Toronto 2011. Days One and Two
Dan SallittA remarkable debut and films by Bruno Dumont, Andrei Zvyagintsev, Joachim Trier and more from our first report from Toronto.
A remarkable debut and films by Bruno Dumont, Andrei Zvyagintsev, Joachim Trier and more from our first report from Toronto.
For some, Terraferma is an “absorbing drama” about immigration. Others see no need for it to be competing in a major film festival.
Never mind Brad Pitt and Jonah Hill, and for that matter, Bennett Miller. For the critics, Moneyball is an Aaron Sorkin movie.
The trades are not impressed, but Akerman’s first narrative feature in seven years does have its champions.
A doc on “the relationships between men and women in contemporary society that yields telling and ambivalent insights.”
Reviews of nearly two dozen works screening in the Toronto International Film Festival’s program of experimental film and video.
The general consensus: screechingly loud, sloppily incongruous, but possibly great.
“A beautiful rough beast of a movie,” find most critics so far, though some do have their reservations.
“Ann Hui’s brilliant filmography extends back to 1979, and this new work instantly earns pride of place as one of its glories.”
Derided in the trades, Cut finds its defenders elsewhere.
“Less a piece of political advocacy than a somber inquiry into familiar Herzogian themes of death, violence and time.”
Dark Horse “might just represent the warmest film Solondz is capable of making.”