by Takis Garis (@takisgaris)
The #TIFF13 Connection: The Journey Begins
First day gave me generously a loot bag of mixed cinematic emotions. Starting from the confusion that caused (my bad) the press screening schedule change for Bill Condon’s The Fifth Estate, from 11:30 to 21:30. I thought it was 9 am instead so you may easily guess my rush, probably equivalent to Ron Howard’s latest F1 epic which is due for screenings next week. Nevertheless, I bumped into Jafar Panahi’s (with Kambuzia Partovi) latest pseudo-doc feature, Closed Curtain which meant to become my first visit at TIFF13, unexpectedly as the film itself. Screened first last February in Berlin Film Festival (in Competition), Parde (Persian title), reflects upon Panahi’s 20 year ban from film-making, imposed by the Iran regime, more as an expansion of his acclaimed 2011 doc This Is Not A film. Again shot on a shoestring, it’s moving in all its simplistic and self-referential symbolism, with heavy hitting on Panahi’s tormenting depression after decades of Iranian status-quo witch hunt against his politically charged films.
Next stop was Young and Beautiful (Jeune Et Jolie) by France’s finest Francois Ozon. The statuesque 23 old Marine Vacth can easily pass as a barely legal Isabelle, a young call girl coming from a middle class family where one can find no clue as to what pushed her to pursue this road to emancipation, since poverty or drugs are not the issue. A not so exciting loss of virginity the preceding summer doesn’t ring as a convincing answer so the cipher continues till the end, through a provocative affair with a much much older client of hers. Ozon is apparently fascinated working with young actors and this story feels like carrying on the largely fictional world of his 16 y.o. hero as seen In the House. Rimbaud’s poem “No one’s serious at seventeen” provides enough terrain for edgy sophistication but alas not alluring resolution.
Don Jon, directorial debut of the charismatic Joseph Gordon – Levitt, is a saucy, truth bombs -fuelled reporting commentary on internet porn addiction, a Sundance sensation that cracked up in laughter every attendant of the packed press screening room. Punchy and vivacious, charms with an effervescent take on male sexuality in its youthful prime, thanks to the sassy chemistry of the protagonist duo. JGL and the saucy temptress Scarlett Johansson, who is the closest it-girl to immortal sex goddess Marilyn Monroe, are a spectacle to behold. Even if the third act runs out of steam tonally, there is a Silver Linings Playbook feel to it, anchored by an extremely likable turn by veteran small screen star Tony Danza and a surprisingly affecting performance by Julianne Moore who hasn’t been better since The Kids Are Alright.
Don Jon, directorial debut of the charismatic Joseph Gordon – Levitt, is a saucy, truth bombs -fuelled reporting commentary on internet porn addiction, a Sundance sensation that cracked up in laughter every attendant of the packed press screening room. Punchy and vivacious, charms with an effervescent take on male sexuality in its youthful prime, thanks to the sassy chemistry of the protagonist duo. JGL and the saucy temptress Scarlett Johansson, who is the closest it-girl to immortal sex goddess Marilyn Monroe, are a spectacle to behold. Even if the third act runs out of steam tonally, there is a Silver Linings Playbook feel to it, anchored by an extremely likable turn by veteran small screen star Tony Danza and a surprisingly affecting performance by Julianne Moore who hasn’t been better since The Kids Are Alright.
My onscreen sexual innuendo met its peak with Blue Is The Warmest Color (Life of Adele), the triumphant Palm D’Or winner and first non porn flick depicting explicit lesbian sex scenes. Abdellatif Kechiche's graphic novel-based ode to sexual awakening and first love’s heartbreak originates thematically back in 2003’s Games of Love and Chance. Forget Last Tango In Paris, the love scenes here are fierce, fearless and liberating, emanating straight out of a gay pride agenda which really resonates but ultimately falls flat after three hours of the contrived and easily foreseen dead - end between the arts school painter Emma (Lea Seydoux offers a striking portrait of the lesbian archetype) and the bright 17 y.o. student Adele who explores her sexuality to find herself falling head over heels for charmer Emma (Adele Exarchopoulos is marvellous, a no bars hold performance that has created strong discussion about academy awards consideration). The food (spaghetti Bolognese vs oysters) is plainly risible and the philosophical bumble quite pretentious yet there is undeniable emotional power and rare magnetism to dismiss the film.
Lastly, The Fifth Estate world premiere (public gala screening) which I expected to be the Torontonian response to premieres - nibbling Telluride but alas, turned out a grave disappointment, despite Bill Condon’s reliable resume (has directed Gods and Monsters, written Chicago) and Benedict Cumberbatch who is the hottest dude in the film industry as we speak with great appearances as Sherlock Holmes and sci- fi saga instalments of the likes of X-Men First Class and Star Trek Into Darkness. While Cumberbitches should feel safe and sound due to another nuanced and imposing turn by the super talented Britton, incarnating the enigmatic WikiLeaks founder Julian Assange, there isn’t much else to commend for this info-thriller of shorts, in the ink of early nineties blockbuster-ish projects that use a graphic visuals galore and dull scenes of people using their computers, incompetent as they are to find a resonate path to convey our Internet Era the proficient way films as The Social Network or many TV series (The Newsroom springs first in mind) so briskly achieved in doing so.
No real Oscar contenders thus far, although this must definitely change tomorrow with two major films coming my way. 12 Years A Slave and Gravity. Stay tuned.
Lastly, The Fifth Estate world premiere (public gala screening) which I expected to be the Torontonian response to premieres - nibbling Telluride but alas, turned out a grave disappointment, despite Bill Condon’s reliable resume (has directed Gods and Monsters, written Chicago) and Benedict Cumberbatch who is the hottest dude in the film industry as we speak with great appearances as Sherlock Holmes and sci- fi saga instalments of the likes of X-Men First Class and Star Trek Into Darkness. While Cumberbitches should feel safe and sound due to another nuanced and imposing turn by the super talented Britton, incarnating the enigmatic WikiLeaks founder Julian Assange, there isn’t much else to commend for this info-thriller of shorts, in the ink of early nineties blockbuster-ish projects that use a graphic visuals galore and dull scenes of people using their computers, incompetent as they are to find a resonate path to convey our Internet Era the proficient way films as The Social Network or many TV series (The Newsroom springs first in mind) so briskly achieved in doing so.
No real Oscar contenders thus far, although this must definitely change tomorrow with two major films coming my way. 12 Years A Slave and Gravity. Stay tuned.
gaRis
