Post TIFF Thoughts
The first two years I attended the Toronto International Film Festival in 2006, I saw one film. I skipped the one in 2007 despite the amazing line-up and came back for another in 2008, eleven in 2009 and twenty more in 2010. In this year’s festival I saw thirty two movies. Imagine camping out at your local multiplex from noon to midnight. But as multiplexes go you’ll probably be bored of the selection by the sixth day.
Which is the opposite of my TIFF experience. Yes, half of the movies I saw at the festival were fillers but at least once a day I get rewarded with films that could be seen as masterpieces. When successful, they heightened the possibilities of cinema, opening up perspectives of how directors can express themselves through the medium. During the festival, I was always interested on how a film looks, like the tracking shots following Michael Fassbender‘s character in artist-turned-director Steve McQueen‘s Shame, the operatic sweeps of the camera and saturated nighttime lighting in Oren Moverman‘s cop drama Rampart, the crazy film stock changes and histrionic short takes in Madonna‘s fabulously campy W.E. (Maybe it’s my gayness but I actually liked this. That’s our little secret), the subtle digital effects in Jeff Nichols‘ family drama Take Shelter and the dusty, BW look into a father and daughter’s life in Bela Tarr‘s retirement film Turin Horse. By the eleventh day I could barely think but all these images were and still are dancing within me.