The last major additions to this year’s Toronto International Film Festival have been unveiled, and unsurprisingly, along with the new world premieres, there’s several films from the Venice line-up, which kicks off the week before. Along with the already announced “The Master” and “To The Wonder,” Torontoites will also get to see Brian DePalma‘s “Passion” and Harmony Korine‘s “Spring Breakers,” both of which are set to bow on the Lido the week before.
And to accompany the announcement, TIFF have unveiled new images from both movies. DePalma’s film, a remake of French thriller “Love Crime,” stars Noomi Rapace, Rachel McAdams and “Sherlock Holmes: A Game Of Shadows” villain Paul Anderson, while Korine’s stars Vanessa Hudgens, Selena Gomez and a dreadlocked, gold-toothed James Franco. We’ll be bringing you reviews of both when they bow in the festival season, but in the meantime you can check out the new images, and synopses, below.
Rachel McAdams and Noomi Rapace (The Girl With the Dragon Tattoo, Prometheus) star in this fiendishly clever erotic thriller from master of suspense Brian De Palma. Passion is a remake of Alain Corneau’s elegant thriller Crime d’amour, which we presented at our Festival in 2010. De Palma follows the structure of the original while making it entirely his own. The film centres around two women: Christine (Rachel McAdams), an elegant, ice-cool blonde career woman who holds a senior position with a high-powered advertising agency; and her assistant Isabel (Noomi Rapace), a shy and reticent brunette. Christine has a silky smooth charm, but underneath her veneer of control hides a tangle of kinky sexual needs. Isabel, smart and creative despite her hesitance, harbours a growing ambition.
James Franco, Selena Gomez and Vanessa Hudgens star in the wild new film from perennial provocateur Harmony Korine (Trash Humpers), about four flat-broke co-eds whose spring fling in Florida turns into a booze, drug and violence-fuelled bacchanal. Spring Breakers is Korine’s first film since Mister Lonely to feature professional actors. He challenges his impressive young cast in unexpected ways, with long, seemingly improvised takes and a demand for shifting tones of sweetness and menace.
The film lands on the more narratively linear end of Korine’s career and has moments that recall each of his previous films, especially the virtuosic tableaux of Gummo and the agonizing desperation of Mister Lonely. But Spring Breakers also brings a few new tricks to the table, including remarkable shifts in mood and a breathtaking cinematographic confidence; there are signature moments of montage in this film that will influence generations to come.