Lights, camera… Asprin? Stretch those limbs and rest your eyes before the movie marathon known as the Toronto International Film Festival hits town this week. Our reviewers preview the best of the fest (and one notable letdown).
Water
Director: Deepa Mehta
Rating: VVVV
Water brings to a close Canadian director Deepa Mehta’s trilogy, concluding the elemental cycle that began with Fire and Earth, and it proves once again why she is one of the most important Canadian talents in movies today.
Mehta’s films have provoked riots in India amongst fundamentalist Hindus who object to her portrayals of religious ambivalence, feminist struggle, and social inequity. And by “object” we don’t mean “writing an angry letter” level of objection, but more the “assembling a mob, storming the set, and burning it to the ground” variety.
As Water opens, 8-year old Chuyia has already been married to, and widowed by, a man she has never met. By Hindu religious custom, she has been sent to live in a bleak widows’ residence, where the women live a life of self-denial and austere mourning for their husbands. Rebellious Chuyia’s presence disrupts the widows’ routines and forces a few to question their glum situation: Kalyani (Lisa Ray) falls in love with an idealistic young Gandhi follower (John Abraham) and breaks with Hindu tradition to marry him, with tragic consequences.
Ray and Abraham’s romance feels perfunctory, as it mostly serves as a hook to hang the film’s agenda on. The lovers’ bland passion is overshadowed by a deeply conflicted and plaintive performance by Shakuntula (Seema Biswas), as a pious and hard-working widow who begins doubting her faith as the injustices around her pile up. The heartbreaking final scene proves that, while she doesn’t take up the most screen time, it’s really Shakuntula’s story all along.-GFS
Where the Truth Lies
Director: Atom Egoyan
Rating: VVVv
Moving between the past where the story is being weaved to a present where the twists are being uncovered, the intricate plot and story development of Where the Truth Lies will definitely keep your attention.
Where the Truth Lies follows in a similar vein to Canadian auteur Egoyan’s last film, Childstar, by showing the inevitably destructive side of fame. Based on the novel by Rupert Holmes, the story follows the careers and eventual downfall of two Hollywood celebrities from the 1950s (played by Kevin Bacon and Colin Firth).
Karen O’Connor, a young journalist (Alison Lohman) uncovers their involvement in a scandalous murder that led to the end of their successful partnership. The byproducts of their fame-lust, betrayed trust, and sexuality all catch up with them, yet their respect for each other keeps the crime and their involvement a secret. Enter O’Connor, who uses her brains and beauty to reveal what really happened.
Through the many discoveries, she finds herself torn between uncovering the true story and trying to accept who these stars she idolized as a child really were. Their flaws become apparent, yet she finds herself intricately connected to them and her own independence is questioned. Her struggles to remain in control of herself and the evolving story bring their own set of twists.
The film succeeds mainly thanks to the strong underlying story. However, Egoyan keeps up the suspense by maintaining an ever-shifting movement between appearance and reality.-CS
Why We Fight
Director: Eugene Jarecki
Rating: VVVV
Decisions made at crucial moments often have long-felt effects. Winner of the grand jury prize at the Sundance Film Festival earlier this year, Why We Fight starts with the premise that the U.S. reaction to the attacks of 9/11 could have been much different- that it was a rare opportunity which was squandered.
In trying to answer questions about why and how the U.S. got into its current wars, this film explores whether there is a point at which the U.S. military goes from a force for good to a force for imperialism.
Following a roughly chronological path in looking back at the past 60 years, as well as employing a human face-a New York City policeman whose son died in 9/11- the film draws connections between past decisions and the inevitability of the current Iraq war.
It traces the development of the U.S. military and the companies that support it and explains the impact that this has had on American foreign policy. Though viewers may tire of hearing the term “military-industrial complex” for the 15th time, this hard-hitting documentary gets across the real sense of urgency currently facing the U.S.
In addition to providing solid background into understanding how and why the world’s only superpower relates to other nations, one is left with a sense that when war becomes this profitable, there is little doubt that we will continue to see more of it.
Why We Fight is the ideal antidote for anyone who may have been glued to 24-hour news networks after the attacks of 9/11 or during the build-up and downfall of the last Iraq war. Highly recommended.-CS
Familia
Director: Louise Archambault
Rating: VVVV
This top-notch French-Canadian chick flick about mothers and daughters earned the opening night slot in the festival’s Canada First! program (which showcases films by first-time Canadian directors or, as in Archambault’s case, first feature films by Canadian directors).
