TIFF Rankings. Plus: Who Does Nicole Kidman Belong To?

by Nathaniel R

Since I just had my last screening in Toronto, I thought I'd share my list of all the films I watched at the festival this year, in rough order of rank (highly subject to change as all the movies are brand spanking new). It's right here on Letterboxd. Over the next three days we'll finish up our writeups so reviews of A Star is Born and more are coming. 

← The highlight of the fest, other than staying with Joe, Chris, and Nick, and comparing notes each night and reuniting with lots of friends (even long lost Katey Rich!) was meeting Nicole Kidman again...

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TIFF: The Quietude

Nathaniel R reporting from the Toronto International Film Festival

Martina Gusman (Carancho) and Oscar nominee Bérénice Bejo (The Artist) are exceedingly well cast as loving sisters reunited when their wealthy father has a stroke in this sexy family melodrama from Argentina. The sisters are tight despite years of separation but they have dramatically different relationships with their mother (a commanding turn from Graciela Borges) who clearly favors one and disdains the other. Despite the capable and supremely sexy cast (Edgar Ramirez and Joaquín Furriel are the male love interests for the sisters... and, well, who wouldn't be interested?) and a few witty visual moments and firecracker scenes, the movie is a mixed bag. The character arcs don't fully land given the erratic quality of the screenplay.

And I'm not one to normally harp on "the male gaze," a triggering complaint now so frequently overused it's beginning to lose  meaning, but here we have a textbook example...

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Queer TIFF: "Bulbul Can Sing" and "Giant Little Ones"

by Chris Feil

Crafted with a Malickian grace, though with its feet planted more firmly on the ground, Rima Das’ Bulbul Can Sing is a coming of age tale of deep feeling. Set in rural India, many of its notes will seem initially familiar: the innocence of first loves, rampant patriarchal demands, the unity of friendship broken by consequences. What makes this film sink deeper is its refusal to reduce its punishment for the sake of comforting, motivational sentiment. Respecting the humanity of its teenagers, its uplift comes from a human spirit impossible to snuff out completely.

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Cynthia Erivo will play Harriet Tubman

by Murtada Elfadl

Cynthia Erivo who made waves this week at TIFF as one quarter of Widows has announced her next project. She will play iconic freedom fighter Harriet Tubman in Harriet. The film will follow Tubman on her escape from slavery and subsequent missions to free many slaves through the Underground Railroad in pre-Civil War America. More exciting is that Harriet will be directed by Kasi Lemmons of Eve’s Bayou (1997), a film we adore. This will be Lemmons' first film since Black Nativity (2013), in the past few years she’s been directing episodes of TV shows like Luke Cage and Shots Fired.

Joining Erivo in the cast are Leslie Odom Jr.,  Joe Alwyn ( who’s very busy this fall with parts in Boy Erased, The Favourite and Mary Queen of Scots), Clarke Peters (Detective Freamon in The Wire) and surprisingly country music singer Jennifer Nettles.

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A Prayer For Alessandro

by Jason Adams

There's a scene set at the three-quarter mark of Sebastián Lelio's film Disobedience (which I reviewed right here) that shatters me into a million jagged little pieces every single time I watch it. Alessandro Nivola's Orthodox character Dovid has just had a heated argument with his wife Esti (a fabulously good Rachel McAdams) in which she's admitted she loves Ronit (the also fabulously good Rachel Weisz), the daughter of the just deceased Rabbi who's returned home after running away to New York. Dovid is a spiritual leader himself, on track to replace the Rabbi, and he has endless duties to attend to this week of Shiva, or mourning. 

And so Dovid goes to meet with some mourners who've just come in to town for the eulogy service (the Hesped) who it turns out are the choir who will perform at the ceremony. And they sing. The film cuts to a wide-shot - Dovid standing with his back turned to us in the center of the room, surrounded by mourners in black, all facing him. As Nivola turns towards the camera, slowly it moves forward in on him and trains in on his face as the singers crescendo - Nivola keeps everything in this moment internalized; his face hardly moves. 

And its devastating. It's the sort of acting moment that doesn't tear it up in Oscar clips, but it's all the more powerful for its restraint - typical of Nivola's gorgeously low-key approach whenever he goes to bat; think back on his singing scene in Junebug as well. And it's why I'm going to spend this whole awards season shouting his name in the middle of any Best Supporting Actor conversations I come across. 

I keep reading that the Supporting Actor contest seems thin at the moment, before the Awards Contenders all roll down upon us from Toronto and the like - so who are you rooting for Supporting-Actor-wise out of the films we've already seen in 2018?