Perspective: At this Toronto film festival, women are doing the talking
opus “The Fabelmans” features Michelle Williams as the anarchic presence in his life who made it possible for him to become a director. Motherhood takes a decidedly darker turn in Alice Diop’s “Saint Omer,” which arrived in Toronto fresh from winning the Silver Lion at the Venice Film Festival. Diop’s absorbing but ultimately muddled film, about a novelist attending the trial of a woman accused of infanticide, features a mesmerizing performance by Guslagie Malanga as the alleged killer.
The maternal instinct isn’t reserved for the nuclear family, as two of the strongest films at TIFF proved: In Rebecca Zlotowski’s “Other People’s Children,” Virginie Efira delivers a luminous portrayal of a middle-aged heroine who is blindsided by her affection for the 4-year-old daughter of her divorced lover.
As McDonagh noted during his brief introduction at the film’s North American premiere on Monday, it was at TIFF that his filmbegan its trek to the Oscars in 2017.
TIFF’s coveted audience award won’t be announced until Sunday, when the festival wraps up, and most of these films will open between now and Christmas. As voting continued this week, the pole position seemed to belong to Spielberg, who at Saturday’s premiere of “The Fabelmans” reminded the cheering crowd that this was the first film he’d ever brought to TIFF. Chances are good that he’ll be duly rewarded.
As a celebration of films through the lens of the man who makes them, “The Fabelmans” reinforces a familiar but increasingly dubious form of auteur-worship. On Monday, “Empire of Light” set that trope gently on its head. Sam Mendes’s cinematic valentine, set in a fading but glorious deco movie palace in an unnamed English seaside town, pays tender homage not just to the magic of movies but to the filmgoers who complete their alchemical circuit.
Norge Siste Nytt, Norge Overskrifter
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