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TIFF10 Recap: Nostalgic for the Light

September 22, 2010

The 2010 Toronto International Film Festival is over.

Faithful readers of this blog will have noticed the sparse postings over the past few months. There is no excuse, but a very good reason: I’ve been working for TIFF since the end of May, first as a member of the programming team, and then taking up the role of Social Media Coordinator for the Festival and beyond.

It has been an exhausting, packed summer, climaxing in a remarkably special 11 days for me. The reasons are multif0ld. Having attended TIFF as a volunteer, a patron, and now staff, it’s fascinating to experience the allure of the world’s leading public film festival from multiple angles. As a volunteer, TIFF is a stage of world cinema before which one has a fly-on-the-wall view. As a patron, TIFF is a cinematic feast of the greatest proportions. As a staff, TIFF is a delicious labor of love. All three roles are invaluable. All three roles provide unique perspectives into the meaning of TIFF. All three roles come together to make TIFF possible.

However, ask any staff and they will tell you that the best way to see a film festival is as a non-working attendee – pack a bag with water and snacks, and just go to the movies. All the bells and whistles and after-parties are nice, but they take away from your time in front of a screen, witnessing the magic casted through tears and sweats of ridiculously talented people from all over the world.

That is not a complaint by any means though. I have seen 37 of the 300 and so films of this year’s TIFF line-up, not a whole lot in the grand scheme of things, but a good enough taste given that I was working through it all. I saw them in various formats: screeners, advance-screenings, and at Festival. Some were earlier cuts, some I could only catch parts, and most were excellent. It was especially satisfying to see a few titles pass through my hands on their journey to be unveiled to the world at TIFF10 — Sound of Mumbai, The Trip, Soul of Sand — to be one of the first people to discover these gems, to realize their value, and to become part of the momentum in pushing them out in front of people who may never otherwise have seen them, and to see them being embraced and shared, is a satisfaction that kind of swells up inside you and drips out of the corner of your mouth in a broad grin. No other way to describe it.

Here, I prefer to dwell on one film in depth instead of many, but that’s impossible at the pace of film festival cinematic consumption. I can dwell on a few though, and below are some of my TIFF10 highlights, in no particular order.

Denis Villeneuve’s INCENDIES

“Incendies broke my heart, swept up the pieces, and broke it again. Beautiful. Devastating.” — I tapped out those words in a tweet as I exited the theater. No need for all 140 characters, and I still feel the exact same way. To call the film heartbreaking is accurate, but also a mere understatement. Spanning three generations, two countries, and passing decades, this is a human tragedy of epic proportions. Two parallel narratives are seamlessly interwoven. The pace burns with an elegance of reveal that reminds me of “The Secret in Their Eyes,” winner of last year’s Academy Award for Best Foreign film. The acting is uniformly superb, spearheaded by Lubna Azabal‘s stunning portrayal of Nawal, a mysterious, complicated woman who we meet in the beginning of the story, get to know steadily through the 130 minutes, and am in utter agony of the truth of her existence by the end of the film. Like I said, beautiful, devastating. Thankfully, the film was picked up by Sony Picture Classics after the first screening and has since won the TIFF10 City of Toronto Award for Best Canadian Feature Film. People will get to see this in theaters, and that is a cinematic blessing.

Bruce McDonald’s TRIGGER

This is, above all, a genuine, truthful love song to Toronto and its people, and I loved it for it. TRIGGER was selected as the film to open TIFF Bell Lightbox to the public. It was the first time a film was screened in one of the five cinemas housed in TIFF’s new home, and the first of many. The film starred the late Tracy Wright, a beloved Canadian actress with deep ties to TIFF. Sitting in the brand new, plush red seats, smelling that new furniture smell, listening to producers, director, and cast of the film giving an emotional introduction on stage, it was evident that this was a special occassion for everyone present. I settled into my seat. Then, my city flashed before my eyes: the Spadina streetcar, the upscale restaurant, the dark and dingy bar, even the inside of an apartment that is so typically Toronto. There was something so…real, about it all. Wright and Molly Parker were well-casted and compliment each other with a natural chemistry that rings true to an aged, complicated friendship. I also loved this for the two lead female characters – and the fact that their lives don’t revolve around chasing men, talking about men, or doing things that somehow lead back to being with a man. These are strong, complicated, outside of the box female characters who are not conventionally beautiful in a Hollywood way. They are real. They are interesting. They are gorgeous. And they are Canadian.

