TIFF: Relating to Amy Adams in "Nocturnal Animals" and "Arrival"

Nathaniel R reporting from TIFF. The festival is winding down now but my mind keeps drifting back to the Amy Adams double feature on day two. If there were gif walls featuring all of Amy Adams close-ups in both of her movies this year, they would accurately describe this critics innermost thoughts about the movies they came from. Read on and I'll elaborate (without spoilers) though we'll obviously revisit and go into more detail when both movies actually...ahem... arrive in mid November which is unofficially 'Amy Adams Month' according to distributors.

ARRIVAL (Dir. Denis Villeneuve, US)
Paramount Pictures. Opens on November 11th

In this gripping and sensationally crafted sci-fi drama, adapted from the short story "Story of Your Life" by Ted Chiang, Amy Adams plays Dr. Louise Banks. Dr Banks is a prominent linguist who is recruited by the government to attempt to communicate with extra-terrestrials. They have arrived on Earth or, rather, are hovering above it in twelve space crafts each in a separate area of the world, appearing to do nothing at all. Will the world's fearful governments nuke the ships or can Dr Banks save the world (if it's even threatened?) by learning why they've come?

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TIFF: François Ozon's Elegant "Frantz"

Nathaniel R reporting from TIFF

Frantz is dead when Frantz begins though everyone who knew him keeps willing him back to life through memories and the general refusal to let go. The movie has a terrifically simple plot generating event which reaps bountiful plot threads and emotions: In 1919 Germany, just after the first World War, a young girl named Anna (Paula Beer, Venice Winner Best Young Actor) repeatedly encounters a Frenchman named Adrien (Pierre Niney) while visiting her dead fiancee Frantz's (Anton von Lucke) grave. Then he comes knocking at her door. Why is he there? What does he want with Anna and Frantz parents? At first she and Frantz's parents (Ernst Stötzner and Marie Gruber, both superb) are wary about him since the wounds between the countries are still fresh. Quickly they warm to him though, much to their town's disapproval, when they realize that he knew their beloved Frantz (who had always loved Paris before the war).

Told in roughly two acts, the first in Germany is superb with a fine curtain closer if it were a play. (In fact, Frantz feels nearly like a full movie right then and there.) The second act in France, is perhaps too much of a good thing as the film suffers from repetition. Still the emotional arcs and tough emotional questions (is it better to lie than to cause more suffering?) are beautifully rendered. Ozon's hand is assured and elegant throughout. In fact, his queer gaze makes Frantz a more complex journey than it would have been with another director. Flashbacks to the young soldiers as friends are highly romanticized, nearly erotic. And this idealization is at fascinating odds with the film's feelings about romanticizing war and what the characters lives otherwise tell us about them. (In black and white with shifts to color a few times, always when Frantz appears in flashbacks, but more mysteriously on two other occassions.)

Grade: First Act: A / Second Act: B
MVP: François Ozon
Oscar Chances: France has four finalists for the Oscar submission this year. We're rooting for Elle but I think either that film or Frantz is likely to make the finals (9 films) at least with Oscar's foreign committee should it be the one that's selected.
Distribution: Music Box Films will release Frantz in the US. No dates have been announced yet but I suspect first quarter of 2017. 

TIFF on Fire: "Pyromaniac" and "Death in Sarajevo"

Nathaniel R, reporting, still at the Toronto International Film Festival where you'll notice I tend to give dual grades. This is the way to go in the mad rush of festival going. As nourishing as festivals can be from a cinephile, they aren't actually the best climate in which to generate definitive feelings because when you're done with one piece of art you have to rush on to the next one. Here are two films I saw this week that were quite combustible.

Dag lights up a small Norwegian town... unfortunately it's with matches.

Pyromaniac (Dir. Erik Skjoldbjaerg, Norway)
One of Norway's best known directors (Pioneer, Insomnia) is back with another unsettling thriller. The peculiar dichotomy of a fireman who also sets fires is the focus. Create your own dream job, they do always say. Dag (Trond Nillsen, King of Devil's Island) is the son of the local firechief and when he returns to his hometown after military service a small town is suddenly plagued by arson, first in the woods but slowly closing in on actual residences. As fires go this thriller doesn't build to an inferno, as a more traditional movie might, so much as it threatens to consistent. Like someone waiting with gasoline by a small fire. The result is a discomforting slow burn, elevated considerably by artful intuitive detours with female characters. These don't serve the plot so much as bring humanity up face-to-face with inexplicable evil; some see it for what it is (one scene with a piercing scream and a lit match is absolutely terrifying), others flippantly dismiss it. Dag's own mother (a great Liv Bernhort Osa) is handed the painful evasive denouement. [Trivia Note: Strangely Norway has yet to submit Skjoldbjaerg for the Oscar race in Best Foreign Language Film though he's been a finalist before and was again this year. They didn't even submit him for his international breakthrough Insomnia (1997) famously remade by Christopher Nolan a few years later.] B/B+

