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 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | letterboxd

 

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Entries in Canada (21)

Sunday
Oct192014

Podcast Leftover Pt. 2

Here's part two of our long delayed festival wrap in which we discuss favorites, celebrity run-ins and hilarious Q&A anecdotes. Enjoy the conversation with Nick Davis, Nathaniel R, and special guests Angelo Muredda and Amir Soltani and continue it in the comments

Discussion includes but is not limited to:

  • It Follows
  • Felicity Jones, Mike Leigh, and Viggo Mortensen
  • Documentary greats from Silvered Water to The Look of Silence
  • Iran's Oscar Submission
  • Directors: Mike Leigh, Peter Strickland, Lav Diaz, Jessica Hausner, and Damian Chazelle

You can listen at the bottom of the post or download on iTunes tomorrow

Festival Leftovers. Pt 2

Friday
Sep052014

TIFF: Mommy = Xavier Dolan's Best

Nathaniel's adventures at TIFF. Day 1

Technically speaking day 2 has just ended and it was an incredible day with consistently great films and memorable offscreen moments. But one day at a time. Day 1's highlight was the Cannes holdover Mommy from Xavier Dolan.

It's attention-grabbing from its first frames with an unusual aspect ratio. Technically speaking it's a 1:1 but if that means nothing to you (I'm not an aspect ratio geek either) know that it's square. Since square is not our beloved and horizontally familiar widescreen, the image feels alarming vertical, more akin to a cel phone shape. This description helps convey the movie's undeniable modernity but it doesn't convey it's lush beauty. (I've heard Mommy knocked as 'the first instagram movie' but, hey, Emmanuel Lubeszki is on instagram so let's not knock it as a Beauty Delivery System.) 

Technical film geekery aside, know this: the screen can barely contain the movie's explosive feelings. Hell, the aspect ratio can't even contain this movie's explosive feelings in one of its own best and most atypically tender jokes. 

MORE...

Click to read more ...

Wednesday
Sep032014

Off to TIFF: Nathaniel's Journey Begins

For the curious among you this is my very tentative list of films on my very jam-packed schedule at TIFF. This will be the 10th anniversary of my very first trip to TIFF from which my fondest memory was sitting behind Gael García Bernal and Javier Bardem for the premiere of The Sea Inside (the fondness of the memory is due to the view, not the movie). I haven't been attending annually but perhaps last year's short trip was the start of a tradition?

This list is highly subject to change - there are always cancellations, late starts, pop ups which all throw off schedules, you can try to follow the critical buzz which will throw off the schedule, you can meet with friends for food and conversation which will throw off the schedule, and you can sleep which will throw off the morning screening schedule. It's a madcap journey: eye strain, memory loss, and international film culture await up north. Some of these films are scheduled because I'm dying to see them, others less so because they fit exactly into the proposed schedule at an opportune moment. I'm going to try to skip some "must sees" like Maps to the Stars, Clouds of Sils Maria and more but 'WHY?' you shout in anger? Here's why: ten or so mouthwatering titles from TIFF's abundance are part of the New York Film Festival and those screenings begin in NYC literally the day after TIFF wraps. 

on my tentative schedule
1001 GRAMS (Norwegian Romantic Drama)
BANG BANG BABY (Canadian Musical)
CHARLIE COUNTRY (Australian Drama)
CUB (Belgian Horror)
DUKTHAR (Pakistani Drama)
FAREWELL PARTY (Israeli Drama, Ophir Nominee)
FORCE MAJEURE (Swedish Oscar Submission)
FOXCATCHER (Channing Tatum in a singlet. I think other people and things are in it, too.)
THE GATE (Cambodian/French from the director of "Indochine")
THE GOLDEN ERA (Chinese epic starring Tang Wei from Lust, Caution)
A HARD DAY (South Korean drama)
IMITATION GAME (Benedict Cumberbatch as Alan Turing breaks the enigma code)
IN HER PLACE (I already forgot what this one is)
KINGDOM OF DREAMS AND SADNESS (Documentary)
THE LAST FIVE YEARS (Musical)
LABYRINTH OF LIES (German Drama)
LIFE IN A FISHBOWL (Icelandic Oscar Probability)
A LITTLE CHAOS (Kate Winslet back in corsets. Whoooo)
LOS HONGOS (I already forgot what this one is)
MARGARITA WITH A STRAW (Indian, LGBT)
MISS JULIE (Jessica + Colin)
MOMMY (new Xavier Dolan) 
THE NEW GIRLFRIEND (new François Ozon)
OCTOBER GALE (from the director of "Cairo Time" starring Patty Clarkson again)
OUT OF NATURE (Norwegian Drama)
PHOENIX (German)
A PIGEON SAT ON A BRANCH REFLECTING ON ITS EXISTENCE (Swedish Oddity)
THE PROPHET (animated)
RED AMNESIA (Chinese Thriller)
RETURN TO ITHACA (from the director of "The Class")
THE RIOT CLUB (from the director of "An Education")
SCARLET INNOCENCE (I already forgot what this one is)
SHREW'S NEST (Spanish Thriller)
SONG OF THE SEA (from the filmmakers behind "The Secret of Kells")
STILL ALICE (indie Julianne Moore drama)
THEORY OF EVERYTHING (Eddie & Felicity court each other and Oscar)
TODAY (Iranian drama)
THE TRIBE (Ukranian Oscar Probability) 
WILD (Reese hikes toward Oscar #2?)
WILD TALES (Argentinian comedy) 