Michael Winterbottom’s THE TRIP

Small confession: my favorite kind of movies are those of people talking. Sitting, standing, walking, doesn’t matter. The human interaction fascinates me so. Shoulder to shoulder with TRIGGER, THE TRIP has provided this year’s cinematic answer to my prayers. It is a hilarious banterfest between Steve Coogan and Rob Brydon, full of wit and compassion. The two make a natural pair and play themselves on a roadtrip to the English countryside, where they wine and dine in fine restaurants, driving through winding hills, stand amidst windy fields, and talk to each other over and about everything and anything. It is easy to dismiss this as a buddy roadtrip comedy, but that would be losing the heart of its magic, which delves into the consequences of decisions two middle-age actors, men, and fathers have made in their lives. Their conversations marinate with the reverberations of these choices, seemingly inconsequential at the time, mostly unspoken of, hidden in between cracks of jokes and celebrity impressions, but they are there, and they carry meanings that are evident in the every-day lives of these two men. A reprieve of humor, THE TRIP is also a gentle and brilliantly crafted evocation of the value of family and love. Coogan and Brydon’s impressions of Woody Allen and Michael Caine must be seen, but it is their subtle exchanges as men that should not be missed.

Click here to watch a clip from THE TRIP


Ah…Herzog. What can one say about a Werner Herzog documentary that hasn’t already been said? Legendary. Mystical. Original. Controversial. Cinephiles can’t get enough of Herzog, and I understand why: he is bold and daring, and unafraid to be himself both on and off screen, and his self is really — whether you like it or not — very interesting. I managed to catch the world premiere of Herzog’s new 3D documentary at the TIFF Bell Lightbox, with him sitting in my row. Right before the screening,  he informed the crowd that the film was finished just 15 hours ago, and that we were the first audience to ever see it in its completed format, which gives you a sense of the experience itself as a momentous treat that won’t be replicated. Observing the Chauvet caves of southern France, the film is filled with images that mesmerize with an otherworldly aura. Granted unprecedented access to the oldest cave paintings known to exist, Herzog ventures out to depict the earliest signs of humanity as we know it. These paintings are art in the clearest sense of the word – vivid shapes, abstract forms, dynamic, imaginative, they could proudly take place in an art gallery exhibition anywhere in the world today. But they are not. They are created over 32,000 years ago, by feet standing on bare soil and hands dipped in raw mud, somewhere on this earth.

The content is fascinating, and Herzog’s choice to use 3D to depict the curvatures of the walls of Chauvet caves is an intelligent one, as it beautifully reconstructs the shapes and movements of the paintings that would have came across undoubtedly less vivid otherwise. The albino crocodiles emphasizes with quirk the touch of whimsical mystery that saturates rest of the film. The only problem I had was the 3D glasses, which were one-size-fit-all and too wide to stay on my face. They kept on sliding during the film and I had to hold them up with my hand for most of the time. Also, as much as 3D emphasized the cave paintings, they took just as much away from shots of natural landscapes and people interviews. I personally found it jarring to have to process the additional “depth” projected by the 3D glasses when all I really wanted to was to focus on the interesting conversation or observation taking place in front of me. Even with consideration, I find myself wishing the film was brighter. Here, Herzog reveals a frontier of our humanity that has been long lost to the masses and for that, he deserves praise. However, the 3D technology adds both moments of wonder and distraction to the experience, and makes me wonder if the technology can ever find a necessary place in the realm of cinema.

Click here for Ebert’s in-depth entry on the film and more videos

Danny Boyle’s 127 HOURS

A master of engagement, Boyle has an unique way of convincing the audience to sink into every cinematic world he has invited us into, using a wealth of images, movements, and especially carefully crafted music. In 127 HOURS, Boyle collaborated with A.R. Rahman again on the score and brings with vivid tenacity to life the person of Aron Ralston, who in reality was trapped for 127 hours in an Utah canyon after a climbing accident, and eventually escaped by cutting his right forearm off. Having loved Boyle’s work every since “Sunshine” (which I always return to after seeing a crappy sci-fi flick), I was looking forward to this, and the expectation did not disappoint. I followed the story with intense interest when it first broke on the news, amazed at the depth of human resilience evoked. Thus it was a real treat watching Aron Ralston speak in depth about his experience in the canyon, with the film, and life before and after the incident at the press conference. Sure, James Franco is easy on the eyes, but it is Ralston who really exuded that fearless, enthusiastic, dynamic spirit that made this story and film possible. He wore a short-sleeve shirt. He is articulate and thoughtful, and recalls the incident with vivid descriptions. Ralston described having visions of his future son the last night in the canyon that gave him the motivation to get out by any means possible. There were visible tears throughout the room.

