From the "On The Scene" Archives:

by Aaron Krach

(indieWIRE/9.11.00) --Mother Nature tried her best Saturday to seduce festival goers away from darkened theaters by sending temperatures into the high 70s -- oh, excuse me, this is Canada, into the high 20s centigrade. But even the sunny last days of summer cannot repress the cinephilia of Torontonians who line up faithfully for every screening, even when they don't know what they are waiting in line for. Overheard in line outside the Royal Ontario Museum: "Do you know what we're seeing?" The answer: "Nope." And without further ado they hurried inside. Maybe it's the balmy weather, or maybe it's Toronto; more likely it's just early in the festival, but regardless, everyone appears to be having a very good time. Even the publicists -- dressed in head to toe black (revealing their New York roots), badges dangling from their necks and cellphones glued to their ears -- are smiling.

Perhaps Mother Nature warmed the scene in solidarity with all the women directors who premiered new work during this opening weekend, from first time directors to experienced veterans. Kathryn Bigelow, the first of only two women granted Gala screenings this week, premiered "The Weight of Water," starring Sarah Polly, Sean Penn and Elizabeth Hurley. The time-bending, crime drama about the murder of two women off the coast of New Hampshire in 1873 inspired discussions of gender; whether or not Bigelow's identity as a women influenced the film, or whether or not the audience's gender will dictate their reaction to the film -- both surprisingly retro discussions for such a sophisticated festival. The other female director given a Gala presentation is Marleen Gorris, ("Antonia's Line") whose Nabokov-inspired "Luzhin Defence," starring Emily Watson and John Turturro, premieres Monday. Unfortunately, Bigelow's effort -- her latest since "Strange Days" in 1995 ‚ disappointed many attendees, while Gorris' effort, acquired by Sony Classics post-Cannes, received a similarly lukewarm response during its market screenings last May.

Festival Programmer, Kay Armatage was on hand to introduce Sande Zeig and her debut feature, "The Girl," at its first public screening Saturday night. Armatage was visibly excited to not only introduce Zeig but her co-screenwriter Monique Wittig, the feminist author. "I used to teach her novel, oh twenty-some years ago, so I've been in her fandom for quite some time," said Armatage, who has been a programmer in Toronto for "a very long time, not from the beginning, but almost." Zeig thanked Armatage first for being "perhaps the single most important programmer when it comes to supporting female directors." Zeig's film is an erotic work about an affair between an androgynously butch lesbian and a previously heterosexual femme, cabaret singer. It's a simple story enhanced by perfect casting (the cabaret singer can actually sing) and a willingness -- unfortunately not until the end -- to utilize experimental techniques with the camera to create several exquisite images.

Other women-helmed flicks also unspooled. Far from her roots in the East Village Super 8 scene of the early 80s, Beth B. screened her Vietnam veterans doc, "Breathe In/Breate Out." Mia Trachinger, fresh from a buzz-inducing screening at LAIFF, brought her debut feature "Bunny" to Toronto. Saturday night, Australian director Shirley Barrett ‚ who won the Palme d'Or in Cannes for her first film "Love Serenade" -- premiered "Walk the Talk," her satire of society's obsession with good news, positive thinking and "post-Reagan, post-Oprah doublespeak." Canadian Lynne Stopkewich ("Kissed") also premiered her latest, "Suspicious River," the brutal and poetic story of a hotel receptionist (Molly Parker, glassy and brilliant) who rents herself out along with the rooms. The film's industry screening Sunday morning was packed to capacity with small distribs, from Shooting Gallery to Strand Releasing, much abuzz. But the movie's serious tone and lurid, disturbing subject matter was a bit much for many viewers.

Bold displays of sexuality don't always score with Toronto audiences, however, probably because they don't always know a lot about what they are going to see. Each time Zeig's stars made love to each other, aăusually olderăcouple exited the theater. During a jam-packed screening of Spanish director, Cesce Gay's feature, "Krampack" ăa remarkable and utterly charming little film about two 16-year old boys trying to lose their virginity during a summer spent without parental supervision ă sent several audience members fleeing during a scene of intergenerational seduction. Directors take note: these scenes intimidate because they were vital and authentic. Audience reaction is proof that these directors are doing something very right.

Spread over so many city blocks, it's hard to tell which films are truly capturing the buzz. At the main box-office, in an odd basement space inside a shopping mall, Torontonians cruise through billboard-size listings of all the films trying to find something that is NOT sold out. Press screenings may be a better place to gauge which films are hot. By that token, one film looks to become a serious contender. The first press screening for Stephen Daldry's film, "Billy Elliot" -- a wry, warm-hearted story about a young boy in the North of England who wants to trade his boxing gloves in for ballet slippers -- was so crowded that dozens of press, including some big names from a few prominent publications were forcibly turned away. Word is that an extra press screening for the film, which will be distributed in the U.S. by Universal's newly dubbed specialty distribution division Universal Focus, may be added to compensate for the interest.