By: Trevor Chartrand There are some unforgettable vast desert vistas in Jirga, a philosophical study of redemption and forgiveness screening at this year’s festival. I had a chance to talk with director Benjamin Gilmour and star Sam Smith to discuss their experience making the film, but I just had to ask about those landscapes.
At a time where democracy is in danger of losing its way, it is necessary to ask a few questions regarding the next steps towards putting democracy back on the right path, and whether democracy is even a system worth saving. Astra Taylor’s NFB-produced What is Democracy? attempts that feat but, unfortunately, comes up short.
By: Trevor Chartrand Based on a play of the same name, Thom Fitzgerald’s Splinters would have been better off staying on stage. While a perfectly fine motion picture, the film is essentially an adequate and frankly mediocre entry into this year’s TIFF line-up.
By: Trevor Chartrand Sparse and atmospheric, writer/director Benjamin Gilmour’s Jirga is a visually stunning entry in this year’s TIFF lineup.
Sergei Loznitsa’s The Trial documents exactly what happens when dictatorial governmental powers are allowed to flourish and continue without question.
Filmmaker Zack Russell and actor Kayla Lorette team up for another surreal short film with 7A.
Featured in the festival’s Wavelengths selection, Andrea Bussmann’s Fausto shows audiences why this particular programme is so important for a well-rounded TIFF experience.
TIFF returns for another year, pushed along by their Tuesday announcement of gala and special presentation films. This first slate has the same level of films that frequently find their way into the earliest announcement: films that will eventually be nominated for Oscars, or be ignored for Oscars, or find their way into hot take articles about how they should have been nominated for Oscars.
By: Jessica Goddard Violeta Ayala’s Cocaine Prison is a Spanish language documentary that follows the intertwined lives of three people; two of which are entangled in the Bolivian justice system for their involvement in the illegal cocaine trade.
By: Jessica Goddard Kathleen Hepburn’s Never Steady, Never Still is a serious, greyscale, dragging meditation on subjects so inherently sombre, it’s practically masochistic to sit through the whole film without allowing yourself a break.