I get the feeling that celebs feel more safe and anonymous during the daytime at TIFF. It's like they suddenly just blend in, such that they almost want to be recognized. Take for example my mid-day run-in -- again in Yorkville -- with Mads Mikkelsen, well known for his Le Chiffre in Casino Royale.
Films provide visions from around the world and an opportunity to show how similar our humanity is and how much we share, not remind us of our physical and emotional borders.
For a woman to manage the best lounges at the Toronto International Film Festival, Cannes, the Golden Globes and the French César Awards, one must be pretty amazing, so catching up with Dubois-Sissoko was a must.
IFF Panama's significance on the film festival circuit was firmly established by its third edition, which wrapped April 9 in Panama City. Festival...
Maybe it's because the studio movies at this time of year are so universally dreadful, but I find myself drawn to the smaller films that bite and snarl and generally have bad manners: Bad Words, The Raid 2 and, this week, Dom Hemingway.
Jason Bateman makes his directing debut with Bad Words, the rudest comedy about an adult dealing with kids since Bad Santa.
So I decided to interview him before he becomes a major film star even though I know that after he does, he will still be accessible. Because Jim is well...Jim.
Here, anthropology reminds us that there is no biological basis for racial distinction but we understand that race and racism continue to exert an enduring and powerful force on outcomes for historically racialized minorities.
The fact that this festival tends to focus on and celebrate films from the Arab world also makes it unique. I've already put together a lineup of films to see, some of which I've missed at other festivals, most of which I'm just finding out about.
Where would the Arab spring be without Facebook? Twitter? YouTube? Phones with digital video? The Square, an edge-of-your-seat documentary on Egypt's uprisings, is testament in style and substance to the game-changing role technology has come to play in revolutions.
So for those salivating for a Toronto reset, I suggest a more modest brand refresh -- one where an asterisk is added to our otherwise great city. Here we can note our city's mind-numbing congestion, condo lined waterfront, failed Olympic bids, overpriced housing and political mismanagement. All this without clouding the overwhelmingly positive attributes this city has to offer.
Written and directed by Wladyslaw Pasikowski, Aftermath (Poklosie) begins with the return to the Polish countryside of Franek Kalina (Ireneusz Czop), who moved to Chicago 20 years earlier just before Martial Law was established in 1981.
We are in the midst of a bumper crop of bio-docs: documentaries focused on single figures who have wound up on the wrong side of history and who seemingly want the chance to get their side of the story on the record.
Tracks is a one of a kind cinematic venture that only comes around every decade or so. Let's hope some of that TIFF good luck charm allows this striking independent feature to eventually be seen and loved around the world.
If we look hard enough and not so far, among us are some brilliant children that aspire for more. Children who are actively involved in making positive contributions to the image of them and their generation of upcoming leaders.
Joan Scheckel's Los Angeles based filmmaking labs are housed in the quickly developing artist hub amongst Perry Rubenstein Gallery and Regen Projects, leading the way for a new Hollywood Renaissance.