Anna Kendrick with the brilliant composer Jason Robert Brown ("The Last Five Years")

That's 40 films and I can guarantee I won't actually see that many and it's unwise to if you hope to remember any of them. But wish me luck in staying very roughly on track. Remember this: comments and retweets and shares are helpful fuel for those on the run from screening to screening. Follow Me on Twitter and Instagram if you want smaller and more frequent updates in addition to the reviews I'll be offering here.

What About the Blog? 
I'll try to get you one TIFF diary a day. Meanwhile the team has some fun stuff planned for you while I'm up North including more "back to school" pieces, a Team Top Ten and a mini fest celebrating the centennial of Robert Wise. 

Friday
Aug082014

Breaking: The Foreign Oscar Charts Have Arrived!

I've been chart happy this week as you can see. The Oscar charts were all updated two days ago. And now the Foreign Language Film Submission Charts - all three of 'em - are up. Have to be ready when September hits, you know!? The three foreign film submission charts are now up:

 

 

You can always access the Oscar charts from the pulldown menu on the navigation bar. (But you must know that already.) Only the first chart has a lot of information (read: speculation) since only one country has officially announced. That would be Hungary's tense critically lauded allegory White God. But the charts will grow. UPDATE: Turkey and Poland have all announced. We have a race!

For now let's talk about a few random countries and films that might come into play...

CANADA (7 nominations & 1 win)
Coming off his coronation of sorts at Cannes Xavier Dolan's Mommy seems like the most obvious choice but it's not the only choice. In fact, Xavier Dolan's Tom at the Farm is also eligible; that one is damn prolific. Canada has only submitted Dolan once with I Killed My Mother but they've had a strong string of contenders and actual nominees lately. Denys Arcand, Canada's favorite son when it comes to Oscar (4 submissions, 3 nominations, 1 win) also has a new film out called An Eye For Beauty so who knows. More Canadian features are coming - there's a whole sidebar at TIFF of course.

CZECH REPUBLIC (9 nominations & 3 wins)
They have several options but the one I'm most intrigued by is called Hany. Watch this trailer [NSFW]. I'll tell you why after you do...

It was shot in a one long continuous take a la Rope (well mostly) and Russian Ark! And considering that, it looks fairly complicated, well populated, lively and ambitious. I really want it to be their submission because a) that's cool and b) then we can compare it to Birdman which is reportedly edited to look like it was all shot in one take.

 

ISRAEL (10 nominations)
From 2007 through 2011 Israel was hot-hot-hot with foreign language branch voters securing four of its ten nominations. Israel is the most nominated country never to have won the Foreign prize (Mexico & Poland are also oft-nominated without a statue to show for it). The frontrunner for their submission this year appears to be Gett: The Trial of Viviane Amsalem starring and co-directed by Israel's awesome movie star Ronit Elkabetz (of Late Marriage, Or, and The Band's Visit fame). But when the Ophir nominations are announced in a few days we'll know more about its competition. You have to score at the Ophir Awards to be their submission.

Any guesses as to what your favorite country is submitting this year?

 

 

 

Wednesday
Aug062014

HMWYBS: The Saddest Children in the World Trilogy

For this week's Best Shot episode, the last 'detour' before the final three classics for the season, I wanted to introduce all of you to the short films of Jamie Travis. The Canadian filmmaker has only made one feature, the phone sex comedy For a Good Time, Call... (2012) and he's been making a living with commercials and the MTV series Faking It of late.  His true claim to fame and the reason we should all root for bigger feature film things to come are his two short film trilogies.

Jamie Travis and the trilogy that hooked me

I first became obsessed with his work when I was on a festival jury and saw the first film in the Patterns trilogy, a trilogy which might be semi-accurately described as a fusion of Lynchian nightmare, oddball musical, and romantic dramedy. A few years ago I geeked out and embarrassed myself when I met him at a retrospective of his work at the Nashville Film Festival. It's not every short filmmaker who wins shamelessly adoring fans and festival retrospectives of their work!

