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• W249519187 abstract "For the second year running I was ill (and in hospital for two days, undergoing tests) for most of the festival. I missed most of the films I'd been most looking forward to (Hou, Tsai, Haneke ...). Happily, I've managed to catch up with some since (many have now opened in the city). What follows is a series of somewhat arbitrary notes on the films I managed to see, divided between Europe and North America. Europe No great surprises here, the two finest films being by well-established major figures. Cache is Haneke at his provocative best, and once again not merely respecting the spectators' intelligence but placing considerable demands upon their powers of concentration and perception. Florence Jacobowitz is writing on the film here in detail; my own reading will appear subsequently in Artforum, made possible by the film's Toronto distributors who (appropriately, given its subject-matter) sent me a video. other film that strikes me as an indisputable (and very different) masterpiece is Chereau's Gabrielle, expanded from Joseph Conrad's early and unsatisfactory short story Return. change of title indicates the drastic shift of interest: the story is centred consistently upon the husband, the errant wife barely speaking and remaining an enigma, while the film allows them equal prominence and gives her a voice. Chereau (who, aside from a string of masterly films on extremely varied subjects--La Reine Margot, Ceux Qui M'Aiment Prendront le Train, and Son Frere, perhaps the greatest film ever made about dying--collaborated with Pierre Boulez on a remarkable and highly controversial 'Ring' cycle at Bayreuth) has established himself as one of the cinema's great masters of mise-en-scene. In certain respects Haneke's opposite (lavish and flamboyant where Haneke is austere), Chereau resembles him in being unafraid to make demands on the audience both with frequently unpleasant and disturbing subject-matter and a refusal to spell things out: they both insist that you work. Canada Two of Canada's most celebrated auteurs were represented this year by new films at Cannes, repeated for Toronto. Cronenberg's A History of Violence has been much praised everywhere--too much, in my opinion. It's a relief, certainly, to find a Cronenberg film free of the sexual disgust that characterized his early work (and that, in his most distinguished film to date, Spider, was displaced on to a neurotic child). But I really don't understand the widespread reading of A History of Violence that sees as a critique, a distanced account of the way in which violence, once initiated, can proliferate and multiply. midway revelation undermines such a reading by restoring the film to one of the most traditional of gangster movie formulas, the old story about never being able to escape one's past, always catches up with you. It also (it seems to me) cheats: surely Mortensen must recognize Ed Harris from the outset? And yes, I can understand how the gentle and clearly non-athletic son, provoked, can explode into violence, but not that he can abruptly develop the prowess of Superman. Egoyan's mystery thriller Where the Truth Lies has been sufficiently chastised already, and I don't want to linger on it. I found quite intriguing for its first half (after which one really ceases to care who did it or anything else, the characters being so generally unappealing). From there on the film seems to invite that famous joke about the man at an Agatha Christie play who, during a particularly tense moment, informed the breathless audience that The butler did it. …" @default.
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• W249519187 date "2006-01-01" @default.
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• W249519187 title "Toronto International Film Festival, 2005" @default.
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