I thought the film was incredibly immersive. Apparently three people fainted at the first screening. The result is not nearly as gory as I imagined though. Boyle’s vision is one that reins you in with Ralston and keeps you there for the entire 127 hours, or 94 minutes, on that boulder. The result is an almost claustrophobic, surreal journey of mental and physical exertion. Franco is incredible as Ralston, holding the audience through the entire journey, and topped the list of TIFF10 best performance on an indieWIRE critics/bloggers poll.

Gabriel Range’s I AM SLAVE

From the director of “Death of a President” comes a filmmaker who is not afraid of exploring the truth and its surrounding controversies. Human rights is a strong theme in this year’s TIFF line-up, with a special spotlight on the struggle of women all over the world. Along with other courageous portrayals like Pink Saris, The Whistleblower, As if I Am Not There to name just a few, I AM SLAVE is an unflinching look at the modern slave trade that goes on right under our noses, within our seemingly safe, aware, and conscientious modern society. The story follows a young Sudanese woman’s journey from her native country where she is a princess of her tribe, to becoming enslaved in a mansion in London. Parallel her journey is that of her father (Isaach de Bankolé), a regal, strong man of few words who never gave up on the search for his daughter. Their journeys come precariously close to intersecting on several occasion, before being cruelly denied by fate and wrongful forces. The result is a heart-wrenching, dramatic ride as we follow the soulful eyes of Malia (Wunmi Mosaku) and will and pray that she has the strength to break free of the physical and psychological enslavement she is so unfairly subjected to.  Tremendous emotional payoff in the final scene. Even more tremendous is meeting and sitting in a car with the real-life Malia, Mende Nazer, whose true story the film is closely based on. Even more tremendous, and perhaps devastating, is knowing that at the moment, an estimated 5000 young women remain as slaves in London.

p.s. a special mention goes to Lubna Azabal, who is stunning in both INCENDIES and I AM SLAVE, switching seamlessly between light and dark, evoking the complex flaws that make us human. She captivates the screen and should stay there indefinitely.

These are only a few of the many great films I had the privilege to witness in the last few weeks.

Some titles have already been making splashes since Cannes: Mahamat-Saleh Haroun’s A SCREAMING MAN delves into the depth of our human impulses and stays there – we need films like this.  Lee Changdong’s POETRY is a riveting and meandering blend of prose and crime.  Kelly Reichardt’s MEEK’S CUTOFF paints a haunting western that is bleak and bare as the land it travels as it is epic. Derek Cianfrance’s BLUE VALENTINE moodily follows the formation and disintegration of love between two people, without explanation or excuses. And then there is Casey Affleck’s I’M STILL HERE, which after all is said and done, prompts one to wonder why it is still here.

Some titles came out of the blue and overtook me with joy: Richard Ayoade’s SUBMARINE embraces its sardonic teenage hero and heroine with peculiarly captivating cinematography and offbeat dialogue. James Gunn’s SUPER challenge with blood and style our traditional notion of superheros. Shawn Ku’s BEAUTIFUL BOY is softly engrossing in its steady observation of the raw, compelling emotions of two people who have to face the un-faceable, explain the un-explained. Juanita Wilson’s AS IF I AM NOT THERE haunts with its clear-eyed and unwavering depiction of one woman’s horrific experiences at the beginning of the Bosnian war that underscores the shadows of so many.

