‘KNOX GOES AWAY’ (2024) Michael Keaton wows on both sides of the camera

KNOX GOES AWAY

Knox_Goes_Away_Poster_2MB

Michael Keaton plays Knox, an assassin who just received a brutal diagnosis of Creutzfeldt-Jakob disease. With only weeks left before he loses his memory entirely and after a botched job is baring down on his unanimity, his estranged son shows up at his doorstep asking for a favor only he can grant.

Knox Goes Away (2024) still 1Knox takes notes in a small notebook, a less invasive version of MOMENTO. Knowing his limited time, he manipulates the evidence of a murder. We are always one step behind him. Screenwriter Gregory Poirier dazzles with this script.

Knox Goes Away (2024) Al PacinoSuzy Nakamura provides levity as Detective Emily Ikari. Joanna Kulig plays Annie, Knox’s Thursday date for the past four years. Marcia Gay Harden gives us a lovely scene as Knox’s ex-wife, Ruby. Al Pacino is a dear friend and associate, Xavier, who plays the point person assisting Knox in his plan to protect his son. He elevates the story with his effortless snark and caring nature.

James Marsden is Miles, Knox’s estranged son. He is spectacular, simmering in rage, grief, and guilt. Marsden deserves more credit in his career for his eclectic choices of roles. Keaton is an icon. He delivers a perfect balance of badassery and vulnerability. His gentleness takes you by surprise. This brilliant choice upends any genre’s expectations.

Knox Goes Away (2024) Michael Keaton still 2With a beautiful noir score, a highly effective sound mix, and slick editing, Keaton proves his legacy on both sides of the camera. The script drops clues but never explicitly lays out Knox’s plans. The audience makes assumptions and theories swirl, making the film emotionally immersive. The entire last act is an intoxicating catharsis. The pensive last shot is breathtaking. KNOX GOES AWAY will sweep you off your feet.

US Release Date: February 16, 2024

Directed by Michael Keaton

Starring Michael Keaton (Spotlight, Beetlejuice), James Marsden (“Westworld,” “Dead To Me”),
Suzy Nakamura (“Avenue 5”, “Snowfall”), John Hoogenakker (“Dopesick,” Teacher), Joanna Kulig (Hanna, Cold War), Ray Mckinnon (“Dopesick,” Chaos Walking) and Lela Loren (“American Gods,” Bruised) with Marcia Gay Harden (“So Help Me Todd,” “The Morning Show”and Al Pacino (House of Gucci, The Irishman)

Academy Award® nominee Michael Keaton directs and stars in this unpredictable thriller as John Knox, a hit man attempting to make amends before his recently discovered dementia takes over. Aided by a trusted friend (Academy Award® winner Al Pacino) with his own shady past, Knox races against the police — and his own rapidly deteriorating mind — to save his estranged son (James Marsden) from a vengeance-fueled mistake and “cash out” before it’s too late. Also starring Oscar® winners Ray McKinnon and Marcia Gay Harden.

For more films in the crime genre, click here!


 

Review: Switzerland’s official Oscar submission ‘THUNDER (FOUDRE),’ from director Carmen Jaquier, opens in NYC today.

THUNDER

After the sudden and mysterious death of her sister, a 17-year-old novitiate explores her God-given right to experience life to the fullest, during the summer of 1900 in Switzerland.

Akin to the musical Spring Awakening, THUNDER tells the tale of a young woman whose older sister’s mysterious death brings her back to her childhood home and in touch with three old friends. Religious zealousness, body autonomy, and freethinking take center stage in THUNDER. As Elisabeth heads the advice in Innocente’s hidden diary, her world, senses, and spirituality are open to new ideas and happiness. 

The look of the film is dreamy. Moody indoor shots juxtaposed with lush Swiss landscapes create a visually sumptuous experience. Lilith Grasmug‘s portrayal of Elisabeth is mesmerizing. It contains a palpable yearning. Her immediate defiance of the patriarchal social structure made me want to stand up and cheer. Formerly Catholic, or what my mother might call a heathen, the righteous overshadowing of Elisabeth’s awakening is maddening. Her triumphant exploration of sensation and life makes THUNDER a celebration.



Dekanalog is so very proud to be releasing Carmen Jacquier’s stunning period drama THUNDER (FOUDRE), which Switzerland has chosen as their official 2023 submission to The Academy Awards! This unbelievable piece of world cinema opens in New York City next Wednesday, October 25th, followed by a nationwide rollout.

Review: ‘ SOMETHING YOU SAID LAST NIGHT’ is a completely fresh take on trans storytelling.

A Film by Luis De Filippis


Ren, an aspiring writer and mid-twenty-something, accompanies her parents, Mona and Guido, and her younger sister, Siena, on a beach resort holiday in cottage country. As Ren navigates the resort, she struggles to cope with her parents’ loving yet overbearing nature, and tries to balance the yearning for independence with the comfort of being taken care of. The realities of being a stunted millennial and a trans woman coalesce in Ren not wanting to be perceived as a burden. Looming in the back of Ren’s mind is the secret of her recent dismissal from work, and that once the holiday is over, she will need to rely even more on her family’s support.


SOMETHING YOU SAID LAST NIGHT centers on sisters Ren and Siena and their parents on vacation. Emotional turmoil, family drama, and love make this an exceptional indie.

The cast is phenomenal. Focusing on our leading lady, Carmen Madonia, gives Renata an often aloof attitude, hiding a lost mindset. She’s soft-spoken, outwardly feeling othered by her sister’s personality. But little is said. Madonia’s face replaces any unneeded dialogue.

The family chemistry is deliciously authentic. Each fully fleshed-out member has their quirks and distinct personality traits. What makes this script particularly special is the approach to transgender storytelling. They let Ren exist, merely hinting at her identity for the first time 30 minutes in. It’s never directly addressed. The juxtaposition of a pair of aggressive little boys is genius. The sound editing is a character unto itself. What we hear in the background speaks volumes. At times, Ren is almost an ancillary character. It’s undeniably intriguing filmmaking. 

SOMETHING YOU SAID LAST NIGHT takes trans storytelling in a fresh direction. Representation matters. Moreover, seeing a loving dynamic in the life of a trans woman is essential.


