Toronto Film Festival 2023, Part 1
Sundance Favs Including Anatomy of a Fall and the Zone of Interest
It was a quiet year at the Toronto International Film Festival. With few movie stars in attendance, the only thing closing the streets was a free performance from Nickleback. The strikes have made everything more difficult— the big names that would usually attract audiences in flocks to the road are absent (many of which decided not to attend despite receiving waivers from SAG-AFTRA in support of their peers), and buyers are gunshy on the acquisition titles available because they aren’t sure when they’ll be to promote them. The individuals who’ve worked tirelessly putting these movies together have launched their projects in an inhospitable marketplace. I had thought that there would be plenty of movies to watch over the opening weekend, but once Sunday hit, it felt like there were holes in the program. When the most exciting premier of the day is the emergence of the frequently delayed Next Goal Wins, maybe there was a problem. Add in the new information that TIFF is about to lose its lead sponsor Bell after three decades and you’ve got a TIFF that is in transition.
The first day of TIFF is usually about Cannes Film Festival catchup and this year was no different as I watched four movies that played on the Croisette in May. Happy to report that there was no shortage of quality among these four.
Anatomy of a Fall
Anatomy of a Fall (B+) won the Palme d’Or earlier this year given to the best film from the Cannes Film Festival. Directed by Justine Triet and starring Sandra Hüller as a novelist, she becomes the prime suspect in the suspected murder of her husband. Complicating the crime, the husband was found by their son Daniel (Milo Machado-Graner), who had his vision predominately impaired as an infant after an accident. Eager to prove her innocence in the matter of her husband’s death, Sandra hires an inexperienced lawyer Vincent (Swann Arlaud) to help prove her case. What follows is a pretty familiar courtroom drama that contemplates what is the truth and examines the preexisting prejudices that exist within the judicial system. A story like this is only thrilling due to the sum of its parts and thankfully everyone is fantastic, especially Sandra Hüller. Her performance elevates this drama never letting us into what she’s thinking. There’s a lot of information that presents itself quite conveniently, but it’s hard to fathom what’s truth and what’s fiction. Even long after the film has finished, this one has the power to inspire lively debates. (In Cinemas in limited release on October 13th). A Neon Release.
The Zone of Interest
The Zone of Interest (A) is a harrowing new film from director Jonathan Glazer (Under the Skin). Interest follows the commandant of Auschwitz, Rudolf Hoss (Christian Friedel), and his wife Hedwig (Sandra Hüller), while they try to build their life and social climb while living next door to one of the most hellish places on Earth. What is happening with this German family is far less important than the mass genocide happening on the other side of their lovely garden. Their conversations range from vapid (discussing the lengths they went to obtain a new fur coat) to disturbing (visits with architects ready to construct new crematoriums that are more efficient at disposing of bodies). And none of it would work if Glazer didn’t take the time to tune the audience into his movie. It opens with a black screen where the sounds of nature invade the soundtrack, letting the audience hear and imagine the trauma happening just outside this complacent German household. The whole movie is an exercise in compartmentalization. They are the definition of evil and maybe the only repose the audience receives is that this family will surely get what is coming to them eventually. The Zone of Interest isn’t an easy watch, but it’s a profound statement on what evil looks like. (In Cinemas in limited release on December 8th). An A24 Release.
La Chimera
La Chimera (B-) is the newest theatrical adventure from director Alice Rohrwacher (Happy as Lazzaro). Rohrwacher’s movies exist in an orbit that is between fantasy and reality and that continues with her latest. Arthur (Josh O’Connor) is haunted by his Chimera— something that a person tries to achieve but never manages to find. His problem is that he longs to find his lost girlfriend Benaimina. His best opportunity is by using his unique gift, the ability to locate hidden tombs, to find a gate to the afterlife. He associates with a group of rag-tag grave diggers who loot the crypts that Arthur discovers, selling the trinkets that were left with the departed. Arthur himself lives between life and death, barely having a place he can call home, one or two outfits to his name, and depending on the help of others to survive. Adding to the dreamlike visuals of the movie, Rohrwacher employed three different filmstocks (35mm, Super 16, 16mm) to make the visuals appear like a kaleidoscope. Few filmmakers have the ability to transport viewers to a place between reality and fiction like Rohrwacher and that’s the greatest strength of La Chimera. While O’Connor and his bohemian-like group of friends add to the fantasy, its strengths lie mostly in transporting us away. (Release date pending). A Neon Release
Perfect Days
Perfect Days (B) is the latest feature from German master Wim Wenders. Despite his heritage, this is a Japanese feature through and through and has been named as Japan’s entry to the Academy Awards International Film completion for 2023. Perfect Days stars 2023 Cannes Film Festival Best Actor winner Koji Yakusho as Hiramaya, an older gentleman who has found solace and happiness in the simple things in life. He takes photos with his old film stock camera, he visits the same places every day after work, he enjoys reading, and he is very diligent when completing his work. His work isn’t exactly the best job in the world, he works for a Japanese business known as The Tokyo Toliet, and every morning he goes around his precinct and keeps the toilets fresh and ready to be used for a new day. Since every day is the same, it’s the days that change his daily plans that prove the most challenging. Whether it’s helping one of his fellow employees find young love, or sharing time with his niece who he hasn’t seen in years, Hiramaya is ill at ease when those moments arise, but they’re also the most interesting part of his journey. The movie is most interested in the mundanity of everyday living. While Hiramaya’s life might seem that interesting to us as observers, it’s the one he cherishes each day and all the moments he must’ve given up to maintain it. It’s a delightful film that showcases Yakusho’s great strengths while showing a Japan that is striving towards newness while keeping one foot in the door of heritage. (Release Date Pending). A Neon Release.