Furthermore, this is also a strong year of Asian cinema discovery for me and I’ve fallen in love with many: Blessed with stunning art direction and emotionally-saturated cinematography, Chung Mong-Hong’s THE FOURTH PORTRAIT is a slow roast of muffled punches & deep cuts that left me utterly torn. Sion Sono’s COLD FISH, on the other hand, descends into the gruesome madness of a serial killer and deftly invigorates with his graphic, psychological domination of others. Tetsuya Nakashima’s CONFESSIONS is pure pleasure in style, mixing shadows with light, dabbling in slow-motions, dancing in-between compassion and revenge, all within the cruel confines of a Japanese high school (nothing crueler, really). Tsui Hark’s DETECTIVE DEE AND THE MYSTERY OF THE PHANTOM FLAME serves up martial arts glamour in a Sherlock Holmes plate – it tastes kind of funny, but the look is so lush and fun that I was more than happy to start my day with it. On a quieter note, Hong Sangsoo’s OKI’S MOVIE curiously blends narratives and organically evolves them into perspectives that are simultaneously shifting and persistent, leaving us still in the end on the periphery of the movie of Oki’s life. And then there’s Feng Xiaogang’s AFTERSHOCK, already the most successful Chinese movie of all time, it explores the horror of the 1976 TangShen earthquake through its reverberations through three generations of one resilient family. I lost it about 10 minutes into the film and didn’t hold back since. There’s something about a national tragedy of mothers crying in my mother tongue that breaks through any cinematic or social reservations I may harbor.

And then there were so many more that I wanted to see but simply ran out of time/energy to: Biutiful, Black Swan, The King’s Speech, Another Year, Stone, Little White Lies, The Conspirator, Love Crime, You Will Meet a Tall Dark Stranger, The Illusionist, Buried, Nostalgia for the Light, Tabloid, The First Grader, Trust, L’Amour Fou, Waiting For Superman, The Whistleblower, Three, Rabbit Hole, That Girl in Yellow Boots, Beginners, Dirty Girl, Henry’s Crime, Stakeland, The Solitude of Prime Numbers, Monsters, I Saw the Devil, Late Autumn, Heartbeats, Uncle Boomnee… thank god the last two are showing at the TIFF Bell Lightbox later this week, which I plan to catch.

Speaking of the TIFF Bell Lightbox, the new permanent home of TIFF, it is a stunningly beautiful building that boasts five state-of-the-art cinemas, two restaurants, a cafe, gallery spaces, offices, exhibition rooms…etc. A fellow TIFF staff puts it simply: “May I just say that TIFF Bell Lightbox is the answer to the prayers of cinephiles.” And to that I answer: Yes, yes you may.

From standing on the top floor the night before opening looking through its floor-length glass to the shimmering city below, to being one of the first audiences to watch the first film (a Canadian one too) that graces its screen, to seeing Herzog’s otherworldly albino crocodiles through 3D glasses, to hearing Springsteen/Norton discuss the intersection between music and cinema, to watching Apichatpong Weerasethakul talk about the evolution of his career with matching film clips, to having a life-affirming conversation with a kindred spirit filmmaker bathed in the glow of the Canteen, the Lightbox has already become an essential part of my cinematic landscape. It already feels like home.

And there are so much still unmentioned…shadowing Cameron Bailey for a day, being a panelist on Roger Ebert’s Twitter Showdown, rocking the TIFF block party with my best friends, losing a full dress size in 10 days, shaking Keanu Reeve’s hand without realizing and then being told never to wash it again (just kidding, the second part)… No complaints here.

TIFF10 is over. TIFF11 is just beginning. No matters where life takes me from now on, this will always be a very special 11 days of memories. They have shaped me in indescribable ways, and I could not be more grateful for the influx of light.

Nostalgic, already.

18 Comments leave one →
  1. Jeff permalink
    September 22, 2010 1:18 AM

    Great recap Grace, thanks so much for sharing. Didn’t see you mention
    Anh Hung Tran’s “Norwegian Wood”. Did that actually make it to the festival this year? If you didn’t get a chance to see it, hear any interesting feedback from others on it? I was seriously considering a flight up there just for that.

    • Grace permalink*
      September 22, 2010 1:39 AM

      It did make it and I did see it. As beautifully shot as it was, I felt very outside of this particular film (surprising because I usually love these melancholy films). The pace and editing give the film a somewhat confusing rhythm, the depictions of sexual intimacies felt clinical rather than emotional, and I could never get close enough to be sympathetic of the characters. That being said, I didn’t read the book and Murakami has its share of devoted fans, so maybe people who have would be much more open and appreciative of the film. Should be noted that the cinematography is fantastic though and there are some lush sequences (the one of Toru and Naoko walking back and forth in the grassy field comes to mind).

      • Jeff permalink
        September 22, 2010 2:37 AM

        Nicely said, I hope I’ll be able to take away something positive from the film when I get a chance to see it. I’m coming at it as one of those Murakami fans so I’ll temper my expectations. I was actually pleasantly surprised with how much I liked one of the first film renditions of a Murakami short ‘Tony Takitani’. Though again, hard to tell if I was just reliving my enjoyment of the book synapsed by images from the film.

