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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TIFF Review: "The Old Man and The Gun"

by Chris Feil

David Lowery has already proven a difficult director to pin down easily, giving us film’s as divergent as Aint The Bodies Saints, Pete’s Dragon, and A Ghost Story. His newest film, The Old Man and the Gun, fills some of the spaces between those, and a clearer directorial voice is beginning to take shape. Lowery’s films want to immerse us in a feeling, to mire over circumstances that have inevitable ends we fight against. And this time, his film also pointedly faces its own metafictional end by showcasing what is to be the final performance of Robert Redford as a con man refusing to give up the habitual ghost of robbing banks.

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Review: "Atypical" Season 2

by Ben Miller

When Atypical debuted last year, it was not accompanied by widespread critical acclaim or a zeitgeist-catching wave of popularity.  It was seen as more of a niche show with some issues, but with room to grow and a modest budget. Season two didn’t have built-in expectations that a show like Stranger Things or the final season of House of Cards will have. This proves a blessing: with zero expectations, Atypical has now grown into the show we hoped it could be...

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Queer TIFF: "Rafiki"

by Chris Feil

Already famed for being banned in its home country of Kenya for having a positive outlook on its lesbian lovers, Rafiki is a mostly conventional coming out and of age tale. That is if you wish to divorce it from its very specific context in African cinema. A teen love story less interested in breaking narrative molds than it is environmental ones, Wanuri Kahiu’s debut stands out by presenting queer people within its own vision of contemporary Nairobi. While its expected beats and the familiarity of its narrative trajectory present some limitations to our enthusiasm, the film comes alive mostly by creating a palpably real world.

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Queer TIFF: "Touch Me Not"

TIFF kicks off today!! In addition to our regular coverage, Chris Feil will be covering a sampling of the festival's LGBTQ global cinema...

Adina Pintilie’s Golden Bear-winning piece of experimentation and sexual reflection Touch Me Not opens on a landscape of the naked male body, anonymous and alien, shot with a deliberate distance that doesn’t deceive the film’s tension between curiosity, impulse, and terror. While this quickly establishes the psyche of Pintilie’s piece, it is about to become far more personal, with its players all playing themselves or versions thereof. Its fourth wall is never broken because it was never built in the first place.

The film centers largely on two emotionally stunted characters (or “characters”), struggling to experience both physical and emotional connection...

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