A Seattle moviegoing lifestyle magazine
The follies of the wealthy are on full display in two comedy premieres in Toronto. Rian Johnson returns to the Knives Out saga with Glass Onion’s debut and Ruben Östlund’s Palme d’Or winner Triangle of Sadness made landfall on North American shores during TIFF 2022.
Laura Poitras’s All the Beauty and the Bloodshed links the life and art of photographer Nan Goldin to her present-day activism surrounding the opioid epidemic; Brett Morgen contemplates David Bowie as philosopher king in IMAX proportions with Moonage Daydream.
Brief reviews of films that made their debuts at the Toronto international film festival: Bros and My Policeman
Brief reviews of three films that made their debuts at the Toronto international film festival: TIFF 2022: More Quick Dispatches from Toronto The Eternal Daughter, My Policeman, and The Good Nurse.
Quick reviews of Butcher’s Crossing, The Woman King, and Sidney.
Three stories of loss and longing on the last days of the Telluride Film Festival: Aftersun, Close, and One Fine Morning
Two esteemed international directors brought stories of hunger and horror to the Telluride Film Festival in the form of a World Premiere for Sebastián Lelio’s gothic mystery The Wonder and a US premiere for Luca Guadagnino’s cannibal love story Bones and All
The nineteen eighties were in the air at Telluride, with new films from Sam Mendes and James Gray revisiting a tumultuous year of personal histories in England and New York, respectively.
The opening day of Telluride saw premieres of Sarah Polley’s Women Talking, Bryan Fogel’s sequel to Icarus, and Kore-eda’s Broker.
Adamma Ebo’s film about a disgraced prosperity gospel preacher (Sterling K. Brown) and the church’s stand-by-your man “First Lady” (Regina Hall) on the precipice of an Easter resurrection, it plays like satire. It has the conceits of a mockumentary, with its oblivious subjects still under the impression that they can reshape their image through force of will and the power of positive projection.
