Films thus far include "Ammonite," "Another Round," "Bruised," "Concrete Cowboy," "Fauna," "Good Joe Bell," "Spring Blossom," "True Mothers"
By Jake Coyle, Film Writer
NEW YORK (AP) --The Toronto International Film Festival, one of the leading launching pads for fall movies and Oscar contenders, on Wednesday announced plans for a smaller 2020 edition with virtual red carpet premieres and drive-in screenings.
The Toronto festival, held annually in early September, is typically a sprawling city-wide affair that hosts between 250-400 feature-length films and the debuts of many of the fall movie season’s top releases. Due to the pandemic, organizers said that this year’s festival will be contingent on the go-ahead from Ontario health officials.
But for now, TIFF is radically remaking itself. The normal 10 days of festival-going will be halved, at least in physical screenings. For the festival’s first five days, it will present social-distanced screenings of premieres, including drive-ins and outdoor screenings.
But for the first time, TIFF will also roll out a digital platform that will span the full 10 days of the festival and include digital screenings and talks. Those will include digital screenings for press and industry members, thousands of whom normally flock to Toronto.
It remains possible that international travel to Canada will be prohibited for much of the film industry. The U.S.-Canada border is closed through at least July 21.
“The pandemic has hit TIFF hard, but we’ve responded by going back to our original inspiration — to bring the very best in film to the broadest possible audience,” said ​Cameron Bailey, co-head and artistic director. “Our teams have had to rethink everything, and open our minds to new ideas.”
Slated to screen at this year’s festival thus far to date are: "Ammonite," directed by Francis Lee (United Kingdom); "Another Round," from director Thomas Vinterberg (Denmark); "Bruised," the debut film from director Halle Berry (USA); "Concrete Cowboy" by filmmaker Ricky Staub (USA); "Fauna," from director Nicolás Pereda (Mexico/Canada); "Good Joe Bell" by director Reinaldo Marcus Green (USA); "Spring Blossom," the debut film by director Suzanne Lindon (France); and "True Mothers" by director Naomi Kawase (Japan). More titles will be announced over the summer. These films, though, are a fraction of TIFF’s typical lineup. Last year’s festival included the world premieres of “Knives Out,” “Jojo Rabbit,” “Harriet,” “A Beautiful Day in the Neighborhood” and “Just Mercy,” among many others.
No major film festival has been held since the global onset of COVID-19. France’s Cannes Film Festival, Austin’s SXSW and New York’s Tribeca Film Festival have all been shut down and forced to improvise. Cannes went ahead with a selection announcement, to help celebrate the movies it had intended to screen. SXSW screened participating films on Amazon Prime for a week.
When the Academy Awards recently postponed it ceremony by two months, the calendar also shifted for the premier fall festivals, including those in Venice and Telluride. Should an even somewhat normal awards season proceed, the September run of those three festivals doesn’t align as well with an April 25 Oscars.
Like other festivals, the non-profit TIFF has suffered staff reductions. Earlier this week, it let go 31 full-time employees. Its headquarters and downtown cinemas have been closed since March, though it launched a virtual moviegoing platform with “Stay-At-Home Cinema.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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