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TIFF16

ARRIVAL: Guess Who’s Coming to Earth?

February 14, 2017 by Steve Norton Leave a Comment

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America needs Arrival.

Directed by Denis Villeneuve, Arrival begins on the day that (the latest) aliens appear over major cities around the world. Resting silently and still above the earth, these objects send the population into a moment of fear as everyone awaits what will happen next. When the military begins the process of communicating with their visitors, they assemble a team led by linguist Louise Banks (Amy Adams), theoretical physicist Ian Donnelly (Jeremy Renner), and US Army Colonel Weber (Forest Whitaker). As humankind teeters on the verge of global war, Banks, Donnelly and Weber take a chance that could threaten their lives, and quite possibly, humanity.

Despite the familiar premise, Arrival is far from your traditional ‘alien invasion’ film. While films of this genre generally play out with intergalactic space battles or wanton destruction (yes, I’m looking at you Independence Day: Resurgence), Arrival carves out it’s own unique and compelling place amongst the very best of science fiction by focusing on the pratfalls of language.

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Caution: Potential spoilers ahead…

Playing out like a sci-fi vision of the Cold War, humans and aliens wait anxiously to see who will make the next move. Will it be an act of aggression? An offer of peace? Unlike other sci-fi entries, the real tension within this film exists in the realities of learning how to communicate with another who you neither understand nor trust. Of course, the obvious implications of this are between human and alien… however, the film reveals that similar issues lie amongst the people of Earth themselves.

Having first seen the film at the Toronto International Film Festival in September, I found myself struck by the boldness of this film. However, to be honest, I could never have predicted how timely it would become. Living in the shadow of the Presidential election, it has become frighteningly clear of the breadth of the divide amongst the American people. As thousands of people protest the election results in rallies across the country, philosophical differences have never been more apparent and anger and fear appear rampant amongst the people. The ability to humble ourselves and have conversation has given way to bitterness and resentment.

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As a pastor, I wonder where ideas like either ‘Judge not, lest ye be judged’ or ‘love your neighbor as yourself’ have gone in a moment like this.

But Arrival hasn’t forgotten.

Here, as military officers increase the pressure to attack their visitors, linguist Banks cries out for patience, even when the communication seems as though it’s gone awry. As the challenges of communication increase, Banks and her team recognize the value in the other and fight for the reality that words matter. They understand that one narrative doesn’t tell the whole story—and that that builds bridges.

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In a time where American culture seems primed to rip itself in two, the notion of seeing beyond our own views and truly listening to one another couldn’t seem more poignant.

In the end, Arrival is a film about risking our lives not for a cause, but for the benefit of others. It’s a film about leaning into suffering for the sake of receiving blessings along the way.

It’s a film that shows that every life matters and that communication requires humility on our behalf to connect us.

America needs Arrival.

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Special features include a look at language (“Xenolinguistics: Understanding Arrival”), sound and score (“Acoustic Signatures: Sound Design”, “Eternal Recurrence”), the editing (“Nonlinear Thinking”), and time (“Principles of Time, Memory & Language”), all the main elements (in addition to Adams) that make the film great. 

Filed Under: Film, Reviews, TIFF Tagged With: aliens, Amy Adams, Arrival, Denis Villeneuve, Forest Whitaker, Independence Day, invasion, Jeremy Renner, science fiction, SciFi, TIFF, TIFF16, Toronto, Toronto International Film Festival

Colossal Undertaking – An Interview with director Nacho Vigalondo

November 2, 2016 by Steve Norton Leave a Comment

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When it finally receives its wide release, Colossal will surprise everyone. Given that it will most likely be marketed based on its supernatural elements, the film may seem like a simple monster mash-up.

But don’t tell that to the film’s writer and director, Nacho Vigalondo.

“It’s a mix,” he explains. “50% comes from my love towards monster movies and kaiju eigas. The initial premise is my way to approach those genres from a funny and, at the same time, accessible approach to me as filmmaker. The other 50% is my life, all my shades and bright moments.”

