Thanks to Collider via the American Film Market, we now have a poster, tons of images, and new information for what is more or less my most anticipated film of 2011: Sarah Polley’s directorial follow-up to the “Away From Her,” “Take This Waltz.”
Apparently a James L. Brooks/Judd Apatow-esque romantic comedy set in Toronto and starring Michelle Williams as a woman torn between her loving husband (Seth Rogen) and a sexy new dude she meets (Luke Kirby), this looks the city’s second coming of high profile exposure after “Scott Pilgrim Vs. The World,” and I have no doubt that Polley will pull it off.
The synopsis care of the AFM materials:
When Margot, 28, meets Daniel, their chemistry is intense and immediate. But Margot suppresses her sudden attraction: she is happily married to Lou, a celebrated cookbook writer.
When Margot learns that Daniel lives across the street from them, the certainty about her domestic life shatters. She and Daniel steal moments throughout the steaming Toronto summer, their eroticism heightened by their restraint. Margot finally gives in to desire and in doing so, discovers some unsettling truths about herself. Swelteringly hot, bright and colorful like a bowl of fruit, Take This Waltz leads us, laughing, through the familiar but uncharted question of what long-term relationships do to love, sex, and our images of ourselves.
And then some director’s notes care of Polley herself:
Visually, this film will be a colourful feast for the eyes. Toronto in the summertime will feel alive, vibrant, and sweltering hot. Sexy, diverse, energetic and dreamy. Sexuality should pulse through almost every frame; primary, hot colours striking us to our core. The look of this film is defined by summer, bathed in golden light, the sweltering heat filling every frame, adding to the claustrophobia and eroticism of Margot’s journey.
The film will never feel static or composed. There is always a sense that we don’t know where the camera will go, there are no boundaries, nowhere that is off limits, creating a sense of anticipation. We are often going into emotional territory that feels intense and unexpected – we feel it visually as well. We don’t know what we are going to see next, and that is thrilling and nerve wracking at the same time. There is always a sense of breath in the camera. There is always the slightest movement. Almost the entire film is shot on steadicam, giving it a sense of grace and fluidity as well as a sense of life.
The soundtrack will be alive and pervasive and feature legendary songs by Leonard Cohen as well as the contemporary music of many emerging independent bands.
I love her. I really do. I love how unabashedly Canadian she is. And I love how she’s using her international fame to give her fellow Torontonians/Canadians a new kind of representation on the cinematic world scene. Canadian romantic comedies don’t star Michelle Williams and Seth Rogen and have scripts that make the BlackList. Except when Sarah Polley is involved.
I suspect this might be headed for Sundance 2011, and I’ll be first in line. Until then, here’s seven more scanned images (again, care of Collider.com), after the jump.