Opening in NY / The Quad on September 22
and LA / The Culver Theater on September 29

SOMETHING YOU SAID LAST NIGHT is based on director Luis De Filippis’s short film, “For Nonna Anna”, which premiered at the 2017 Toronto International Film Festival and received the Special Jury Prize at the 2018 Sundance Film Festival. The film was awarded Outfest’s Grand Jury Award, TIFF’s Changemaker Award, and Rotterdam International Film Festival’s Youth Jury Award.

WRITTEN AND DIRECTED BY Luis De Filippis
PRODUCED BY Jessica Adams, Michael Graf, Harry Cherniak, Rhea Plangg, Michela Pini, Luis De Filippis
EXECUTIVE PRODUCED BY Julia Fox, Francesca Silvestri, Kevin Chinoy, Andrew Adams, Jennifer Konawal, Jeremy Smith, Omar Chalabi, Charlie Hidalgo
STARRING Carmen Madonia, Ramona Milano, Paige Evans, Joey Parro, Augustus Oicle, Mi’de Woon-A-Tai, Carmelo Nelson
CINEMATOGRAPHY BY Norm Li, csc
EDITED BY Noemi Preiswerk
MUSIC BY Ella Van Der Woude


 

TIFF 2023 review: Kei Chika-ura’s ‘GREAT ABSENCE’ will rip your heart out.

GREAT ABSENCE


Filmmaker Kei Chika-ura brings his sophomore feature, GREAT ABSENCE, to TIFF 2023. Gorgeously shot on 35mm, the story unfolds within flashbacks between estranged father and son and the present-day disappearance of his stepmother, Naomi.

As dementia sets in, Yohji’s arc proves devastating to witness. The story also unravels the piles of notes strewn about Yohji’s home. Takashi must piece together this collection of garbled messages, love letters, and diary entries.

Tatsuya Fuji plays Yohji with a stern but soft heart. His mental decline brings out agitated frustration and a wild confidence in his storytelling. Understanding his background makes it all the more impactful. As Takashi, Mirai Moriyama brings a weariness and a curiosity that captivates. He puts the audience in his shoes. As the father-son relationship becomes more apparent, the more impressive the work. The chemistry between the two is something of cinematic dreams. It is as if they each play dual roles that are quietly award-worthy.

Yutaka Yamazaki‘s cinematography is memorable. There is something special about letting the camera be static and allowing the performances to speak for themselves. The script surprises with every scene, which is quite a feat for a two-and-a-half-hour runtime. GREAT ABSENCE is a nuanced look at memory, perception, regret, and the endless complexities within relationships. This film will bring you to your knees.


TIFF 2023 capsule review: Aptly named neo-noir ‘LIMBO’ puts racism in the forefront.

LIMBO

Aided by car trouble, a detective looks into the 20-year-old disappearance of a local girl named Charlotte. Travis Hurley is a messy addict, but with nowhere to go, he delves deeper into the case, interviewing old witnesses and suspects. What he discovers will frustrate and ultimately shock no one.

Simon Baker gives Travis a gritty aura. He is simply fantastic. The stark black-and-white cinematography throws the brain into chaos. Knowing what the Australian landscape normally looks like, it is a striking choice. Serving as Writer, Director, Producer, DOP, Editor, Colorist, and Composer, filmmaker Ivan Sen depicts the ever-present racism faced by the indigenous population. LIMBO is a neo-noir crime drama that leaves you with a pit in your stomach.

Check out the trailer below:

TIFF 2023 review: ‘BYE BYE TIBERIAS’ honors four generations of strong women.

BYE BYE TIBERIAS

“Don’t open the gate to past sorrows,” was the response filmmaker Lina Soualem received when asking her mother, actress Hiam Abbass (Succession), about where she came from. In the TIFF 2023 documentary BYE BYE TIBERIAS, audiences journey into the past through the crumbling walls of healing trauma and treasured connections.

The film consists of informal sit-down interviews, extensive personal writings, archival footage, and plenty of home videos of the generations of strong women in the family. We discover the hurt from Hiam’s past, the emotional baggage of leaving behind the turmoil of Palestine, but also the treasured connections of the women who shaped her. Hiam’s letters and poems serve as both insight and narration. They are intensely affecting.

Lina takes Hiam to her childhood home in Tiberias. As we witness Hiam wade through the complexities of guilt and grief, the film exposes a universality I was not expecting. BYE BYE TIBERIAS captures the heartship of carving a path that defies the patriarchal structure. One often defined by social and political forces beyond our control.

Hiam and her family love one another with their whole hearts. They have no filters when speaking to each other, and their words of affirmation are something to aspire to. Lina Soualem captures all of this in an elegant edit. The film is beautifully intimate. It’s a loving commentary on memory, identity, and honoring your past.


Bye Bye Tiberias
Bye Bye Tibériade
Lina Soualem
NORTH AMERICAN PREMIERE
France, Belgium, Qatar, Palestine | 2023 | 82m | French, Arabic
 
 

TIFF 2023 review: Christian Sparkes’ ‘THE KING TIDE’ spins fear and fanaticism to create one hell of a small-town mystery.

THE KING TIDE

Ten years past the discovery of a baby on the shores of their small New England fishing island, residents have avoided sickness and death through the girl’s mysterious ability to heal those around her. Young Isla is essentially the town’s diety. With her mysterious power, she holds the balance of life and death in her presence. Because of this, the adults have sheltered the children, telling stories of mainlanders as evil outsiders. They know nothing of technology or books from off the shores, nothing of illness that Isla cannot cure. Following a traumatic experience, her talents come into question, launching the village into panic and chaos. With elements of The Village and The Green Mile, themes of isolation, paranoia, morality, and magic pull the viewer into a swirling mystery.

The cast is strong, particularly Alix West Lefler as Isla. She has a purity to her performance that is nothing short of mesmerizing. The overcast skies, neutral costumes, and lantern-lit sets keep us unsettled. The foreboding cello-heavy score makes you catch your breath. The tension builds into an uncontrollable monster. The film culminates in a shocking and award-worthy finale. THE KING TIDE is inarguably one of the best-written films of the year. It deserves a prequel and a sequel. It is a must-see.


Directed by 

Christian Sparkes

Writing Credits  

Kevin Coughlin … (story by)

Ryan Grassby … (story by)

Albert Shin

William Woods


 

TIFF 2023 review: Jen Markowitz’s doc ‘SUMMER QAMP’ is beautifully eye-opening and life-affirming.

