We Be TIFFing Again

Editor's Note: For the eighth consecutive year, Dawn and The Husband will be spending a few nights attending the Toronto International Film Festival, known to the locals as TIFF. While they can now proudly call themselves seasoned veterans of this madness, they have once again scaled back their viewing opportunities because the TIFF website is STILL a colossal shitshow, unworthy of spending hours attempting to navigate, and because Rosh Hashana will interfere with their viewing time. The roster of films is back up to pre-pandemic levels but is disappointingly sparse this year on digital viewing. The various guild strikes in the United States have played havoc with many of the larger films, as neither actors nor writers will be attending the festival unless they are directors or have waivers from their unions. Therefore, there will only be three films screened. TIFF still serves as a tremendous distraction from the world's ills and allows for some much-needed escapism during these tumultuous times. The next several posts will focus exclusively on TIFF and will offer very short bullet point reviews for the movies seen. You've all been warned.

I will admit I was less than enthusiastic about attending TIFF this year. Part of the energy of the festival is tied up in the attendance of the talented people who create the films. The question-and-answer sessions that follow the screenings give a quick peek into the creative process. Major studios are skipping Toronto this year because of the union strikes and few A-list actors will be attending. I am not a star-gazer, but I cannot deny that having George Clooney answer audience questions following the debut of his latest film, is a major plus for this TIFF attendee. I am about to say something political, so if you want to stop reading now, I will totally understand. We came very close to ditching our TIFF membership this year because of their corporate partnership with Therme Canada, the pirates who are attempting to build a massive greenhouse structure at Ontario Place. When TIFF pulled out of the deal, we decided to go ahead on a limited basis. As I mentioned above, the website for choosing films is the most tangled experience this side of Ticketmaster. We will be dealing with that mess after the festival. We chose three small films this year because of the crash and burn on the site and so that we would avoid as much confrontation with the party-goers as possible.

Our first film comes from director Michael Winterbottom. Shoshana tells the story of star-crossed lovers against the backdrop of the British Mandate in Palestine. Shoshana Borochov, daughter of esteemed Zionist intellectual Ber Borochov, works as an independent journalist in the very young city of Tel Aviv. The British, who control Palestine, have sent officers to the region to attempt to keep the peace between the Jews and Arabs as they both struggle to maintain footholds in the land. Students of Israeli history will know of the various Jewish groups that tried vastly different methods to further their cause. The Haganah, which acted as a political wing working toward statehood and of which Shoshana was a part, worked toward a diplomatic solution. Other Israeli groups, like the Irgun and the Stern Gang (Lehi) were more interested in a terror war. It is against this backdrop that Shoshana falls in love with a British officer named Tom Wilkin. While both of them are trying to accomplish the same goals, their affair and eventually marriage, are trying on both of them and their circles. 

It is always difficult to attempt to make a film about the Israeli/Arab conflict. Inevitably, people will find fault. So, it would be a mistake to judge this film by any political position that the director does or doesn't make. Winterbottom is simply using the period to tell the true story of these fascinating two people. He makes no judgements. Some viewers might find that frustrating, but I didn't. The history is there for the research on whatever side you wish to view it. Newcomer Irina Starshebaum steals the film with her performance of the headstrong and fiercely idealistic protagonist. She is simply luminous. The rest of the cast is a mixture of British and Israeli actors who fit the bills nicely. The director adeptly intersperses newsreel footage to give the impression of a between world wars feel. 

Shoshana succeeds as a Romeo/Juliet story against the images of a very difficult time. The problem is, that it doesn't go far enough in fleshing out Shoshana's story. She is a fascinating character and I would have liked to learn more about her. That said, Shoshana was a very enjoyable film and it puts the viewer into the period with great skill.

Shoshana is still searching for distribution so who knows when it will be seen by mass audiences given the upheaval in the industry. You might want to keep checking streaming services in the next few months.

Dawn and The Husband give Shoshana two yups, but they are right on the line.

