By: Trevor Chartrand Striking and unconventional, The Square successfully combines comedy with intense drama to create an unforgettable satirical gem.
Loving Vincent wants you to focus hard on the six-year process it took to make this movie. This oil-painted film is the first of its kind, with over 100 artists (including Canadian Valerie Fulford) painstakingly painting over 65,000 frames to make a cohesive cinematic work of art. Each frame is in the signature swirly style of tortured painter Vincent van Gogh.
There’s an art project titled White Night. It’s a collaborative between five filmmakers (Sonny Atkins, P.H. Bergeron, Brian Hamilton, Matt Purdy, Dan Slater) and it chronicles six fictitious stories during Toronto’s Nuit Blanche – an all-nighter dedicated to art. One of the characters, a struggling artist named Emily, contributes a cumbersome piece made entirely out of stacked cardboard boxes. People pass by and heckle at it, while Emily fumes and eventually releases the tension through a…
The craft of brilliant costume designers and make-up artists can transform the most recognizable actors into strangers. Such is the case for Manifesto, a one-woman-show featuring two-time Academy Award winner Cate Blanchett portraying 13 different roles. Of course, the production is also lucky to have one of the greatest living actors at the forefront. However, what Manifesto also displays is that sometimes the best artists overshoot their target.
The ReelAbilities Film Festival returns to Toronto on Wednesday, May 10 after a successful debut. The festival, centring around noble stories of disability cultures, will screen feature films and shorts around the city until Thursday, May 18.
Do Donkeys Act? (DIR. David Redmon, Ashley Sabin) Do Donkeys Act? takes an animal that is not usually afforded much dignity – the donkey – and gives movie goers an opportunity to let the animals speak for themselves (without speaking). The film takes its audience to visit various donkey sanctuaries around the world, where donkeys that have been subjected to abuse or neglect are cared for, healed, and allowed to relax and retire.
The late Andrzej Wajda tells a story of artistic integrity in Afterimage, a biopic about Polish avant-garde painter Wladyslaw Strzeminski.
The animation featured in Keiichi Hara’s anime Miss Hokusai is terrific. A single cell has the ability to represent the humility and emotion of its characters, along with the imagination the film can achieve. What’s peculiar and disappointing is how these images don’t make a cohesive film when edited together.
Victor Kanefsky’s Art Bastard asks broad questions about the relationship between art and politics. Its subject, American artist Robert Cenedella, serves a micro-answer to some of these broad questions. Although Kanefsky is successful in arguing for Cenedella’s work as critical satirical representations of U.S. political culture, the film lacks energy.
No Man Is an Island (DIR. Tim De Keersmaecker) By: Addison Wylie I imagine Tim De Keersmaecker’s outline for No Man Is an Island looked good on paper: make a first-hand view at how African refugees perceive life while living in the unknown territory of Lampedusa. Unfortunately, the documentary is another victim of poor fly-on-the-wall filmmaking.