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Thread: Toronto 2011

  1. #1
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    Toronto 2011

    TFF intro piece in the NYTimes (Sept. 15) by Manohla Dargis:
    TORONTO — Having muscled its way forward with ambition and mountains of money, the Toronto International Film Festival stands supreme as the leading cinema event after Cannes. . . They do things big here: more than 300 movies on 33 screens for admissions that, last year, topped a quarter-million.
    A RANGE OF OFFERINGS AT TORONTO:

    Brat Pitt dresses down to promote MONEYBALL (US release Sept 23)


    Glenn Close as a British cross-dresser in ALBERT NOBBS


    A TURIN HORSE (a NYFF title) is "a slow, atmospheric,
    challenging, inaccessible film by Bela Tarr"


    The 36th Toronto Film Festival runs September 8 - 18 2011.

    The list of films in competition at Toronto Film Festival provides further context alongside Cannes and Venice for the much more carefully limited selections in the NYFF that comes right after -- and also introduces some of the more exciting US theatrical releases of the remainder of the year. IndieWire provides three pages of titles and blurbs starting here.

    Here's a partial list of titles from the Guardian of London that manages to miss some of the titles briefly characterized in Mike D'Angelo's comments on his own website. His choices show more what a cinephile would choose to see out of the 300, and he explains his choices before he views and reviews.


    World premieres

    11 Flowers, Dir: Wang Xiaoshuai
    50/50, Dir: Jonathan Levine
    360, Dir: Fernando Mier
    Albert Nobbs, Dir: Rodrigo Garcia
    Americano, Dir: Mathieu Demy
    Anonymous, Dir: Roland Emmerich
    The Awakening, Dir: Nick Murphy
    A Better Life, Dir: Cédric Khan
    The Boy Who Was King, Dir: Andrey Paounov
    Burning Man, Dir: Jonathan Teplitzky
    Butter, Dir: Jim Field Smith
    Carré Blanc, Dir: Jean-Baptiste Leonetti
    Comic-Con: Episode IV – A Fan's Hope, Dir: Morgan Spurlock
    Countdown, Dir: Huh Jong-ho
    Dark Girls, Dir: Bill Duke and D. Channsin Berry
    The Deep Blue Sea, Dir: Terence Davies
    The Descendants, Dir: Alexander Payne
    Duch, Master of the Forges of Hell, Dir: Corinna Belz
    Elles, Dir: Malgorzata Szumowska
    Friends With Kids, Dir: Jennifer Westfeldt
    From the Sky Down, Dir: Davis Guggenheim (Opening night film)
    Girl Model, Dir: Ashley Sabin and David Redmon
    A Happy Event, Dir: Remi Bezancon
    Headshot, Dir: Pen-ek Ratanaruang
    Hick, Dir: Derick Martini
    The Hunter, Dir: Daniel Nettheim
    Hysteria, Dir: Tanya Wexler
    In My Mother's Arms, Dir: Atia Al Daradji and Mohamed Al Daradji
    Into The Abyss, Dir: Werner Herzog
    Jeff Who Lives at Home, Dir: Jay Duplass and Mark Duplass
    Keyhole, Dir: Guy Maddin
    The Lady, Dir: Luc Besson
    Last Call at the Oasis, Dir: Jessica Yu
    The Last Dogs of Winter, Dir: Costa Botes
    The Last Gladiators, Dir: Alex Gibney
    Machine Gun Preacher, Dir: Marc Forster
    Moneyball, Dir: Bennett Miller
    The Oranges, Dir: Julian Farino
    Paradise Lost 3: Purgatory, Dir: Joe Berlinger and Bruce Sinofsky
    Paul Williams Still Alive, Dir: Stephen Kessler
    Peace, Love, & Misunderstanding, Dir: Bruce Beresford
    Pearl Jam Twenty, Dir: Cameron Crowe
    Rampart, Dir: Oren Moverman
    Salmon Fishing in the Yemen, Dir: Lasse Hallström
    Samsara, Dir: Ron Fricke
    Sarah Palin – You Betcha!, Dir: Nick Broomfield
    The Story of Film: An Odyssey, Dir: Mark Cousins
    Take This Waltz, Dir: Sarah Polley
    The Tall Man, Dir: Tony Krawitz
    Ten Year, Dir: Jamie Linden
    Trishna, Dir: Michael Winterbottom
    Twixt, Dir: Francis Ford Coppola
    Undefeated, Dir: Dan Lindsay and TJ Martin
    Urbanized, Dir: Gary Hustwit
    Winnie, Dir: Darell James Roodt
    The Woman in the Fifth, Dir: Pawel Pawlikowski

