The New Classics: I Am Love

Michael Cusumano here to discuss a film that never fails to floor me.

Scene: Prawns
The story of Luca Guadagnino’s I Am Love pivots on a life-changing plate of prawns. It sounds ridiculous until you pause and remember that life is actually like that. One moment you’re having a routine day and the next a flood of emotions is precipitated by an unexpected trigger. These instances are difficult to explain in words, but what are movies for if not the moments when language fails?

Tilda Swinton’s character Emma Recchi doesn’t realize it, but she is primed for such a moment. A Russian who married into an Italian family of great power, she lives a life of comfort and wealth. She is not unhappy, exactly, nor is she mistreated, but her is existence is a cloistered one and she is expected to play the role assigned to her. In the film’s lengthy opening act she oversees a family birthday party that has the coldness of a modern art exhibition...  

Click to read more ...

TIFF: Eating the Rich with "Knives Out"

by Chris Feil

When Rian Johnson announced a star-studded murder mystery in the vein of Agatha Christie, you didn’t think it would just be a straightforward genre exercise, did you? As he has shown in films such as Looper (and to an extent Star Wars: The Last Jedi in its brilliant eschewing of franchise dogma), Johnson delights in subverting our expectations of genre ever so slightly. Knives Out film is no exception, not only turning the ensemble comedy into a rollicking eat-the-rich satire, but also taking the standard whodunit plotting and repositioning it with exciting reinvention. Even if your tastes consider the book mold stodginess of Christie to remain delicious, Johnson’s modern narrative take should satisfy even purists.

Click to read more ...

Latin American happenings in the Oscar submission realm

by Nathaniel R

In the heat of festival season we're also getting continued news about the Oscar race for Best International Feature. In terms of South America we'd already heard about submissions from the Dominican Republic (The Projectionist), Ecuador (The Longest Night which is sometimes referred to as Mala Noche), Panama (Everybody Changes), and Uruguay (The Moneychangers). There are three more already announced that will likely have higher profiles due to familiar actors. Colombia has Monos starring Julianne Nicholson, Cuba has A Translator starring Rodrigo Santoro and of course there's Brazil's Un Certain Regard-winning melodrama The Invisible Life of Euridice Gusmao which feels like a probable finalist / possible nominee. It's very moving and accessible and Fernanda Montenegro (of Central Station fame) adds a last boost of melancholy and nostalgia to it in terms of Brazilian cinema and Oscar affections. To add to that stack of films we've just learned that Bolivia will submit the gay drama Tu Me Manques (I Miss You) which is based on a hit stage play about a father visiting the boyfriend of his dead son in New York City. It recently won the screenwriting award at OutFest. The director Rodrigo Bellott was submitted once before for his artsy college film Sexual Dependency (2003). The film stars Oscar Martinez (Wild Tales) as the estranged father, Fernando Barbosa as his son's boyfriend, and features Rossy de Palma who is, of course, beloved from many Almodóvar pictures.

After the jump the finalists announced for both Chile and Mexico. Which films will they choose we wonder...

Click to read more ...

TIFF: Lorene Scafaria Ascends with "Hustlers"

by Chris Feil

After Hustlers, give Lorene Scafaria the keys to the kingdom. After writing and directing the character-based comedies The Meddler and Seeking a Friend for the End of the World, she steps into crime comedy territory with all of her generous character detail unsacrificed as she steps into a new genre. Here she’s made something that feels like kicked-in doors and popped champagne bottles. It’s women behaving badly as a natural extension to an ecosystem led by men who burn the world down to serve their own interests, and it’s as entertaining as it is because of Scafaria’s balance between the affectionate and the defiant.

But while the film will immediately cause comparisons to ubermale crime sagas likes of The Wolf of Wall Street or examinations of the final crisis like The Big Short, Hustlers is less of a familiar retread of those films than it is two middle fingers blazing in their direction...

Click to read more ...

Horror Actressing: Amy Irving in "Carrie"

by Jason Adams

When we talk about Brian De Palma's 1976 horror masterpiece Carrie we talk about Actresses. But we tend to talk about the Big Two -- Sissy Spacek as Carrie White and Piper Laurie as her mamma Margaret, who were both rightfully Oscar-nominated. (They both should have won too, says me!) Then if there's oxygen left in the room after talking those two we'll gravitate towards the showier female roles below the line -- Nancy Allen playing one of cinema's greatest bitches Chris Hargensen, or wondering if Betty Buckley's Miss Collins is, in the grand tradition of P.E. teachers, same-sex-oriented.

What I haven't seen nearly enough love for is Amy Irving, who's celebrating her birthday tomorrow and who gives a truly complicated performance as Sue Snell, the girl whose motivations switch midway through, the one who sees through to the error of her ways but too late, and the one who ends up giving the film's tragedy, Carrie's tragedy, its shape....

Click to read more ...