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where faith and film are intertwined

TIFF18

First Man: Man on a Mission

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Directed by Oscar-winner Damien Chazelle (La La Land), First Man tells the story of one of the most iconic moments in history as it tracks NASA’s quest to be the first to put a man on the moon. Following the journey of Neil Armstrong (Ryan Gosling), the film explores the human side of the mission, without shying away from the sacrifices and losses that came as a cost for their victory.

In the development of First Man, Chazelle has stated that he wanted to show the intense risk undertaken by the crew and staff in order to make this historic event possible and he certainly accomplishes his mission. Told over the span of 1961-1969, the film does not shy away from the highs and extreme lows that NASA endured during their journey. Through his use of editing and sound design, each launch sequence is equally thrilling and terrifying. Ranging from the noise of the launch to the limited view from the cockpit of the shuttle, Chazelle has sought to help his audience to experience the sheer peril in every moment of the experience.

However, rather than focus entirely on the moon landing itself, Chazelle instead allows the Armstrong’s personal battles to inform the narrative. Interestingly, unlike other ‘space race’ films (is that a genre?), First Man spotlights the journey to the moon through the eyes of Armstrong himself, as opposed to the entire team. Although their impact is never ignored, Chazelle is most concerned with Armstrong himself, both for his contribution and the emotional struggles he suffered after a family tragedy.

Gosling handles himself admirably, portraying the legendary astronaut as heroic for his efforts yet struggling with grief and loss. By juxtaposing his family struggles with his passion for the mission, First Man allows one to inform the other. Faced with insurmountable odds, Armstrong is still a man whose soul has been damaged by tragedy and is looking for answers. Is he driven to reach the moon to avoid his pain through achievement? Or does he seek to achieve the impossible in order to stare down the darkness inside him? While his motivations remain somewhat ambiguous in the film insofar as Armstrong rarely speaks from his soul. Still, First Man clearly believes that the two issues are linked in a such a way that the answers impact one another.

With this in mind, First Man also begs the question of whether or not the sacrifices are worth the glory in the end. Although their quest ends (um… spoiler alert?) on the surface of the moon, there still remains issues at home that need to be confronted. Despite the glory associated with their historic victory, there are personal losses at home along the way that must be weighed in the balance. In midst of global celebrations for their achievement, the challenges of parenting and maintaining a happy marriage with his wife, Janet (Claire Foy, whose performance steals the film) remain very much in the forefront. Armstrong may be a hero to the masses but he is simply a man with responsibilities when he’s at home. As such, First Man serves as a reminder that there can be failures in the midst of successes when we deny the pain of our soul in the process.

In the end First Man walks a thin line between thrill ride and grounded dramatic piece. Wildly different than his previous two films, Chazelle continues to prove his skill and creativity behind a camera by shedding new light on a familiar story. As intense as it is compelling, First Man challenges the nature of heroism in a way that also humanizes the men and women who helped make such a significant moment possible.

First Man is available on 4K, Blu-ray, and Digital HD now. The special features include deleted scenes, and feature commentary by Chazelle, Josh Singer, and editor Tom Cross. Featurettes behind “Shooting the Moon,” “Preparing to Launch,” “Giant Leap in One Small Step,” “Shooting at NASA,” and “Recreating the Moon Landing” take you into the cinematic undertaking, while “Putting You in the Seat” and “Astronaut Training” are featurettes which show the audience what went into the preparation.

5.03 Goals and Grief in FIRST MAN

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In FIRST MAN, Oscar-winner Damien Chazelle (LA LA LAND) gives new life to the story of the Apollo 11 moon landing by looking at the iconic moment through the eyes and experiences of astronaut Neil Armstrong. In doing so, he creates a unique style of ‘space film’ that spends just as much time with the people on the ground as it does in the shuttle itself. This week, Steve welcomes back Wade Bearden (Seeing and Believing) and Matthew Cimone (Chasing Atlantis) to delve into what drives us to do great things and whether or not its worth it in the end.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

5.03 First Man

Thanks Wade and Matthew for joining us!