One Beautiful Second

Editor's Note: For the fifth consecutive year, Dawn and The Husband will be spending a few nights attending the Toronto International Film Festival, known to the locals as TIFF. While they can now proudly call themselves seasoned veterans at this madness, CoVid-19 has altered how films will be screened this year. While TIFF is offering in-person and drive-in experiences all over the downtown core, neither one of them is yet ready to sit in a theatre with other potential Delta vectors, even though every patron is masked and vaxxed. The roster, while not nearly as robust as in previous years, still offers some wonderful choices so they have increased their number of films to view to six.  Because they are old and, as previously stated congregating in a movie theatre is anathema in this still raging pandemic time, all films will be screened from the comfort of their living room complete with popcorn, a few homemade treats, and lights appropriately dimmed. The only phone calls that will be answered during the viewing of these world premieres are from Molly or Talia because grandchildren rule. TIFF still serves as a tremendous distraction from the world's ills and allows for some much-needed escapism during these tumultuous times. The next several posts will focus exclusively on TIFF and will offer very quick bullet point reviews for the movies seen. You've all been warned.

As TIFF '21 draws to a close, I am once again reminded of how much I love this art form. There is a lot of garbage that has found its way to celluloid over the years, but that hasn't diminished how wonderful the movies truly are. Superheroes and comic books notwithstanding, there are so many stories worth telling and viewing that I am very grateful for one of the world's best film festivals that brings them all together for a fortnight. And in my hometown...bonus.

It is in this heartfelt vein that TIFF '21 chose for its closing gala, director Zhang Yimou's love letter to cinema, One Second. This breathtaking and visual masterpiece was scheduled to be released at the Berlin festival in 2019 but it was pulled because of what was described as "technical issues." The film world is fairly certain that the Chinese government was none too happy with some of the portrayals of mid-1970's Maoist China and demanded cuts before the film could be screened. Two years later, we have the final product but I'm left wondering what ended up on the cutting room floor. All of that backroom drama was for naught because what remains is a visually stunning and heartwrenching depiction of a man who escapes a labour camp to see a film that has within it, a glimpse of his long-lost daughter. Along the way, we are treated to magnificent and striking desert landscapes and a cast of characters who tie themselves to his quest for their own personal reasons. There is a harshness to the setting to be sure but there is also a true adoration for the power that film has, both as entertainment and propaganda, and what can occur when movies are communally viewed. 

We absolutely loved this film and were so grateful to be among the first audiences in the world to view it. The first digital showing happened at the same time as the theatre screening. We saw seven movies this year at TIFF and this is the only one that I wish we had seen in person with other patrons. I missed the oohs, aahs, and knowing glances of fellow movie buffs.

Dawn and The Husband give One Second two huge YUPS. See this movie.

**And that's a wrap on TIFF '21. We hope that we can do it again next year in person.**

A Hot Mess From France and Love and Loss From Britain

Editor's Note: For the fifth consecutive year, Dawn and The Husband will be spending a few nights attending the Toronto International Film Festival, known to the locals as TIFF. While they can now proudly call themselves seasoned veterans at this madness, CoVid-19 has altered how films will be screened this year. While TIFF is offering in-person and drive-in experiences all over the downtown core, neither one of them is yet ready to sit in a theatre with other potential Delta vectors, even though every patron is masked and vaxxed. The roster, while not nearly as robust as in previous years, still offers some wonderful choices so they have increased their number of films to view to six.  Because they are old and, as previously stated congregating in a movie theatre is anathema in this still raging pandemic time, all films will be screened from the comfort of their living room complete with popcorn, a few homemade treats, and lights appropriately dimmed. The only phone calls that will be answered during the viewing of these world premieres are from Molly or Talia because grandchildren rule. TIFF still serves as a tremendous distraction from the world's ills and allows for some much-needed escapism during these tumultuous times. The next several posts will focus exclusively on TIFF and will offer very quick bullet point reviews for the movies seen. You've all been warned.

It was double feature day. We built in a hiatus for Yom Kippur and, as a result, had some trouble fitting in the movies we wanted to see. We have done doubleheaders before at TIFF. Usually, it means sprinting from one cinema to another and arriving breathless and sweaty for the second film. When one does TIFF digitally, a two-film day merely requires a ten-minute break to pee and gather snacks. In all honesty, we would have been happier with one movie because the first one was a hot mess.

