Last Call pitches itself to audiences with an intriguing gimmick. Shot in real time, the film’s story is told from two perspectives – using a split-screen technique to divide the pair of one-take shots. However, Last Call is more than a crafty production with a trick up its sleeve.
The Meaning of Life walks and talks like a conventional weepy melodrama, but it’s much more than a typical tear-jerker. This is a smart and sweet film that reads between the lines. Instead of rattling off a familiar story about a friendly relationship that blooms between a struggling musician (Finn played by Canadian pop artist Tyler Shaw) and a young leukemia patient (Sophie played by Sadie Munroe of CBC’s Workin’ Moms’), The Meaning of Life…
With The Witch, Robert Eggers showed the world that there were untold, new ways to tell horror stories. So, what can someone who has already reinvented a genre do as a follow up? Eggers decided to tell a new story based on the research of horrific authentic historical documents, and it works.
By: Jessica Goddard In the delightful tradition of remaking films and gender swapping the leads – which no one is getting tired of at all – After the Wedding struggles to be convincing in its premise.
The Toronto Youth Shorts festival is a great platform for aspiring filmmakers and for storytellers with a lot on their mind. I can usually count on the selections to cover themes from cultural reflections to personal discoveries, with an occasional fluffy piece to break up the weight of these programmes.
Directed and Written by Katherine Jerkovic, Roads in February is a beautifully shot and immersive film that explores the relationship between a young Hispanic Canadian named Sara (Arlen Aguayo-Stewart), and her grandmother (Gloria Demassi).
By: Jessica Goddard A poignant and sincere exploration of family, loyalty, and cultural divide, The Farewell turns its writer-director’s quirky anecdote into effective drama.
We don’t watch Hotel Mumbai, we experience it. Filmmaker Anthony Maras makes his feature film debut with a dramatization so intense and effective that the audience has no choice but to grit their teeth and squint their eyes as they muster through the film’s realistic reenactments. I haven’t felt that way since Paul Greengrass’ heart-wrenching portrayal of 9/11 in United 93 (2006).