Chasing the Truth: 1on1 with Chanya Button (VITA AND VIRGINIA)

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Directed by Chanya Button, Vita and Virginia tells the story of the passionate love affair between iconic authors Vita Sackville-West (Gemma Arterton) and Virginia Woolf (Elizabeth Debicki). Through her unique vision, the film explores not only the impact of these women as writers, but their progressive feminist voices as well. Having loved the works of Virginia Woolf since her youth, Button argues that there is much for a story like this to say in our current cultural climate. As a result, in many ways, she feels that the lives of these women projected contemporary values and ideas.

“I think the past has a lot to teach us about the future, especially at a time sort of globally, politically, where we’re really uncertain about [things]…,” she believes. “I think the past has a lot to teach us about the future. That’s not why I made Vita and Virginia but my love of literature and history makes me believe that the past can tell us a lot about the future. Also, it’s a film set in the 1920s, but Vita and Virginia lead lives that would be progressive even for now. They were both married and their marriages were incredibly open and supportive. Their husbands were incredible men… who never held their wives back from anything personally, professionally, [or] romantically. They were enormously progressive about gender and sexuality and art. So, [the film is] set in the 1920s, but it feels like a very progressive subject matter for me. They were such unconventional women and they had such an unconventional relationship [that] I knew I would need to approach the film in a very unconventional way to be true to the sort of the spirit of that.”

One manner in which these women were unconventional for their time is revealed through their views on masculinity and femininity. With views that on gender equality that were extremely progressive, the women found genuine energy from each other that fed their creativity.

“What Virginia understood was that your essential self can have both masculine and feminine qualities. Vita enacted that in her life by having relationships with both men and women. I think she had a sexual appetite and approach to romance that was more stereotypically male in that she would pursue and conquer mainly women, sometimes men. I think our film explores that too. There is masculine and feminine in everyone and I think our film has a very specific approach to vulnerability. That’s one of the reasons I wanted to make the film as well because it’s a film about Virginia who is a person who was treated by her community and by the outside world as someone who was incredibly fragile because of the struggles she had because of [her] emotional, psychological challenges. Whereas actually this relationship which everybody presumed would really overwhelm, her own creative genius came to her rescue and she wrote this novel as a way of sort of digesting and conquering this experience. In a way, it’s a film as well about a woman’s heart and mind and soul and the creative genius rescuing herself from what is a very universal experience, which is a very sort of intoxicating love affair that isn’t going well.”

In development of the film, Button was as thorough as possible in her research, making sure to get the support of the families involved. However, she also feels that there’s a subjectivity to the film that makes it exciting for her.

“I was really, really keen to bring our own response to it,” Button explains. “I think what’s different is that it’s mine, Gemma and Elizabeth’s version of this story. It’s a really expressionistic piece. Judith Nicholson (Vita Sackville-Wests granddaughter) and Viriginia Nicholson (Vanessa Bell’s—Virginia Woolf’s sister—granddaughter) have been incredibly supportive of the film and our research was very respectful and detailed. So, it had their blessing, which was very. But it’s also our response to it. It is in itself expressionistic. I love that none of our actors look exactly like them or sound exactly like them. I wanted to take these actors who are so wonderful and it’s their approach. It’s what we can know about Virginia Woolf and Vita Sackville-West from their writings, their letters, their work, their families, mixed with Gemma’s voice and Elizabeth’s voice.”

As is the case in any biography, there is a balance between truth and fiction within the film. Regarding this balance, Button argues that there is only so much that one can understand about a person given the information available.

“In a way that film’s got sort of this amazing kind of meta thing going on where it is a film with a biographical leaning about Virginia writing a sort of non-biography of Vita. If you looked at my text messages today and said what I was saying to everyone, you would go to certain picture of what’s going on in my life in your mind that might not be true exactly what’s going on. So, letters and writings are only fragments that suggest what’s going on so we can’t know exactly. I was very aware of that making the film in a quite liberating way because we’re saying that we will do this extensive research and be as authentic as we can, but… I think biography is fascinating. You can chase the truth, but you can never know it.”

In our current cultural climate, Vita and Virginia continues the growing trend of allowing the opportunity for different voices to speak to the masses. According to Button, it’s stirring to be a part of something on a broad scale that is opening the door for others to find their voice.

“I think it’s really exciting because, as filmmakers, we can often feel really isolated from each other,” she states. “Actors know more about directors than directors [know about each other] because they work with more of them. We can feel really isolated from each other, so I think it’s really exciting [for there to be] a wind where we’re all going in the same direction. That’s really cool. I think it’s really exciting. I think it does have an overlap with a kind of political conversation where we’re talking about how can we open up the spectrum and hear different voices.”

