Windsor Detroit Film
Sunday, November 3, 2024
That's a wrap: 20th edition of the Windsor International Film Festival
Friday, October 25, 2024
Happy 20th anniversary WIFF, and Opening Night
Notes on last night’s Opening: I hadn’t seen so many people dressed-up since I was at a wedding five years ago. I loved it! ..Vincent Georgie is certainly to be congratulated for how he took the festival to another level after its first years under a different leadership and he was the logical keynote speaker....Among Georgie’s remarks was a Land Acknowledgement, the de rigueur newish and political “woke” value signal which has permeated public arts – and other - institutions and which to my mind is vacuous and won’t do a thing to help Indigenous people.....I was puzzled by the choice of the opening film, Shepherds, by Sophie Deraspe of Quebec. A kind of bohemian back to the land tale of an ad man who eschews the corporate world – and Canada – for a lifestyle of rural shepherding in France, as it was cliched and lacking the oomph I would have liked from a gala.
My top picks for this festival: Maria (Pablo Larrain) - the Maria Callas story starring Angelina Jolie, Bonjour Tristesse, a remake of the 1958 film starring David Nevin and Deborah Kerr (based on the Françoise Sagan novel) this time starring Chloë Sevigny and directed by Durga Chew-Boss; A Different Man, Aaron Schimberg’s dark comedy starring The Apprentice’s Sebestian Stan (who played Donald Trump); Firebrand (Karim Aïnouz) - intrigue in the bloody court of Henry VIII; It’s Raining Men (Caroline Vignal) – the perfect vehicle for French star Laure Calamy; Anora, the current sensational hit by Sean Baker crossing a Brooklyn sex worker with a Russian oligarch; The Battle of St. Leonard ( Félix Rose), a documentary about a seminal event in Quebec’s language wars and as a native Quebecer I lived through it; and Conclave (closing film), Edward Berger’s acclaimed hit starring Ralph Fiennes, Stanley Tucci and John Lithgow.
Tuesday, October 22, 2024
Under the radar London Film Festival attracted big names
Friday, October 18, 2024
London Film Festival: Marriage traps, disability and being derivative
Wednesday, October 16, 2024
At the London Film Festival: The Apprentice is Hollywood's October Surprise
The Apprentice is obviously Hollywood's October Surprise on the Donald Trump campaign. Coming just a few weeks before the Nov. 5 critical presidential vote it's designed to level a torpedo blow to Trump, someone whom liberal (Democrat) Hollywood loves to hate. An October Surprise, by definition, is an attempt to lob a major bomb (i.e., revelation of a scandal) against a US presidential candidate to cripple their ability to win an election. Though indeed a powerful film The Apprentice doesn't seem to succeed. For one thing, it has done pittance at the box office, garnering only $1.6 million from 1700 theatres in its first week. For a second, the people most likely to see it are those who already despise Trump and lap up more of its alleged revelations. It may convince a few independent voters (neither Trump or Harris) but how many of those will see it? However, as far as cinema goes, The Apprentice is a riveting film, a combination of fast-paced images, bombastic score, superb recasting of the 1980's and 90's, and amazingly true-to-life characters in personas of Donald Trump (Sebastian Stan) and lawyer Roy Cohn (Jeremy Strong). This is a filmmaker's tale of a young Donald Trump, starting out in the real estate business from his father Fred. It focuses on the relationship between Trump and the wickedly devious Roy Cohn, an aid to the notorious 1950's anti-Communist McCarthy Un-American Activities Ctte. According to the movie, Cohn took Trump under his wing, as the two fought city hall ordinances using dirty tricks to, among other things, blackmail politicians. The script was written by New York magazine journalist Gabriel Sherman, a well known anti-Trump rabble rouser. It was directed by Ali Abbasi and stars Stan, Strong and Maria Bakalova as Trump's first wife Ivana. None of these people were familiar to me. But Abbasi's direction is amazing and, whether you agree with its political view or not, the film is a tour de force. And Stan does bare an uncanny resemblance to Trump including in some of the facial expressions like Trump's oh-so-identifiable smirk. One comes away from the film thinking Trump will do anything corrupt to succeed including running for president. The Trump campaign has denoucced the movie in no uncertain terms. My question is: why are these movies always directed against Republicans? Where are the movies about the Kennedy brothers' corruptions and affairs, even allegations that John F. cheated in Chicago, courtesy infamous former Democrat iron-fisted Mayor Richard Daley, to initially win in 1960? Why nothing on Bill Clinton's myriad affairs? Why indeed nothing on Joe Biden's alleged profiting from son Hunter's business dealings? Well, as I started out saying, it's Democrat Hollywood.
Other movies I've seen at the London (UK) Film Festival this week:
Joy - a Brit dramatization of the homegrown team which performed the first IVF transplant, directed by Ben Taylor and starring Bill Nighy, Thomasin McKenzie and James Norton. The movie does well re-creating the period of the late 1960's and 70's and the social and political forces the medical team was up against - including being accused of being Frankensteins - though having a little too much scientific verbiage for the average mind, including alas mine, to always grasp.
When Fall is Coming - French director François Ozon's take on the decline that can come with age, with star Hélène Vincent, makes you at once sympathize with the story's characters while questioning how many tragedies can befall two close knit families within a short period of time.
Twiggy - a superb documentary by Sadie Frost, it depicts a multidimensional star, an icon of London's Swinging Sixties but unbeknownst to me, a star who kept performing as actor (Ken Russell's The Boy Friend, 1971) and singer, now 75 and continuing performing right up to the present day. Down to earth and always ready to take on artistic risks, Twiggy (Lesley Hornby) is hardly the plastic persona one might imagine.