TIFF '23: "Pictures of Ghosts" Sings a City Symphony

by Cláudio Alves

When I walk around Lisbon, I often pass by places that once were cinemas, temples of art and communion left abandoned or transformed for new commercial purposes. There's a big one that got bought by an Evangelical church years ago, its screening room turned auditorium for religious spectacle. I've witnessed some of these changes, but many had already happened by the time I found myself alone in the city. My parents' memories and souvenirs tell the stories of a metropolis I never knew, invoking ghostly cinemas I wish I had seen. Lisbon is a graveyard for a moribund culture, the moving image surviving in a few palaces that persist, raging against the dying of the light.

While watching Kleber Mendonça Filho's Pictures of Ghosts, I couldn't help but translate its reflections to my beloved Lisbon. I imagine most cinephiles will do the same for their homes. It's an identification that shouldn't betray the Brazilian master's intent, which is deeply personal. But in specificity, the universal resides...

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TIFF '23: Love! Sex!! Cinema!!!

by Cláudio Alves

"The Beast"

So far at TIFF '23, no film has more stubbornly remained in my thoughts than Bertrand Bonello's The Beast, an ambitious genre-bending experiment with shades of Henry James' "The Beast in the Jungle" and incel rhetoric. You can't fault the French maverick for a lack of ideas, but I'm not sure they all coalesce. Still, it persists in the upper levels of my mind, nagging for reconsideration, spiking me with lost images I saw projected monument-like on an IMAX screen. Truthfully, I've never been as intimately acquainted with Léa Seydoux's face, and at times, she looked like a beautiful titan about to devour the audience, mayhap the whole universe.

The Beast's thoughts on love across the ages are especially fascinating in how they compare to other artists' visions of the amorous realm. The Feeling That the Time for Doing Something Has Passed and Fallen Leaves couldn't be more different, so let's talk all three after the jump...

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TIFF '23: "Not a Word" finds mother and son at the world's edge

by Cláudio Alves

It's always curious how shared themes and repeated motifs can spread through a film festival's program. At TIFF '23, motherhood is among the hottest topics, especially concerning the bonds and barriers between single mothers and their adolescent sons. Another more unexpected trend is how many titles enjoying their North American or World Premieres recall Todd Field's TÁR, as if that work had echoed a shape-shift sound through the art film scene. None of this means cineastes are copying each other or that festival programmers are indulging in redundancy. It's merely a thought-provoking coincidence that can lead the viewer down the road to comparison and offer new avenues of analysis. Amid the similarities, you may grow to treasure each project's specificity, their points of divergence.

Consider Hanna Antonina Wojcik-Slak's Not a Word, where a busy orchestra conductor raising her son alone is confronted with the boy's inherent unknowability…

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TIFF '23: Sophie Nélisse in ‘Irena’s Vow’

By Abe Friedtanzer

There’s a reason that there are so many films about the Holocaust. The attempted conquest of Europe and the whole world by the Nazis resulted in millions of innocent lives lost and countless others irreversibly altered. Fortunately, there were more than a few people who made the brave decision to stand up for those who couldn’t advocate or fight for themselves. These stories typically make for poignant cinematic tales. The latest is Irena’s Vow, which stars Sophie Nélisse as a Polish nurse who risked her life to safeguard a group of Jews…

Like La Rafle, The Zookeeper’s Wife, and A Hidden Life, this film centers on someone who was not Jewish but who found herself significantly disenfranchised when the Nazis invaded her country...

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TIFF '23: "Do Not Expect Too Much From the End of the World" is one wild ride

by Cláudio Alves

So many films wear the label of "provocative" as a medal of honor, boasting about their challenges to the audience and engaging shock. Yet, most of those reveal themselves as anything but, their provocation an empty buzzword  for a press release. Because disappointment is so common, it feels doubly refreshing when a genuinely provocative film comes about, like a punch to the solar plexus that makes you smile and beg for more. That's the case of Radu Jude's Do Not Expect Too Much from the End of the World, a Locarno prize-winner recently announced as Romania's official submission for the 96th Academy Awards. Pardon the vulgarity, but it's a fucking masterpiece...

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