“I think there absolutely is that sense of finding a voice [within the film] but I think that, in the case of Vita and Virginia, these women have found their voices. There’s nothing adolescent about them. There’s nothing pubescent about them. It’s not coming of age anything. These women are of age and I think more films should be made about women of age. I see a lot of kind of younger women on screen and I think that’s brilliant too. You’re either pubescent or you’re an elderly sage–sort of Yoda–and there’s a lot that goes on in between I think. These women aren’t finding their voices, but they’re being heard. We’re listening to them for the first time. They are heard by their husbands in the film. They’re heard by their communities in the film. They’re making brilliant work that people think is fantastic. So I’ve tried to make film where they’re not finding their voices. They know them. They’re listening to each other. They’re listened to within their worlds and it’s us who’s listening to them for the first time.”

In light of this, as a woman director, Button is also thrilled at the opportunity to have a chance to speak her own voice through film as well. Nevertheless, she also maintains that her motivation remains her desire to offer a different perspective as opposed to any direct political agenda.

“I think the kind of the work is very separate from the movement,” she reflects. “I think it’s really important that I keep that very much in the front of my mind. I think I wouldn’t make good films if I cooked up an agenda and then tried to make films that chase that agenda. In my mind I keep things very, very separate. There’s an intersection because I’m interested in a female perspective on life… What I’d like to do is make films that offer a different perspective, whether that’s a female perspective, whether that’s has to do with class or race or whatever. I think we’ve talked a lot about the male gaze and I think we’ve talked less about the female gaze. I’d like to make films that have a female gaze because I don’t know what it is. I’d like to make something that tries to look for it. but there’s not an agenda. Both things really interest me and, in my mind, I keep them very separate. I enjoy having conversations about it, but it’s not why I’m on set.”

Vita and Virginia premiered at the Toronto International Film Festival.

Stealing the Show: 1on1 with Barlow Jacobs (THE OLD MAN AND THE GUN)

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Taking place in the early 80s, The Old Man and the Gun follows the (mostly) true story of Forrest Tucker (Robert Redford), a man in his seventies who’s sole passion is robbing banks. Acting as a gentleman but packing a gun, Tucker and his ‘Over-The-Hill Gang’ set out to rob banks across the country. Wrapped up in the pursuit are Detective John Hunt (Casey Affleck), who becomes captivated with Forrest’s commitment to his craft, and Jewel (Sissy Spacek), a woman who loves Tucker in spite of his chosen profession.

When invited to play Detective Offerman in the film, actor Barlow Jacobs immediately accepted so that he could have the opportunity to work with writer/director David Lowery again.

“What excited me about [the film] is David Lowery, period. He’s one of the most exciting directors working in my opinion,” beams Jacobs. “He’s on that list of people who, when they say they’ve [written] something for you, [you] don’t need to read anything. If he’s investing his energy into it, then I know it’s going to be something special. We met on the film festival circuit in 2007. We just really hit it off and pretty immediately started a creative collaboration. We had a couple of writing projects we were working on together and when he did his first feature, he asked me to be in it. Then, when The Old Man and the Gun came around, we were at Sundance for A Ghost Story and he had pulled me aside and said he’d written something for me for it. So, I said, ‘Just tell me where to show up.’ I don’t often get to play funny or comedic relief. So that was really appealing to me.”

Despite its focus on the early 1980s, The Old Man and the Gun has a timeless feel to it that doesn’t feel slavish to its time period. With this in mind, Jacobs explains that this enduring quality to the story stems from Lowery’s dedication to the narrative over the visuals.

“For me, the thing I like about David, [is that] I feel like all [his] stories kind of exist somewhere between like 1978 and 1998,” he states. “Even though this one is definitely specifically period, I think a lot of mistakes that these films make is that they’re just too self-consciously period. So they kind of overdo production is on and, and it’s like, or they get like too on the nose of the period. [For instance, if] it’s 1981 and everything on the thing is from 1981, [it doesn’t make sense.] In real life in 1981, everything looked a lot more like 1976 or 1974 because like no one was getting new appliances for 1981 across the board. I think David and his team were very conscious of that and really created a seamless [environment] where you walk on on and it does feel that even though it does feel very period.”