Written and directed by Vigalondo, Colossal tells the story of Gloria (Anne Hathaway), a woman who is dominated by her addiction to alcohol. After her boyfriend (Dan Stevens) ends their relationship and throws her out of his house, she returns to her family home in an attempt to find herself once again. While the Earth deals with a catastrophic kaiju crisis across the globe, Gloria takes a job in a local tavern and re-establishes relations with it’s owner (Jason Sudeikis), a childhood friend with whom she’d lost touch. As the two begin to reminisce and rebuild, Gloria soon realizes that she has a strange connection with the events taking place on the other side of the world.

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For Vigalondo, having the opportunity to work with stars like Oscar-winner Hathaway and comedy veteran Sudeikis was amazingly fortunate, especially considering that their names were brought to him.

“Those were the first names offered and today I can´t think of a better casting for this roles,” he muses. “They are talented, clever, and both surprising.”

What’s more, in an interesting twist on the kaiju genre, Colossal shifts the monster mayhem to Seoul, Korea, as oppose to the more traditional Japanese setting. For Vigalondo, however, the setting actually speaks more about the way American culture grapples with disasters that take place around the globe that do not affect them directly.

“Seoul represents [the] ‘not-USA’,” he begins. “[It’s] a nation struggling with a disaster that American people within the comfort of their houses contemplate, try to understand, and make jokes about.”

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With this in mind, one setting that is important to the film is the local tavern where the friends congregate each night. Gathering together until the early hours of the morning for drinking and storytelling, this location seems to take on the role of sanctuary for the characters. Nonetheless, Vigalondo also believes that the bar carries with it an element of danger as well.

“Not just the bar, but [more] specifically the “men cave” beyond the Country and Western side—the place where they drink after 2 am. That´s the place that works as the ultimate shelter for these characters, but it´s a trap. I’ve been there.“

What sets Colossal apart from other monster films (other than, arguably, the kaiju films developed overseas) is its ability to balance both character-focused drama with city-crushing monsters. (No offence Guillermo, but Pacific Rim hardly contained intimate personal issues.) Vigalondo admits that the film serves as metaphor for one woman’s struggle with addiction.

“The movie disguises itself as a cautionary tale about alcohol and addiction,” he explains, “but reveals [itself to be] something else as the story unfolds. The monster initially feels like a projection of Gloria´s (Anne Hathaway) troubles but later we see it´s just her.”

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Of course, any film is better off with Anne Hathaway leading the cast. With Hathaway’s incredible talent and range, she is able to portray Gloria as a woman in pain yet gradually discovering strength and hope. When asked where that hope comes from, Vigalondo explains that he believes true power comes when we’re forced to make changes in our lives.

“That was one of the most tricky parts while writing the script. How can I make this character survive this situation while saving as much lives as possible? As in real life, in order to change, you need to experience a breaking point and, after that, you need to think about yourself in new terms. Out of the box. That what she does, it´s not about being more strong, but to change the nature of your strength.”

With Colossal, Nacho Vigalondo has created something truly unique and captivating. By it’s unique blend of character-driven indie and kaiju film, Vigalondo manages to explore the damage that can be done to our souls by others while still offering sci-fi elements and humour. Both fun and serious, the film will truly give you something you’ve never seen before.

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Colossal, which made its debut at the Toronto International Film Festival in September, is currently touring the festival circuit but is expected to receive a wide release early in 2017.

Filed Under: Film, Interviews, TIFF Tagged With: alcohol, Anne Hathaway, colossal, Festival, Godzilla, Guillermo del Toro, Jason Sudeikis, kaiju, monster, movie, Nacho Vigalondo, TIFF, TIFF16, Tim Blake Nelson

tiff16: JACKIE

September 19, 2016 by Steve Norton Leave a Comment

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Focusing on the week following the assassination of John F. Kennedy, JACKIE follows on the life of former First Lady Jackie Kennedy Onassis (Natalie Portman) as she is forced to simultaneously grapple with her husband’s death, the demands of her position and the eyes of the public.  Framed around an interview with Jackie, the narrative form allows for an exploration of not only her character but also the public perception of her.