We have entered into the world cinema phase of our TIFF '21 experience. We always like to choose films from the foreign language repertoire for several reasons. Filmmaking is a worldwide art form. In our experience, films that are made outside of the North American (read: American) lens are usually fresher, more original, and with stories that we have never before seen. They are more often than not independent and outside of the studio system. American filmmakers will often snatch up the best of these and remake them in watered-down English language copies. For my money, it is always important to check in on the world cinema selections at TIFF. That said, our first foray this season into this genre was a bomb. France is the story of a narcissistic, fame-loving television news reporter/anchor who cannot seem to ever get enough adoration from her fawning fans. She puts her work over family, is egged on by her social media-obsessed assistant, and is an empty vessel for anything other than her own narratives. She stage directs her reports, re-positions her interview subjects to manipulate the stories, and is more of a celebrity than a journalist. How many times can the audience watch her take selfies with fans? It grows mouldy very quickly. There is a real opportunity here for director/writer Bruno Dumont to create a real satire on the problems of modern television journalism but unfortunately, he veers off into so many tangents and subplots that the movie loses its centre. New characters pop up without explanation and crappy things happen for no reason. Bond girl Léa Seydoux is dour and miserable as the leading lady and she changes her clothes so often, it felt more like I was watching a fashion show than a film. (I counted at least 12 different coats. Who in the world has 12 different coats?) The movie is a morose morass that left us wondering why we wasted over two hours watching it. If we didn't have to read the subtitles, we both would have been sound asleep. 

Dawn and The Husband give France two hot and deep NOPES.

We fared far better with our second film of the day. I generally love a good British period piece and Mothering Sunday checks off all of the boxes. Featuring wonderful performances by promising young actors Odessa Young and Josh O'Connor (The Crown), Mothering Sunday is a steamy adaptation of Graham Swift's novella set in inter-war Britain. The film follows Jane, a young maid in service, through three generations as she navigates life, love, and loss all while developing her inner artist. This film is one of the most sensual and frankly hottest movies I've seen in a long time and yet, every scene was directed with sensitivity and purpose by Eva Husson. She literally strips her characters naked and it gives their conversations and movements a tinge of ache and realism. But above all, Mothering Sunday is about loss and how we cope with grief. In one extraordinary scene, Jane's boss, played masterfully by Olivia Colman, is recalling her own heartache at the loss of her son during the war. She comments on Jane's upbringing in an orphanage and tells her to be grateful for it. "You are totally bereaved from birth. You have nothing to lose and never shall,” she tells Jane during this poignant exchange. Of course, that is a simplistic view of one woman's anguish and the film's future tragedies prove that grief is never definable. While we see Jane mature as both a woman and an artist, we never really see her art but we know that it is superb. Mothering Sunday isn't a perfect movie but it is a really good one and I loved that such accomplished actors like Colman, Colin Firth, and Glenda Jackson took small supporting roles simply to be a part of it. I urge you to see this film. It is well worth your time.

Dawn and The Husband give Mothering Sunday two very enthusiastic YUPS. We both loved it. 

**Our last film is this evening. The final review will be published tomorrow. Thanks, TIFF.**

All TIFFed Out.

Editor's Note:

Dawn and The Husband will be spending the next few days attending the Toronto International Film Festival, known to the locals as TIFF. No longer rookies, they still have selected a modest number of films (5) because Rosh Hashanah is putting a crimp into their movie-viewing schedule this year. TIFF still serves as a tremendous distraction from the world's ills, the impending High Holidays, and asshole would-be dictators whose names rhyme with Dump and Thug. The next several posts will focus on TIFF and offer very quick bullet point reviews for the movies seen. 

Our quintet of films suddenly turned into a sextet on Wednesday when The Husband, in his infinite and prescient wisdom, bought us tickets for one last cinematic experience. When the list of TIFF films came out, Green Book was in my top five but when we went to purchase our tickets, this film went mysteriously missing from the lineup. I was unhappy but figured that it must have been pulled or delayed. Nope. There was simply a glitch in the TIFF site and so we chose five other movies and left Green Book as an anticipatory late autumn night at the theatre. When the powers that be at TIFF added an extra showing, The Husband pounced on the tickets and so we spent this final Shabbat of TIFF in the screening room at The Princess of Wales Theatre. 

I love Viggo Mortensen in almost everything (you all simply must see Captain Fantastic) and Mahershala Ali is a truly incredible actor. His performance in Moonlight had me in tears. The premise of Green Book, once again based on a true story, seemed like an old-fashioned buddy/road trip premise. Mortensen's "wise-guy" bouncer from the Bronx is hired to drive Ali's sophisticated and brilliant pianist through a series of gigs in the 1960's Jim Crow south. The green book is a reference to an actual publication that was distributed to African-Americans who were travelling through segregated areas in order to inform them of the "suitable" hotels and restaurants. Who knew? 