“I think the thing that I liked about the movie is like it does feel like a homage to those movies that I loved from the seventies but also feels very modern as well. I wasn’t distracted I guess by the period. There’s a lot of challenges and a lot of opportunity to take missteps. I think his ability to kind of do a period film without it being distracting because… it doesn’t feel like a slave to that period. You’ve got so many characters, so many different story lines, and the fact that he was able to pull all that off was just really awesome to watch.”

In light of its ‘timeless’ approach, Lowery’s film also has a sense of genuineness and joyfulness embedded within it that brings life to its characters.

“There’s a sweetness to [the script] that’s really wonderful,” Jacobs explains. “It’s a sentimental film without using sentimentality, which I think is really difficult to do. I think most people when they do something sentimental, they lean on a lot of tropes that are in with that. It lends itself to a cheapness and not a well-thought sentimental tone. To me, [the film] just really resonated for that because it’s rare to find those kinds of movies. There is a lot of dark, dark edges, especially in the indie world and so, to do something like that that feels really honest, sweet and sentimental without being cheap or cheesy. It’s really special.”

Since Old Man and the Gun is based on a true story, one begins to ask which story points or characters are true and which are fictional. Though his character of Detective Offerman is a composite, Jacobs argues that this also offers him a lot more freedom than if he had been based on a real person.

“From what I understood, it was a couple of different characters,” Jacobs believes. “I think my character kind of came to embrace the officers that thought the whole thing was a joke. And so I think I was like, what? There wasn’t one Detective Offerman who just busted on John’s chops all the time but I’m sure he was a representative of everybody. It’s nice to have [a real person] as a resource when you’re preparing, but it’s also nice not to have to feel like you have to be beholden to certain responsibility that comes along with playing a real person.”

“David gave me a lot of freedom to kind of do what I wanted to do that character and have fun with it,” says Jacobs. “Most times, I end up playing somewhat serious characters. In this case it was just nice to not have to be carrying that weight and come in and be playful. David creates a really safe environment and really encourages you to push yourself and feel the boundaries of where you can go. I don’t have to self-govern myself. I know if I’m pushing too far, he’ll dial me back in and that’s really nice. That’s something I wouldn’t do with all directors… I think whenever you have that kind of trust your director as an actor, it allows that environment to be so much more productive and inspiring.”

With the release of this film, there have been questions and comments (some by the actor himself) as to whether or not this is Robert Redford’s last film. Asked if there was anything that he learned from the iconic actor, Jacobs notes that the way that Redford engages the material—not to mention the cast and crew—is amazing to see.

“I think you get to be around all the caliber of [this cast] as an actor, you just want to watch the process,” he feels. “I’ve been really fortunate to have worked with a lot of gifted directors and actors. When you have that kind of talent there, you just want to watch and to watch him and Danny and Tom Waits, it’s just magic. I think with Robert, he’s got an air of professionalism to him. He’s obviously someone who I really admire. Whether this is or isn’t his last film, he just is a professional and treats everyone with respect and respects the process, the director and the crew. He carries himself that way.”

To hear audio of our interview with Barlow, click here.

The Old Man and the Gun is in theatres on Friday, September 28th, 2018.

 

TIFF18: Colette

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Based on the true story of author Sidonie-Gabrielle Colette, Colette is a young woman from the countryside that falls in love with a Parisien 14-years her senior named Willy. Once they move to Paris, she agrees to ghostwrite a semi-autobiographical novel for her husband. As her ‘Claudine’ series takes off in popularity, her confidence in her abilities and sexuality grows as she fights against her societal constraints.

Directed by Wash Westmoreland (Still Alice), Colette is a lush period drama that has full confidence in the abilities of its stars. Keira Knightley continues to play to her strengths as a confident, progressive woman who lights up the screen with her balance of sincerity and ferocity. Not to be outdone, however, Dominic West more than holds his own in the film as Colette’s frustrated and sexually promiscuous husband, Willy. There is a genuine chemistry between them that keeps the film moving, as they walk the tightrope between love and hate.

