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Toronto Screen ShotsCovering film in TorontoSkip to contentHomeAbout Older postsTIFF 2018: My PicksPosted on September 3, 2018 by James McNally

For the sixth year in a row, Ill be working during TIFF but this year is going to be much easier. I work six days from Tuesday the 4th (I know, thats before the festival starts) until Sunday the 9th, leaving me the whole next week to see films. As a TIFF employee, we get ten tickets, so Ill list the ten Ive got tickets for, and maybe a few others I hope to rush or buy tickets for (I can also rush press screenings; those are marked with an asterisk):

Monday September 10

11:00am If Beale Street Could Talk (Dir: Barry Jenkins)

3:00pm Peterloo (Dir: Mike Leigh)

Tuesday September 11

4:30pm Non-Fiction (Dir: Olivier Assayas)

Wednesday September 12

6:00pm Maya (Dir: Mia Hansen-Løve)

Friday September 14

7:00pm Black 47 (Dir: Lance Daly)

Saturday September 15

9:45am The Land of Steady Habits (Dir: Nicole Holofcener)

12:00pm Can You Ever Forgive Me? (Dir: Marielle Heller)

3:00pm The Extraordinary Journey of Celeste Garcia (Dir: Arturo Infante)

11:59pm Diamantino (Dir: Gabrielle Abrantes and Daniel Schmidt)

Sunday September 16

4:15pm Short Cuts Programme 7 (Dir: Various)

Stuff I Might Need to Rush

Tuesday September 11

*10:30am High Life (Dir: Claire Denis)

*8:00pm Women Make Film: A New Road Movie Through Cinema (Dir: Mark Cousins)

Posted in Film Festivals, TIFF |Tagged #tiff18 |Comments Off on TIFF 2018: My PicksHot Docs 2018: RecommendationsPosted on April 27, 2018 by James McNally

I was fortunate enough to see a few films at Sundance this year that are now making their way to Toronto for the Hot Docs Canadian International Documentary Film Festival, which is celebrating its 25th anniversary this year. The festival runs from April 26 through May 6 at several venues throughout the city, and is one of the best values in terms of festival experiences in my opinion. Ive got two recommendations for now:

Shirkers (Director: Sandi Tan)

In the early 1990s, Sandi Tan and her friends set out to make Singapores first indie film. With the help of a mysterious expatriate producer, they nearly finished the project, only for Georges to abscond with all the footage. More than two decades later, Tan returns to Singapore to reminisce with her collaborators, and tracks down the missing elements of the film. Not only is this a lovely look back at teenage friendships tested in the crucible of fevered creativity, its also an amazing look at what might have been: the restored footage of the original film will knock you out.

Showtimes and link to buy tickets

BISBEE 17 (Director: Robert Greene)

Ive been following Robert Greenes work for nearly a decade now. Hes one of the most exciting filmmakers working in documentary today, able to push formal boundaries while still remaining one of the most humanist people Ive met. In his latest film, he immerses himself and his crew in the town of Bisbee, Arizona, which is about to commemorate the 100th anniversary of a dark episode in their history. The crew follow various townspeople as they prepare a re-enactment of the rounding up and exile (more like being dumped in the desert) of 1,200 striking mineworkers. Families were divided and the town quickly covered up the incident. A century has passed and its time to shed a little light on things.

Showtimes and link to buy tickets

Once again, Hot Docs has put together an amazing programme of non-fiction gems. I hope to share a few more with you over the next few days.

Posted in Film Festivals, Hot Docs |Tagged #hotdocs18 |Comments Off on Hot Docs 2018: RecommendationsThe Workers CupPosted on April 30, 2017 by James McNally

The Workers Cup (Director: Adam Sobel): When Qatar was awarded the 2022 World Cup, there were audible gasps in the room. A gulf state with no discernible football culture or history, it seemed to win simply by virtue of its considerable oil wealth. Since there was no existing infrastructure for an event of this magnitude, soon dozens of companies were on the ground, planning and bidding on the myriad of construction projects that would prepare Qatar for its moment in the global sporting spotlight. Director Adam Sobel has lived in Qatar for many years, working as a journalist. He was interested in telling the stories of the migrant workers who come from all over the world in search of a better life for themselves and for their families back home. But he found that in his reports for mainstream media, there was only time and attention for a very simple narrative, that of the workers as hapless victims of an exploitative labour system. He wanted to dig deeper.

