resistance to them – in Ukraine. Afineevsky, who was born in Russia, has been working on the entire film in the past six months, spending part of that time working in Ukraine. And critics and audiences alike called it powerful and disturbing after its world premiere at the Venice Film Festival and then its North American premiere at TIFF.
Just like many Russians and Ukrainians who attended the launch TIFF Freedom on Firemany Iranians were present to attend the introduction of Holy Spider (Nonstop). The latest movie of Iranian filmmaker Ali Abbasi tells the dark, true story of a serial killer with prostitutes (Mehdi Bajestani) and the female journalist who pursued him (Zar Amir-Ebrahimi, who won the best actress award at Cannes, where the cinema world premiered) in present-day Iran. Iran isn’t exactly known for its openness to social criticism, so the film is actually being considered for submission in the race for the best international film Oscar not by that country but by the country itself. of Denmark, where they received substantial funding (Danish finalist three, a decision is expected soon). Abbasi’s previous film, 2018 BorderPosted by Sweden.
Meanwhile, despite being one of Netflix’s most anticipated titles, Alejandro G. Inarritu‘S Bardofailed in Venice and Telluride, a more under-the-radar photo from the same streamer, Sebastián Lelio‘S Marvel, appeared more than expected in Telluride and then again in Toronto. Quiet film about a British nurse (nominated for an Oscar Florence Pugh) was recruited to monitor an 11-year-old girl who stopped eating (Kila Lord Cassidy) in 19th-century Ireland was adapted from Emma Donoghue2016 novel of the same name by Donoghue (who previously adapted her 2010 novel Room into an Oscar-nominated screenplay), Lelio (director of the year 2017 A wonderful womanwon an Oscar for best international film) and Alice Birch. There’s much to praise about the film, but none more so than the performance of Pugh, who is consistently great, and who is much more appreciated at the recognized awards for this film than for wildernessof controversy Don’t worry, baby. (Also, I suddenly realized that Marvel and Martin McDonagh‘S Inisherin’s Bansheesthe film, which premiered in Venice and then to Toronto, would make for a great dual feature about weird Irish people who always choose to harm themselves.)
Another person in the race for the best actress Oscar for a Netflix movie is Ana de Armasfor her role about Marilyn Monroe In Andrew Dominik‘S Yellow. The film had its world premiere in Venice and then a North American premiere in LA, skipping Telluride and Toronto en route to a limited release on September 16 and dropping on September 28 in the background. streaming platform – but Netflix has set up a special screening in Toronto for those who can’t go back in time for the LA premiere, so I can tell you it’s a deeply flawed movie (too long and has a questionable taste), but that’s also why de Armas gives a truly eye-catching performance that a movie has to respect (even if she hasn’t completely lost her Cuban accent). mine). Furthermore, the resemblance between de Armas and Monroe is amazing (more so than My Week With Marilyn‘S Michelle Williams and Monroe are on their way to Williams’ Best Actress nominations), and there are certain scenes and sequences that make me really wonder if the movie uses period footage (it isn’t). so).
The 2022 edition of TIFF ended Sunday with an awards ceremony at which it was revealed that Steven Spielberg‘S Fabelmans (Universal) came out on top Sarah Polley‘S Women talking (UAR) and Rian Johnson‘S Glass Onion: A Knives Out Mystery (Netflix) to win the coveted TIFF Audience Award, which often heralds the success of the Best Picture Oscars (see: Train, American beauty, Slumdog Millionaire, The King’s Speech, 12 years of slavery, Green Book and Nomadland). This is great news for Spielberg, who has never brought a movie to TIFF before and is really setting himself apart with this movie, which is all about his family. But it’s also very encouraging for Polley, whose film I and others think would be too divisive to put this high, and Johnson, whose film is a comedy without any pretense. any theory of having greater social significance, which has stymied other films in the past.