by Takis Garis (@takisgaris)
The #TIFF13 Connection: That’s A Wrap!
Unlike last year, TIFF13, even though it more than just packed its winning punch once again, by celebrating world cinema and providing for indulgent Oscar buzz, felt like there’s still a long way to go for this year’s best films, simply because a considerable amount of awards-seeking productions are as yet sight unseen. I’m talking The Wolf of Wall Street (yeah, the not “oscar-y” Scorsese one), Saving Mr. Banks, even my most anticipated film of the year, namely HER by the clueless almighty Spike Jonze, who came here, showed clips and definitely made the more resonate flick of this year. Excuse me but, despite the good reason behind all black –themed films about racism (12 Years A slave, Lee Daniels’ The Butler, Fruivale Station) that sprung up, there’s nothing sounder right about now than the unremitting bondage between man and his computer’s operating system. Take that for slavery, isolation and real life depravation.
Undeniable fact has been the overall seal of awards’ contention approval for Gravity and 12 Years A slave. Rush and especially Prisoners fared both exceptionally well; they get a wide release in September so potentially considerable buzz will continue, particularly for their protagonists’ duo. However, if there’s really a single (there isn’t) winner in TIFF 13, that should be hands down Dallas Buyers Club. A clear triumph for Matt McConaghey, plus an unforgettably daring performance by the pariah Jared Leto. I was thoroughly impressed by Third Person (Paul Haggis) but not many felt the same. August: Osage County showcased fierce acting, La Streep standing out, Julia Roberts not so much. Veteran TV actress Margo Martindale sparked some flames that might steal Julia’s thunder. Cumberbatch impressed equally in Slave, August and The Fifth Estate, but Condon’s weak direction will probably deprive him from any significant recognition. (Star Trek Into The Darkness anyone?)
The omnipresent Harvey Weinstein bought two surprised festival hits: Can A Song Change Your Life by John Carney (Once) with spot-on perfs by Keira Knightley and Mark Ruffalo that could give Coens’ music biopic Inside Llewyn Davis a run for its money while The Disappearance of Eleanor Rigby: Him & Her by newcomer Ned Benson with Jessica Chastain and James MacAvoy provided the New Yorker flavour thoroughly enjoyed by last year’s Frances Ha. There were disappointments too, besides The Fifth Estate such as Atom Egoyan’s Devil’s Knot and most notably Kim Ki Duk’s spew of a film, Moebius. A heart –aching farewell to the arms from animation master Hayao Miyazaki (The Wind Rises) and a very much celebrated IMAX 3D concert experience for metal- heads (Metallica Through The Never). Last but not least, the City to City program (dedicated to Athens, Greece) showcased the offspring (9 directors) of the new wave of Greek cinema and reminded us that crisis is the mother of art, energizing the will for societal transformation through political film making.
TIFF 13 is over – God Bless TIFF 14!
The omnipresent Harvey Weinstein bought two surprised festival hits: Can A Song Change Your Life by John Carney (Once) with spot-on perfs by Keira Knightley and Mark Ruffalo that could give Coens’ music biopic Inside Llewyn Davis a run for its money while The Disappearance of Eleanor Rigby: Him & Her by newcomer Ned Benson with Jessica Chastain and James MacAvoy provided the New Yorker flavour thoroughly enjoyed by last year’s Frances Ha. There were disappointments too, besides The Fifth Estate such as Atom Egoyan’s Devil’s Knot and most notably Kim Ki Duk’s spew of a film, Moebius. A heart –aching farewell to the arms from animation master Hayao Miyazaki (The Wind Rises) and a very much celebrated IMAX 3D concert experience for metal- heads (Metallica Through The Never). Last but not least, the City to City program (dedicated to Athens, Greece) showcased the offspring (9 directors) of the new wave of Greek cinema and reminded us that crisis is the mother of art, energizing the will for societal transformation through political film making.
TIFF 13 is over – God Bless TIFF 14!
THE AWARDS
YouTube Award for Best Canadian Short Film
Walter Woodman and Patrick Cederberg, Noah
City of Toronto + Canada Goose Award for Best Canadian Film
Alan Zweig, When Jews Were Funny
Award for Best Canadian First Feature Film
Shayne Ehman and Seth Scriver, Asphalt Watches
Prize of the International Critics (FIPRESCI) for Special Presentations
Pawel Pawlikowski, Ida
Prize of the International Critics (FIPRESCI) for the Discovery programme
Claudia Sainte-Luce,The Amazing Catfish
BlackBerry® People’s Choice Award
Steve McQueen, 12 Years a Slave
BlackBerry People’s Choice Midnight Madness Award
Sion Sono, Why Don't You Play in Hell? (Jigoku de Naze Warui)
BlackBerry People’s Choice Documentary Award
Jehane Noujaim, The Square
NETPAC Award for World or International Asian Film Premiere
Anup Singh, Qissa
Grolsch Film Works Discovery Award
Gia Milani, All the Wrong Reasons
RBC Emerging Filmmakers Competition
Christoph Rainer, Requiem for a Robot
YouTube Award for Best Canadian Short Film
Walter Woodman and Patrick Cederberg, Noah
City of Toronto + Canada Goose Award for Best Canadian Film
Alan Zweig, When Jews Were Funny
Award for Best Canadian First Feature Film
Shayne Ehman and Seth Scriver, Asphalt Watches
Prize of the International Critics (FIPRESCI) for Special Presentations
Pawel Pawlikowski, Ida
Prize of the International Critics (FIPRESCI) for the Discovery programme
Claudia Sainte-Luce,The Amazing Catfish
BlackBerry® People’s Choice Award
Steve McQueen, 12 Years a Slave
BlackBerry People’s Choice Midnight Madness Award
Sion Sono, Why Don't You Play in Hell? (Jigoku de Naze Warui)
BlackBerry People’s Choice Documentary Award
Jehane Noujaim, The Square
NETPAC Award for World or International Asian Film Premiere
Anup Singh, Qissa
Grolsch Film Works Discovery Award
Gia Milani, All the Wrong Reasons
RBC Emerging Filmmakers Competition
Christoph Rainer, Requiem for a Robot
gaRis