Set in 1893, Colette is a modern take on the period drama in many ways. Although she starts out as a quiet country girl, Colette’s journey takes her from the shadows to the spotlight. Beginning as Willy’s ghost-writer, Colette seems content to allow him to take the glory for her story… until their notoriety begins to take over the country. As her novel’s popularity grows, so too does Colette’s confidence in her ability to write and speak her voice. This adds an intriguing element to her relationship with Willy, not because of the state of their marriage but rather because of how challenged he is by her growth and burgeoning sexuality. Although Willy’s patriarchal mindset prevents him from fully embracing her increasing conviction, neither does he dismiss it.

Without question, Colette sparks strong conversation about gender identity and roles within our modern society. Solid performances keep the film moving, even in moments when the narrative feels slightly more padded than necessary.

TIFF ’18: Rosie

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Rosie follows one mother’s journey to hold her family together in the midst of turmoil. After their landlord sells their home, Rosie (Sarah Greene), John Paul (Moe Dunford), and their young family find themselves without a place to live. With all their belongings packed into the back of their car and emotional wounds preventing them from staying with family, their family moves from motel to motel looking for a place that will accept them for the night. As John works kitchen shifts, Rosie takes the kids to school and makes calls in an effort to find safe harbour.

Told over a period of only 36 hours, Rosie provides an intimate portrait of a family in crisis. Told mostly from Rosie’s perspective, the film focuses its lens on the stresses of their relationships rather than directly tackle the larger social issues of homelessness. Wisely, screenwriter Roddy Doyle (The Commitments) chooses to bring simple moments to life as opposed to otherworldly circumstances. John Paul works but doesn’t have a home. Rosie packs their clothes every morning and keeps track of stuffed animals. The kids go to school. Because of these snippets of everyday life, there remains deep sense of humanity within these characters that brings them to life onscreen. (And, incidentally, never has a food fight seemed so filled with pure joy.) Using long-takes and close-ups, director Paddy Breathnach chooses to follow Rosie in a way that causes the viewer to believe that they’re experiencing her every feeling and flinch. We believe in Rosie because we bear witness to her heart.

To its credit, this film feels authentic, creating imperfect but loving characters that are determined to kick against a system that continues to box them in. Despite the fact that John Paul continues to keep a steady job, the family remains without a place to stay until they can find a new place to live. As a result, throughout the film, Rosie and John Paul bristle and bite back at the label of homelessness. Fearing being stereotyped by her friends and family, Rosie refuses to use terms that might affect how they are viewed by others (and how they view themselves). “We’re not homeless. We’re just… lost,” she tells her children, trying to hold onto hope that things will change soon. Theirs is a family that is built on commitment to one another and they have every intention of controlling the narrative about them, if possible. Although this attitude could seem pretentious, in fact it demonstrates the level of courage and strength that Rosie and John Paul need to exhibit. Rather than being ‘better than that’, their insistence that they aren’t homeless speaks to their relentless hope that things will change.

While it may not receive the notoriety that comes with other major film releases, Rosie is absolutely deserving of it. With a simple premise and beautifully crafted characters, Breathnach weaves a story of such intimate beauty that it bears watching and sharing with others. This is one of the most beautiful films in Toronto this year.

 

Rosie is currently playing at the Toronto International Film Festival.

For audio of our interview with writer Roddy Doyle and director Paddy Breathnach, click here.

TIFF ’18: The Predator

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From the outer reaches of space to the small-town streets of suburbia, the hunt comes home. The universe’s most lethal hunters are stronger, smarter and deadlier than ever before, having genetically upgraded themselves with DNA from other species. When a boy accidentally triggers their return to Earth, only a ragtag crew of ex-soldiers and an evolutionary biologist can prevent the end of the human race.

Directed by Shane Black (The Nice Guys), The Predatoris filled with his trademark humor and broken but likeable characters. Having actually helped write (and cameo in) the original film, Black is clearly familiar with—and passionate about—the franchise. Whereas other entries into the canon have often deviated from the charm and energy of the original film, Black is determined to transport his audience into the past to give them an experience similar to Arnold’s iconic piece and, in many ways, he almost succeeds. Built on the charm of his band of military ‘Loonies’, the film is often engaging and funny in the midst of its trademark violence. Characters like Coyle (Keegan-Michael Key), Nebraska (Travante Rhodes) and Baxley (Thomas Jane) are entertaining as the rag-tag band of misfits forced to take on their alien assailants. What’s more, the film has also delivered upgrades to the space-baddie himself, giving him an even more lethal edge. (And, of course, a highlight of the film remains the obligatory hunt in the woods, complete with shadowy kills and invisible attacks.) Packed to the brim with action and alien gore, The Predatoris a throw-back to the 80s action genre that Black knows the fans are craving.

