Monthly Archives

September 2017

by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 3

September 22, 2017
Redoubtable

For our third and final dispatch from the 2017 Toronto International Film Festival (here’s number one, here’s number two), we take a look at the film that caused(?) bomb threats at its Cannes premiere this year: Michel Hazanavicius’s nose-thumbing Jean-Luc Godard “biopic.” This dispatch also includes a couple of Canadian films (this being TIFF and all); a prize-winning debut from the Locarno Film Festival; and one selection from the New York Film Festival’s main slate. (Our full coverage of that fest will begin next week.)…

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by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 2

September 20, 2017
Faces Places

Our second dispatch from the 2017 Toronto International Film Festival (you can find the first here; the third and final one will be up on Friday) includes a new collaborative film from a French New Wave legend; a domestic drama that’s much closer to a horror film; a “near three-hour Portuguese drama about labor in a capitalist society” (that’s also kind of a musical); a documentary about “the failed social and criminal policies of a thoroughly unwinnable war against narcotraffic”; a “cinematic…

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by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 1

September 15, 2017
jeanette

The fall film festival season is already in full swing, but the Toronto International Film Festival stands out due to its emphasis on commercialism, and its popularity with the general public. In fact, with each successive year (we’ve been attending since the mid-2000s), TIFF seems to increase its focus on celebrity and accessibility, and at the expense of its former, more exploratory programming (as is evidenced this year by TIFF dropping its standout Vanguard program as well as the diverse City to City program). The sheer…

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by Matt Lynch Current Film

mother! | Darren Aronofsky

September 15, 2017
mother

It’s difficult to argue that Darren Aronofsky’s films are poorly executed, at least on a formal level; his largely allegorical works are often manic, intense, portentous, and meticulously designed, it’s just that they’re also so sophomorically pleased with themselves, rarely approaching their allegories from a perspective of any real insight. Requiem for a Dream is a whirlwind of a viewing experience, but it boils down to little more than a rote (and relatively misogynistic) cautionary tale about drug abuse.…

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by InRO Staff Features Festival Coverage

Venice International Film Festival 2017

September 11, 2017
BPM

We have a lot planned for the fall film festival season—including multiple dispatches from the Toronto International Film Festival and the New York Film Festival. But first, a modest precursor spotlighting five noteworthy titles that screened during the season’s initial Big Film Fest. Our sampling of the 2017 Venice International Film Festival (which wrapped yesterday) includes the latest from documentary godhead Frederick Wiseman; Brooklyn-based indie filmmaker Nathan Silver; the Sensory Ethnography Lab duo Lucien Castaing-Taylor and Véréna Paravel; a debut film from Italian composer Giorgio Ferrero; and the winner of…

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