TIFF ’23: “The Human Surge 3” is cinema’s dream of itself

by Cláudio Alves

I don’t even know where we are and you keep asking where we’re going.

Where is cinema going? Does it know where or what’s ahead? Is it like us - lost in the dark, blindly navigating a road somewhere, maybe nowhere? Perhaps it’s just like us in other ways, too. Can it dream? It must. When it leaves the waking life to visit Morpheus’ realm, it may consider yesterday, today, and tomorrow, others and itself, the possible made impossible, and the other way around, too. Paths appear and disappear as the mind wanders, a string of consciousness twisting itself mad. I’m not sure if writer/director Eduardo Williams’ films know where they’re going, but they’re undoubtedly mad. They dream the future and themselves, infinite possibility.

So it was with 2016’s debut, Human Surge (2016), and so it is with its follow-up, The Human Surge 3, one of the most exciting films at this year’s TIFF…

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TIFF ’23: In “Seagrass,” marriage is a fragile ecosystem

by Cláudio Alves

Down the Pacific coast, there’s a place that looks like heaven but is no safe haven. You reach it by boat, sailing over turquoise waves, the wind carrying hopes of healing and promises of solutions to problems that have none. First-time feature director Meredith Hama-Brown and cinematographer Norm Li capture the environment’s full spectrum of color in their new 1990s-set film Seagrass, rendering bleak material beautiful. Skin tones are sun-kissed, while the deepest shadows are cobalt blue. It’s like we’re seeing the shoreline through a painter’s eyes. We’re not.

Rather than the artist’s gaze, we experience a family’s troubled perspective. They’re two girls and their parents, bound to a couple’s retreat where they hope their marriage will find salvation…

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TIFF '23: Take a trip down to hell with "The Zone of Interest"

by Cláudio Alves

Jonathan Glazer's "The Zone of Interest"

For my first day at TIFF, I planned on starting things off with a Sandra Hüller double feature, the Palme d'Or-winning Anatomy of a Fall followed by The Zone of Interest. The first half of that plan went kaput soon enough, so instead I caught Warwick Thornton's The New Boy. Expect more thoughts on that title next week – for now, it's Glazer time. In any case, what started as a morning predicated on Croisette honors and a German superstar morphed into an extended exercise in how cinema confronts historical atrocities, how parallel realities can coexist within the same landscape, and how sound can force you to see what your eyes do not… 

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Venice 2023: Sofia Coppola's "Priscilla"

by Elisa Giudici

Cailee Spaeny stars in Sofia Coppola's "Priscilla"

Years after her own Marie Antoinette, Sofia Coppola returns with Priscilla weaving another narrative about a teenage queen trapped within a gilded palace. Few storytellers are as adept as Coppola in capturing the essence of female adolescence and the fleeting emotions of someone discovering their true self. (Unfortunately, there is a scarcity of writers and directors interested in exploring such characters.)

From the outset of Priscilla, Priscilla (Cailee Spaeny) is depicted as the quintessential American adolescent girl: there's even a scene of her idly tapping her foot beneath her school desk, lost in boredom and daydreams. This seems like a nod to Britney Spears' "Oops... I Did It Again" music video, albeit without the hypersexualization...

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Emmy Analysis: Lead Actor in a Comedy Series

By Abe Friedtanzer

Lukita Maxwell and Jason Segel in "Shrinking," now streaming on Apple TV+.

Isn’t this supposed to be a comedy category? Yes, two of the shows with a questionable genre distinction -- Barry and The Bear – are represented here, but all five men chose relatively serious fare as their episode submissions. Before we dig in, let’s start with a mention of the three eligible nominees from last year who didn’t make the cut this time around. Donald Glover, a past winner of this category, had his last shot for Atlanta, and Steve Martin missed out on a repeat bid for season two of Only Murders in the Building. Most lamentably, Nicholas Hoult was somehow not selected for The Great. How that’s possible is beyond me, but fortunately the five men who did make the cut are all worthwhile…

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