The film is funny, a little sad, anger-inducing at times, and sometimes a wee bit predictable but I loved every single minute of it. The two leads (and they are both leads. I will be infuriated if come awards season the studio tries to shove Ali into the supporting category) have tremendous chemistry and turn what could have been a formulaic flick into something special. Director Peter Farrelly (of dumbass movie fame) handles the subject matter sensitively and with a smart comedic eye. He shares a screenwriting credit with the son of the actual guy played by Mortensen. 

Green Book is a crowd pleaser and I will not be shocked if it wins the People's Prize here at TIFF. It may not be high art but it was a helluva great afternoon at the movies. Dawn and The Husband's recommendation: Two enthusiastic YUPS!!!

Battle of the Sexes

Editor's Note:

Dawn and The Husband will be spending the next few days attending the Toronto International Film Festival, known to the locals as TIFF. As rookie attendees, they realize there is a great deal to learn and a great deal to know. They have selected a modest number of films (5) as their initiation into TIFF with hopes that perhaps this learning experience will lead to a more comprehensive schedule in future years. TIFF is also serving as a tremendous distraction from the world's ills, the impending High Holidays, and hurricanes named for Jewish uncles and aunts. The next several posts will focus on TIFF and offer very quick bullet point reviews for the movies seen. Plan your Oscar ballots appropriately.

If you are interested in the first four posts from this series, you can read them here, here, here, and here.

• Today was our final day at TIFF and while the festival is winding down, the crowds on King Street haven't abated all that much. Maybe it is because it is Friday and there are still two more days for movie lovers to get their fix, or maybe it is because it is a stunning Friday evening in the entertainment district and the cafes and patios are packed with Torontonians aching for those last gasps of summer. Or maybe it is because of the movie shoot across the street from our building that is impeding both foot and car traffic. Whatever the reason, we have been truly impressed with our rookie season at TIFF. I have been fairly vocal in this space on previous occasions as to why we generally don't like the modern movie-going experience. While we both are cinephiles at heart, the constant chatter, eating, phone conversations, and generally rude public behaviour has pushed us towards iTunes, Netflix, and other On-Demand services. There is little of that anti-social behaviour from TIFF audiences aside from a few industry insiders who have obviously forgotten what public screenings are for. There really is nothing like viewing a movie on the big screen. It was what they were made for. I had forgotten and I am thrilled that TIFF brought us back to our roots.
• Today's film, Battle of the Sexes is our third out of five that features a same-sex romance at its core. This is just a statement of plain fact and I can't tell you how happy it makes me at how nonplussed every single audience member was. There is an almost mainstream feel to it, as it always should have been. I remember vividly the ocean of ink spilled about big-name actors signing on to appear in Philadelphia or whether or not Brokeback Mountain was a legitimate Oscar contender due to its "mature" subject matter. The three movies we saw this year didn't really care. They just presented love as love in all its iterations and it was truly beautiful.
• Battle of the Sexes was our filler film. I couldn't get tickets to another we wanted, so this was our fallback. It tells the story of the classic tennis match between Billie Jean King and Bobby Riggs that took place in front of a worldwide TV audience of over 90 million viewers. I was almost eleven years old at the time and I vividly recall watching Billie Jean kick Bobby's ass. That bit of information does not require a spoiler alert. It is historical fact and one of the great moments for the women's movement of the 1970s. Billie Jean King was already a feminist icon for her battles for Title IX and the pioneering of the Women's Tennis Association (WTA) in order to bring women's tennis prize money in line with their male counterparts. She was and still remains a role model for young girls and women everywhere for her never give in mentality and her philosophy that women could do anything to which they set their minds. This movie is certainly an homage to her and to the struggles that are still facing women in the public eye today. Here's a story to illustrate my point. At the Rio Olympics last summer, a reporter interviewing tennis gold medalist Andy Murray said: “You’re the first person ever to win two Olympic tennis gold medals. That’s an extraordinary feat, isn’t it?” To which Mr. Murray rightly replied: "Male player. I think Venus and Serena [Williams] have won about four each." 
• Battle of the Sexes is a very "Hollywood" film. That isn't to say it's not worthy, but rather it is merely formulaic. The acting is excellent. Emma Stone is terrific as Billie Jean King and her vulnerability is a real asset in the role. She also had to learn how to play tennis apparently, but when you have Billie Jean King as a coach I suppose you could do worse. Steve Carell is every bit the buffoon as Bobby Riggs, but he also brings a great deal of pathos to the part that almost makes the cartoonish and very narcissistic Riggs likable. The acting transcends the weaknesses in the direction and the editing and makes the film eminently enjoyable.
• I watched Battle of the Sexes with a very jaded eye but I did enjoy it. I will admit that if we hadn't seen it at TIFF, we probably would have waited for On Demand or streaming services. It is just a bit too mainstream for my liking. I was much more in tune with the real-life throwback footage of Howard Cosell and the incredibly chauvinistic way he called the match, even going so far as to say that Billie Jean was "walking around the court like a man." I had no memory of that. I was also fascinated at the battles off the court that were won by these incredibly brave individuals who redefined women's sports. Dawn and The Husband's recommendation for this film: Two middling YUPS.

