Photos: Netflix / François Duhamel / NETFLIX
Toronto-"Is it just me or am I going crazy?"
This is a quote from "Joker" who made his first North American show at the Toronto International Film Festival, which ended on Sunday. But this quiz, excerpted from the Brabula performances, which Joaquin Phoenix bent as his early DC Comics villain, is likely to be the tagline of the festival itself.
Bewildered outside the world and the best way to diagnose and deal with it was the theme of festivals led by filmmakers. Genre and classification.
A very serious problem was incredibly comedy, as well as sober biofixes and regular works. Portraits of male-female relations and differences in power gained a new level of introspection and acute insight.
The most recent and recent past is not to abuse the nostalgia of the past, but to visit again and again to shed light on the reality of today's reality in almost every film: novels, nonfiction, controversy, pure escape.
In the gardens such as Renee Zellweger ("Judy"), Jamie Foxx ("Just Mercy"), and Eddie Murphy ("Dolemite Is My Name"), the festival's most spectacular comebacks, which are not various revivals, felt exceptionally timely re-creation . . Jennifer Lopez doesn't boast her powerful stuff as unarmed Brio in the quaint caper movie "Hustlers". She offers convincing and thorough enjoyment of Wall Street's torts, wrong accusations, and wealth inequality. Dagger and G string.
Similarly, after winning the Golden Lion at the Venice Film Festival, "Joker", which became Toronto's most popular ticket, tells more than just another cartoon origin, becoming an unclear urban allegory for the suffering of suffering young people. Easily ignites destructive and vain movements. Rian Johnson's witty founder, "Knives Out," is not only a delightful update to Agatha Christie, but also in his provocative immigration policy "from his suspicious claims to himself." As far as public criticism against President Donald Trump, despite the $ 1 million loan from his father, even "Ford v Ferrari", the driving drama for James Man Gold's 1966 Le Mans car race, had independent text giant subtext, Co-star Matt Damon described it as a "one-to-one comparison" where filmmakers fight for danger: Avoid studios when you answer questions after the film premiere.
Noah Baumbach's "Wedding Stories", starring divorce Adam Driver and Scarlett Johansson, plays like a ridiculous bookend for Norwegian director Maria Sodal's "Hope". Husband's career altar-feels like a recent conversation about female ambitions and incomprehensible male privileges continues. Even "Judy", where Jellweger channels surprisingly rough and vulnerable middle-aged Judy Garland, includes a flashback in which studio chief Louis B. Mayer reveals the actress as a young girl. Doing. Moment.
The boldest Toronto premiere was the most divisive. The comedy film "Jojo Rabbit", in which Taika Waititi appeared as Adolf Hitler during World War II, seems to have crossed the line in anti-dispatch by some critics- The most ridiculously daring chieftain. But the protagonist, a young boy from Germany, also vividly reminds us of the danger of blind devotion to the dictator, as well as the human ability to regain the moral center.
"Jojo Rabbit" most recalls the work of Armando Ianucci, who debuted a similar revisionist flight of fancy in the form of "Private History of David Copperfield" in both incomplete shades and keen satirical eyes. Charles Dickens Classic. The original and meaningful "Beautiful Day Near Me" directed Marielle Heller beautifully to evoke the imaginary world and deep spiritual work of children's television organizer Fred Rogers (played surely by Tom Hanks).
If such a film had a formal danger in bringing the figures to the past, others such as "Just Mercy" for criminal justice reform leader Bryan Stevenson and "Harriet" for Harriet Tubman, conductor of Underground Railroad, played it right away. . And dark. Edward Norton saw the career of the film Noah and the ruthless urban planner Robert Moses as inspiring the adaptation of "the ruthless Brooklyn", and the screenwriter Scott Z. Burns wrote in various forms in the "Laundry" (on the money laundering plan). Dealt with corruption. The Panama Newspaper and the "Report" on the Senate Intelligence Committee's investigation of the CIA's use of torture in the war on terrorism.
Although these stories have happened in the past, each one felt to focus on today's anxiety and aspirations, and once he made his directorial debut with "The Report", it was easy to recognize. "We are surrounded by a world that has undergone many changes over the years," he explained in a brief interview at the festival. "The subject of responsibility for government and transparency is in both films, and without it, we will continue this unfair and corrupt path. I cannot say it was a conscious choice, but obviously they are the ones I thought."
Objects Documentary "Where is My Roy Cohn?" The notorious lawyer's life and career are now reviewed as an important lens for the most famous protege to occupy the Oval Office. Filmmaker Alan Berliner, who introduces "Letter to the Editor," a fast-moving collage of more than 1700 New York Times photos, explains that he will admire his hometown newspaper "after struggling and struggling to find the roles and responsibilities of artists." I did. Everyday journalism is undergoing technical upheavals and political attacks
Even Truman Capote, who died in 1984, has something to say. The first film director, Ebs Burnough, who served as the first female vice president, secretary and adviser to the Obama administration in an elegant and revealing documentary "The Capote Tapes", uses an interview time recorded in the later George Plimpton portrait of Capote so far invisible. . The late writer is a charismatic talk show guest who appears as a talented but struggling artist that many people admit, but as a devoted father character of Kate Harrington, who lived with Capote as a teenager.
Burnough said, "The talk about addiction," after the premiere of "The Capote Tapes." "It's a story about survival. It's a story about how to be a very small gay person born in a southern village in the 1920s. And I really want to be you. The present story doesn't matter. But we We have to go back and learn. People love to go back and dig bones and stories because they have already lived what we are going through. It's not new. They can show us the way. "