a talk show host and her volatile guest come to fascinating verbal blows

Death in Sarajevo (Dir. Danis Tanovic, Bosnia & Herzegovina)
Bosnia & Herzegovina's Oscar Submission
Danis Tanovic came to fame with the anti-war drama No Man's Land (2001) which took the Oscar for Best Foreign Language Film in its day. Fifteen years later Tanovic is still committed to deeply felt statement films and still righteously angry about senseless wars. The entire film takes place within a cash-poor luxury hotel in Sarajevo that will soon host a meeting of European dignitaries. Everyone is on edge, nobody is getting paid, the workers are ready to strike, and guests are arriving. Though the film beguns with the taping of a talk show on the violent cycles in South Slavic history, fears that this might be little more than educational history lesson were quickly assuaged by strong storytelling and multiple interesting characters like the hotel's laundress, a lovelorn cook, an ambitious female manager, and the cerebral but fierce talk show host and a guest she berates as a "thug" who fits this description but is multi-faceted, too. In one witty but distressing bit another guest of the talk show praises the affect of all the civil wars on the Bosnian people  'it protects us from uniformity of thought.' Uniformity of thought is not a problem with these characters. We know that all the separate stories with their personal dramas and opposing agendas we'll eventually collide (that's what happens in this subgenre of drama) but it's still fascinating to watch them braid together and Tanovic does this artfully. Some of the political content still went over my American head -- especially the story of a man rehearsing a political speech (the film is based on a one man show "Hotel Europe" and this section seemed to be the most direct lift). But as with all fine political dramas, this one understands that politics is personal and vice versa. B/B+ 

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TIFF: Michelle Rodriguez & Sigourney Weaver in (re)Assignment

Nathaniel R reporting from the Toronto International Film Festival

We must ban the use of the word "problematic" so that it may be deployed to describe pop culture offerings which are PROBLEMATIC in all caps. (re)Assignment is one of those, even if its too dumb to capitalize on its sophomoric provocations.

A hired hitman named Frank (Michelle Rodriguez...with prosthetic dick because her figurative big one wasn't enough) is drugged and operated on by an amoral vengeful doctor (Sigourney Weaver) and wakes up with breasts, vagina and a smoother more beautiful face...

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TIFF Quickies: A Monster Calls, Colossal, Santa & Andrés

Nathaniel R reporting from the Toronto Film Festival 

A Monster Calls (JA Bayona, USA/Spain)
This fable about grief and growing up will surely be someone's favorite movie. Alas, it isn't mine. A Monster Calls is a simple fantasy about a boy named Connor (Lewis MacDougall) whose mother (Felicity Jones) is dying of cancer. His grandmother (Sigourney Weaver) and father (Toby Kebell) attempt to console him but the only solace Connor can find is in visitations from a giant tree monster (voiced by Aslan... excuse me, Liam Neeson) who promises to tell the boy three stories in exchange for the boy's own. The film is somewhat moving and fantastically visual in its three animated stories within the movie; they're sensory overload mashups of computer generated imagery, watercolor fluidity, and bold color choices. In both its earthbound and magical moments, though, A Monster Calls is relentlessly gilding the lily. It's so concerned with putting its parables over that its' constantly explaining them and telling us how to feel about grief and loss. Still, Bayona's movie is always coming from a place of compassion and humanity which can be a godsend in the soulless landscape of CGI heavy movies. While the tech elements are strong, particularly sound and visual effects (though why does the creature look so much like Groot?),  it all comes down to the boy and his mother if you want the tears. MacDougall & Jones are beautifully cast as they both look and feel like mother & son. MacDougall, who made his debut as a Lost Boy in Pan last year, impressively carries the movie with something like ease while filling up all the unspoken spaces with heartbreak and fury about his impending loss. Felicity Jones half-gone feeling in her final scenes provides generous Oscar clipping. If only the movie had given the emotions more room to breathe and to speak for themselves. If trees can walk and talk, and demand that we listen, feelings deserve the same respect. Less CGI and scripted preaching, more intuitvie tears, please. [Animated Stories Within the Movie: B+ /Movie: C+ ]

Colossal (Dir. Nacho Vigalondo, Canada)
Finally a movie that Hathaway fans (*raises hand high and shamelessly*) and the "Hathahaters" can enjoy together. This oddball movie from Spanish director Nacho Vigalondo places Anne Hathaway at the center of a kaiju movie. Nope, she's not a scientist or a hero - believe it or not she's the kaiju. Yes, she's Colossal's rampaging beast destroying Seoul ... not figuratively but actually! She's also "Gloria" a drunk who gets thrown out of her boyfriend's apartment (Dan Stevens) and ends up returning to her hometown where she takes a job with a former friend (Jason Sudeikis) who still harbors a crush. When Gloria realizes she's unknowingly wreaking havoc all the way around the world she's even more freaked out by her self destruction and drunken blackouts. If that all sounds like it might work better as a midnight madness short, you could be right. Colossal starts brilliantly with a priceless perfectly-pitched prologue in South Korea with a little girl and her dolly. Though it's numerous twists have a kind of welcome insanity, the length of the thing, and particularly its deadly over-investment in the Jason Sudeikis character (to the detriment of Gloria's own emotional arc) undoes it. Lop off an entire half hour of this film's running time and it might just work as a delightfully weird and funny cult oddity but as it is Colossal is something of its own kaiju, an lumberingly awkward, self-destructive beast which keeps crushing the precious little movie its building. [Anne Hathaway's Willingness to Do This Project: A / Movie: C+]

Santa & Andrés (Dir. Carlos Lechuga, Cuba/Colombia)
Havana born director Carlos Lechuga takes aim at the disconnection of idealogies amongst Cubans in this 80s set drama about a homosexual writer deemed a dissident and the woman assigned to monitor him to keep him from contacting international press and delegates at a local political event. Initially this drama's slow burn doesn't seem to be paying off with a dull first half hour and lots of shots of Santa & Andrés warily staring at each other and barely speaking. But their eventual emotional, if not political, understanding is wonderfully portrayed by the actors and smartly delineated in the screenplay. What the patient filmmaking lacks in verve it makes up for in insight, with each painfully tentative kindness between them feeling like a precious miracle in a climate of hopelessness. B