SUMMER QAMP

Jen Markowitz‘s TIFF 2023 documentary SUMMER QAMP follows a group of kids attending a queer sleepaway camp in Canada. This celebration of individualism is essential viewing.

We witness walls breaking down through small pods of campers and mentors, campfire storytelling, and creative and traditional class selections. Former campers and artists in residence encourage each kid to take chances, but only as long as they are comfortable. There is no hidden agenda here. Camp Firefly exists to help these kids make it to adulthood. A brilliant and creative outlet for fear, anxiety, identity, and community connection, Camp Firefly is a safe space for queer youth to flourish. Camp is a place to heal, be accepted, and feel free. The world needs more of this. Just think of how many suicides we could prevent if we allowed everyone to be themselves, fully and unapologetically.

The overwhelming joy of hearing these kids laugh is infectious. SUMMER QAMP is an education, through and through. As a former theatre kid and current creative adult with two kids, I strive to understand how identity plays a part in overall confidence. I grew up with often crippling anxiety, a stranglehold of perfectionism, and feeling othered. It doesn’t feel good. My job is to protect my kids from the same overwhelming feelings of chaos any way I can.

SUMMER QAMP‘S brave kids allow the audience into their personal lives. They may not fully appreciate how fearless they are. Campers share their gender identity journey, the good, the bad, and the emotionally ugly. This film provides a conversation starter for understanding gender dysphoria from those experiencing it firsthand. It’s an aha of a film.

Leave your judgment at the door. Better yet, rid yourself of it altogether. The biggest takeaway from SUMMER QAMP? Just let kids be kids. They will figure it out in the end. And love should be unconditional.


WORLD PREMIERE – 2023 Toronto International Film Festival

About Director Jen Markowitz

Writer, director, and producer Jen Markowitz has worked in nearly every facet of Canadian television. Starting in scripted, moving to casting, and eventually landing in unscripted/non-fiction, they recently earned three Canadian Screen Awards for writing and producing Canada’s Drag Race, as well as a People’s Choice Award nomination and an Imagen award for producing Shine True, Vice/Fuse TV’s limited series about non-binary youth. Throughout their career, Jen has built a reputation on prioritizing authenticity in their storytelling and pursuing narratives with a balance of tenacity and tenderness. Identifying as queer non-binary, Jen brings their passion for celebrating, protecting, and properly portraying queer and trans communities into their work with deep respect and relentless devotion.

Mins 80 | Language English | Year 2023 | Country Canada

TIFF Website

Instagram: @summerqamp


 

TIFF 2023 review: ‘IRENA’S VOW’ is harrowing, engrossing, and timely film.

IRENA’S VOW

Based on the true story of Polish nurse Irena Gut Opdyke, director Louise Archambault brings TIFF 2023 audiences IRENA’S VOW, a harrowing tale of a young woman’s relentless bravery during WW2.

Feeling an overwhelming need to protect a group of Jewish workers during the Nazi regime, Irena hatches a plan to hide them in plain sight. Under the watchful eye of a vile general and the comings and goings of those who would have them all killed on a whim, one woman saves the lives of strangers, making way for change. Opdyke’s meticulously choreographed schedule of maneuvering workers and her wards is breathtaking. Her sacrifices will bowl you over. Sophie Nélisse breathes life into Irena. She is equal parts heroic and vulnerable. I didn’t even recognize her from her brilliant work on Yellowjackets. She transforms into Irena with an elegance that is perfection.

The costumes and sets place you back in time, making you feel claustrophobic within the walls of a mansion. Bravo to the production design team. The storytelling is authentic, brutal, heartrending, and inspiring. IRENA’S VOW displays how quickly evil permeates a culture, how goodness can overcome those forces, and the importance of standing up for what’s right in the world. Timely and crucial in the face of ignorance and hate, IRENA’S VOW is a triumph in this year’s lineup.


Monday, September 11
Scotiabank Theatre Torontolocation_on

We’re kicking off the fall festival season with our TIFF 2023 curtain raiser!

Thu, Sep 7, 2023, 3:30 PM – Sun, Sep 17, 2023

TIFF 2023 is coming for you and the films are eclectic as usual. Promising big stars, buzzy indies, cool series, new filmmakers to discover,  and my personal favorite, in the form of the sinister Midnight Madness section, TIFF has all the films you’ll be hearing about come awards season. Here are a handful of things on our radar this year. Look for coverage from us and our main man Steve Kopian at Unseen Films.


 RIDDLE OF FIRE- (Midnight Madness Closing Night feature)Riddle of Fire still

Directed by Weston Razooli
NORTH AMERICAN PREMIERE
United States of America | 2023 | 113m | English
 
The movie follows three mischievous children as they embark on an odyssey when their mother asks them to run an errand.
 
Screenings:
Saturday, September 16 Royal Alexandra Theatre 11:59pm
Sunday, September 17 TIFF Bell Lightbox 11:30 am


EPISODIC CONTENT

 BAD BOY -World Premiere – Primetime Programme 

 From Ron Leshem (Executive producer of HBO’s Euphoria, Creator of the original Israeli Euphoria series off which the US series is based) and Hagar Ben-Asher (Bosch, City on a Hill)  

Created alongside Daniel Chen, Roee Florentin, Moshe Malka, Amit Cohen (No Man’s LandFalse Flag), Daniel Amsel (EuphoriaValley of Tears).

Starring Bat Hen Sabag, Amjad Shawa, Guy Menaster, Havtamo Parada, Neta Plotnik, Liraz Chamami, Ishay Lalush, Daniel Hen, Ben Sultan

 BAD BOY is a gripping true story about a young boy imprisoned in a chaotic and colorful juvenile detention facility. While in jail, DEAN bonds with ZORO, a mysterious fellow inmate who grows to be his closest friend and lifeline despite the fact that Zoro is serving time for cold-blooded murder. In order to survive the harsh reality behind bars, Dean learns to harness his unique creativity and humor – all while battling his own inner demons. Twenty years later, these traits still define Dean as a star comedian, while his time in jail is a secret that constantly threatens to resurface and tear his life apart.

