Here's a Day 2 recap from the
Instead of seeing any number of other films for the first time, Friday night at TIFF I caught
This is a sign of true cinema, narrative frustrations notwithstanding – it pulls you in and before you know it, you’re a member of the club. Or the cult. Or The Cause, as the film’s L. Ron Hubbard-styled religious leader, played by
At TIFF the tweets began flying instantly after the Princess of Wales Theatre "Master" premiere let out shortly after midnight. One of the cleverest came from writer-director Rian Johnson, whose "Looper" opened TIFF earlier this week. He wrote: "I highly doubt an Oscar has a chance of earning The Master this year. But who knows, maybe if the academy made a big publicity push."
Commercially Anderson's audacious achievement opens Sept. 21 in New York and L.A. and Sept. 28 elsewhere. When it goes wide, in a dubious and ill-considered release strategy on the Weinstein Company's behalf, the film can't or won't be shown in its preferred projection format,the perversely chosen and wholly gorgeous 70 millimeter. The film itself was largely photographed in the same format, on real film, another near-perversity in the age of digital.
Friday night TIFF artistic director Cameron Bailey riled the crowd prior to the screening with the promise of seeing Anderson's film "in GLORIOUS 70 millimeter!!!" Anderson came on stage, briefly, prior to the screening, and did a little hop-skip dance, and thanked the festival for accommodating the projection demands of his picture.
More on the film soon, closer to the Chicago opening, but for now, I’ll say I’m still struggling with much of the final third; that Anderson’s preoccupation with unruly and unreliable father figures and their offspring (his previous film was “