And...so ends our time at TIFF 2017. This was definitely an experience we will repeat. We learned a lot and saw some great movies. As a matter of fact, I saw more films in a theatre in this one week than I have all year. There are some who have become disenchanted or disillusioned with how corporate and slick TIFF has become and there is some merit to those criticisms, but for pure movie fun, it was a hoot.

Shabbat Shalom to all who observe and for those celebrating the upcoming Yamim Noraim, Shana Tova U'metukah. May the upcoming year be a sweet one, a healthy one, and one of peace. 

"TIFF"ing With Jewish Toronto

Editor's Note:

Dawn and The Husband will be spending the next few days attending the Toronto International Film Festival, known to the locals as TIFF. As rookie attendees, they realize there is a great deal to learn and a great deal to know. They have selected a modest number of films (5) as their initiation into TIFF with hopes that perhaps this learning experience will lead to a more comprehensive schedule in future years. TIFF is also serving as a tremendous distraction from the world's ills, the impending High Holidays, and hurricanes named for Jewish uncles and aunts. The next several posts will focus on TIFF and offer very quick bullet point reviews for the movies seen. Plan your Oscar ballots appropriately.

Another Day, Another Film at TIFF

• The festival has proven to be a wonderful distraction for both The Husband and me. Between the never-ending shitshow that is playing out in real time south of the border, to the fretful past few days worrying about friends, family, and property who were in Aunt Irma's path, to the nauseating mayoral announcement of the nastier and more explicitly evil of the Ford brothers, to the upcoming High Holidays, the early part of this month hasn't really been a cornucopia of fun times. TIFF has allowed us to escape from some of that outside misery and to bury ourselves within the escapism of the movies. I honestly can't think of a better use for my entertainment dollars right now.
• While many continue to hunt down and stalk celebrities, I am far more excited when a sighting just happens organically. Truth be told, I have never been starstruck. I am in awe of the talent and the art but celebrity frankly bores me. Still, it can be a wee bit thrilling when while just strolling down King Street yesterday, we happened to bump into Willem Dafoe headed into our local Starbucks for a caffeine infusion. What was even better? As we ventured further down the street, there in front of us was his six-year-old costar from The Florida Project Brooklynn Prince, all decked out in her TIFFiest finery, signing autographs. Yes...I said six years old! Hollywood. OY!
• Today's film, Disobedience, is set in an ultra-orthodox Jewish community in the London neighbourhood of Hendon.   I am usually very suspicious of Jewishly themed movies for a number of reasons but chief amongst them is that Jews like to go and see Jewish movies and act as if we somehow had a hand in creating them. I call it the "Pride of the Tribe" mentality. As a result, today's noon showing of this film felt like being dropped into the middle of a Hadassah-Wizo conclave. Half of the middle-aged Jewish women of Toronto were in the sold-out crowd. Some had dragged their less-than-enthusiastic husbands along for the ride. As we stood in the queue waiting to enter the theatre, the gentleman behind us complained to his wife that she had tricked him into attending a drama when she knows that he only likes comedies. Worse yet for this guy? There are two women as the leads. Popcorn was his only saving grace. 
• A quick aside. How funny was it that during a rabbinic study session in the film, the yeshiva bochers (young men) were studying the first verses of Song of Songs...the very same verses that The Husband and I read aloud during Torah study this past Shabbat? We kept waiting for one of the rebbes in the scene to bring up Rashi's interpretation.
• One other quick aside. The orthodox Jewish woman played with such surprising depth and repression by Rachel McAdams shlepped the very same bundle buggy that I purchased for The Husband. It was described in the movie as "very frum". I was almost under my seat during that scene because I was laughing so hard. The Husband was less than impressed.
• Disobedience was a pre-festival choice of mine and The Husband came along for the ride. It is the tale of childhood friends reuniting following the death of one of their fathers. There is an acute somberness to the film that is necessary to the storyline so that when the release finally does come it is welcome and exhilarating. Rachel Weisz and Rachel McAdams create characters of complexity and depth, but it is Rachel McAdams' Esti that is at the heart of the film. We see her in a role unlike any she has ever played before and she is almost struggling to keep her natural radiance submerged. When both she and Esti let it go, it is almost magical. It is so refreshing to see women in a film that are not there to serve as eye-candy or to prop up the men. This is a story about two women and it is ably crafted by director Sebastian Lelio in his first English language film. Disobedience is a slow simmer, but it is a freeing delight. Dawn and The Husband's recommendation for this film: Two enthusiastic YUPS!