 Episode Count: 8×40


LIMBO (North American Premiere*)

Section: Centrepiece

North American Premiere

Australia/104 min/English

Directed by: Ivan Sen

Starring: Simon Baker, Rob Collins, Natasha Wanganeen, Nicholas Hope

*LIMBO World Premired at Berlinale Film Festival 2023

Synopsis:

Travis, a jaded detective, arrives in the remote outback town of Limbo to investigate the cold case murder of local Indigenous girl Charlotte Hayes 20 years ago. As truths about the murder begin to unfold, the detective gains a new insight into the unsolved case from the victim’s fractured family, the surviving witnesses, and the reclusive brother of the chief suspect. A poignant, intimate journey into the complexities of loss and the impact of the justice system on Aboriginal families in Australia.

Screening times:

September 12 5:45 pm Public screening Scotiabank 3

September 13 3:45 pm Public screening Scotiabank 9


BACKSPOT – World Premiere – Discovery 

 Directed by: D.W. Waterson

Written by: Joanne Sarazen, Story by: D.W. Waterson

Produced by: Alona Metzer, D.W. Waterson, Kawennáhere Devery Jacobs, Martin Katz

Executive Produced by: Elliot Page, Matt Jordan Smith, J.C. Davidson, Katisha Shaw

Starring: Devery Jacobs (“Reservation Dogs”), Evan Rachel Wood (“Westworld”), Shannyn Sossamon (A Knight’s Tale), Kudakwashe Rutendo, Thomas Antony Olajide, Wendy Crewson

 Synopsis:

A driven cheerleader (Devery Jacobs) struggles to handle the pressure when she and her girlfriend are both selected for an elite cheer squad, in D.W. Waterson’s feature directorial debut.

 RT: 93 Minutes

 Public Screenings

Friday, September 8 at 8:30PM at the TIFF Bell Lightbox

Monday, September 11 at 3:00PM at the TIFF Bell Lightbox

Friday, September 15 at 9:45PM at Scotiabank Theatre


THE CRITIC – World Premiere – Special Presentations 

Directed By: Anand Tucker (Hilary and Jackie)

Written by: Patrick Marber (Notes on a Scandal)

Starring: Ian McKellen (The Good Liar), Gemma Arterton (Summerland), Mark Strong (1917), Romola Garai (Suffragette), Ben Barnes (Westworld) and Alfred Enoch (Foundation

 Gemma Arterton and Sir Ian McKellen star as adversaries forced to take desperate measures to save their careers, in this scintillating tale of ambition and deceit in the theatre world.

 RT: 95 minutes

 Public Screenings

Monday, September 11 at 12:00PM at the Princess of Wales

Wednesday, September 13 at 4:00PM at Scotiabank 2

Saturday, September 16 at 3:00PM at Scotiabank 2


IRENA’S VOW (Quiver Distribution) – World Premiere – Centerpiece Program 

 Directed by: Louise Archambault (Atomic Saké, Familia)

Written by: Dan Gordon (Passenger 57, Wyatt Earp)

Starring: Sophie Nélisse (“Yellowjackets,” 47 Meters Down: Uncaged), Dougray Scott (Mission: Impossible 2, “Batwoman”), Andrzej Seweryn, and Maciek Nawrocki

Produced by: Nicholas Tabarrok, p.g.a, Beata Pisula, Tim Ringuette, Berry Meyerowitz and Jeff Sackman

Through the eyes of a strong-willed woman comes the remarkable true story of Irena Gut Opdyke and the triumphs of the human spirit over devastating tragedy. 19-year-old Irena Gut is promoted to housekeeper in the home of a highly respected Nazi officer when she finds out that the Jewish ghetto is about to be liquidated. Determined to help twelve Jewish workers, she decides to shelter them in the safest place she can think of: the basement of the German commandant’s house. Over the next two years, Irena uses her wit, humor, and courage to hide her friends until the end of the German occupation, concealing them in the midst of countless Nazi parties, a blackmail scheme, and even the birth of a child. Her story is one of the most inspiring of our time.

 RT: 121 Minutes

 Public Screenings

Sunday, September 10 at 3:15PM at TIFF Bell Lightbox Cinema 1

Monday, September 11 at 3:35PM at Scotiabank 11


KNOX GOES AWAY – World Premiere – Special Presentations 

 

Directed by: Michael Keaton

Written By: Gregory Poirier (Rosewood)

Starring: Michael Keaton (Birdman), James Marsden (“Jury Duty”), Al Pacino (The Godfather), and Marcia Gay Harden (Mystic RIver)

 Michael Keaton directs and plays Knox, a hitman losing his memory, putting him in a race against time to help his estranged son (James Marsden) cover up a messy crime.

 RT: 114 minutes

 Public Screenings

Sunday, September 10 at 9:45 PM at The Princess of Wales Theatre

Monday, September 11 at 5:30 PM at Roy Thomson Hall


SUMMER QAMPWORLD PREMIERE – 2023 Toronto International Film Festival

Directed by Jen Markowitz

Mins 80 | Language English | Year 2023 | Country Canada

SUMMER QAMP is a moving, compelling and joyful documentary following a group of LGBTQ+ youth at an idyllic lakeside camp in Alberta, Canada – CAMP fYrefly. The campers enjoy the traditional summer camp experience in a safe, affirming environment where they deepen their connections with their own community and themselves.

Screenings:

World Premiere – Saturday, September 9 at 12:15 PM at Scotiabank 13 

Sunday, September 10 at 4:30 PM at Scotiabank 12


For more information on TIFF 2023 click here!

The 48th edition of the Toronto International Film Festival takes place Thursday, September 7—17, 2023.


 

Review: Yellow Veil brings Youssef Chebbi’s mysterious ‘Ashkal: The Tunisian Investigation’ to cinemas

Ashkal: The Tunisian Investigation

ASHKAL: THE TUNISIAN INVESTIGATION poster

Set amongst derelict, half-finished apartment complexes of a former regime, the discovery of a mysterious burnt body by two police officers reveals a puzzling repetition of events. As the investigation progresses, a network of violence and corruption is uncovered throughout the city.


Cinematographer Hazem Berrabah offers striking juxtaposing visuals of sheep grazing on open fields next to grey concrete structures. Half-built complexes with their innumerable exposed rebar present like monsters bearing sharp teeth and long claws. 

