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Film Sordid Cinema Spotlight TIFF

Our Most Anticipated Films of TIFF 2018

Today marks the beginning of the 43rd Toronto International Film Festival, and with it comes the usual electricity in the city. From all the biggest stars getting picked up from airports and dropped off in downtown Toronto, to the long line-ups for even the smallest movies, the festival is one of the most hyped events in the city for tourists, residents, and the illustrious film industry alike.

This year marks an onslaught of high profile films from directors like Damien Chazelle and Barry Jenkins (Will there be another Moonlight vs La La Land situation at the 2019 Academy Awards?), as well as Bradley Cooper and Jonah Hill’s respective debuts behind the camera. And then there is my personal favourite section: Midnight Madness. Every year it’s a riot, and the staple venue of Ryerson Theater is opened up to a bunch of genre fans waiting to catch the next big obsession.

Among it all there are films waiting to be discovered, the less-talked-about movies itching for that buzz that will push them into the end-of-the-year conversation. TIFF’s People’s Choice Award winner is almost always a safe bet to receive a nomination come award season, so we’ll have an indication of what to look forward to this fall/winter season. There are plenty of movies to get excited about, but these are a handful of the ones we can’t wait to witness on the big screen.

Boy Erased

Boy Erased

Adapting the memoir of a gay teenager forced into conversion therapy by his religious parents, Joel Edgerton is quickly establishing himself behind-the-camera just as much as he has in front of it. Boy Erased looks to be an incredibly emotional follow up to his directorial debut, The Gift. That film was one of my personal favourites from that year, serving as a taut thriller and a moving look at the way our words can do just as much harm as our actions. With Boy Erased, Edgerton serves on script writing duties again, with an all-star cast that is led by Lucas Hedges, Russell Crowe, Nicole Kidman, and Edgerton himself. This is a movie making its moves at almost every festival this fall, so the push is on to prop it up for an Oscar run — which it looks like it has the potential to achieve.

First Man

First Man

Damien Chazelle can pretty much do no wrong at this point. With both Whiplash and La La Land receiving universal critical acclaim, and the latter winning Chazelle the Best Director award at the 2017 Oscars, it isn’t surprising to see him come back so soon with Ryan Gosling in tow again. Buzz is already out from Venice about whether this Neil Armstrong biopic reaches the moon or not, and it seems like technically it is a marvel to behold, with Claire Foy standing out amongst a swarm of male actors.

The trailers have all been incredible and the IMAX preview before screenings of Mission: Impossible – Fallout was breathtaking. Once again, First Man is taking on all the film festivals it can, leaving no doubt that people will be hard-pressed not to hear buzz about this film for the rest of the year. It also helps that Chazelle’s last film at TIFF was La La Land,which won the People’s Choice Award that year.

Hold the Dark

The body count is allegedly higher than Green Room, and Jeremy Saulnier is not afraid to let audiences suffer through tension and a dark atmosphere, so to say that Hold the Dark is promising would be an understatement. Saulnier’s particular blend of dread and violence is on full display in the trailer for the Netflix film, but it also feels like his most ambitious effort yet. Mystery plays a larger component, which is all well and good when you have Jeffrey Wright at the helm to uncover it (he’s uncovered enough mystery in Westworld this season). Alexander Skarsgard, Riley Keough, and James Badge Dale round out the cast with the usual appearance of frequent Saulnier-collaborator Macon Blair. Expect a miserable experience of the best kind.

In Fabric

In Fabric

I was unimpressed with the widely celebrated Berberian Sound Studio, which seemed to catapult Peter Strickland to arthouse stardom, but The Duke of Burgundy is a hell of a sensory experience, and it stood out as something unique and utterly compelling from its sound design and editing. Strickland returns again with an entry in the Midnight Madness programme that sounds like someone taking the title Phantom Thread extremely literally. Sidse Babett Knudsen returns after her stint on Westworld and starring in The Duke of Burgundy, and alongside Game of Thrones’ star Gwendoline Christie, this makes for what will undoubtedly be a trip and a half.