A quick note. We don't really like every film we see. We have just been lucky so far at 3 for 3. Hopefully, our streak will continue.

Sunday at TIFF with George

Editor's Note:

Dawn and The Husband will be spending the next few days attending the Toronto International Film Festival, known to the locals as TIFF. As rookie attendees, they realize there is a great deal to learn and a great deal to know. They have selected a modest number of films (5) as their initiation into TIFF with hopes that perhaps this learning experience will lead to a more comprehensive schedule in future years. TIFF is also serving as a tremendous distraction from the world's ills, the impending High Holidays, and hurricanes named for Jewish uncles and aunts. The next several posts will focus on TIFF and offer very quick bullet point reviews for the movies seen. Plan your Oscar ballots appropriately.

A few quick hits from TIFF

• King Street or "Festival Street" as it has been dubbed during the festival, has been a walking wall of people this weekend. The mayor has stated publicly that he wants this to be the last year that King will close on the first weekend of TIFF. I do understand the city's issues. Diverting the streetcars, asking commuters to find alternate routes into work, and moving traffic onto other arteries is a major pain in the ass. But...it is also an amazing street festival that is drawing thousands of visitors into the entertainment district and the bars and restaurants are absolutely loving it. I think that the mayor might want to chat with some of these small business owners before he makes this recommendation to council.
• I DO NOT understand these crazy "star gazers" who are staking out areas behind theatres or camping on the street in front of restaurants to catch a glimpse of simply anybody. As we walked by the Princess of Wales theatre this morning, we noticed the huge crowds waiting with fevered anticipation. I asked one woman who they were waiting for and she answered, "I don't have a clue, but it must be someone big." Here's an example of what they see. Behind the elbow of the guy holding up his phone, you might catch a glimpse of Jake Gyllenhaal. That's me in the black jacket.
  
   I mean...Jake is cute and all but this wasn't even a brush with fame. It was more like a whisper. As we walked by a sandwich shop today, fifty people were waiting for Steve Carell to finish a smoothie. Honestly. This is a strange way to spend one's time.
• As we waited on the queue for today's film, TIFF volunteers came by to collect any garbage we might have. Toronto may not be a perfect city, but we do try really hard to be a clean one. ***TIFF TIP ALERT*** Make sure that you are aware of the food and beverage policy at the individual venues. Some theatres will allow you to bring water or snacks. Other aren't so friendly.
• Today's film was Suburbicon. I will admit that this was not a film I was eager to see and I did acquiesce to The Husband and his love of everything Coen Brothers. I have mixed feelings about the brothers and their films. I love some and hate others. But, this is TIFF and one must be open to a variety of film types. In Suburbicon, director George Clooney has taken an aging Coen script written in the early '80s, tweaked it, and created a brutal dark comedy combined with a historically accurate racially charged moment from America's checkered past. It is obvious that Clooney was eager to make a statement in this film and while there were times that I thought his attention was too divergent, the film does work on both levels. While Matt Damon and Julianne Moore are the big draws, the film is actually flat out stolen from them both by the work of young Noah Jupe and a wonderfully evil turn by Oscar Issac. 
• Suburbicon actually surprised me. I went into the theatre ambivalent and walked out fulfilled. It is a film that will really please Coen Brother disciples and given his history and comfort with Ethan and Joel, Clooney is a good fit as director. (It was a really wonderful surprise when George came out and did a quick Q and A with the audience. That doesn't usually happen unless the movie is a premiere. He is brilliantly funny, easy-going, happy to answer questions about his work...not his personal life...we were warned, and truly charming.) Suburbicon is not for everybody but it will find a willing audience with dark comedy aficionados and those looking for a bit more depth in their film choices.  Dawn and The Husband's recommendation for this film: An enthusiastic YUP from The Husband and a YUP, GO SEE IT from Dawn. 
  