For Best Shot, we're looking at his first trilogy 'the Saddest Children'. The films are only related by subject matter but they're worth watching in order because they get better and better and give you the opportunity to watch an artist perfect his original voice. What follows is my short write up on each film, followed by the Best Shot choices on other fine blogs. Click on those photos to be transported to the adjacent articles and make sure to watch the films themselves. As per usual reading other pieces makes me think "why didn't I see, respond to, or  get that in that way?!" which is half the reason I love doing this series.

WHY THE ANDERSON CHILDREN DIDN'T COME TO DINNER (2003)
In which three morose seven year-olds long to escape the mother who keeps overfeeding them...

Click to read more ...

Saturday
Jul262014

NewFest: "Futuro Beach" and "Gerontophilia"

This double feature review was originally printed in Nathaniel's column at Towleroad

Help, he’s drowning! In good movies so don’t rush to the rescue. Both the opening and closing night films of this week’s satisfying NewFest (July 24th-29th), NYC's annual LGBT film festival in partnership with OutFest, begin with a drowning. Both drownings become romantic catalysts for the lifeguard, but the films couldn’t be more different in tone or purpose so it’s surely a coincidence. NewFest got the order right, opening with the dramatic punch and ending with a sweet drive into the sunset.

In the Brazilian/German film FUTURO BEACH, which opened the annual LGBT film festival Thursday night, two tourists are hit by violent waves. Lifeguards rush in to save them but only one survives. Donato (Wagner Moura) shaken up by losing his first swimmer, seeks out the survivor's friend, a sporty motorbike enthusiast named Konrad (Clemens Schick) to explain the process for dealing with the body. Soon they're angrily rutting, caught up in the disorienting and wrenching drama. Their hookup appears destined to burn bright and die quick due to its emotionally disconnected start and its rapid and frank visual presentation -- English language cinema still lags far behind European cinema in its depictions of sex; the full frontal here is presented as if it’s no big deal.

[More...]

Click to read more ...

Friday
May232014

Posterized: Xavier Dolan

Mommy, which spurred spirited conversation at Cannes (and really wowed our woman on the ground, Diana) and could walk away with a prize this weekend (as literally all of director Xavier Dolan's previous features have but for Tom at the Farm, which went the Venice/Toronto route instead).

Xavier Dolan at the photocall for "Mommy" at Cannes, 2014

I remain perplexed that an international star with this much critical cachet and this many easily marketable elements (young, hot, queer) hasn't found a deep pocketed patron in the world of US distribution, in the way many auteurs do. Think of how Miramax used to favor certain directors or the way Sony Pictures Classics really invested in building the Pedro Almodovar brand. I keep hoping a younger edgier disribution company (my dream: A24) will fall in love with him because with the right promotion and cultivation, he'd have a devout following Stateside. For now, if only here, he'll have to make do with critics and really hard-working cinephiles who attend festivals regularly.  

The Canadian wunderkind just turned 25 and Mommy is his fifth feature in five years. If he keeps up this pace he could have a filmography that's impossible to be a completist about later on. Get in early and sample the goods. They're yummy. Distributors might not have made it easy for you wherever you live, but at least Netflix has been kind. How many of his previous features have you seen?

 

I Killed My Mother (2009)
Dolan's debut won much acclaim at Cannes including two prizes and became Canada's Oscar submission (it was not nominated). Much film festival chatter and an international release in major cities around the world, EXCEPT THE US, kept the buzz going for another year. Supposedly it hit US theaters this past March (yes, in 2013, four years after taking international cinephilia by storm) but I want proof that it actually happened because it seems like every year since 2009 we were told it was opening. [Available on Netflix Instant Watch]

Heartbeats / Imaginary Lovers (2010)
This unrequited love triangle, available on Netflix Instant Watch, won the "Regards Jeunes" at Cannes and was released in the US briefly in 2011 under its new boring title. [Nathaniel's Review at Towleroad]

Laurence Anyways
(2012)
This trans epic, Netflix to the rescue again, ran nearly 3 hours, and was the first that Dolan didn't star in himself. It took another two prizes at Cannes ("Queer Palm" and "Best Actress") and a brief US release in 2013. [Glenn's love for this movie is huge.]

Tom at the Farm
(2013) 
This thriller about a young man (Dolan) attending his lover's funeral in the country, only to discover that the lover was closeted and the family virulently homophobic, is still awaiting US release. [Nathaniel's TIFF Review]

HOW MANY HAVE YOU SEEN?