When the organizing committee of the World Cup announced theyd be organizing a football tournament for workers in 2014, Sobel saw his chance. 24 company teams were chosen to compete and Sobel embedded himself with the team from Gulf Contracting Company (GCC). We see how the workers are housed in camps far from the city of Doha and their work sites. They are bussed to and from work, but have no opportunities to leave the camp otherwise. Their food and lodging is provided, but the environment very much feels like a prison to them. Workers from different parts of the world (Kenya, Ghana, Nepal, India) are segregated from each other and most feel quite lonely. The tournament is a rare chance for them to mix with other nationalities and even to socialize with workers and managers from very different levels of the corporate hierarchy.

Watching the players carve out moments of joy away from their jobs is truly bittersweet. Captain Kenneth was lured to Qatar by assurances from his agent that working construction would lead to a chance to play football for a professional team. Realizing those promises were nothing but lies, Kenneth put his head down and resigned himself to long days of hard work. But being chosen captain of the GCC squad reawakens his love for the game, and reveals an inspiring and shrewd leader. After the teams first win, he corners the chairman of the corporation and practically demands more training time for the squad. Nepalese Padam celebrates every goal with his newfound African friends, but also discovers that the line between teasing and racism can be razor thin. Kenyan Paul talks about women constantly, and yearns to leave the camp to go on a date.

Though both players and managers know that the tournament is a PR exercise and a way for their companies to attract positive press and recruit more workers, they cant help but get caught up in the spirit of teamwork and competition, and the film does a good job of immersing the audience in that atmosphere as well. We follow the teams progress through the tournament and share in the players joys and disappointments on and off the field. In the process, nationalities and jobs matter a little bit less. Near the end of the film, theres an absolutely remarkable moment when Sebastian, a man with a comfortable (though still not lucrative) position in management, gives a jaw-dropping speech in the locker room to the players. Its an example of what documentary is capable of, the ability to capture unpredictable emotions in real-time, and perhaps life-changing epiphanies, too.

Though Ive always been aware of the corruption and exploitation behind large-scale sporting events, The Workers Cup does an excellent job of humanizing the people (at all levels) caught up in this infernal machine.

Posted in Documentaries, Film Festivals, Hot Docs |Tagged #hotdocs17 |Comments Off on The Workers CupBecoming BondPosted on April 25, 2017 by James McNally

Becoming Bond (Director: Josh Greenbaum): James Bond is one of the most enduring characters in film, and were used to seeing a new actor take on the role every few years. But back in 1968, Sean Connery WAS Bond, and the thought of anyone trying to replace him was almost unthinkable. When his replacement turned out to be a male model and former car mechanic from Australia, with no previous acting experience, expectations werent very high. And then when new Bond George Lazenby didnt return after On Her Majestys Secret Service, the hunt was on again.

Josh Greenbaums film allows George Lazenby, now in his mid-70s, to tell his own story of his rise from obscurity, brush with fame and wealth, and ultimate rejection of the Bond mantle. Using re-enactments to liven up whats essentially a sit-down interview, the film has the feel of a tall tale, with colourful details perhaps embellished a little in Lazenbys memory. He recalls his childhood and his failure to graduate from high school with a tinge of regret. But the ever resourceful Lazenby spins his job as a car mechanic into a more glamorous and lucrative one actually selling cars. Its here where he meets the beautiful Belinda, the woman who will turn out to be the great love of his life. He also meets a photographer who encourages him to start modelling, a profession the rugged Lazenby had no idea existed.

After George wins Belindas heart, her disapproving father sends her away to England, and Lazenby soon follows. As he tries to rekindle the relationship, he takes up car sales and modelling again and achieves his first taste of fame. The story of how he actually gets the role of Bond is nearly unbelievable, but its an entertaining tale. Things dont go as smoothly with Belinda, and the present day Lazenby shows real regret at letting her get away. Lazenbys tales of sex, drugs, and rock n roll do grow a bit tiresome, and youre just on the verge of being fed up with him when he recounts how he turned down a contract for six more Bond films and a million-dollar bonus. Theres more to the old playboy than meets the eye.

