Region: South America

TIFF 2012 – Day 5

The Master (Anderson), Once Upon a Time Was I, Veronica (Gomes), Birds (Abrantes), and Viola (PiƱeiro).

TIFF 2012 – Day 3

Gebo and the Shadow (de Oliveira), differently, Molussia (Rey), and Night Across the Street (Ruiz).

2009 SFIFF Diary 2

Heddy Honigmann’s Oblivion, Frazer Bradshaw’s Everything Strange and New, Claire Denis’s 35 Shots of Rum (yes, again), Javor Gardev’s Zift, and Mikheil Kalatozishvili’s Wild Field.

Los Muertos (2004)

What fascinates me about Los Muertos is that it explores the connection between form and content by taking all of the tropes of “transcendental cinema” and staining them, by narrative means, with dread and violence. It reminds me of Brian Eno’s answer (apocryphal, perhaps) when he was asked if he was the father of New Age music: “No, my music has evil in it.”

2007 TIFF Day 5

The Coen brothers’ No County for Old Men, Anahi Berneri’s Encarnacion, Shekhar Kapur’s Elizabeth: The Golden Age, and Bruce McClure’s Everytwo Circumflicksrent…Page 298.

2007 TIFF Day 4

Lucia Puenzo’s XXY, Lee Chang-dong’s Secret Sunshine, Saverio Costanzo’s In Memory of Myself, Hannes Schupbach’s Erzahlung, and Heinz Emigholz’s Schindler’s Houses.

2007 TIFF Days 1 and 2

Marjane Satrapi’s Persepolis, Wang Bing’s Fengming, A Chinese Memoir, Hou Hsiao-hsien’s Le Voyage du Ballon Rouge, Peter Hutton’s At Sea, and Sandra Kogut’s Mutum.

The End and the Beginning (2006)

“We want to hear stories,” director Eduardo Coutinho says early in this film, which is built almost entirely from interviews he conducted over a two-week period in Paraiba, a backlands town in in the northeast of Brazil. Specific stories. Intimate, personal stories.

Three for Three

Perhaps it’s simply the inevitable result of paring down my schedule from 44 films in 2005 (only 35 of which I actually saw) to “only” 33 this year, but my sense while researching and planning over the past weeks was that TIFF’s lineup is stronger, top to bottom, this time around than in previous years.

Little Sky (2004)

Like a Frank Norris or Theodore Dreiser novel, Little Sky drives steadily toward its inevitable, and inevitably dark, conclusion.