"I'm Armie"

our ongoing adventures at TIFF 2017

Timothee Chalamet, Armie Hammer, and Luca Guadagnino at the after party for CALL ME BY YOUR NAME

Armie Hammer is very tall (6'5" according to IMDb) but less intimidating than that heighth and his big screen beauty would suggest in real life. Let's set the scene.

It's the after party for the TIFF premiere of Call Me By Your Name  at a swank Toronto steakhouse called STK. I arrive slightly underdressed -- you can always spot the writers by their more casual attire than the stars/industry/scenesters -- and quickly down my "director's cut."...

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Top 5 Films Without Repeating a Language or Country

by Sebastian Nebel

Name your Top 5 films without repeating a language or country of origin.

That was the challenge I posed on Twitter last month. It's tricky enough to limit your favorites to a specific number, and I was interested in seeing what kind of responses this added degree of difficulty would garner.

Turns out Twitter loves making lists! I got a ton of replies – way too many to collect all of them here, unfortunately. But I've rounded up a handful of them after the jump including lists by The Film Experience contributors, film critics and film makers...

edgarwright @edgarwright

The Good, the Bad and the Ugly (Il buono, il brutto, il cattivo)
2001: A Space Odyssey
Police Story (警察故事)
Delicatessen
Santa Sangre (Holy Blood)

— August 28, 2017

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Looking back at 1985: The Black Cauldron

Tim here. This month at the Film Experience, we're celebrating the year 1985 in movies, and in the chronicles of animation history, that can mean only one thing.  I refer to the evergreen tale of how Walt Disney Pictures nearly extinguished itself during the hideously protracted, agonized production of the animated feature The Black Cauldron.

This was near the end of almost two straight decades, following Walt Disney's death in 1966, during which time the company with his name on it couldn't put a single foot right. The days of Marvel, Star Wars, and billion-dollar cartoons weren't so much as a glimmer at this time; Disney barely existed as a film studio at all, but was internationally known almost exclusively for its theme parks. Still, live-action films trickled out every so often, and about once every four years, the animation studio would try its hand at a new cartoon. The most ambitious and expensive of these by far was an attempt at adapting the five books of Lloyd Alexander's 1960s series The Chronicles of Prydain into a high fantasy epic like the world of animation had never seen.

There were two main problems with this scheme...

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YNMS: A Fantastic Woman

by Ilich Mejía

Since screening at Berlinale earlier this year, and now at TIFF and Telluride, A Fantastic Woman (Una Mujer Fantástica in Spanish) has been generating very positive talk. It is Sebastián Lelio's follow up to 2013's wonderful and under-appreciated Gloria. The film stars trans actress Daniela Vega as a waitress mourning her lover in what looks like will be another queer classic from this year. 

Let that stunner of a trailer sink in after the jump and let's discuss the Yes No and Maybe So of it all... 

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TIFF: Haneke & Huppert Return with "Happy End"

by Chris Feil

Michael Haneke is back to satirizing the upper class for Happy End, a bitter comedy on conscious distraction and privilege in the digital age. The film opens with ominous Snapchat footage and is peppered with live time Facebook chat and email screenshots that feel strangely right at home in the auteur’s aesthetic. But this isn’t Haneke’s treatise against internet platforms - in his eye, these are just other ways to reveal our disaffected, sometimes wicked selves...

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