Lazenby doesnt elaborate too much on the course of his life post-Bond but you get the sense hes been happy. He might regret a few of his choices, but overall he emerges as someone admirable for choosing his own way instead of the easy path that was offered to him.

Unfortunately, as a film, Becoming Bond wearies the viewer with its constant winking tone and endless re-enactments. Theres almost an element of Austin Powers parodying of the times, and theres a dearth of archival material that would have given this some much-needed depth. One egregious example is an interview Lazenby did on the Tonight Show with Johnny Carson. Instead of licensing the actual footage, the filmmaker uses actor Dana Carvey to impersonate Carson and it gives the whole thing a carnivalesque feel. Maybe Greenbaum was trying to convey Lazenbys discomfort with the trappings of fame, but it comes across as an attempt to milk the episode for cheap laughs. Its a problem that afflicts the whole film. Lazenbys story is interesting and evokes pathos, but trying to make it more entertaining ends up making it feel shallow.

Posted in Documentaries, Film Festivals, Hot Docs |Tagged #hotdocs17 |Comments Off on Becoming BondAm Ende der Wald (Where the Woods End)Posted on November 15, 2016 by James McNally

Director Felix Ahrens won a Silver Medal at the Student Academy Awards for this taut mini-thriller. In just 30 minutes, Am Ende der Wald (Where the Woods End) manages to create an unbearable situation for its protagonist, young police officer Elke. While on patrol with her partner near the German-Czech border, she pursues a young man into the woods after a routine pullover. In a moment of panic, she shoots and kills him. The aftermath is quietly devastating as she struggles with opposing feelings of guilt and justification. Shes convinced the man and his accomplice must have been meth dealers or smugglers, but they find no evidence to prove it. In desperation, she takes her own infant son along as she visits the mans family in the Czech Republic. Her rising guilt and panic collide in a brilliant climax that leaves the audience breathless.

As Elke, Henrike von Kuick combines a sense of innocence with deep exhaustion. Her piercing blue eyes look haunted as she carries the burden of her actions. The cinematography is both sweeping and intimate, and the directors sense of pacing is precise. I suspect it wont be long before the award-winning Ahrens is directing feature-length thrillers.

Posted in Shorts |Comments Off on Am Ende der Wald (Where the Woods End) Older posts ArchivesSeptember 2018April 2018April 2017November 2016October 2016July 2016May 2016January 2016November 2015October 2015September 2015July 2015May 2015January 2015December 2014October 2014September 2014August 2014July 2014June 2014April 2014March 2014January 2014November 2013September 2013August 2013July 2013May 2013April 2013March 2013February 2013January 2013December 2012November 2012October 2012September 2012August 2012July 2012June 2012May 2012April 2012March 2012February 2012January 2012December 2011November 2011October 2011September 2011August 2011July 2011June 2011May 2011April 2011March 2011February 2011January 2011December 2010November 2010October 2010September 2010August 2010July 2010June 2010May 2010April 2010March 2010February 2010January 2010December 2009November 2009October 2009September 2009August 2009July 2009June 2009May 2009April 2009March 2009February 2009January 2009December 2008November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008January 2008December 2007November 2007October 2007September 2007August 2007July 2007June 2007May 2007April 2007March 2007February 2007January 2007November 2006October 2006September 2006August 2006July 2006May 2006April 2006September 2005August 2005June 2005May 2005April 2005March 2005February 2005January 2005December 2004October 2004September 2004August 2004July 2004June 2004April 2004December 2003November 2003September 2003August 2003July 2003June 2003May 2003April 2003March 2003February 2003January 2003December 2002October 2002September 2002July 2002June 2002May 2002April 2002March 2002February 2002January 2002December 2001November 2001October 2001September 2001August 2001July 2001June 2001May 2001April 2001March 2001February 2001January 2001December 2000November 2000September 2000August 2000July 2000MetaLog inToronto Screen Shots Proudly powered by WordPress.

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