    North American premieres

    Arirang, Dir: Kim Ki-Duk
    Crazy Horse, Dir: Frederick Wiseman
    A Dangerous Method, Dir: David Cronenberg
    Dark Horse, Dir: Todd Solondz
    Generation P, Dir: Victor Ginzburg
    Habemus Papum, Dir: Nanni Moretti
    The Ides of March, Dir: George Clooney
    I'm Carolyn Parker: The Good, the Mad and the Beautiful, Dir: Jonathan Demme
    Killer Joe, Dir: William Friedkin
    Love and Bruises, Dir: Lou Ye
    Oslo, August 31st, Dir: Joachim Trier
    Poulet aux Prunes (Chicken With Plums), Dir: Marjane Satrapi and Vincent Paronnaud
    Shame, Dir: Steve McQueen
    Snowtown, Dir: Justin Kurzel
    W.E., Dir: Madonna
    Whores' Glory, Dir: Michael Glawogger
    The Year of the Tiger, Dir: Sebastián Lelio

    Other

    The Artist, Dir: Michel Hazanavicius
    Coriolanus, Dir: Ralph Fiennes
    Drive, Dir: Nicholas Winding Refn
    The Eye of the Storm, Dir: Fred Schepisi
    Headhunters, Dir: Morten Tyldum
    Like Crazy, Dir: Drake Doremus
    Martha Marcy May Marlene, Dir: Sean Durkin
    Melancholia, Dir: Lars von Trier
    Pina, Dir: Wim Wenders
    A Simple Life, Dir: Ann Hui
    The Skin I Live In, Dir: Pedro Almodovar
    Take Shelter, Dir: Jeff Nichols
    This Is Not A Film, Dir: Jafar Panahi
    Tyrannosaur, Dir: Paddy Considine
    We Need to Talk About Kevin, Dir: Lynne Ramsay
    Where Do We Go Now?, Dir: Nadine Labaki
    Last edited by Chris Knipp; 09-16-2011 at 09:50 PM.

  2. #2
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    TIFF: "Tiny Insignificant Funny Farce"

    That's what it is to me.
    An elite "industry" event.
    They burned me bad and I won't be forgiving them anytime soon.
    "Set the controls for the heart of the Sun" - Pink Floyd

  3. #3
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    Again I refer you to Mike D'Angelo's short reviews of Toronto films on his website. His choices are interesting: he's committed to them and always so personal he sometimes writes his review as a direct letter to the director. This may seem self-indulgent meta-journalism, but it gives immediacy to his day-to-day reports. Let's hope he fills in his last five days.

    Note: I first became aware of D'Angelo, a prolific and eloquent film critic whose whole career has been online, with his open letter to Lars von Trier in an AV Club bulletin from Cannes 2009. D'Angelo's distinctive and valid tweet-reviewing style was heralded by Kevin B. Lee in Fandor in a 2011 piece called "Essential Tweets: 34 Film Reviews From The Man Who TIFFed Too Much. . .Mike D’Angelo’s Twitter coverage of Toronto employs a new kind of film review aesthetic."

    More mainstream choices are reviewed with revealing colloquial detail by two of the Onion's main movie critics, Noel Murray And Scott Tobias , on AV Club.
    Last edited by Chris Knipp; 09-13-2016 at 01:10 PM.

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