Wang introduced Three Sisters as “a simple film” that “might be too long.” I appreciate his humility (a hallmark of his filmmaking, too), but I think he’s wrong on both counts. There’s nothing simple about this precise assemblage of footage collected during several visits to the girls’ remote farming village, and the length of the film is, in fact, essential to its success.
Dormant Beauty (Bellocchio), Something in the Air (Assayas), Berberian Sound Studio (Strickland), Nights with Theodore (Betbeder), and The Last Time I Saw Macao (Rodrigues and Guerra da Mata).
The Master (Anderson), Once Upon a Time Was I, Veronica (Gomes), Birds (Abrantes), and Viola (Piñeiro).
Like Someone in Love (Kiarostami), Far from Vietnam, Tower (Radwanski), and August and After (Dorsky).
Gebo and the Shadow (de Oliveira), differently, Molussia (Rey), and Night Across the Street (Ruiz).
Barbara (Petzold), Mekong Hotel (Apitchatpong), Big in Vietnam (Diop), Sightseers (Wheatley), Student (Omirbayev), and Wavelengths 1.
In Another Country (Hong), Laurence Anyways (Dolan), Argo (Affleck), and, Tabu (Gomes).
My goal in Toronto each year is pretty simple. I typically see about 30 films at the fest, and if I choose the right 30 then for the next twelve months I get to participate in the larger critical conversation about contemporary world cinema, despite living in a midsized city in East Tennessee.
This essay was originally published at Senses of Cinema.
This interview was originally published at Mubi.