Five days into TIFF16 and I'm exhausted. Its a happy tired for most of us who cover the festival, because we love film and we want others to love film too, which is why we share what we've been up to. We want to communicate the passion that is in the air around the central hub at King and John streets, the cinemas, and the stages that show the films and host the conversations.
Yesterday, I began my morning standing in the rush line on Queen Street, around the corner from the Elgin Theatre (called the Visa Screening Room during TIFF) waiting to see if I could get into the public screening of Lion, starring Dev Patel and Nicole Kidman. I was number 78 in the line but I got in and had a bird's eye view of the screen from my lovely single seat next to a column in the balcony.
After a bite and a glimpse of the winning Jays' game at the Friar and Firkin (where I discovered that I get a discount on food with my TICF membership card--woohoo), I headed up the now-working escalators ( a drama for another time) at the Scotiabank Theatre to stand in line for the press and industry screening of Walter Hill's (re)ASSIGNMENT. I was cautious about this one because its a revenge story about a hitman who wakes up a woman after he is operated by an insane doctor: firstly, Michelle Rodrigues,a non-trans actor plays the lead role of Frank and secondly, I wondered if there would be running jokes about the trans experience. If there are protest that the Frank role wasn't cast by a trans actor, I understand, but I must tell you that Michelle does an excellent job of retaining the mental masculine identity despite the gender switch forced upon him by scientist and self-proclaimed artist, Dr. Rachel Ray, played with clinical dispassion by Sigourney Weaver. Rounding out the main trio of actors is Tony Shaloub, as the psychiatrist who is charged with determining Ray's fitness for parole. The exchanges between Weaver and Shaloub is like a chess match between a computer and a human, with the computer taunting its opponent on its inability to ever be as smart as it.
A quick streetcar ride and back to the Elgin Theatre for the North American première of Julieta, directed by Pedro Almodovar. Its such a pleasure to watch a film by a sure-handed director. Adapted from three short stories by award-winning writer, Alice Munro, Julieta is a mother-daughter tale that deals with the theme of loss and guilt. The film is presented in flashbacks and forwards with the role of young Julieta being played by newcomer, Adriana Ugarte and middle-aged Julieta by Emma Suarez. In the small but pivotal role of housekeeper for Julieta and her husband Xion, is Almadovor regular, Rossey De Palma. De Palma and Ugarte were both present for the intro and Q & A session, and what delight they both were. They love Toronto and intend to buy Alice Munro books in Canada.
I loved this film, the acting, the locations (from coastal waters to urban Madrid), and the miser-en-scene, so vital in an Almodovar film. I think someone needs to market " Almodovar red". Other palettes in the film include the joyful and sorrowful blue and restrained white. In form and to a certain extent content, this film reminded me most of All About My Mother. Julieta is a fine film worthy of multiple viewings: you're guaranteed to see something new every time.
Photo Credit: All stills courtesy of TIFF