Pogey Beach
Pogey Beach offers a predicament: it’s a comedy that’s not necessarily funny, but you’ll still laugh for the right reasons. Jeremy Larter’s slacker comedy will put the viewer in more of a fugue state than sun stroke ever could.
Pogey Beach offers a predicament: it’s a comedy that’s not necessarily funny, but you’ll still laugh for the right reasons. Jeremy Larter’s slacker comedy will put the viewer in more of a fugue state than sun stroke ever could.
Into Invisible Light would have had better compatibility on stage than how it currently plays in its cinematic scope. As it is, the movie’s fine – decent even. But by projecting itself to fill a larger space, Shelagh Carter’s modest dialogue-driven drama calls attention to its barebones aesthetics when really these details should be, well, invisible.
By: Trevor Chartrand Director Mani Nasry has made a very personal film with We, and it’s certainly commendable, brave even, to see how transparent this young director has been in making the film – I suspect we’re getting a deep look into his mind, his personal philosophies and hardships. Nasry and his crew deserve a lot of respect for what their film is trying to do – however the finished product is far from flawless.
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.
Canadian indie filmmaker Ross Munro clings to the past in A Legacy of Whining.
Gail Harvey’s latest movie Never Saw It Coming has a title so unintentionally fitting, it makes my head spin.
Television writer Katherine Schlemmer makes her first splash as a filmmaker with The Death (and Life) of Carl Naardlinger. And if you think that name is even remotely funny, then Katherine is happy you bought a ticket for her film. If you don’t, you best mosey into the next theatre.
With 22 Chaser, director Rafal Sokolowski gives Toronto a vibrancy and grit usually associated with big American cities. This edgy vision efficiently (and stylistically) projects the aggressive nature between the film’s competitive characters, who are trying hard to earn their keep.