NYFF: The visual wonder of "The Tragedy of Macbeth"

By Nathaniel R

“When” is the first word of Shakespeare’s Macbeth, uttered by one of three witches. Though the word precedes a question it sounds more like a definitive statement in Joel Coen’s The Tragedy of Macbeth; the writer/director even grants the word its own solo title card. Later the word “Tomorrow” will also grace the screen alone. Time, we immediately understand, is at the heart of the latest big screen Shakespeare. And it’s running out. Coen’s adaptation casts two older-than-usual actors as the titular Lord (Denzel Washington) and Lady (Frances McDormand). As a result their infamous power grab plays like a violently desperate game of “last chance”…

Click to read more ...

Dan Stevens is a tempting romantic ideal in "I'm Your Man"

by Matt St Clair

Despite having otherworldly leading man looks, Dan Stevens has a clear affinity for playing eccentric character roles. That being said, some of those roles that he’s played, like flamboyant, implicitly gay Russian singer Alexander Lemtov in Eurovision Song Contest and the enigmatic titular character from The Guest, have allowed him to play into his sex appeal. The German sci-fi romance I’m Your Man, which is opening today in US movie theaters, is a continuation of that trend. 

Stevens plays Tom, an android designed to be the perfect companion, someone with perfect looks who is programmed to fulfill the every need of their human partner...

Click to read more ...

TIFF: Alison Pill and Sarah Gadon in ‘All My Puny Sorrows’

By Abe Friedtanzer

 

Certain feelings and states of being are entirely subjective, and that leads people to judge others based on the limited amount they’re able to perceive. Competing for the most legitimate reason to be unhappy is never a productive exercise, and yet many think that someone else can’t possibly have it as bad as them or have as much of an excuse to feel the way they do. Sadness can only be truly experienced and quantified by the one experiencing it, a concept navigated in the moving drama All My Puny Sorrows, screening in the Special Presentations section at TIFF…

Click to read more ...

TIFF Review: Céline Sciamma’s ‘Petite Maman’

Abe is covering a few selections from the Toronto International Film Festival remotely.  

By Abe Friedtanzer 

Expectations play a big part in the experience of watching any movie. One of the major factors I consider when selecting what I’m going to see at a film festival is whether I’ve seen (and liked) the director’s previous work. I was fully intrigued by the concept of revisiting the mind of Céline Sciamma, whose last feature was Portrait of a Lady on Fire, which I think may be one of the few films that everyone at Team Experience can agree that we loved. Well, let’s start by clarifying that her follow-up, Petite Maman, couldn’t be any more different…

Click to read more ...

Nathaniel in Venice: "Power of the Dog" and "Madeleine Collins"

Nathaniel reporting from Venice, day 1 part 2

Day 1 (continued). I didn’t expect death to linger so completely over Parallel Mothers and curiously my opening night at the fest kept on inviting the grim reaper in. The first day of screenings ended with Jane Campion’s The Power of Dog in which death is far less of a subject but clouds the vast Montana skies.  But first I took in Madeleine Collins, a French addition of our favorite subgenre here at The Film Experience, Women Who Lie To Themselves™  in which everyone in the film avoids talking about a death they probably should have spent lots more time processing.  

Madeleine Colllins (Antoine Barraud)
Elisa already hit the highlight of the film in her brief capsule, but it bears repeating: Virginie Efira! Virginie Efira! Virginie Efira!

Click to read more ...