  2. September 22, 2010 8:04 AM

    Great experiences, Grace–congratulations.

    The Lightbox has several intriguing silent film screenings this fall as well. I can’t wait.

    • Grace permalink*
      September 23, 2010 4:47 PM

      I’m going to several! Let me know which ones you are and I’ll look for you.

  3. September 22, 2010 4:41 PM

    Looks like Jeff beat me to the punch on Norwegian Wood. And they made a movie out of “Tony Takitani” (which, by the way, is one of my favorite Murakami short stories)? I wonder how they did that, since so much of the story’s brilliance is in the mood that Murakami sustains through language (or, in my case, the English translation).

    As for the former, it’ll be interesting to see if my reservations about the book are the same reservations I have about the movie. Murakami can write (even in translation, the opening to Norwegian Wood joins The Picture of Dorian Gray on my short list of the best sustained openings to a novel), but sometimes he becomes too concerned in depicting weirdness or sex, and forgets to care about his characters as people. When he remembers (as in one scene with a minor character in the book version of Norwegian Wood), the results are as emotionally devastating as, well, as most of “Tony Takitani.” In that case, your emotional detachment from the film, Grace, might be due to only one flaw: following the book too closely.

    As for the other movies you’ve mentioned, you’ve more than whetted my appetite. They all look like phenomenal/fantastic/wonderful/must-see films.

    I look forward to your future posts, and am glad you had such a good time at TIFF. BTW, were you successful in dragging Wael there? :-)

    • Grace permalink*
      September 23, 2010 4:44 PM

      Unfortunately no…but there’s always next year :)

  4. September 23, 2010 12:51 PM

    Glad to have you back, Grace.

    I am insanely jealous!

    I liked your review of The Trip, like you I am always intrigued by “talking” movies. It takes true writing, acting and directing to make those movies great.

    • Grace permalink*
      September 23, 2010 4:45 PM

      Honestly one of the best this year. You won’t regret it.

  5. September 28, 2010 10:47 PM

    Hi Grace.

    TIFF was lucky to have you on staff. What a glorious write-up. I can’t even imagine the experience.

    I won’t get to see many or even most of these movies, I think. I want to see 127 hours for sure.

    I’m starting to look at Chicago’s festival coming up. Hoping that I can get at least a day in there to get a festival experience again.

    One more thought: I was stunned when I read somewhere that the TIFF Bell Lightbox cost $200 million. Yikes! I heard today that the large factory that I work in spent $100 million in the last year on capital expenditures for large machining centers for production. I thought that was pretty good. I can’t imagine double that for 5 theaters. Wow. But, you indicated that there was more than the theaters – offices, etc. Must be impressive.

    Great post.

  6. September 29, 2010 10:40 PM

    I hope to be able to attend TIFF soon enough. Right now, the next best thing for me is the Chicago International Film Festival in mid-October, which will allow me to catch up with the following films: “127 Hours,” “Black Swan,” “Certified Copy,” “Conviction,” “Stone,” and “Uncle Boonmee…”

  7. October 2, 2010 7:50 PM

    That’s our GRACIE. I’ve been waiting and waiting and waiting. So long, I fell asleep by September 22 and didn’t wake up ’til now.

    So now, I know what to watch for.


    • Grace permalink*
      October 2, 2010 8:11 PM

      You should probably see INCEPTION first, eh? :)

  8. October 5, 2010 10:32 AM

    Hi, Grace. Good for you to have your say in the festival now. I found your blog via Ebert. I enjoy your writing. It’s hard to separate the’ chaff from the corn’. I don’t know if it’s correct English, but that what they say here in Belgium (Flemish speaking part). Where I live inGhent, the festival is going to start next week. The main theme has always been ‘filmmusic’. I hope you continue writing and enjoying film. Greeting, Martin.

    • Grace permalink*
      October 5, 2010 2:23 PM

      Thanks Martin. Chaff or corn, still going through the grind…

      Greetings to you as well and enjoy the Ghent Film Festival. A lot of titles to choose over there…try to check out POETRY if you can.

  9. October 14, 2010 6:44 AM

    Thought you’d like to know: your review of Last Train Home is the first review linked to the trailer on Youtube, and you’re getting some nice traffic [which I’m sure you know]; congratulations on the success!