The defiance by detectives keeps your attention steady. No one wants to be told they cannot do their job. Performances from stars Fatma Oussaifi and Mohamed Houcine Grayaa are spellbinding. Their moody and grounded work feels personal and devastating. Oussaifi’s reaction to the overwhelming amount of misogyny hits hard. The writing is hard to shake, a compliment for writer-director Youssef Chebbi and co-writer François-Michel Allegrini.

US audiences who love TRUE DETECTIVE will love this film. This allegory for the return of self-immolation as a revolutionary protest engages a supernatural element that keeps the audience transfixed on the story. Ashkal: The Tunisian Investigation has completely unexpected, bold storytelling leaving you with more questions than answers. Do not miss it.

 

Theatrical Rollout
August 18th: NYC (Roxy Cinemas)
August 18th: LA (American Cinematheque Los Feliz, Lumiere Music Hall)
September 1st: Boulder (Dairy Center)
September 8th: Chicago (Music Box)

Digital
August 22nd
 

 

Director: Youssef Chebbi

Writer: François-Michel Allegrini, Youssef Chebbi
Producer: Farès Ladjimi
Cast: Fatma Oussaifi, Mohamed Houcine Grayaa, Aymen Ben Hmida
Festivals: Cannes Director’s Fortnight, Toronto International Film Festival, Beyond Fest

92 MIN / 2022 / TUNISIA, FRANCE, QATAR / ARABIC, FRENCH / THRILLER, HORROR

Review: Lily James stars in breezy romcom ‘What’s Love Got To Do With It?’

WHAT’S LOVE GOT TO DO WITH IT?

How do you find lasting love in today’s world? For documentary-maker and dating app addict Zoe (Lily James), swiping right has only delivered an endless stream of Mr. Wrongs, to her eccentric mother Cath’s (Emma Thompson) dismay. For Zoe’s childhood friend and neighbor Kaz (Shazad Latif), the answer is to follow his parents’ example and opt for an arranged (or “assisted”) marriage to a bright and beautiful bride from Pakistan. As Zoe films his hopeful journey from London to Lahore to marry a stranger, chosen by his parents, she begins to wonder if she might have something to learn from a profoundly different approach to finding love.


If you want an updated Jane Austen-esque feature, look no further than WHAT’S LOVE GOT TO DO WITH IT? As close to the perfect viewing as one can get for Mother’s Day weekend, this authentic script tackles the here and now of dating and familial expectations with heart and laughs, and hidden passion. For film lovers, Zoe’s career is extra compelling. For lovers of reality dating shows, WHAT’S LOVE GOT TO DO WITH IT? is a fabulous combination of all the reasons why the rom-com never dies. 

Emma Thompson is Zoe’s eccentric mother whose firey energy is a lovely addition to the fully fleshed-out cast. Speaking of mother figures, Shabana Azmi plays Kaz’s mother with a loving sense of protection and tradition. You believe that these two families grew up next to one another. The comfort of their rhythm feels genuine. I would watch a spin-off of these two women raising the children in the early days. They are that compelling, even with their limited screen time.

Shazad Latif, as Kaz, has a quiet confidence that draws you in from the beginning. He possesses something special that makes the audience feel safe around him. Anyone would be lucky to have Kaz as a member of their family. Lily James plays Zoe with ambition, smarts, and girl-next-door sass. This character’s depth, flaws, and strengths equally embraced make the film thoroughly relatable. Dating is complicated, especially now. James embodies the modern-day woman and brings an elegance to Zoe that captures the audience immediately. Latif and James have a chemistry that feels earned.

The script cleverly weaves in James’ modern-day fairytale storytelling and When Harry Met Sally sit-down interviews. The costumes are bold and beautiful with lush set dressing to match. It is an undeniably heartwarming meeting of cultures in its honesty and humor. If you are not crying by the end, check your pulse.

WHAT’S LOVE GOT TO DO WITH IT? will be available in Theaters on May 5, 2023.

 

About Shout! Studios

Shout! Studios is the filmed entertainment production and distribution arm of Shout! Factory, specializing in all aspects of distribution, including theatrical, VOD, digital, DVD/Blu-ray, and broadcast. Shout! Studios works with creators at the forefront of pop culture, driving creative expression and diversity in independent storytelling. Shout! Studios finances, produces, acquires, and distributes an eclectic slate of movies, award-winning animated features, specialty films and series from rising and established talent, filmmakers, and producers. 

Shout’s upcoming releases include romantic-comedy What’s Love Got to Do with It? directed by Shekhar Kapur, written and produced by Jemima Khan, and starring Lily James, Shazad Latif, Shabana Azmi, and Oscar®-winner Emma Thompson, action-comedy Showdown At The Grand, starring Oscar®-winner Terrence Howard and Dolph Lundgren, and neo-Western thriller Head Count starring Aaron Jaukobenko, Melanie Zanetti, and Ryan Kwanten. Recent releases include epic fantasy adventure The Magic Flute, executive produced by Roland Emmerich and starring Jack Wolfe and Oscar®-winner F. Murray Abraham, the sci-fi comedy-drama Linoleum, starring Jim Gaffigan and Rhea Seehorn, Oliver Stone’s JFK Revisited: Through the Looking Glass, documentary feature Refuge from levelFilm, Katie Couric Media and Artemis Rising, the critically acclaimed Shout! Studios original Western Old Henry, starring Tim Blake Nelson, comedy-drama Language Lessons, directed by Natalie Morales and starring Morales and Mark Duplass, comedy-drama Misbehaviour, starring Keira Knightley and Gugu Mbatha-Raw, and Standing Up, Falling Down, starring Ben Schwartz and Billy Crystal.


 

Review: Sean Garrity’s ‘THE END OF SEX’ is a raunchy and relatable rom-com that keeps on giving.

THE END OF SEX


The End of Sex tells the story of a married couple (Hampshire and Chernick) who are feeling the pressures of parenting and adulthood. After they send their young kids to camp for the first time, they embark on a series of comic sexual adventures to reinvigorate their relationship.


Relentlessly hilarious, Sean Garrity‘s new film, THE END OF SEX, is the comedy married parents have been waiting for. Not since Judd Apatow’s This is 40 has a sex comedy nailed this age and stage in life so distinctly. Those are big shoes to fill, and Garrity and company step on up. Get ready to laugh and relate more than you ever planned. 