But…

Admittedly, this is where things get awkward. While Black’s film invites the audience to take a trip back in time, it also exposes so many of the issues that were prevalent in the films of that time. Led by Quinn McKenna, the ‘Loonies’ are engaging… but they also reinforce the gender stereotypes of a bygone era. Female characters, while usually intelligent, are frequently pushed aside by their masculine heroes. Whether it is the fact that Emily is left exclusively to her home or to take care of the children (as is Olivia Munn’s Casey on several occasions), the women simply seem… outdated. (In fact, while on a mission, Casey actually shoots herself in the foot with a tranquilizer at one point, a plot point that is used for laughs at her expense by the men.) The argument could be made that the film is poking fun at these stereotypes, there is no evidence to support the theory. While one is likely not looking for depth of feminist theory in a film about The Predator, it also showcases what was missing at the time when viewed in a post-#MeToo world. Since all films are a window into the culture, it’s hard to blame the original film for being ignorant of what we’re speaking about today… but Black’s film should know better.

 A deadly Predator escapes from a secret government compound in Twentieth Century Fox’s THE PREDATOR. Photo Credit: Kimberley French.

In the end, The Predator mostly delivers what it promises and serves as a suitable addition to a franchise that is over 30 (!) years old. Black believes he knows what his audience wants to see: violence, R-rated laughs and invisible killers.

One simply wishes that he might have also upgraded his sensibilities as well.

 

TIFF ’18: The Old Man and the Gun

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Taking place in the early 80s, The Old Man and the Gun follows the (mostly) true story of Forrest Tucker (Robert Redford), a man in his 70s who’s sole passion is robbing banks. Acting as a gentleman but packing a gun, Tucker and his ‘Over-The-Hill Gang’ set out to rob banks across the country. Wrapped up in the pursuit are Detective John Hunt (Casey Affleck), who becomes captivated with Forrest’s commitment to his craft, and Jewel (Sissy Spacek), a woman who loves him in spite of his chosen profession.

Written and directed by David Lowery (Pete’s Dragon, A Ghost Story), Old Man has a timeless feel to it that adds to its charm. Filmed largely on older technology, Old Man simply looks as though it has been lost in time. More importantly, however, the film seems to exude pure joy in every aspect. Riding on the back of Redford’s inimitable charm, the film is captivating from start to finish. Rumoured to potentially be Redford’s last acting role, Old Manwould be the most appropriate example of his talent as he simply owns every scene of the film. Whether he’s charming his beloved Jewel or playing cat-and-mouse with Detective Hunt, Redford’s star power is on full display in this piece. If the rumours are true, it would be a fitting close to a career playing lovable outlaws in such films as Butch Cassidy and the Sundance Kid or The Sting. (For what it’s worth, this is not to take away from the rest of the cast either. Every person in this film plays their role with earnestness and free-wheeling enthusiasm.)

Appropriately, Lowery’s script speaks to the concept of time (and timelessness). The story of Tucker and his team catches fire not because of the sheer number of their crimes but, rather, because of their age. With each robbery, the gang gains notoriety for their charm and humility as they move from heist to heist. (In fact, their victims are so pleased with the thieves that they almost seem pleased to have been a part of the heist…) Their age, style and sheer enthusiasm for their art builds a respect across the country for their thieving ways.

In many ways, stealing gives Tucker life.

His ‘profession’ is not one of angst or revenge. It’s simply what he’s best at and gives him joy. In many ways, Tucker serves as inspiration for Detective Hunt, rather than foil. Burned out and frustrated at work, Hunt seems lost and lifeless. Despite his love for his family, Hunt is a man who has no direction in his life… until Tucker invites him to play his game. Tucker serves as an example of what it means to enjoy life and, as the two begin their chase, Hunt gradually breathes life again. In many ways, Hunt needs Tucker to survive… and Tucker needs Hunt to thrive. They inspire one another to greatness (and, oddly, demonstrate the power of pouring into one another’s lives.)

