AFI Fest: Ryûsuke Hamaguchi’s ‘Evil Does Not Exist’

By Abe Friedtanzer 

Following Ryûsuke Hamaguchi’s Oscar nomination for Best Director for Drive My Car two years ago and his win in the Best International Feature category, it’s fair to assume most foreign-language cinephiles will be seeking out his work if they weren’t already. I had the chance to see Wheel of Fortune and Fantasy, his other 2021 film, which was very different but just as interesting in its own way. Now, Hamaguchi’s latest, Evil Does Not Exist, is touring the festival circuit, with previous stops at Venice, Toronto, and New York, among others, before the currently running AFI Fest…

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Middleburg 2023: Cannes holdovers and Sofia Coppola's "Priscilla"

by Lynn Lee

Hello TFE readers!  I’m back after some time away, having completed an intense one-year work assignment that left me barely enough time to keep up with the movies, let alone write about them.  To celebrate my return to normalcy, my husband and I spent a long weekend in Middleburg, VA, partly for relaxation (Middleburg’s a pretty little town in horse and wine country, ideal for a fall getaway) but mostly so I could get my fill of movies at the annual Middleburg Film Festival.  As Nathaniel’s reported in the past, for a relatively young, non-centrally located festival, Middleburg punches far above its weight.  It regularly manages to land many of the hot tickets out of Toronto, Telluride, Venice, and Cannes and has been a fairly reliable harbinger of what the Academy will like.  Like the other festivals, it was a bit less star-studded than usual this year due to the SAG-AFTRA strike, yet still generated plenty of excitement due to the sheer quality of the films.

Day One
The festival opened on a high note with this year’s Palme d’Or winner, Justine Triet’s Anatomy of a Fall... 

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Queer Lisboa '23: Sweden's "Opponent" and other festival highlights

by Cláudio Alves

Soon after completing my Toronto Film Festival Coverage, it was time to dive into another fest experience. This turn, it was closer to home, Queer Lisboa being the oldest running film festival in the Portuguese capital, now on its 27th edition. This year, it offered a program rich in stories of marginalized identities and desires, with a particular emphasis on art intent on decolonizing our collective thought and promoting a more progressive view on the labor and lives of sex workers. There was even something for the awards nuts among us – Sweden's official Oscar submission for the 96th Academy Awards, Opponent.

To mark the occasion, let's dive into a selection of titles, starting with that Scandinavian drama, winner of a Jury Special Mention and the Audience Award…

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TIFF '23: Final Farewells and a Jury of One

by Cláudio Alves

Since THE BOY AND THE HERON opened the festival, there was a Studio Ghibli pop-up store. Sadly, I didn't take either of these giant fur babies home. But it was tempting!

All things in life must come to an end, so it's time to say goodbye to TIFF '23. Words will never be enough to express my gratitude to Nathaniel and the Media Inclusion Initiative, whose help made this coverage possible. Overall, I watched 59 features and six shorts, reviewing most of them along the way, and getting positively drunk on cinema. It was especially incredible to experience so many of these films on giant screens, unlike the sort I get to experience in Lisbon-based festivals. To watch something like Rosine Mbakam's Mambar Pierrette on the Scotiabank Theater's IMAX screen is an experience I won't soon forget.

Beyond the films, I met amazing people at TIFF, from fellow critics to festival programmers and ex-directors, editors, and the like. I even got to take a selfie with Abe, my fellow Team Experience member who I only knew through Zoom until now. Pardon the sentimentality, but this was a dream come true…

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TIFF ‘23: A Political Love Story in ‘Shoshana’

By Abe Friedtanzer

Courtesy of TIFF

Those who are confused by the current situation in the Middle East have a long, even more complicated history to consider that explains some of the roots of today’s issues. Shoshana takes place in 1938, when the British control Mandatory Palestine and the Nazis are beginning to conquer Europe. Two separate Jewish underground armies exist, the Haganah and the Irgun, each fighting for their vision of the future Israel, and tolerated and vilified to different degrees by the British forces trying to keep the peace. At the center is Shoshana (Irina Starshenbaum), a Jewish woman romantically involved with English police officer Thomas Wilkin (Douglas Booth)…

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