The Toronto International Film Festival is a sanctuary for film lovers. A needed break from the record-breaking heat in Los Angeles, being amongst fellow film fanatics under layers of clouds has been quite comforting. The festival is well run and the lines move fairly swiftly (in my experience) and the volunteers couldn’t be more warm and friendly. A local institution that captures a stretch of King Street in the middle of Toronto, swarms of foot traffic everywhere for blocks, and when there is a premiere the air is full of swooning adoration. Immersive has managed to catch several films so far.
On the first day here, I caught The Last Showgirl and The Substance – an unintentional double feature about the horrors of aging in a Peter Pan syndrome culture. The Last Showgirl is an ode to a long-gone Las Vegas and a vehicle for the natural charms of its star, Pamela Anderson. It’s an engaging portrayal of a showgirl whose show is ending. Around Anderson is a strong supportive casting. Dave Bautista exudes charm; the iconic Jamie Lee Curtis steals every scene she is in (not to mention the Q&A); Kieran Shipka shines in an adult role that never rings false; and Billie Lourd is heartwarming in her scenes as Anderson’s daughter. Directed by Gia Coppola, the film was shot on film in 18 days with a true indie spirit. It’s a successful testament to its location and a rumination on the passage of time.
As for The Substance, Demi Moore dazzles as a fading movie star whose exercise show is canceled. She gets an opportunity to take a drug that can make her young again, but there’s a catch. She can only be young a week at a time and has to switch bodies with her young double, played by Margaret Qualley, who embodies youthful vigor and raw sensuality that is “eating away” at Moore’s character – – even though they are both her.
Written and Directed by Coralie Fargeat (Revenge), one cannot help but think of the Cronenbergian “body horror” films that preceded it. At a running time of 2 Hours and 20 minutes, it could have been a little tighter, but what a marvel to the senses. The crafts in the film are incredible with standout makeup effects, sound design, and the score.
Mr K is a kafkaesque odyssey that follows the journey of a traveling magician trapped in a hotel, played by the enigmatic Crispin Glover. He has not lost any of his edge or amazing watchability. Glover helps take audiences on a unique journey. There are a few familiar visual references, as the film evokes Alice in Wonderland, the works of Franz Kafka, Delicatessen, and Barton Fink, to name a few.
Still, the film is ultimately its trip. In the end, it’s an original experience. Director Tallulah H. Schwab does a fantastic job of weaving this surreal tale together with an amazing ensemble of supporting actors, top-notch sound design, and production design. This is a great movie that can get lost in such a crowded fest, but it’s certainly a personal favorite.
Nightbitch is a fun but uneven film about the passage of time for an artist. Amy Adams is an excellent actress who does the best she can in a role and story that can feel a little too vague. Where do these people live? She is a somewhat famous artist who lives in a big house with her husband who travels a lot (doing what?). It is a little blind to class consciousness, as well, with an air of privilege around the characters, locations, and scenarios. I met a few men and women at the festival who found the story distancing in that regard, intentional or not. The music, however, is great and brings plenty of entertainment to the picture. Veteran music supervisor Howard Paar gets Cocteau Twins Wolf in the Breast in there, among some other inspired choices. It is also lovely to see Jessica Harper (Suspiria, Phantom of the Paradise), who is great in a small but pivotal role.
Rez Ball is an old-school crowd-pleasing sports film that doesn’t surprise as much as it takes you on a well-executed ride. You know where the story will go, sure, but no matter. You’re swept up by the emotions. It’s a strong, old-fashioned yet new sports drama from veteran TV director Sydney Freeland (Reservation Dogs).
More to come…