In the end, The Old Man and the Gun may not appeal to a younger audience initially, simply based on its style. This film is a celebration of life and the career of one of Hollywood’s greatest sons. However, it is a film to be cherished and is filled with joy. Whether or not it is Redford’s last role is almost irrelevant.

Despite his age, Redford has never seemed younger.

For audio of our full interview with one of the film’s stars, Barlow Jacobs, click here.

TIFF ’18: What They Had

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“What do you mean she’s gone?”

In What They Had, Nick (Michael Shannon) opens with the phone call that every adult dreads: that their mother (Blythe Danner), Ruth’s dementia has caused her to wander into the night. As a result, Nick calls his sister, Bridget (Hilary Swank) and asks her to come home in an effort to convince their father Burt (Robert Forster) to begin the process of moving them into a proper senior’s facility. Struggling to hold on to his way of life, Burt is resistant, arguing that he is the best care for his wife in her time of need. As a result, Nick and Bridget must struggle to decide what’s best for their parents in their advanced age.

Using Bridget as the film’s emotional balance, the film accurately portrays the heartbreak and struggle that comes with having to care for one’s parents. In fact, one of the best aspects of the film is the manner in which it both affirms and challenges the voice of the elderly within the film. In doing so, the film manages to both honour the power of Burt and Ruth’s story while, at the same time, affirming Nick’s claim that they are unable to continue as they have.

The core of the film lies its exploration into the power of love, especially within the context of Burt and Ruth’s relationship. Although she increasingly struggles with the details of her life, his relentless commitment to her translates into the one thing that she remembers most easily. His love for her becomes redemptive, providing her the stability that she so badly needs. (Of course, therein also lies the problem, as he also believes he is the only one capable of caring for her properly.)

What They Had speaks to more than one family’s struggle to decide on their parents’ ability to live on their own. It’s a film about what it means to truly love someone else, through every stage of life. Featuring powerful performances by its cast, it’s a reminder of the conflict between love’s ‘butterflies’ and long-term commitment, even when your partner struggles to remember you.

What They Had is currently playing at TIFF ’18

TIFF ’18: El Angel

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Directed by Luis Ortega, El Angel tells the story of Carlos (Lorenzo Ferro), a young Venezuelan man who believes that he was created for a life of crime. Exhibiting extraordinary skills at his craft, Carlos falls in with a group of local thieves who have many ideas about how to make use of him on their team. Although, as Carlos’ immaturity begins to surface, the team must figure out how to keep the team together and manage their young wildcard.

Based on the life of 1970s real-life serial killer Puch,El Angelis a fascinating film that speaks to what happens when the rules are thrown away. Echoing A Clockwork Orangewith its sheer glee in the midst of wrongdoing, Carlos literallydances through life without rules or remorse. “There is no backward. Only forward,” he swoons. Viewing life entirely through the eyes of one looking out for himself, he steals without thought, only impulse. His youthful handsomeness and energy put the world at his feet but he is dissatisfied.

In fact, it’s this dissatisfaction that makes Carlos so compelling.

Caught between adolescence and adulthood, Carlos is on a quest for meaning. There is an immaturity to Carlos that shines through, not as flaw but as fact. With each crime, we increasingly realize that Carlos has no sense of himself. However, with each crime, he gains increasingly in confidence with his abilities. He’s young, attractive and has no limits. Wrestling with his burgeoning sexuality (which seems to undercut his violent behaviour), Carlos speeds through life wildly and destructively like a child given the keys to a brand-new sports car.

However, at the same time, it’s also apparent that something is missing for Carlos. With nothing to ground him, Carlos seems lost in a world that is too powerful for him, despite his claims otherwise. In the midst of a burglary, Carlos stops to try on jewelry. While his partner sleeps, he stands over him, placing jewelry on his body decoratively. Though his angst-ridden behaviour shows his irresponsibility, his heart reveals a search for something more. (In fact, in the words of director Luis Ortega, Carlos is a young man searching for “God and for love”.) As such, one isn’t sure whether they want to help Carlos or see him brought to justice. It’s a fascinating character piece that juxtaposes the confusion of youth with its raw power as well.

In the end, El Angel is an energetic film that speaks to the potential destructiveness of youthful exuberance. Strong performances and direction keep the film moving but there is a life to the piece that is hard to resist.

El Angel is currently playing at the Toronto International Film Festival