Halloween

Halloween

The Midnight Madness lineup has two of the biggest films of the year headlining it: The Predator and David Gordon Green’s Halloween. While Shane Black’s take on the Predator franchise looks promising, it’s about time there was a good version of Halloween since John Carpenter unleashed Michael Myers on the world in 1978. Co-written by Green and Danny McBride, with the blessing of Carpenter (and a new score from him), this film is forgetting that any of the sequels happened, and picking up decades after the original. Laurie Strode (Jamie Lee Curtis) is back, and prepared for the inevitable moment when Myers retunrs for more. The trailer is extremely promising, and TIFF is building this “One Night Only” event up as something that can’t be missed before the film releases wide in October. Add the impact that Blumhouse has had on the horror genre, and it’s hard not to get your hopes up just a little bit.

Widows

Steve McQueen is back from his 2013 Oscar-winning 12 Years a Slave to offer something that looks both powerful and thrilling. Viola Davis leads a group of widows whose husbands all died on a heist, and they decide to step up and finish the job. The plot alone is rife with potential, but it’s that cast that demands attention. Davis, Michelle Rodriguez, Elizabeth Debicki, Liam Neeson, Colin Farrell, Robert Duvall, Jacki Weaver, Carrie Coon, and Daniel Kaluuya aren’t even all the ones worthy of talking about. With Sean Bobbitt shooting the film and Hans Zimmer contributing the score, as well as Gillian Flynn co-writing with McQueen, this is an easy sell come awards season. Whether it holds up beyond its incredible talent is the question, but it’s hard to imagine a scenario where this isn’t one of the most talked about films of the festival.

Killing

Killing

Playing in the Masters platform, Killing is Shinya Tsukamoto’s latest film — and one of his longest, even though it clocks in at only 80 minutes. The Japanese actor/writer/director has had a wild filmography filled with oddities that would fit perfectly in a Midnight Madness slate (I’m looking at you Tetsuo: The Iron Man). Sometimes not for the faint of heart, yet often entrancing to say the least, Tsukamoto tends to veer into obscure territory with a plot that can twist and turn in the same frantic way the camera does. Killing is exciting because it is placed within the very well-worn samurai genre, and images from it look to lean less into the insanity that Tsukamoto is known for. This could be a tamer film than we’re used to from the director, but what excites me is how he will work within a genre so familiar.

A Star is Born

A Star is Born

Okay, we’ve heard the story a million times, and we have no idea whether Bradley Cooper can take what he’s learned from being on film sets and translate it to a directing role. What are probably guarantees is that the soundtrack for A Star is Born will be great, both Cooper and Lady Gaga will likely be a great duo on-screen, and it’s hard not to get a little excited after all of the buzz from Venice. Lady Gaga has been making her acting chops slightly known on American Horror Story, as well as from her music videos, which are lavish affairs that demand a star. The story is tried-and-true, but placing Lady Gaga in the lead female role is an absolute certainty for success. The buzz has been positive, and every time I hear Lady Gaga sing in the trailer I get goosebumps. This is definitely one of the movies that cannot be missed from the awards season.

Climax

Controversy is the last thing you should be thinking about when going into a Gaspar Noe film. The man is trying to provoke you, so just walk into all of his films knowing that upfront and putting it in the back of your mind. If you do that, this Sangria-fueled dance nightmare looks to be less inaccessible, yet still filled with the kind of insanity Noe fans have come to expect. Climax fits right at home in the Midnight Madness slate, pitting itself up against movies like The Predator and Nekrotronic just to see how crazy they’re willing to go. But most importantly, how far are you willing to go through this delirious-looking movie? We saw it at Cannes this year and can attest to its entertainment value.

