NYFF: "Isabella"

by Sean Donovan

As part of their series of drive-in events, the New York Film Festival programmed Matías Piñeiro’s latest Shakespeare-influenced drama Isabella alongside Pedro Almodóvar and Tilda Swinton’s delicious queer treasure The Human Voice (previously unpacked by Nathaniel). In some ways this choice makes sense: both films relish in vivid expressions of color, the kind of experiences you would want to have in as close to a theatrical environment as we can get right now. But in terms of intensity and impact the films could not be more different, Human Voice’s sledgehammer playfulness is a misplaced introduction to Piñeiro’s foggy and ultimately disappointing drama.    

Isabella is named after the main character of Shakespeare’s Measure for Measure, one of the bard’s ‘problem plays’ positioned awkwardly between comedy and drama. Isabella displays no proclivities towards the comedic, but it may have internalized the problem play position of being stuck between choices and controlled by doubt...

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NYFF: "Night of Kings"

Our coverage of the New York Film Festival -- you can buy virtual tickets to most of these films -- continues.

by Nathaniel R

The prison movie is its own specific subgenre, holding close to its own tropes, structural familiarity, and character types. Though we've never been imprisoned, we imagined these are culled from reality as much as imagined from collective nightmare. As a general rule, we long for escape from well worn genres, but in some cases it's useful shorthand. Such it is with Philippe LaCôte's Night of Kings, the buzzy Ivory Coast Oscar submission which we suspect might have been too confusing to resonate for Western audiences, were if not for these familiar, even universal, elements...

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New Fest Lineup!

by Nathaniel R

 Paul Bettany is "Uncle Frank" in a road trip film from Alan Ball
New York City's leading queer film festival is now in its 32nd year. And this year you don't even need to be in NYC to attend since they've gone virtual...

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"Nomadland" wins TIFF's People's Choice

by Nathaniel R

This year's TIFF has wrapped. Normally we cover it extensively, as you know, but they cut out a big swath of press this year including us... *cries*. Hopefully we'll return next year and if not we'll have to find a new favourite festival to obsess over. Herewith the winners and some Oscar stats, and if we've already discussed the movies, there's a link...

AUDIENCE PRIZES

People's Choice: Nomadland dir. Chloé Zhao.
(First runner up: One Night in Miami... dir. Regina King; Second runner up: Beans dir. Tracey Deer.)
People's Choice, Documentary: Inconvenient Indian dir. Michelle Latimer. 
People’s Choice, Midnight Madness: Shadow in the Cloud dir.  Roseanne Liang. 

That's right ALL of the audience prizes this year went to female filmmakers! Even the runners up were directed by women. The People's Choice Award is major bragging rights since it often signals kind Oscar fates down the road. Basically it would be a shock if Nomadland misses the Best Picture nomination at this point afterwinning TIFF and Venice though One Night in Miami has less convincing stats on its side. The stats go like so... 

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On "Nomadland" and other Venice winners

Please welcome guest contributor Elisa Giudici. She saw all the Venice competition films and she brings us this special report!

By Elisa Giudici

The oldest Film Festival of the world was the first to roar back from the pandemic. Venice International Film Festival president Francesco Ciccutto and artistic director Alberto Barbera worked hard to organize this year's edition. At first, it played like a fever dream: an international film festival in one of the nations that lived through the most severe lockdowns and highest death count just a few months ago?

Hollywood majors and newer realities like Netflix, which in the recent past Venice would coddle with attention, betrayed the Venetian Mostra, and didn't send a single movie. Old friends rallied, though.  Pedro Almodóvar, Luca Guadagnino, Ann Hui, and Abel Ferrara wanted to be in Venice to help the Mostra. They were supported by European festivals early on in their filmmaking and didn't forget them in their time of need... 

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