Directed by Pablo Lorrain, this film is intent on examining Jackie’s character from multiple angles.  By making use of her famed Emmy-winning tour of the White House on Christmas Eve in 1961, the film provides an interesting contrast to her behaviour behind the scenes as well.  Her image carefully crafted for her public persona, she also demonstrates an emotional courage and depth that most pundits had dismissed due to her fame and beauty.  Despite the temptation to divert attention to either the President or the drama surrounding his death, Lorrain wisely keeps the camera on Portman, who owns absolutely every moment of the film.  In what is easily her most gripping performance to date, Portman makes a strong case for her second Best Actress award come Oscar time, portraying Jackie as both vulnerable and ferocious.

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Thematically, the film wrestles with the challenges of constructing a legacy while Jackie fights tirelessly to spin the narrative surrounding her late husband.  This is best exemplified through her desire for his funeral to mimic that of Lincoln, as opposed to ‘lesser’ presidents.  In doing so, Jackie attempts to create a mystique around Kennedy’s presidential legacy, directly linking his battle for civil rights with the abolition of slavery.  In a world gripped by fear, Onassis wants the country to bear witness to the greatness of JFK’s leadership as opposed to remembering him for the Cuban missile crisis or his extramarital affairs.  (Ironically, she also remarks that her desire to create this perfect image “was not for him but for [her] and, in that moment, [she] became a Kennedy”.)

Interestingly though, the film is also wants to explore Jackie’s raw emotion and spiritual quest as well.  Yes, she may be the First Lady but she is also a grieving widow and mother.  In a fascinating side narrative, Jackie meets frequently with a priest to discuss how God could let this happen.  Caught in one of the most devastating moments in American history, Jackie recognizes the importance of her role at this time and desperately seeks spiritual guidance.  (Incidentally, the fact that I saw this film on the 15th anniversary of 9/11 also added appropriateness to the film at this level.)  Nevertheless, even the priest seems at a loss for words.  “One of the hardest parts of anyone’s life is when they realize that there are no answers,” he claims.  While I obviously disagree with the theology behind this statement, it does accurately reflect the most common arguments for dealing with global tragedies.

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It’s this tension between harsh reality and proud image that gives JACKIE its most poignant moments.  How does someone lead a public persona in a time when millions of people are suffering?  By the end, the film refuses to submit to ‘easy answers’ and allows the viewer to recognize the tension between pain and glory and the burden of leadership that requires.

Even so, despite the tragedies to which we bear witness, JACKIE reminds us that all we really want is Camelot.

Filed Under: Film, Reviews, TIFF Tagged With: Jackie, Jackie Onassis, JFK, LBJ, Lyndon Johnson, Natalie Portman, Oscars, Pablo Lorrain, TIFF, TIFF16

tiff16: JUSTIN TIMBERLAKE + THE TENNESSEE KIDS

September 16, 2016 by Steve Norton 4 Comments

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Okay, don’t judge me.

The truth is that this film was nowhere near my radar for films this week at TIFF.  Not at all.  Although it was directed by Oscar winner Jonathan Demme (Silence of the Lambs), the idea of spending money to see Timberlake sing his hits on the big screen simply wasn’t on my radar, especially on a film that was purchased by Netflix.  However, I had some vouchers that I had to burn and, frankly, there were no other options.

But I’m glad I did.

Filmed on the last night of Timberlake’s 20/20 Experience Tour, there really isn’t much to the film itself.  (To be honest, I thought it was going to be more of a documentary about him as opposed to a straight concert film.)  Essentially, he performs his hits, with little other commentary about it.  Yes, Demme shows his skill behind the camera and helps bring life to what’s happening on stage.  Love him or hate him, Timberlake is now a veteran performer and his experience shows onstage by his ability to keep you moving despite a comparably simple stage show.  Songs like SexyBack, Like You Love Me and Mirror have unapologetically cemented his place in music history and, even if that’s not your musical preference, it’s hard to deny his talent.

