The 38th edition of the Toronto International Film Festival is coming to a close, and Indiewire has been on the ground to survey the endless array of cinematic selections that have screened at the event over the past week and a half. In case you missed any reviews, we have compiled a list of all the films we saw below. Read our takes on the various movies that are sure to be talked about once fall movie season kicks into full swing.
The process of mourning, too, is messy and discordant, and "Southcliffe" attempts to tackle, less surefootedly, the ways in which grief can be suppressed or express itself in uncomfortable ways, how it can redirect itself toward others in the same way that despair can.
Pushing beyond the brutal exterior of his material, Mackenzie reveals the tender story of estrangement beneath, but never forces the sentimentality.
"Story of My Death"
Intentionally obtuse in its closing scenes, the movie doesn't quite manage to pull off the comeuppance promised by the initial semblance of an eerie presence in the finale.
"The Strange Colour of Your Body's Tears"
A loud, visually assaultive assemblage of genre tropes as technically accomplished as it is difficult to watch, "The Strange Color of Your Body's Tears" has plenty to impress while simultaneously offering so little.
"Supermensch: The Legend of Shep Gordon," the directorial debut of Mike Myers, is a vaudeville celebrity remembrance of mega-manager Shep Gordon by stars who might have starved without Gordon’s help.
It takes a special talent to turn the romantic lyricism of Zola and turn it into chick-lit.
Experientially, "Tim's Vermeer" is surface deep; no great work of cinematic showmanship about the creative process a la Orson Welles' seminal diary film "F for Fake," it nevertheless teases out an provocative dialogue about the nature of creativity and the tenuous distinction between inventors and artists.
While "Tracks" certainly does justice to the splendor of the surroundings, it never manages to justify the expansion of the material into a feature.
A totally wacky head-trip with midnight movie sensibilities and a daring avant garde spirit, Glazer's movie is ultimately too aimlessly weird to make its trippy narrative fully satisfying, but owes much to Johansson's intense commitment to a strangely erotic and unnerving performance unlike anything she has done before.
A depressing epilogue to the Bush years, "The Unknown Known" lacks enough empirical weight to elaborate much on a story now widely understood.
Not classifiable as any kind of documentary, "Visitors" instead functions as pure lyrical document, not just a record of existence but what it means to experience it.
"The Wind Rises"
It's hard to believe the brilliant 72-year-old visionary could run out of ideas, but just as easy to see how Miyazaki may have entered a more reflective stage of his career less tied to the otherworldly stories that populate his movies than the struggles of his own life.