NYFF '24: "Lázaro at Night" asks what you really want

by Cláudio Alves

Treading the line between documentary and fiction filmmaking, Nicolás Pereda continues his collaboration with the Lagartijas Tiradas al Sol theater collective in his latest film. Lázaro at Night can, at times, feel like an acting exercise spinning out of control yet perpetually low-key, a sort of screwball comedy on a morphine drip. It's the story of three friends in their forties, living in Mexico City, where they pursue work as actors and fall into a peculiar love triangle. In this, Lázaro G. Rodríguez, Luisa Pardo, and Francisco Barreiro are basically playing themselves. Or, at the very least, a fictionalized version of their identities, twisted for the pleasure of Pereda and a film that confounds aplenty but is also captivating in its own odd way…

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TIFF '24: A Dozen Capsules and Final Farewells

by Cláudio Alves

PERFUMED WITH MINT was one of many gems in TIFF's Wavelengths section.

At long last, let's close this seemingly unending TIFF coverage, so that The Film Experience can move on to some NYFF reviews, maybe even some peeks into the Lisbon festival scene. Still, before bidding Toronto adieu, a dozen titles need assessment, even if it's through a cornucopia of capsule reviews, plus a personal top ten to close things off properly. Spread out through five different festival sections and four continents, these twelve final films span from the experimental to the conventional, from dreamy stylization to dry dreary realism. There are beautiful sights to appreciate and performances, too, including a pair of wildly different characterizations from Chilean actress Paulina García. 

To open the belated farewell, I propose a look at my favorite TIFF section – Wavelengths. Within its radical offerings, one can find pictures that look like none other, such unique visions as Muhammad Hamdy's Perfumed with Mint and Jessica Sarah Rinland's Collective Monologue…

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TIFF '24: Oscar submissions from Denmark & Bulgaria

by Cláudio Alves

THE GIRL WITH THE NEEDLE may have benefited from a different title, different expectations.
Like last year, my 2024 TIFF journey was marked by many a Best International Film Oscar submission. I've already written about some of them, including contenders from Argentina, Brazil, France, Germany, Italy, Japan, Palestine, and Portugal. Now, as this protracted post-festival coverage reaches its end – got to move on to NYFF at some point – let's consider the official submissions from Denmark and Bulgaria. The Cannes-competing The Girl with the Needle from Magnus von Horn, and the TIFF-premiering Triumph by Petar Valchanov and Kristina Grozeva dramatize shocking true stories that prove Lord Byron was right. Truth really is stranger than fiction…

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Goodbye, Maggie Smith (1934-2024)

by Cláudio Alves

DOWNTON ABBEY: A NEW ERA (2022) was one of Maggie Smith's last screen appearances.

We always knew the day would come, but it's still difficult to imagine life without the great Maggie Smith among us. Born to a secretary and a pathologist in the interim years between the Great World Wars, she became a respected star of the stage before a jump to cinema in the 1960s expanded her horizons. From temptress to bitter old lady, from romantic heroin to comic relief, dipsomaniac tragedienne, whodunit queen and deranged diva – she could do it all, despite what some might have said about her late-career range or lack thereof. To me, Dame Maggie Smith was a titan, one of my favorite screen presences, and a reliable workhorse who could elevate every project she was involved in, even those that didn't deserve her talents. The British star will be sorely missed and the arts are poorer without her. Nay, the world.

Over the years, multiple writers at The Film Experience have explored the career of the late great two-time Oscar winner. So, let's revisit those pieces and bask in the love for an actress of incomparable wit and unimpeachable craft…

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TIFF '24: From the River to the Sea

by Cláudio Alves

At the Berlinale, NO OTHER LAND won the Best Documentary and Panorama Audience awards.

The 2024 edition of the Toronto International Film Festival was marked by multiple instances of political protest. PETA came for Pharrell Williams, and the documentary Russians at War had its screenings delayed until after the official festival in response to the public outcry against it. While some organizers, guests, and audience members may have grumbled about it, one should expect such demonstrations at an event that purports "to transform the way people see the world" and lead in the "creative and cultural discovery through the moving image." Like every art form, cinema is political – everything is political – and a festival's program can delineate allegiances and avenues of dialogue. In its search for plurality, it can also illuminate contradictions of its own. 

In the realm of political cinema, No Other Land and From Ground Zero, two of the year's most essential films, were screened at TIFF. Both works deal with the plight of the Palestinian people…

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