LOS ANGELES, CA - FEBRUARY 10: Justin Timberlake performs onstage during the 55th Annual GRAMMY Awards at STAPLES Center on February 10, 2013 in Los Angeles, California. (Photo by Kevin Mazur/WireImage)

But what I enjoyed most wasn’t on the screen.  It was around me.

As the film went on, the atmosphere in the theatre began to… well… shift.  Despite being screened in Roy Thompson Hall, the most highly prestigious venue of the festival, this gradually became one of the most interactive experiences I’ve ever had at TIFF.  Sitting in a room full of people dressed in their best ‘night out’ clothes, there was a genuine vibe of audience participation that developed.  As Timberlake invited those in Las Vegas to pull out their cell phones, so too did a few around the theatre.  Then, as Timberlake invited you to clap along with him, more around me began to join in.  By the end, there were people belting out his hits right along with him.  It was almost like some surreal intersection of film and reality.

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You simply wouldn’t get that watching the film on Netflix at home.

It was interesting to me that Demme included the fact that Timberlake and his crew prayed together before the show within the film.  (And not just a casual prayer either… it too was an invitation for God to do something special there that night.)  While this is hardly an uncommon practice for performers like him, it was a reminder that they realized that He could do something unique in that space.  Going to concerts do contain an element of church community within it as each person in the room is drawn together by a common song or story.  (Of course, the focus here would definitely be Timberlake as opposed to the Gospel but that’s another story.)  My experience watching the film with 2600 other people (seriously) became a special communal experience that one couldn’t help but be drawn into.  Even the harshest critic couldn’t deny that this was something infectious.  Even though it was not something I would have chosen for myself, there was something special about that experience.

So, judge me if you will… but you missed out on something that you won’t get when it shows up in your Netflix queue.

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Filed Under: Film, Reviews, TIFF Tagged With: concert film, documentary, Jonathan Demme, Justin Timberlake, Justin Timberlake and the Tennessee Kids, TIFF, TIFF16

tiff16: THE LEVELLING

September 14, 2016 by Steve Norton 2 Comments

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Somerset, England. Trainee veterinarian Clover Catto (ELLIE KENDRICK, Game of Thrones) returns to the farm where she grew up after hearing news that her brother Harry has died—an apparent suicide. Finding the family home in ruins following recent floods that devastated the area, Clover is forced to confront her difficult father Aubrey – about the farm, the livestock and, crucially, the details surrounding Harry’s death. As the funeral approaches Clover’s discoveries send her on an emotional journey of reckoning – with the land, her family and herself.

Taking the lead role as Clover, Kendrick demonstrates a great deal of poise for a role that requires both nuance and expressiveness.  She presents Clover with quiet grief as she deals with the death of her brother and yet she also hides an inner rage towards her family and circumstances. Similar to the film’s rural landscape, Clover’s life is giving way from underneath, burdened by the weight of family secrets and lies.

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There is focus in her eyes and fire in her heart.

Structurally, the film almost plays out as a hybrid between family drama and mystery thriller as Clover inches closer to the truth surrounding her brother’s death. Using very little music, the film maintains it’s brooding tone through intentional silence.

One of the biggest surprises of the week, THE LEVELLING offers solid performances from the entire cast but it’s Kendrick who really holds the film together. This is a film about the damage caused by family and the process of restoration and it knows exactly what it wants to accomplish.

Like their farm, Clover is collapsing from within.

 

For our exclusive interview with Ellie Kendrick, click below!

https://screenfish.net/wp-content/uploads/2016/09/TIFF16-Ellie-Kendrick.mp3

Filed Under: Podcast, Reviews, TIFF Tagged With: Ellie Kendrick, Game of Thrones, THE LEVELLING, TIFF, TIFF16, Toronto International Film Festival

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