    Grace: Thanks!

  10. DAG permalink
    October 24, 2010 9:27 PM

    It’s been a while since I checked your site. Very good to hear that you are working with TIFF. I had an extremely busy and expensive festival, watching 16 films. Here is (roughly) what I posted on Ebert’s blog about the festival:

    Film Socialism – I had wanted to see a Godard movie in the theatre (I’ve seen Breathless, Vivre Sa Vie, Contempt, and Pierrot le Fou all at home this year). But this film really was atrocious. It really has been downhill for Godard since his astoundingly creative early 1960s works; this could be the worst film I have ever paid money to see.

    Legend of the Fist: The Return of Chen Zhen – this is a fairly harmless martial arts film set in 1920s Shanghai, although its nationalistic undertones are a bit unsettling. Its budgetary limitations and rather rote script deny the picture from being anything more than cinematic cotton candy.

    The King’s Speech – I don’t think this film really deserves the accolades it appears to be winning. I understand the need to tell a story, to conflate timelines and events, and portray historical characters in more contemporary mannerisms, but I couldn’t get over the melodrama and ahistorical nature of the film.

    Poetry – this was definitely very different. How Korean cinema has really distinguished itself in the last decade or so!

    Little Sister – there were parts of this film that were very beautiful, although the pacing of the movie really bogged down during the last 20 or so minutes. But on balance I thought it entertaining.

    Break Up Club – this Hong Kong romcom got a bit tedious towards the end, with the characters incessantly weeping. I thought the boyfriend was a loser!

    The Housemaid – I enjoyed this erotic, sexy, and political film. I’ve never seen the original, but I thought this remake intensely entertaining. And what a beautiful little girl as the daughter!

    13 Assassins – I was really impressed by this extremely serious samurai film: great drama, beautiful costumes, decent pacing, and overall awesome swordplay. Not perfect (there were a few false notes) but damn entertaining, and highly recommended.

    Detective Dee and the Mystery of the Phantom Flame – yet another Chinese costume epic. Harmless fluff.

    Aftershock – on balance, I was very impressed by this film. Yes, there was definitely a propaganda element to it, but I thought it did a very good job at showing a family devastated by the effects of a terrible disaster. It realistically portrayed the daily, ordinary struggle of everyday life, the tensions within families. Even more, the movie was able to tell the story of China over the last few decades, bookending the film with the appalling earthquakes that struck China in 1976 and 2008, with the remarkable changes the country experienced after Mao’s death and the subsequent policy of reform and opening. The many farewells and reunions were emotionally wrenching and very true to life. This was definitely one of the best films I saw.

    Norwegian Wood – I was really torn over this film: there are moments of intense beauty and emotion, but I got frustrated at the end by these twenty-somethings and their emotional and sexual issues.

    Dhobi Ghat – a very decent small movie. It was good to see Mumbai on screen as a backdrop for several characters and how lives unexpectedly intertwine.

    Never Let Me Go – the same issues I had with the novel apply to the film. I just found the issues the characters were so caught up in to be petty and insignificant. All along, I was waiting for a Logan’s Run moment, when a character stands up and refuses to accept what has been pre-ordained for them. Maybe I’m missing the allegory, but the complaisance of the characters in what awaits them, the lack of a broader debate within the film at what is being done, and, for lack of a better word, the sheer boring nature of what actually transpires, left me indifferent.

    Cave of Forgotten Dreams – this is only my second Herzog film. I found his choices to be extremely eccentric, and not altogether successful. I was looking for a more profound analysis of these remarkable paintings; I didn’t need a perfumist or crocodiles in a zoo. The cave paintings are enigmatic and profound, and Herzog realizes this, but he failed to do them justice.

    Fire of Conscience – a satisfying Hong Kong action film, with lots of guns and a high body count.

    Chico & Rita – this was a pleasantly surprising and rewarding film, featuring beautiful animation and music, and a storyline to which we can all relate.

    I haven’t yet taken advantage of the Lightbox to attend any of the Essential Cinema films. In fact, I’ve probably seen about a third of them just this year by renting movies from Zip. But I’m thinking I will see a film or two there in November.

    • October 24, 2010 11:56 PM

      You mean the new 35 mm print of Breathless wasn’t playing near you this year, in celebration of the film’s 50th anniversary? That would have given you another chance to see Godard, and probably a better experience that >i>Film Socialisme gave you.

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