For those of us that remember teenaged parental tyrrany, Familia will strike a resonant chord. Though the characters in this film are taken to extremes, it’s done in such a manner that the viewer can still empathize with their behaviour. It’s easy to sympathize with the fucked-up moms in Familia, and the rebellious daughters are moving examples of the difficulties of adolescence.
The premise of the film centres around Michèle (Sylvie Moreau), a compulsive gambler who leaves her husband when he cuts her off financially, taking her daughter Marguerite (Mylène St-Sauveur) on the run with her. They find shelter at the home of Michèle’s old friend Janine (Macha Grenon), whose teenaged daughter Gabrielle (Juliette Gosselin) is the same age but far less worldly than Marguerite. The two young girls soon bond over their problematic relationships with their mothers, who both have more than their share of neuroses and destructive secrets.
The Martha Stewart-like ice queen Janine and the lotto-addicted Michèle realize their differences run deep as the plot unfolds to expose infidelity, unexplained pregnancy, abuse, and lies.
The acting in the film stands out, particularly the performances of the young cast members. Gosselin and St-Sauveur are two very talented young women who make the story come alive in all its highs and lows (though the lows tend to be more remarkable-it is a drama, after all).
Familia is moving, entertaining, and deals with unpleasant subject matter in a way that is refreshingly open and positive. Instead of serving as a cautionary tale, this film presents flawed characters coming to terms with their inadequacies. Archambault’s first feature is a sure winner.-JF
Capote
Director: Bennett Miller
Rating: VVVV
A film that focuses on the subtle dimensions of its flamboyant title character, Capote will certainly be recognized as a highlight at this year’s festival. The true story of Truman Capote recounts the creation of his most sensational novel, In Cold Blood, which revolutionized non-fiction writing. The film follows Truman, a colourful homosexual socialite played by Philip Seymour Hoffman (Boogie Nights, Magnolia), as he seeks the makings of his masterpiece.
A family of four is brutally murdered, and Capote recognizes the opportunity for a successful story. He begins a series of interviews with one of the murderers, Perry Smith. As Capote investigates the facts with Perry, the two forge a bond that will lead down a dangerous path.
What culminates is a portrait of the duplicity in Capote’s character. During the interviews, he is both a friend to Perry and a journalist seeking recognition. He plays on Perry’s hopes of being represented in a more sensitive light to a society that has already deemed him a monster. The film captures Capote’s struggle to either stay loyal to his subject or exploit his trust for the success of the novel.
Capote is a poignant study of a troubled personality, which will likely garner recognition for the often overlooked Hoffman (finally playing a leading role commensurate with his talent) come awards season.-RS
Thumbsucker
Director: Mike Mills
Rating: VV
With its folk-drenched soundtrack, postmodern subject matter, and classic coming-of-age story, Mike Mills (known primarily for his music videos and album art)’s Thumbsucker tries to be The Graduate for today’s know-it-all, scientific-prognoses-for-everything age. Unfortunately, this movie (a big crowdpleaser at Sundance earlier this year) plays it very safe.
The film’s titular “thumbsucker” is Justin Cobb, a struggling 17-year-old student played by Lou Taylor Pucci, who has won several awards already for his performance. Taking advice from his parents (Vincent D’Onofrio, Tilda Swinton), his debate team teacher (Vince Vaughn), and his free-spirited dentist (a hilarious Keanu Reeves), Justin replaces his Linus-esque obsession with medication for ADHD. Predictably, he becomes a brilliant yet somewhat unstable youth.
The quirky concept of a young adult engaging in an infantile activity makes the film initially oddly relatable, as Justin stumbles through school and scoring. However, the film loses its spirit as soon as Justin takes the meds, showing his new state in a more appealing light rather than a discouraging one. In addition, the film’s exposition of the flaws of the parents is an indication of a filmmaker not having confidence in the one character who is worth having the movie all to himself. As a result, Thumbsucker is as cowardly as its childish protagonist.-MM
For more on TIFF, see Colin Tait’s guide to taking in the festival cineaste-style.
