Lost at sea, lost in space, lost children, lost freedom, lost homeland, lost money, lost identity, lost jobs, lost hope, lost faith, lost lives: This fall, this is film. This is serious. I can't wait.
September always brings a change in the temperature of what we see on screen. The Oscar contenders start showing up, the significant films with more to consider than, say, "The Wolverine" or "World War Z." As much popcorn fun as "Wolverine," "War" and the like might be, they don't ask much of us. Not so the fall.
But 2013 is coursing with a new fierceness that we haven't seen in a while. It ripples through U.S. and international films alike. Even the titles suggest a certain weight: "12 Years a Slave," "Prisoners," "Mandela," "All Is Lost," "Gravity," "Devil's Knot," "Night Moves" and "Dangerous Acts," to name a few in the queue.
The shake-up begins in earnest Thursday when the
Roughly 400 barbarians are right behind him in the festival's jam-packed lineup. Most seem intent on crashing through the conventional over the next 10 days.
For those who worry I'm suggesting that the movies will be dreary, that couldn't be further from the case. The topics may be dark but the entertainment factor will not dim in the slightest. If anything, films that engage mind, heart and emotions tend to be the most satisfying, the most memorable.
It is fitting that we start the season with the story of a divisive antihero who some applaud, others despise. No matter which side of the line you stand on, Assange is someone who has made all of us think — think. Thinking deeper, longer, harder and especially, rethinking, seems to be what filmmakers have in mind at the moment.
"The Fifth Estate" features
Later in the year,
There is a rich stream of films examining other, even starker existential crises.
What is it like to face the possibility of death that way? "All Is Lost," writer-director J.C. Chandor's latest, with Robert Redford at sea — against the elements, against the odds — wonders too. For the filmmaker, the sea is a long way from his previous
Tom Hanks as "Captain Phillips" has the survival of his men as his trial. His cargo ship in the clutches of Somali pirates, the spine tingling is in the hands of director Paul Greengrass, who brought such exquisite tension to two "Bourne" outings over the years. The question for Hanks is whether the film will help him out of troubled career waters of late.
The story, though, is as much about racial and economic divides as the efforts of one man. The racial divide will be dissected in many ways all season long. "Mandela: Long Walk to Freedom," with
A different kind of freedom is at stake in "Omar," the latest from Hany Abu-Assad. The director's treatise on suicide bombers, "Paradise Now," was nominated for a foreign language Oscar in 2006. This dark story of lovers separated by the West Bank and the price of their relationship comes to Toronto with a jury prize from Cannes.
Dallas is the epicenter for two provocative dramas that I'll have my eye on at the festival. "Parkland," with Billy Bob Thornton,
Even the pure comedies have an edge this fall.
This is fall, this is serious. I can't wait.