Lest you make the rookie mistake of thinking the legendary Mike Leigh’s newest film Another Year is about anything so black and white, cut and dry, as being “happy” or “unhappy”, the director was clear to point out to me – during the private round table interview I conducted with him and actors Jim Broadbent, Lesely Manville, and Ruth Sheen during TIFF – that this notion is completely wrong. “I think that’s twaddle – I never said that and the film doesn’t say that. That’s the very thing the film doesn’t say, if you don’t mind me saying so! Are you happy?”
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Time now for a few short takes before we wrap up our Toronto International Film Festival 2010 coverage with our patented “Best of the Fest” picks that will look in depth at the four clear stand outs of this year’s somewhat marginal festival.
The presence of queer directors at this year’s TIFF is strong, as is the presence of women, both in front of and behind the camera. In this edition of our TIFF coverage, I discover that sometimes, as much as you would like to support your people, you must also have a clear-eyed view of the finished work and be critical of the poor choices being made by some of them. Unfortunately in film criticism there is no free pass for the gays and the ladies.
This albatross is the directorial debut of Oscar-winning Milk screenwriter Dustin Lance Black title and it practically begs for a snarky answer to the title question by being so completely ridiculous. What’s Wrong with Virginia? What’s right with Virginia is a better question and the answer is: zilch.
This year, I haven’t been running around like a chicken with it’s head cut off like almost everyone else, mainly because there isn’t anything that has played early on in the festival that I was super-excited to see and what I did see—other than a few key exceptions that I will detail later this week—failed to impress. All of the goodies wait at the end of this week’s rainbow for me, so for Day 2’s coverage we are looking at a decidedly mixed bag, sadly.
As I mentioned earlier, it is practically impossible to decide how best to spend one’s time when so much is being offered at this festival. Do you see the big studio movies that will be released in December or later? Do you choose foreign indies that will never play on any even remotely big screen close to where you live? Do you opt for covering round tables and press conferences where you will be privy to the same rehashed, recycled information as everyone else? Or do you accept the task of conducting private one on one interviews, should you be fortunate enough to be chosen, during the middle of screening madness?
These are all tough questions, but there is an even more pressing conundrum that we writers here at TIFF must eventually face: to walk out of a film screening or not to walk out of a film screening. This is the eternal, burning question of every film critic here whose time and energy is precious. Today’s film writer has to be a juggler, and almost impossibly flexible, but when it comes down actually deciding to get up and leave a theater before the movie is over, what you have is a knotty ethical issue. On one hand, it is incredibly disrespectful to the people involved with making the movie. On the other hand, I’ve done it myself in the past and probably should have done it a lot more often considering some of the trash I have actually sat through.