Off the back of strong performances from Amy Schumer, Steven Yeun, Jessica Chastain and Mélanie Laurent, TIFF locals Jonathan and Lise compare the Letterboxd community’s Toronto International Film Festival reactions with their own takes on the 2021 lineup.
Murina
Written and Directed by Antoneta Alamat Kusijanović
Murina, winner of this year's Cannes Golden Camera award, is “one of the year’s best feature debuts” according to Rob on Letterboxd. Teenager Julijia (Gracija Filipović) lives on an idyllic island with her parents, but she would do anything to escape it and her overbearing, controlling father (Leon Luče from The Load). When suave and charming family friend Javier (Cliff Curtis from Once Were Warriors and Whale Rider) comes to visit, Julijia may have found an ally who will take her away.
“A tense and unpredictable family drama with an outstanding performance from Filipović,” writes Leesah Sea. “Avoiding the usual coming-of-age cliches, this is a darker and more thought-provoking film.”
Writer-director Antoneta Alamat Kušijanović purposefully set out to create contrasting physical spaces for Murina. On that ‘idyllic’ island, Kušijanović explained at her TIFF 2021 Q&A, the characters “are burning under the heat. There’s no place to hide. No shade to rethink their emotions. Everything is very abrupt and they are simmering and coming to the surface”.
In contrast, underwater is freedom; it is fresh and mystical and offers a temporary hiding place—except when her father insists on deepwater diving with her. As Phil puts it: “Beware of the Murina: These normally quiet fish have been known to bite when their territory (rock crevice or hole) is invaded”.
Tug of War
Directed by Amil Shivji, written by Amil Shivji and Jenna Cato Bass, based on Adam Shafi Adam’s 1998 novel ‘Vuta n’ kuvute’
Tanzanian producer-director-writer Amil Shivji brings about a very topical film about the British colonization of Zanzibar. In the days before the technological communications revolution, handbills and flyers were the only way to communicate to the people outside the realm of state-controlled broadcasters, which, of course, the colonizers completely controlled.
For me [Jonnie], the most interesting question asked in Tug of War was: do the majority of Zanzibari want the spoils of colonization, including roads, buildings, plumbing, and electricity, or freedom of self-governance and expression? It really shows the power of something as simple as a mimeograph machine.
Adrienne’s take is pretty much in line with my thoughts: “Really fascinating setting and era which made me realize—once again—how many chapters in global history I know nothing about.” I think it begs the question about whether the past should choose the destiny of the present and future. Many countries are grappling with that question now, including my own.
The Humans
Written and directed by Stephen Karam, adapted from his play of the same name.
“You can’t just put Beanie Feldstein, Richard Jenkins, and FINE ass Steven Yeun in an A24 movie about a dysfunctional family together and expect me not to love it,” is Heather’s enthusiastic take on The Humans.
Writer-director Stephen Karam adapts his Tony award-winning Broadway play for the screen in his directorial debut. You can feel while watching that Karam is in complete control, and the actors are acting for him. The always brilliant and criminally under-appreciated Jayne Houdyshell reprises her Tony award-winning role as the matriarch of a family that gathers together for Thanksgiving at their daughter’s new ‘colorful’ apartment in Manhattan’s Chinatown district.
Karam fills out the cast with veterans Richard Jenkins and June Squibb, and brings in current darlings Feldstein and Yeun. Probably the most interesting choice is Amy Schumer playing a completely dramatic role, as Adam writes: “Amy Schumer gave my favourite performance in a film that’s all about performances. How is this possible!”
The real star of the show is the apartment itself, featuring “inspired shots of tight rooms serving as the pivotal location of observation inquired by this endearing family” (Rizwan). Karam’s production and sound design are right up there with the masters. Sara observes that the film “feels claustrophobic from its very first frame... water leaks, stained ceilings, and hallways so narrow they can barely get their grandmother [...] through in her wheelchair”. The final result has the acting resemblance of a stage play, but the visuals and feel of a psychological horror masterclass. As Nabeel puts it, “make no mistake, this is a horror movie”. All I know is that I’m so thankful that I’m not part of this family.
The Mad Woman’s Ball
Written and directed by Mélanie Laurent, based on the novel ‘Le Bal des folles’ by Victoria Mas
Director-writer-actor Mélanie Laurent, probably best known for her role as Shosanna in Tarantino’s Inglourious Basterds, brings her three cinematic skills together in this adaptation of the award-winning Victoria Mas novel Le Bal des folles. The Mad Woman’s Ball is a frightening late 19th Century tale of Eugénie Cléry (Lou de Laâge), a young woman committed to the infamous Salpêtrière Asylum because she has visions where she sees the dead. All the more frightening because she is committed simply on the word of her father.
In the asylum she meets nurse Geneviève Gleizes (Mélanie Laurent); will this nurse be helpful or more akin to the infamous Nurse Ratched? Sara observes “Laurent and de Laâg are powerhouses, and their chemistry is felt onscreen from the moment they meet… each character is treated with Laurent’s gentle touch and sympathetic eye. She frames every woman as three-dimensional, not simply defined by her illness.” Jessica remarks ”Every frame, piece of dialogue, and performance, is precise in its intention”.
One thing is for certain, Mélanie Laurent is a force to be reckoned with for all of her skills, not just her acting prowess. She “has cemented herself as one of the best working directors today with this film”. (Bruce Tetsuya)
The Eyes of Tammy Faye
Directed by Michael Showalter, written by Abe Sylvia
Growing up, I, like many, was informed about Tammy Faye Bakker through her portrayals by Jan Hooks (Saturday Night Live) and Catherine O’Hara (SCTV). A blubbering, mascara-dripping punchline who, together with husband Jim, represented the ultimate in greed and everything wrong with the concept of televangelism. Start the waterworks, and hear the phones ring—they were con-artists whose only purpose is to separate cash from their gullible, and often financially uncertain audience.
I was surprised that the Bakkers, but Tammy Faye specifically, were so inclusive of the LGBTQ community that traditional televangelists condemned. Jaime wasn’t: “If you knew the story of Tammy Faye Messner and everything that she did with the platform that she had, it’s also disappointing just to see how her willingness to communicate with LGBTQ+ people at the height of the HIV/AIDS pandemic in America was barely touched upon in here.” While Jaime thought Chastain’s performance in The Eyes of Tammy Faye was ‘hammy’, most—including TIFF, who awarded her one of their two Tribute Actor awards—seem to agree with Andrew Jupin: “A total knockout performance from Jessica Chastain here. Wowza.”
One thing is certain, this is a passion project for Chastain, and that comes across loud and clear… much like Tammy Faye.
Read Jonathan and Lise’s previous TIFF instalment.
Pictured: Jessica Chastain in ‘The Eyes of Tammy Faye’