Lily Gao is Josh’s co-worker Kelly. Her casually brazen suggestions to spice up their sex life feel straight out of a Millennial playbook. You cannot help but laugh at her confidence in this role. Melanie Scrofano plays Emma’s teaching partner and best friend, Wendy. She is a delight, matching energy with Hampshire like a pro. I’d watch a spin-off of their art classes in a heartbeat. 

Screenwriter Jonas Chernick plays Josh as an everyman, nice guy. He is a solid foil for Hampshire’s breezy personality. Together they make an entertaining duo. Emily Hampshire is Emma. Her chameleonlike ability to live in the skin of any character is a dream to watch. She oozes charm and charisma, honesty and vulnerability. All the yes to her performance. 

The script nails the unfiltered complexities of adult relationships, particularly co-parenting and the ebb and flow of physical attraction. It centers on communication and the dangers of giving up on ourselves to mollify our partners. Relationships are rarely 50/50. THE END OF SEX goes there and sometimes falls off the edge in the best way possible. 

The quirky and overtly sexualized visuals on signs throughout the film become an over-the-top running joke. A brief but brilliant cameo from a comedy legend takes the script to another level. It is an unforgettable scene. THE END OF SEX celebrates kink rather than shaming. It permits viewers to explore fantasy while reflecting on intimacy. It’s a beginning of a conversation between partners, new and old, and a hell of a good time.


In Theaters This Friday
April 28th

*Official Selection – 2022 Toronto International Film Festival*

Directed by Sean Garrity (My Awkward Sexual Adventure)
 
Featuring:
Emily Hampshire (“Schitt’s Creek”)
 Jonas Chernick (James vs. His Future Self), Gray Powell (“Sort Of”)
Lily Gao (“Letterkenny”), Melanie Scrofano (“Wynonna Earp”)


RT: 86 Minutes


 

Review: ‘EMILY’ is a sensual and complex tale of loss and genius.


EMILY imagines Emily Brontë’s own Gothic story that inspired her seminal novel, “Wuthering Heights.” Haunted by the death of her mother, Emily struggles within the confines of her family life and yearns for artistic and personal freedom, and so begins a journey to channel her creative potential into one of the greatest novels of all time.


EMILY shares the part-fictional story of a brilliant writer whose life and loss of love inspired one of the greatest novels of all time.

Wuthering Heights fans will recognize the inspiration in Frances O’Connor‘s screenplay. Sibling and familial dynamics loom large, as does jealousy. A myriad of topics appears in the script; grief, individualism, and life in the arts. Emily shirks gender norms and yet yearns for the approval of her Father. Betrayal, morality, lust, defiance, sibling rivalry, adoration, and spite play keen roles in EMILY. A particularly sharp monologue serves as a Freudian confessional. It is brilliant and heartbreaking.

Nanu Segal’s cinematography is both visually striking and emotionally impactful. The score is chill-inducing, ethereal, and classic all at once. Emily contains one of the most gloriously choreographed love scenes. Two particular moments in Sam Sneade‘s editing were particularly effective. First, when Weightman and Emily discuss their inspiration in writing, and second when William first reads Emily’s poem. These subtle choices are massive emotional shifts in the narrative. Bravo.

Fionn Whitehead plays Branwell Brontë with the vibrancy of a firecracker. He is a delightful foil for Mackey. Their connection is undeniable. Oliver Jackson-Cohen is Mr. Weightman. Battling societal morality and love, Jackson-Cohen gives a stunning performance. His intuition and chemistry with Mackey are explosive.

Emma Mackey is perfection. The script allows her to play the full spectrum of human emotion. She is vulnerable, anxious, fearless, defiant, and endlessly passionate. Emily’s curiosity for life and experience gives Mackey the freedom to immerse herself in the role. She nails it.

EMILY is every English Lit major’s fantasy. Emily is an iconic feminist role model, walking the thin line between relatable and remarkable. Frances O’Connor gives audiences a heroine to admire and aspire to be.


Bleecker Street will release EMILY
in select theatres February 17, 2023


Directed by: Frances O’Connor
Written by: Frances O’Connor
Produced by: Piers Tempest, Robert Connolly, David Barron
Cast: Emma Mackey, Fionn Whitehead, Oliver Jackson-Cohen, Alexandra Dowling,
Adrian Dunbar, Amelia Gething, and Gemma Jones


Rated R | 130 minutes

Facebook: @BleeckerStFilms
Twitter: @bleeckerstfilms
Instagram: @bleeckerstfilms

#EmilyMovie


 

TIFF 22 short film review: Sophy Romvari’s ‘IT’S WHAT EACH PERSON NEEDS’ pulls the run out from underneath you with its intimacy.


IT’S WHAT EACH PERSON NEEDS

Filmmaker Sophy Romvari features a young woman named Becca Willow Moss as she embarks on a unique journey of self-discovery with others. IT’S WHAT EACH PERSON NEEDS has the audience eavesdropping on phone conversations. The voices on the other end of the line each desire something different. The men seem to seek romance, while others lean more sexual. Her other calls engage an entirely different demographic; the elderly. These chats revolve around memory, singing, reassurance, and pure love.

Becca has a knack for discovering what motivates each person. She describes herself to people as a multi-faceted artist. A label I covet myself. She is the most genuine and gentle communicator. She is giving and authentic. I remain completely enamored by her.

The cinematography is 90% comprised of closeup shots of mannerisms, objects in the room, Becca’s hair and clothes, and her face as she speaks and listens to those she calls. Combined with the fact that the 11-minute run has us solely inside Becca’s apartment lends to the intimacy already created by her words. It’s a brilliant choice, frankly.

Romvari had me thoroughly engrossed from the very beginning. I could have easily watched a feature-length version of Becca and her callers. Therein lies the irony of IT’S WHAT EACH PERSON NEEDS. As we get comfortable with the narrative structure, Romvari steps in, via voice only, and asks Becca what she thinks the project’s meaning might be. Her answer takes you aback. While we enjoy the film for unconsciously selfish reasons, Becca has her own motivation that I did not expect. Undoubtedly one of the best short films at TIFF22. It’s about the universal need for human connection. Everyone needs someone to listen. Everyone needs to feel seen.


