Tag: Region: Canada
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Queens of the Qing Dynasty
This essay was originally published at Metrograph.
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TIFF 2012 – Day 4
Like Someone in Love (Kiarostami), Far from Vietnam, Tower (Radwanski), and August and After (Dorsky).
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TIFF 2012 – Day 1
In Another Country (Hong), Laurence Anyways (Dolan), Argo (Affleck), and Tabu (Gomes).
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Wavelengths: Tamalpais and Hotel Roccalba
Short responses to Chris Kennedy’s Tamalpais and Josef Dabernig’s Hotel Roccalba.
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2009 SFIFF Diary 1
Atom Egoyan’s Adoration and Catherine Breillat’s Bluebeard.
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Films of the ’80s
While watching Les Bons Debarras, I was struck by how familiar it felt. I was eight when the film was released — near enough to the age of Manon (Charlotte Laurier) that I was able immediately to recognize that particular era of childhood, even if her experience of it is so much different from my own.
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2007 TIFF Day 6
Carlos Reygadas’s Silent Light, Bernard Emond’s Contre Toute Esperance, and Celine Sciamma’s Naissance des pieuvres.
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Strange Waters
I asked Bruce about “Strange Waters” yesterday, and his answer was a tense, beautiful sermon.
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Childstar (2004)
I decided to see Childstar mostly for the opportunity to hear McKellar introduce it — I’ve been a big fan since first seeing him in Atom Egoyan’s Exotica — and his introduction set up the best laugh of the morning.
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La Villa Strangiato
“Listen to this song,” he told us. “It’s the coolest.” Robbie was something of an authority on such things, and so I listened. Intently. Sitting stone upright on Dave’s bed. And Robbie was right. It was most definitely the coolest. This wicked keyboard sound introduced a simple, shuffling drumline.
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Calendar (1993)
Made for German television and with a budget of only $100,000, Calendar is one of the most compelling and stylistically inventive films I’ve seen this year.
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Grace, Too
It’s something about that bass line and the way that Gord Downie unleashes the line, “Armed with will and determination / And grace, too,” that rips me up.
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The Sweet Hereafter (1997)
There’s a scene in The Sweet Hereafter in which Mitchell Stephens — a big city ambulance chaser played to perfection by Ian Holm — sits in a cramped airplane seat, telling the passenger beside him a story from when his daughter, Chloe, was a child.