Our TIFF coverage wraps with Tilda Swinton's exemplary new film, Drew Barrymore's turn in the director's chair, a new vampire flick and more.
The end is nigh. Tomorrow, it’s one last film (Werner Herzog’s My Son, My Son, What Have Ye Done) and then it’s no TV for a month. 27 films in 8 days is pushing it, even for a genuine film fanatic such as myself. Plus: I can’t straighten my legs.
Highlights this week are clear: A Serious Man was my favourite, for sure, but I am predisposed to a certain reverence for anything those Coen Brothers do. Still, I do believe it’s their most rewarding film since The Big Lebowski. And, yes, I am including No Country for Old Men when I say that. Alongside it, Partir, The Disappearance of Alice Creed and I Am Love (see below) were both top flight films (for totally different reasons). Guy Maddin’s short Night Mayor was indelible and mysterious.The Road was good, but does not need to exist. Up in the Air was almost great. And, Jennifer’s Body was just plain awful. See you next year?
Cracks (dir. Jordan Scott, 2009)
After 80 minutes or so, what appears to be a perfectly pleasant (if a bit dull) coming of age tale turns so abruptly into something else that one’s head is given to spin. Where on earth did this come from? Set in a remote all-girls boarding school in 1930s England, seven teens practice diving under the watchful eye of an encouraging, modern, and poetic free spirit named Miss G (Eva Green, doing an Anne Hathaway impression). “The most important thing in life”, she counsels, “is desire”. But, before you can say Dead Poets Society
, a new student appears: a beautiful Spanish countess (Maria Valverde) with the whiff of scandal following her across the sea. The erstwhile leader of the dive team (Juno Temple) is immediately jealous (especially after the new girl performs a complex dive, suggesting that all young women in the 1930s just happened to be adept at high dives, something that is news to me) and sets about a plot to destroy her. This would have made for an agreeable enough film, but all of a sudden Eva Green’s character begins to break apart, her armour showing (ahem) cracks. She is not who she says she is, you see. And, worse, she has fallen in love. Forbidden
love. From then on, first-time director Jordan Scott (daughter of Sir Ridley) relies entirely on the goodwill of her audience as characters begin to do things she hasn’t prepared us for, culminating in shocking violence and frustrating ambiguity.