Short Cuts Programme 06.
Sophy Romvari
CANADA | 2022 | English
11 minutes


Fri, Sep 16
IN-PERSON
Scotiabank Theatre Toronto
5:30pm


Sat, Sep 17
IN-PERSON
Scotiabank Theatre Toronto
9:05am


 

TIFF22 review: Midnight Madness selection ‘THE PEOPLE’S JOKER’ is a trans coming-of-age tale with eye-popping visuals and laughs to spare.

THE PEOPLE’S JOKER

An aspiring clown grappling with her gender identity combats a fascistic caped crusader, in writer-director Vera Drew’s uproariously subversive queer coming-of-age origin story.


Vera Drew‘s TIFF22 Midnight Madness feature, THE PEOPLE’S JOKER, is a visual explosion of mixed media deliciousness. Creatively autobiographical, watching the film is like taking ecstasy while simultaneously receiving an important message. Drew’s script overflows with biting satire about gender politics, comedy, and emotional healing. While we’re busy laughing and wondering how she got away with parodying DC, Disney, and other trademarks, she slyly exposes cyclical and deep-seated trauma.

 

I have to mention Nathan Faustyn by name. He plays Penguin with an unfiltered edge. Faustyn has incredible comic timing, and his chemistry with Vera is perfect. I want to see more of him in anything. Vera Drew speaks truth to power in a raw and undeniably hilarious manner. The writing is fearless, the performance is vulnerable, and her vision as a filmmaker is endlessly engrossing and quirky.

I adored the “bleeping” to avoid deadnaming. It was a quietly powerful device allowing Drew to address it head-on later in the film. Keep your ears sharp for voice cameos from Tim Heidecker and Bob Odenkirk. The original music is super catchy. Stick around through the credits for some extra treats. You’ll finally realize how expansive THE PEOPLE’S JOKER is. Each visual aspect comes from a different creative’s brilliant mind. This wild fandom mash-up is part confessional therapy session and another part cult coming-of-age indie.


United States of America, 2022
English
WORLD PREMIERE
92 minutes
Director
Vera Drew
Cast
Vera Drew, Vera Drew, Lynn Downey, Kane Distler, Nathan Faustyn, David Liebe Hart, Christian Calloway, Griffin Kramer, Phil Braun, Tim Heidecker, Ember Knight, Sarah Sherman
Cinematography
Nate Cornett
Editing
Vera Drew, Vera Drew
Executive Producers
Lindsay Cohen, Brian Alkerton, Bee Frederickson, Leo Kovalik, Jr., Johnee Reyna
Producer
Joey Lyons
Production Company
Haunted Gay Ride Productions
Production Designers
Laura Wheeler, Courtney McIntosh, Amy Smoot, Yesi Rego, Lauren Kezon
Screenplay
Vera Drew, Bri LeRose
Sound
Jake Robinson
Original Score
Justin Krol, Quinn Scharber, Ember Knight, Danni Rowan, Elias and the Error

TIFF 22 review: ‘CHARCOAL’ is a fiery and biting feature debut from writer-director Carolina Markowicz.

CHARCOAL

In her brilliant feature-film debut, writer-director Carolina Markowicz brings TIFF22 audiences a one-of-a-kind dramedy in CHARCOAL (CARVÃO). Irene and Jairo find themselves barely scraping from the money earned from their Charcoal factory, saddled with an ailing father and precocious 9-year-old son, Jean. Suddenly offered money to hide an Argentinian drug kingpin, things get weird for everyone. 

Rômulo Braga plays Jairo with passion, but not for his wife. Jairo is a miserable soul. Braga brings a slovenly and combative manner that breaks in private. 

How do you keep a nine-year-old from spilling the beans? Jean Costa brings the perfect amount of sass to the role of young Jean. His performance is so natural you might think he’s improvising each line. 

Cesar Bordon is Juan. His confusion only matched by his oblivious, holier-than-thou nature. His scenes with Costa are incredibly amusing. But it is his feisty chemistry with Jinkings that you’ll remember most.

Maeve Jinkings plays Irene with slick confidence and a fearless attitude. She is never intimidated by Juan’s presence. On the contrary, she sees him as a nuisance and a necessary means to an end. Jinkings casual delivery under pressure makes Markowicz’s screenplay shine. It’s a real wow.

I was entirely unprepared for the dark humor in this undeniably genius script. You’ll find yourself smirking as Juan prepares for his unexpected pitstop. After his arrival, the hilarity ensues with the utmost seriousness. Almost every scene drips with sarcasm, and it is glorious. One of the best films at TIFF22, CHARCOAL boasts twist after twist. Part satire, part social commentary, do not miss it.


Brazil, Argentina, 2022
Portuguese, Spanish
WORLD PREMIERE
107 minutes
Director
Carolina Markowicz
Cast
Maeve Jinkings, Cesar Bordon, Jean Costa, Romulo Braga, Camila Mardila, Pedro Wagner, Aline Marta
Cinematography
Pepe Mendes


TIFF 22 review: Bill Nighy’s glorious performance in ‘LIVING’ sends a universal message of love and kindness.

LIVING

Director Oliver Hermanus brings TIFF22 audiences LIVING, a remake of Akira Kurosawa’s 1952 film Ikiru. This beautifully life-affirming script from Nobel- and Booker Prize-winning author Kazuo Ishiguro captures the heart. The legendary Bill Nighy helms this film as Mr. Williams. A typical mid-level government bureaucrat in 1952, Williams never ruffles any feathers and maintains a routine to the point of soulless monotony. After he receives a terminal diagnosis, he must reassess his years of playing by the rules and learn how to begin living.

Alex Sharp is Peter Wakeling, the newest member of Mr. Williams’ team. He is the audience’s lens through which to observe Nighy’s reputation. His ability to understand the bigger picture showcases Sharp’s talents. He is simply lovely here. Aimee Lou Woods plays Nighy’s spirited office mate, Margaret Harris. Her young enthusiasm and gentle nature present an intriguing foil for Nighy. Woods displays a wide-eyed honesty that gives way to genuine companionship. She becomes a shoulder to cry on and a replacement for his estranged son. Their chemistry is a delight. 

