NYFF 64: “Clarissa” is the best “Mrs. Dalloway” adaptation you’ll ever see

by Cláudio Alves

Between Wuthering Heights and The Odyssey, much has been said this year about the merits and demerits of film adaptations straying from their source material. Most of the time, I’m a defender of unfaithfulness in the transformation of a text between mediums. Indeed, some of the most interesting aspects of both those box office success stories are precisely the dialogues established between them and their literary origins, deviation as conversation. Moreover, the general public’s idea of fidelity to a text can be superficial, to say the least, and believe me, I’m trying to be diplomatic in my choice of words here. Some would say Arie and Chuko Esiri’s Clarissa is a wild re-imagining of Virginia Woolf’s Mrs. Dalloway, unfaithful as can be in its transposition of a narrative set in post-WWI England to contemporary Nigeria.

They would be wrong. Not because the Esiri brothers don’t do what I’ve just described, but because, in this gesture, they have managed to capture the essence of Mrs. Dalloway in ways no other cineaste has to this day. Step aside, Gorris and Daldry, for there are new masters of putting Woolf on screen to join Sally Potter in her tiny pantheon. And it’s precisely through their changes to the classic novel that they manage to make Clarissa the best Mrs. Dalloway we’re likely to see in the annals of film history, yesteryear’s and those to come, purists be damned…

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Review: "Digger" is as Frustrating as it is Confounding

By Ben Miller

Alejandro G. Inarritu's Digger is sure to be divisive. While you might have an understanding of the film's tone and messaging early on, a sharp-left turn in the narrative reframes your entire comprehension of what transpires. It's a real mess.

It's going to be very difficult to talk in detail about this film without discussing spoilers, but if you are confused by reading my review, imagine how you would feel in the theater. When the "twist" happens, I stared at the screen incredulous about what I was watching. "This? This is what the film is doing?" You can't even get your bearings on the new reality of the film before it switches back to how it started. It's an insane way to make a film, and an even more insane way to present it...

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NYFF 64: Austria’s “Rose” is much more than merely another Sandra Hüller showcase

by Cláudio Alves

While our TIFF 51 coverage isn’t over – sometimes, it feels like it will go on forever, with Eurocheese and I falling into Sisyphus' fate – one must acknowledge the other big festival of the moment. Right now, the New York Film Festival is blessing audiences with some of the best in world cinema, from September 25 to October 12. As we’ve done in years past, Joanna Sodeman-Taylor will join me in covering the fest from a distance, relying on screeners and whatnot. Hope you enjoy this wild virtual ride.

To kickstart these NYFF musings, why not consider another Best International Oscar submission? This one’s from Austria and last Berlinale’s Best Leading Performance Silver Bear winner, Rose. Indeed, most of the chatter about Markus Schleinzer’s latest has focused on Sandra Hüller’s work, a tour de force at the heart of a film that, nevertheless, is much more complicated than a mere acting showcase. Set in the aftermath of the Thirty Years’ War, Rose is a story assembled from various cases documented in legal archives of the time, about those who were born as women to society’s eyes yet assumed male identities to liberate themselves from the limits of their sex. In the 17th century and beyond, there were and there are many Roses…

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TIFF 51: Germany’s “Everytime” and Italy’s “The Spiral”

by Cláudio Alves

Every year, a good part of my TIFF journey involves seeking the films that will eventually compete for the Best International Film Oscar. After all, here at The Film Experience, we’ve always prided ourselves on giving in-depth coverage to a race many overlook. Sometimes, the films have already been submitted by their nations by the time I arrive. Toronto. Sometimes, the news comes midway through the fest, after I’ve watched a picture and dismissed it despite the fun we had together. Who knew AMPAS’ most awarded nation would go so wacky, even tacky, for their selection? As to why I decided to pair these two? Well, they both offer portraits of families in crisis, grief as seen through the prism of mothers on the verge of a nervous breakdown. And yet, they couldn’t be more different.

From Germany, a country already in the running thanks to Berlinale winner Yellow Letters, we have Sandra Wollner’s Everytime, which took first prize in Cannes’ underrated Un Certain Regard competition. From Italy, the rare horror film to fight for the Venice Golden Lion and a Midnight Madness delight for the Toronto crowd, Paolo Stripooli’s The Spiral…

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TIFF 51: Jury of Two, Part I

Let’s take another break from those endless TIFF reviews, with Cláudio Alves and Eurocheese appointing themselves juries to choose the best of the fest, beyond Best Actress chatter.

I AM ROCKY was the People’s Choice Award runner-up at TIFF, just behind LA BOLA NEGRA. Will its popularity be reflected in Cláudio and Eurocheese’s picks?

EUROCHEESE: Having covered our favorite leading ladies at the Toronto International Film Festival this year, Cláudio and I will be naming our favorites in a number of categories. To start things off, let’s stick with the actressexual theme.

BEST SUPPORTING ACTRESS

Many actresses were considered for this category, and there were some formidable runners-up. Adia matched her on-screen father, Mahershala Ali, in Your Mother Your Mother Your Mother, where Cláudio was right to call out the intensity of their scenes together. Olivia Colman may have a small part in Elsinore that registers mostly as a potential detractor, but of course she still finds enough notes in it to make her scenes with Andrew Scott sing. I also appreciated Gemma Chan’s loving but inadequate parenting in Josephine. In the end, though, there was a clear top choice…

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