TIFF: Robert Eggers' euphoric hell of "The Lighthouse"

by Chris Feil

As gloopy with various bodily fluids as it is with sea foam, Robert Eggers’ The Lighthouse lulls us into insanity from its first foggy frame. Diverging from the more straightforward horrors of his debut The Witch, Eggers thrusts us into the isolate hellscape that is the male mind with this Mellville-esque absurdist dark comedy. The bizarre quotient is high, both in the film’s psychosexual hysterics and crusty verbal dexterity, as the film devolves into an abstract battle of the wits and wills of two men meant to preserve the titular phallic monument. It’s genius and a complete hoot.

Set over a century ago on an offshore island, this tempestuous and physically taxing setting plays host to the two male egos of Robert Pattinson and Willem Dafoe’s lighthouse watchmen. Dafoe’s superstitious, more experienced Thomas immediately puts Pattinson’s Ephraim to back-breaking arduous work, dominating him further over candlelit dinnertime monologues...

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Kirsten Dunst Becomes a God in Central Florida

By Spencer Coile 

Back in 2017, I wrote about Kirsten Dunst’s “return to glory” with her performances in The Beguiled and Woodshock. What I foresaw as glory didn’t exactly materialize - The Beguiled had its ardent fans but no real awards traction, Woodshock was quickly forgotten. Two years later, and Kirsten Dunst receives a star on the Hollywood Walk of Fame and is center-stage in the Showtime original series, On Becoming a God in Central Florida, but for Dunst, something still feels missing. 

Her interview on SiriusXM’s “In Depth with Larry Flick” gave Dunst a chance to discuss how she feels slighted by the film industry - an industry that, she claims, pans her films and then celebrates them years later. Major awards? She’s nabbed two Golden Globe nominations and an Emmy nomination. She even won Best Actress at Cannes for Melancholia though that doesn’t necessarily translate to mainstream attention. It is our sincerest hope here at TFE that Kirsten Dunst’s performance on On Becoming a God in Central Florida starts getting her the credit she's deserved for decades...

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Let's Spend Forever With Kent

by Jason Adams

I don't know how you guys all felt about The Nightingale -- that is if you've gotten the chance to see The Nightingale -- but Jennifer Kent's divisive second film has been, for me, a 2019 favorite. Add it up with The Babadook and I'm ready to follow Kent anywhere now, and it looks like we know where she's taking us next -- to 1890s Tennessee to be precise. 

She'll be adapting Alice + Freda Forever, Alexis Coe's 2014 true-crime retelling of a story that captivated / horrified the unprepared nation, involving two teenage girls who fell in love and whose sapphic obsession quick turned to violence and most unsavory murder...

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Portugal's Oscar Finalists

by new contributor Claudio Alvez

a biopic on the queer 1980s singer António Variações could be Portugal's Oscar submission

In the history of the Best International Film Oscar (formerly known as Best Foreign Language Film) no country has as many failed submissions as Portugal. It’s been submitting films every year since 1980 and yet, not one of them has managed to secure a nomination. As a Portuguese cinephile and Oscar buff this has always saddened me and I doubt this Awards season will change anything. 

At the moment, there are four finalists for the Oscar submission. A special jury has selected Rage, Parque Mayer, Variações: Guardian Angel and The Domain. Following this, the Portuguese Academy of Cinema (Academia Portuguesa de Cinema) will vote on the eventual Oscar submission. The results should be known this month, perhaps around the time The Domain arrives at Portuguese cinemas. Right now, it’s the only one that hasn’t opened yet, having just been shown at the Venice Film Festival where it’s competing for the Golden Lion. It’s also the only finalist I haven’t watched, though I can give an overview of the four films...

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TIFF: "Atlantics" haunts and hypnotizes

by Nathaniel R

Atlantics made history earlier this summer when it became the first film directed by a black woman ever to compete for the Palme d'Or at Cannes. Though it lost the top prize Atlantics was a winner generating a lot of "must-see" buzz and eventually taking the Grand Jury Prize. Given that reception Netflix swept in to snatch it up for future streaming. Now that it has a home we wonder if it can continue to make waves, if you'll pardon the oceanic pun.

On the one hand it'd surely be tough to convince people to see a Senagalese movie without any easy summary or hook from a debut director. In that regard we're thankful Atlantics has a future firmly in place. On the other that futures is a double edged sword. As with Roma before it, which was also light on dialogue and rested on great cinematography and a brand new actress playing a quiet passive protagonist, its considerable strengths are entirely cinematic. Memorable images abound with clever lighting choices and a robust but never gaudy color palette. Atlantics bold and unsubtle sound will transfer with greater ease to in-home viewing with the constant roar of the ocean competing with an intrusive but sometimes inspired 80s influenced electronic score...

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