Bill Nighy gives a quietly profound performance as Mr. Williams. Each beat overflows with complexity, regrets, and thoughtfulness. Nighy breathes life into this role with passing moments. His heartfelt rendition of the Scottish folk song Rowan Tree moved me to tears. It is an award-worthy turn.

A community playground becomes the symbol of a life worth living. An apology for the inconvenience, an offer of assistance, and a kind word; the impact of these seemingly small gestures have a ripple effect. The structure of the script is surprising and relentlessly engaging. I found myself lost in the quiet dignity of it all. 

The sumptuous score from Emelie Levienaise – Farrouch is enveloping. Beautifully framed and lit cinematography from Jamie Ramsey suits this story perfectly. I felt the final shot in my gut.

LIVING is not a boisterous film. It is a story that makes you want to be a better person. It is a lesson in human connection, mutual respect, and taking a breath to enjoy each moment. LIVING speaks volumes about leaving a legacy of kindness.


United Kingdom, 2022
English
CANADIAN PREMIERE
102 minutes
Director
Oliver Hermanus
Cast
Bill Nighy, Aimee Lou Wood, Alex Sharp, Tom Burke
Cinematography
Jamie D. Ramsay
Editing
Chris Wyatt
Producers
Stephen Woolley, Elizabeth Karlsen
Production Company
Number 9 Films
Production Designer
Helen Scott
Screenplay
Kazuo Ishiguro


TIFF22 review: Marie Clements’ ‘BONES OF CROWS’ is an exquisite cinematic experience of trauma and hope.

BONES OF CROWS

Centuries of trauma reveal themselves on the big screen in the TIFF22 feature film BONES OF CROWS by writer-director Marie ClementsIt’s a visceral but undeniably important watch. The film occurs over the span of 100 years. Watching the Catholic church, aided by the government, nonchalantly discussing the planned eradication of the poor is infuriating. Indigenous children were ripped from the arms of their parents, under threat of incarceration, and placed in residential homes run by severe priests and nuns. Children were stripped of their culture and used as lab rats. The number of children buried in unmarked graves is unfathomable. 

In the film, we bounce in time as unresolved trauma and abuse rear their ugly head through decades. Actress Grace Dove plays Aline Spears beginning at age 16. Once a promising concert pianist, her hopes and dreams were dashed by physical, psychological, and sexual abuse. Her memories, accompanied by those of one of her siblings and husband, intertwine to paint a harrowing picture of torture and fear. But, the pain inflicted upon her never extinguishes her soul. As she endures continued racism, Aline has the last word through a chance visit to the Vatican and the legacy of her children. 

While BONES OF CROWS predominantly follows the fallout of one family, their story is tragically universal. Dove carries the weight of the film on her shoulders, reminding the audience of the strength of the Canadian native population. Her unrelenting and raw bravery lets the audience reside in her psyche with a quiet discomfort needed for BONES OF CROWS to succeed as it does.

The beauty and triumph of BONES OF CROWS occur in unexpected moments. The appearance of the titular birds becomes a recurring theme of hope. You cannot ignore the striking cinematography. The film’s finale is a much-needed emotional catharsis. When you hear and feel the song “You Are My Bones,’ co-written by Marie Clements, you won’t be able to hold back any longer. Bones of Crows is a soul-changing film. It’s simply exquisite storytelling. TIFF22 audiences are privileged to experience this first. BONES OF CROWS is a jaw-dropping cinematic experience. 


An epic account of the life of Cree matriarch Aline Spears that spans generations, Marie Clements’ Bones of Crows is a powerful indictment of the abuse of Indigenous peoples as well as a stirring story of resilience and resistance.

This programme contains scenes that may distress some viewers, especially those who have experienced harm, abuse, violence, and/or intergenerational trauma due to colonial practices.

Support is available 24 hours a day for anyone affected by their experience at residential schools and for those who may be triggered by content dealing with residential schools, child abuse, emotional trauma, and racism. The national Indian Residential Schools Crisis Line is available at 1-866-925-4419.


Canada, 2022
English, Cree, ʔayʔajuθəm, Italian
WORLD PREMIERE
127 minutes
Director
Marie Clements
Cast
Grace Dove, Phillip Forest Lewitski, Alyssa Wapanatâhk, Michelle Thrush, Glen Gould, Gail Maurice, Carla Rae, Cara Gee, Rémy Girard, Karine Vanasse, Jonathon Whitesell, Patrick Garrow, Summer Testawich, Sierra McRae, Tanaya Beatty, Joshua Odjick, Alanis Obomsawin


TIFF22 review: ‘MY SAILOR, MY LOVE’ boasts beautifully complex performances.

MY SAILOR, MY LOVE

In Klaus Härö‘s TIFF22 feature, My Sailor, My Love, Grace hires a much-needed housekeeper for her curmudgeonly father, Howard. When Annie enters their lives, the family dynamic reaches a breaking point.

The friction between Howard and Grace slowly comes to light. Grace’s bitterness towards Annie stems from an inability to let her father move on in life. As his lifelong caretaker, her deep-seated resentment proves a daunting hurdle for everyone. Catherine Walker gives a nuanced performance. You can feel the weary weight of the years. Anyone who has cared for an aging family member will recognize emotional exhaustion and perhaps a touch of martyrdom. Walker bears all in the role.

This endearing later-stage love story is as lovely as can be. Annie and Howard’s earnest chemistry come to life with the extraordinary performances by James Cosmo and Bríd Brennan. Beautifully paced histories of their former selves lend to its authenticity. So much of the script occurs in things unsaid.

Brennan plays Annie with a generous disposition. Anyone would be lucky to have her as a scene partner. Her presence fills the screen with warmth. Brennan is spectacular.

Howard exists through the emotional redemption of James Cosmo. Cosmo gives us every bit of himself as a man mired in hurt, fear, and shame. As Howard, he longs for happiness and must come to terms with past regressions to heal. It is an award-worthy turn.

The score from Michelino Bisceglia has a classic elegance. The thoughtful cinematography by Robert Nordström includes breathtaking ariel views and impactful tracking shots. The care and intention are impossible to miss. My Sailor, My Love will capture the hearts of TIFF22 audiences.


Finland, Ireland, 2022
English
WORLD PREMIERE
103 minutes
Director
Klaus Härö
Cast
James Cosmo, Bríd Brennan, Catherine Walker