  
  
  
  
  
  
  
  

Lessons Learned From TIFF-Day 1

Editor's Note:

Dawn and The Husband will be spending the next few days attending the Toronto International Film Festival, known to the locals as TIFF. As rookie attendees, they realize there is a great deal to learn and a great deal to know. They have selected a modest number of films (5) as their initiation into TIFF with hopes that perhaps this learning experience will lead to a more comprehensive schedule in future years. TIFF is also serving as a tremendous distraction from the world's ills, the impending High Holidays, and hurricanes named for Jewish uncles and aunts. The next several posts will focus on TIFF and offer very quick bullet point reviews for the movies seen. Plan your Oscar ballots appropriately.

Lessons Learned From TIFF-Day 1

• Standing in line is a fact of film festival life even when you have tickets. We arrived almost an hour and a half before our scheduled time and were still on queue halfway up Yonge Street. Worse yet, it was pouring rain and umbrellas were continually poking into eyes, ears, and necks. We became quite friendly with our linemates and picked up a few really good TIFF tips like wear comfortable shoes and clothes, pack a bag for the weather, bring snacks, and perhaps send one person to wait on line while their friends simply join as the line begins to move. If this were movie-waiting etiquette south of the 49th, I am certain we might have seen a Hamilton-like duel with pistols drawn in the middle of the street. But this is Toronto the Good and everybody just accepts it with humour and affection.
• We found really great seats in the theatre that just happened to be in the general proximity of many industry insiders. Most seemed to be distribution company buyers and as our film On Chesil Beach is still in search of distribution, there were a lot of these guys on hand. ***TIFF tip alert.*** Try and avoid sitting near these people. They are extremely inconsiderate movie goers. Most were on their phones throughout the film and every single one was texting continually. They did everything business oriented imaginable except "take a meeting" in row R at the Wintergarden Theatre. Hopefully one of those rude bastards will offer a distribution network for this film. It is worthy.
• On Chesil Beach was a film that both The Husband and I had on our pre-TIFF wishlists. I am a huge fan of author Ian McEwan and adored the film adaptation of one of my all-time favourite novels Atonement. I haven't yet read On Chesil Beach, but the film description had me at actress Saoirse Ronan. I will watch her in anything, even The Lovely Bones. (God...I hated that book and I hated the movie even more, but it did star Saoirse Ronan.) She is the rare actor who has successfully made the transition from child star to luminous and extraordinarily talented adult thespian. I liken her to a young Cate Blanchett. She is able to convey emotion without ever speaking a word; her face a road map of sentiment and her choice of roles has been thoughtful and wise. She does not disappoint in this film.
• On Chesil Beach is a gut-wrenching film. It twists the audience into so many knots that it is necessary to keep the Zantac handy. The screenplay by Ian McEwan, based on his novel, is traumatic and painful, but oh so real. The roles of Florence and Edward are played with searing agony by the aforementioned Ms. Ronan and newcomer Billy Howle. (Dunkirk). There were many in the audience who found the subject matter difficult and would have preferred an easier character play and love story, but the authenticity of On Chesil Beach is what makes this film so brilliant.
• We left the theatre spent and satisfied. On Chesil Beach isn't for the faint of heart movie goer, but rather it is a film for one who is drawn to character studies and the struggle of what goes into building a real relationship. If it gets a decent distribution deal, it could do very well into awards season, particularly for its lead actress. Dawn and The Husband's recommendation for this film: Two enthusiastic YUPS!

Our next film isn't until Sunday. Until then....Shabbat Shalom to all who observe and for those of you facing that bitchy Irma...stay safe, friends.