It should come as no surprise to anyone familiar with the culture of South Asian immigrants that both ambition and identity do a similar dance, often with greater intensity, and is among the latest variations on a familiar American story.
I caught up with James Vanderbilt to ask him a couple of questions about his film, and following are the highlights of a lovely, leisurely and deeply engrossing conversation.
Nineteen years ago as a young Syrian immigrant in Canada, I attended the Toronto film festival. It was the first film festival that I ever attended, and I was mesmerized by the crowds, the show, the stars, the glamor and the entire spectacle. That first film festival is still imprinted in my mind. It was a beautiful evening.
The loud styling makes the film instantly iconic, especially in casting style icon Waris Ahluwahlia as Manny, the trigger-happy joker of the gang and the one daring enough to pull off neon pink and bright turquoise suits. Mehta wanted to do more than present their brash styling; she wanted to shatter stereotypes of Sikh characters who often play cabbies or doctors on screen.
Hooda likes to create a world and context for his character beyond the script, which meant spending time apart from his Beeba Boys crew, and listening to stories from an ex-gangster in Vancouver.
As the Toronto International Film Festival celebrated its 40th anniversary, festivalgoers, vacationers and locals flocked to premieres and screenings. They also dined in high-end restaurants, tested out leisure time activities and visited tourist sites.
The whys and wherefores, along with the "studies," "focus groups," "research," and other code terms for ineffectual activity and BS, fly fast and furious in Hollywood. There is so much activity, in fact, that a layperson might imagine something is actually occurring.
The Toronto International Film Festival has aged gracefully into its 40th year anniversary. Black directors, actors and writers have enhanced the celebratory occasion with fine performances and artistic contributions in indie films, big budget movies and life-affirming documentaries.
Premiering in the Orizzonti section at this year's Venice Film Festival, Yaelle Kayam's Mountain was one of the films that impressed me the most. I use that exact word because Mountain left both an impression on me and, as the Italians use the word "impressione" literally, it shocked, struck and shook me, profoundly.
There are literally thousands of film festivals worldwide and millions of people who attend them. Some consider it their annual holiday -- rather than visiting a destination to sight-see or going on a ski vacation, such aficionados go festivaling. But why just gaze at celebrities when you can actually experience what it's like to be famous?
With film festival season in full swing and awards season gearing up, scoping out celebrity fashion and style are at an all time high! From the clothes they wear to the cars they drive, fans often want the products and looks that their favourite stars are sporting. Here are some of my favourite clever ways to recreate a look for less!
I counted no fewer than a half-dozen films being touted by different bloggers as "the best film of the year" before I even arrived in Canada. A couple of those turned out to be far less impressive than the hype would have you believe.
One could argue that the only place where the revolutions of the Arab Spring have actually made a change for the better is Tunisia. The North African country has had its own issues since 2011, but perhaps Tunisia's downturn has much to do with its close proximity to terror hotbed Libya.
I saw three films in a row today at the Toronto International Film Festival that have generated heavy buzz in the early festival days of fall - and found that none of them actually has the makings of the awards-season juggernauts they're being touted as. In other words, don't believe the hype.
Peter Sollett's Freeheld was, for me, the find of the day -- an intensely emotional film based on a true story that could easily win Julianne Moore her second Oscar in a row (and, perhaps, earn a nomination for the terrific Michael Shannon).
This year's edition will be remembered for putting both Jay Roach's Trumbo and James Vanderbilt's Truth in contention for the Oscar race. I saw the two films back to back on Sunday -- and they are guaranteed to both grip you and infuriate you