If Beale Street Could Talk

I mentioned earlier that we may have a recurrence of the La La Land and Moonlight debacle this awards season. If you’ve seen the trailer for Barry Jenkins’s latest effort, you can understand why. While a movie like First Man looks like an easy frontrunner for the Oscar, La La Land also looked like that when it lost to Moonlight, the little movie that could. As powerful as the latter is, If Beale Street Could Talk seems primed to be another moving film that will have you holding back tears while equally thinking about the world we live in. Place Regina King in anything and I’m there, but adapting a James Baldwin novel and following up the masterpiece that was Moonlight adds more hype to a movie that really shouldn’t need to make its name known. We should already be looking forward to this, and I suspect after its World Premiere at TIFF, we will.

Hotel by the River

Hotel by the River

South Korean auteur Hong Sang-soo has been on a rapid-fire streak the last few years. He directed three films last year (all varying degrees of excellent), and already has another movie under his belt from earlier this year. Hong’s switch to lower budgets and digital photography has helped speed up his pace and give him the freedom to experiment. His relationship with actress Kim Min-hee (The Handmaiden) has also replenished his art; Kim is the strongest actor Hong has even worked with. The bigger names have mostly disappeared from his recent films, but her presence makes up for any perceived talent drain. Hotel by the River shares the same gorgeous black and white cinematography of recent works like the excellent The Day After, but it promises to be darker and more emotional than that film, or its even more buoyant counterpoint, Claire’s Camera. Hong is operating at the height of his powers, and each new film is an occasion for celebration.

Transit

Transit

One of my favorite discoveries from 2014 was Christian Petzold’s Phoenix. Petzold wasn’t exactly new, but that film, an inversion of Vertigo set in the immediate aftermath of the Holocaust, was a simultaneously brutal and ravishing portrait of a woman reclaiming her identity. The director again explores identity, this time focusing on a man who adopts the identity of a dead writer, and begins to obsess over the dead man’s wife. It sounds quite a bit like The Passenger on paper, but Petzold’s film promises to strike out toward a bold new territory.

22 July

22 July

Paul Greengrass has already made one of the defining films of a national tragedy in United 93, and here he returns with 22 July, another austerely titled film that takes as its subject the tragic terrorist attack that devastated Norway. The killer, a reactionary right winger, targeted a leftist youth camp, slaughtering 77 people and injuring hundreds more using explosives and high-powered rifles. Greengrass’ film is based on the excellent One of Us, the definitive history of the massacre. Despite using Norwegian actors, the film is in English, which may leave it open for some possible Oscar love. The Academy Awards aren’t crazy about films focusing on international subjects, but Greengrass might just have enough clout to catch their attention.

High Life

High Life

Claire Denis has long been esteemed among cinephiles, but her films haven’t always been easy to come by in North America. The more readily available works have been hopelessly dour meditations that leave one with a sour taste in the mouth. Yet last year’s Let the Sunshine In was a bold new step for Denis. Its romantic comedy rhythms were new for her, yet utterly arresting and fresh (and the final scene with Gerard Depardieu is one of the single best moments of film from the past decade). Denis now makes her English-language debut with High Life, a science fiction film starring Robert Pattinson, and also reunites her with Juliette Binoche. Denis has experimented with genre filmmaking before, but never to this extent. Considering that Pattinson’s last few roles (Good TimeThe Lost City of Z) have been his best work to date, this new collaboration with Denis is sure to be exciting.

The Old Man & the Gun

The Old Man & the Gun

It’s clear that Robert Redford doesn’t mind being a bit coy about his future projects. The legendary actor and director has made it clear that The Old Man & the Gun will be his last acting project, though he still plans to direct (and he’s not opposed to returning to acting if a role speaks to him). David Lowery, who made last year’s heartbreaking meditation on loss, A Ghost Story, returns to work with Casey Affleck, who plays a detective chasing after Redford’s charmingly polite bank robber. Lowery is one of the strongest voices in independent cinema at the moment, yet he has also shown an ability to effectively steer studio creations like Pete’s Dragon. Redford’s greatest sin as an actor is that he has rarely challenged himself in the last few decades, but Lowery is someone who can push him to go out on a high note.

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Those are the ones we’re most looking forward to, but who knows what surprises await? Goomba Stomp will be covering the whole festival, so check back for our daily coverage of 2018’s Toronto International Film Festival!

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