TIFF: Nicole Kidman and "Destroyer"

by Nathaniel R

One of the screenwriters of the sun-blasted crime thriller Destroyer, describes the movie as "a detective investigating herself." Allowing a screenwriter rather than the reviewer to pigeonhole their movie may be an abdication of duty, but an appropriate one; Destroyer has long gone rogue, flashing its badge but totally off the clock. Even the LAPD, which we all know has behavioral trouble of its own, wouldn't approve of Detective Erin Bell's (Nicole Kidman) "police work" in the real world.

You can't imagine that she'd still be allowed that badge given her AWOL behavior and frequent intoxication but realism isn't what Destroyer is after. Director Karyn Kusama, introducing the movie at TIFF told us to "enjoy" it, providing her own finger quotes around the word, betraying a welcome sense of humor which is unfortunately little seen within the film. But again, levity is not what this relentless film is after...

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Viola Davis has regrets about 'The Help'

by Murtada Elfadl

Viola Davis has some regrets about her Oscar-nominated performance in The Help (2011). In the film she played Aibileen Clark one of several black maids - along with Oscar winner Octavia Spencer - interviewed by a young white journalist (Emma Stone) who’s writing a book about the racism and prejudice they faced in 1960s Mississippi. At the time the film faced criticism of having a white saviour problem. That is, only dealing with racism from the perspective of the white characters and what they do to combat it.

It’s a story as old as film, with numerous examples. Some set in the US like Driving Miss Daisy (1989) and others elsewhere, Cry Freedom (1990), to name just a couple. Davis agrees with that take, telling the NYTimes in a recent interview...

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Soundtracking: "Adventures in Babysitting"

by Chris Feil

Ah, midcentury girl group bliss. In previous columns like My Best Friend’s Wedding or last week’s 45 Years, I’ve discussed how this upbeat era of soulpop music has been used to embody romantic tunnel-vision optimism and traditional (sometimes quite gendered) expectations of love inside the melodies. This era’s brand plays an obviously great tool to reveal hidden longings and sadnesses, but what of actually reveling in their joy? Enter lipsync queen Elizabeth Shue in Adventures in Babysitting, truly being all of us when The Crystals’ “And Then He Kissed Me” plays.

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Six More Foreign Film Oscar Contenders

by Nathaniel R

We're now up to 36 entries for Best Foreign Language Film, so  over one-third of the way to the full list. Of the six latest announcements The Heiresses has had the arguably highest profile at festivals but the Russian entry is the most "typically Oscar-like" in subject matter, though that thankfully matters less than it once did, even in the foreign category. 

• The Great Mystical Circus Brazil
  A century in the life of a family of circus owners. This is the 7th time Brazil has submitted a film by Carlos Diegues. He's their most frequently submitted director but none of his submitted films have been nominated. 
• Graves Without a Name Cambodia
  Rithy Panh created Cambodia's only Oscar nominee (the brilliant documentary The Missing Picture). This is another doc on the same topic: the Kmer Rouge and genocide
• Polyxeni Greece 
  The plot sounds intriguing. A young Greek orphan with a lust for life, is adopted and raised by a wealthy Greek-Turkish couple, unaware that people are plotting and after her large inheritance. Greece used to automatically submit the winner of the Thessaloniki Film Festival but those awards have since been abolished. The new big prizes for Greek films are the Hellenic Film Awards (often referred to as "the Iris" like we call the Academy Awards "Oscar"). They began in 2010 with Dogtooth as their first winner but winning the Iris (which Polyxeni did) doesn't automatically get you the Oscar submission since the submission is now decided by a committee. 
• Sunset Hungary
  It's László Nemes' follow up to his Oscar winning debut Son of Saul. He's gone further back in time from World War II in the previous picture to just before World War I for this story of a young woman who wants to be a milliner in a hat shop previously owned by her parents.
• The Heiresses Paraguay 
  Lesbian drama about a formerly wealthy woman restarting her life after her longtime partner is imprisoned. Among its several festival prizes is the promising Best Actress win at Berlinale.
• Sobibor  - Russia 
  A true story of a prisoner uprising at an extermination camp in Russia during World War II.

Related:
FOREIGN FILM PREDICTIONS
FOREIGN FILM SUBMISSION CHARTS

TIFF Review: "Wildlife"

by Chris Feil

Paul Dano’s directorial debut Wildlife is a period domestic drama with a fire in its gut. It’s the kind of piercing portrait of a family that makes you want to marinate in all of its surprising details just as you desperately want to escape its breathlessly realized pain.

Picturing an emotionally desolate suburban America of shitty lawns and ranch style homes, Dano strikes a balance between toughness and compassion, cruelty and honesty. It's as if its family was built on the fault line of two massive tectonic plates and no matter how violent the inevitable eruption that is to come, it might be sadly better that they be ripped apart. For everyone.

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