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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TIFF: Foreign Oscar Hopefuls from Hungary & Belgium

by Nathaniel R

On day one of TIFF two official Oscar foreign film submissions, one emphatically weird but kind of irresistible and the other mainstream but lush and erotically charged.

what's that panda doing in her bed?

On Body and Soul (Hungary)
Written and directed by Ildikó Enyedi 

Ildikó Enyedi first came to niche fame in 1989 winning the Camera d'Or at Cannes for My Twentieth Century the story of identical twins separated as children who both board the Orient Express as much different adults unaware of the other. The film had a succesful arthouse run in the US and was submitted but not nominated for Best Foreign Film at the Oscars. 28 years later Enyedi is winning prizes again for another film that concerns doubling...

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Review: Must-see Sundance hit "Beach Rats"

This review was originally published in Nathaniel's column at Towleroad. It is reprinted here with their permission.

‘I can’t see you,’ potential hook-ups keep telling him as he cruises them online from his dark room. Could he turn on a light? Frankie, this Brooklyn teenager in the dark, begrudingly obliges still trying to shield himself with a baseball cap. He takes endless torso and body-part selfies. They’re revealing but only of his flesh, depersonalized thirst traps for the older men he cruises. Some people don’t want to seen.

Or aren’t ready to be...

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Reviewish: "Atypical" on Netflix

by Ben Miller

Keil Gilchrist headlines "Atypical" as Sam, a teenager on the spectrum.

Full disclosure: I am not objective.

Generally, a reviewer would attempt an unbiased look at how a piece of entertainment could appeal to the masses.  We all know this is not the case in reality.  Everyone comes in with their own experiences and assumptions, which we base our opinions on.  I want you all to know that I did not review Netflix’s new series Atypical without my own preconceived notions.

My son has autism.  I have been wavering on whether I wanted to give Atypical a chance.  It could go the This is Us route and over-sentimentalize everything, or it could go down the I Am Sam road and make everything offensively “special”.  There is a delicate balance with shows that deal with disabilities.  On top of that, I know a whole lot about autism that a casual viewer doesn’t...

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Review: Wind River

by Lynn Lee

It should come as no surprise that writer-director Taylor Sheridan, currently hot in Hollywood after his Oscar screenplay nomination for Hell or High Water, is an actual, bona fide cowboy.  Perhaps that’s why his work feels like such a throwback—to an era in which quietly capable men, silently toting unspoken burdens, took on the joyless task of meting out frontier justice.  At the same time, he’s shown a canny gift for placing such old-school archetypes in a distinctly modern, of-this-moment social and political context, making their struggles feel unexpectedly timely or, rather, timeless.  That gift is on ample display in his new film, Wind River, which is now in wide release after nabbing the best directing prize in the Un Certain Regard category at Cannes earlier this year.

Set on a remote, wintry Indian reservation in Montana, the film marks the third installment in a loose trilogy of Westerns penned by Sheridan (the first two being Sicario and Hell or High Water), though Wind River is the first one he directed...

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