For its 17th edition, Toronto’s Reelworld Film Festival will present an award that salutes industry players dedicated to activating change off and onscreen. The first-ever Reelworld Reel Activist Award goes to Jesse Wente, an Ojibwe broadcaster and film developer who’s well known for, well, keeping it real. A CBC Radio columnist who next month will resign from his post as the head of TIFF Cinematheque, Wente is a vocal advocate for Indigenous rights and First Nations, Métis and Inuit art. Reelworld, which runs Oct. 11 to 15 in various downtown areas, is dedicated to empowering underrepresented voices and showcasing films that inspire social change. Wente will accept his award after the festival’s closing-night screening of Susan G. Enberg’s In Jesus Name. Full program information can be found at .
Some actors make as much eye contact during interviews, it is almost unnerving. And then there is Ben Stiller. In our 13 minutes together at the just-concluded Toronto International Film Festival — shaved from 15 minutes; everybody was shaving interviews this season — I believe he looked straight at me three times. Mainly he kept his head turned toward the far end of the room, physically mirroring how he answered questions, a style best described as “Deflect!” To be honest, we were at a ridiculously big resort board room, seated opposite one another like we had been discussing his budget. Stiller, 51, was sporting a well pressed shirt, which rode high on his tensed shoulders. He started every response with a spray of warm-up phrases — “The matter is,” “You know how when,” “Alright, perhaps, well” — frequently punctuated with a low, staccato laugh,nbsp;eh-eh-eh-eh-eh.
It’s a fool’s game to crown any movie a surefire buzz generator entering an event as big as the Vancouver International Film Festival, but here goes anyhow.
Don’t Look, the debut feature from Canadian director Antoine Bourges, is a quiet gem that pulls the viewer in from its opening frame — a long, continuous shot of office equipment in an aesthetically challenged basement. It’s experimental filmmaking that’s at exactly the exact same time entirely accessible and utterly watchable. And it is the best showcase for the : a community of young cinephiles, frequently working under the radar and with microbudgets — and collaborating like crazy.
Last weekend, the Atlantic International Film Festival took over Halifax. While the majority of the discussion centred around the movies, business players took careful note of the Strategic Partners International Film and Television Co-Production Market that took over a corner of the festival. Many are seeking to co-productions to attempt and understand how they can help expand the range of homegrown content.
Three Billboards Outdoor Ebbing, Missouri has won the People’s Choice prize at the Toronto International Film Festival on Sunday.
The devastating dark humor about revenge and redemption in small-town America conquer several other buzzworthy titles for the top honor.
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Harry Dean Stanton, the shambling, craggy-face character actor with the deadpan voice that became a cult favorite through his memorable turns in “Paris, Texas,” “Repo Man” and a number of other movies and TV shows, died Friday at age 91.
On April 15, 2013, Jeff Bauman was standing with a crowd at the Boston Marathon, awaiting his then-girlfriend Erin Hurley to cross the finish line. It was a gorgeous day, and Bauman recalls a guy bumping into him, overdressed in a thick coat, dark sunglasses, and carrying a knapsack. Bauman turned to keep a look out for Hurley, but looked back fast. The stranger was gone. His knapsack was on the sidewalk.
For years, among the most loathed parts of TIFF was also one of its most innocent delights: filmgoers growling “yarrrrrr,” just like a pirate, before each screening.
For those not familiar with the phenomenon, maybe it merits a short explanation.
Making its world premiere at the Toronto International Film Festival is There’s a House Here, the latest work from the Canadian documentarian Alan Zweig. The movie covers multiple trips to Nunavut, where his long-time buddy Tatanniq Idlout (a.k.a. Inuit stone musician Lucie Idlout) was his unwilling manual.