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2018 Toronto International Film Festival

by Raquel Stecher

I’m very excited to announce that I will be attending this year’s Toronto International Film Festival as a member of the press! This will be my very first time attending TIFF and I can’t wait to bring you coverage here on Quelle Movies. I’ll also be writing and posting about TIFF on my Twitter, Instagram, on the Cine Suffragette blog, and over on DVD Netflix’s Inside the Envelope blog and on their Instagram. I hope to secure some more outlets in the coming weeks. While TIFF is a 10 day festival, I’ll only be able to attend the first five days. But I’m confident I’ll see lots great films in that time frame!

In light of the tragedy that occurred on Sunday in Toronto, TIFF decided to forego their annual Festival Press Conference. Today announced their big films in a press release instead. These movies will receive gala screenings, special presentations, press conferences and red carpet premieres. Here is the list of today’s announced films.

GALAS

BeautifulBoy

Beautiful Boy (world premiere)
dir. Felix van Groeningen
Steve Carrell, Timothée Chalamet

Everybody Knows
dir. Asghar Farhadi
Penelope Cruz, Javier Bardem

First Man
dir. Damien Chazelle
Ryan Goslin, Claire Foy

Galveston
dir. Mélanie Laurent
Elle Fanning, Ben Foster, Beau Bridges

THE HATE U GIVE

The Hate U Give (world premiere)
dir. George Tillman, Jr.
Amandla Stenberg, K.J. Apa, Regina Hall

Hidden Man
dir. Jiang We
Eddie Peng

High Life (world premiere)
dir. Claire Denis
Robert Pattinson, Juliette Binoche, Mia Goth, Andre Benjamin

Husband Material (world premiere)
dir. Anurag Kashyap
Vicky Kaushal, Abhishek Bachchan, Taapsee Pannu

kindergartenteacher_0HERO.jpg

The Kindergarten Teacher
dir. Sara Colangelo
Maggie Gyllenhaal

The Land of Steady Habits (world premiere)
dir. Nicole Holofcener
Ben Mendelsohn, Edie Falco, Connie Britton

Life Itself (world premiere)
dir. Dan Fogelman
Oscar Isaac, Olivia Wilde, Annette Benning, Antonio Banderas

The Public (world premiere)
dir. Emilio Estevez
Alec Baldwin, Jena Malone, Gabrielle Union, Christian Slater

Red Joan (world premiere)
dir. Sir Trevor Nunn
Judi Dench, Sophie Cookson

Shadow
dir. Zhang Yimou

A_STAR_IS_BORN_MUSTUSE

A Star is Born
dir. Bradley Cooper
Bradley Cooper, Lady Gaga

What They Had
dir. Elizabeth Chomko
Hilary Swank, Blythe Danner, Robert Forster, Michael Shannon

Widows (world premiere)
dir. Steve McQueen
Viola Davis, Liam Neeson, Colin Farrell, Michelle Rodriguez

SPECIAL PRESENTATIONS

Ben is Back (world premiere)
dir. Peter Hedges
Julia Roberts, Lucas Hedges

Burning Lee
dir. Chang-dong

Can You Ever Forgive Me?
dir. Marielle Heller
Melissa McCarthy

Capernaum
dir. Nadine Labaki

Cold War
dir. Paweł Pawlikowski

colette

Colette
dir. Wash Westmoreland
Keira Knightley

Dogman
dir. Matteo Garrone

The Front Runner
dir. Jason Reitman
Hugh Jackman, Vera Fermiga, J.K. Simmons

Giant Little Ones
dir. Keith Behrman
Kyle MacLachlan, Maria Bello

Girls of the Sun
dir. Eva Husson

Hotel Mumbai (world premiere)
dir. Anthony Maras
Dev Patel, Armie Hammer, Nazanin Boniadi, Anupam Kher

The Hummingbird Project (world premiere)
dir. Kim Nguyen
Jesse Eisenberg, Alexander Skarsgard, Salma Hayek

ifbealestreetcouldtalk_01.jpg

If Beale Street Could Talk (world premiere)
dir. Barry Jenkins
Stephan James, Kiki Layne, Dave Franco, Pedro Pascal

Manto
dir. Nandita Das

Maya (world premiere)
dir. Mia Hansen-Løve

monstersandmen_HERO

Monsters and Men (opening film)
dir. Reinaldo Marcus Green

MOUTHPIECE (world premiere)
dir. Patricia Rozema

Non-Fiction
dir. Olivier Assayas
Juliette Binoche, Guillaume Canet

oldmanandthegun_02

The Old Man & The Gun
dir. David Lowery
Robert Redford, Sissy Spacek, Danny Glover, Tom Waits, Elizabeth Moss, Casey Affleck

Papi Chulo (world premiere)
dir. John Butler

Roma
dir. Alfonso Cuarón (closing film)

Shoplifters
dir. Hirokazu Kore-eda
Cannes Palme d’Or winner

thesistersbrothers_01

The Sisters Brothers
dir. Jacques Audiard
Joaquin Phoenix, John C. Reilly, Jake Gyllenhaal, Riz Ahmed

Sunset
dir. László Nemes

Through Black Spruce (world premiere)
dir. Don McKellar
Tantoo Cardinal, Brandon Oakes, Graham Greene, Tanaya Beatty

weddingguest_01

The Wedding Guest (world premiere)
dir. Michael Winterbottom
Dev Patel

The Weekend (world premiere)
dir. Stella Meghie
Sasheer Zamata, Tone Bell, DeWanda Wise, Y’Lan Noel

Where Hands Touch (world premiere)
dir. Amma Asante
Amandla Stenberg

White Boy Rick
dir. Yann Demange
Matthew McConaughey, Bruce Dern, Jennifer Jason Leigh, Eddie Marsan

Wildlife
dir. Paul Dano
Carey Mulligan, Jake Gyllenhaal

See you in Toronto!

IMG_2077

James Ivory on the making of Maurice (1987) and the appeal of Call Me By Your Name (2017) #TCMFF

At the TCM Classic Film Festival (TCMFF) I attended a special screening of Maurice (1987). Before the film, TCM host Ben Mankiewicz sat down with the film’s director James Ivory to discuss the movie and his career.

To period film enthusiasts like myself James Ivory is a well-known name. He was part of the Merchant-Ivory productions trio that included his late partner producer Ismail Merchant, the late screenwriter Ruth Prawer Jhabvala and himself as director. This partnership gave birth to many wonderful films including A Room With a View (1985), Maurice (1987), Mr. & Mrs. Bridge (1990), Howards End (1992), The Remains of the Day (1993) and many others. These films set the standard because of their excellence in story telling and the meticulous attention to detail given to virtually every aspect of the filmmaking process. The last collaboration with all Merchant, Ivory and Jhabvala was Le Divorce (2003). Merchant passed away shortly after the premiere of The White Countess (2005) and Jhabvala passed away in 2013.

 

MerchantIvory
Ismail Merchant, James Ivory and Ruth Prawer Jhabvala

 

As the surviving member of this trio, Ivory has recently found a new career as a screenwriter. He had contributed to screenplays on previous projects but Call Me By Your Name (2017), based on Andre Aciman’s acclaimed novel, was the first time he had ever written a script all on his own. At the age of 89, Ivory became the oldest nominee to win an Oscar which he did for best adapted screenplay. I read Ivory’s screenplay for CMBYN before attending TCMFF (you can read it for free online). It’s one of the best I’ve ever read and while Luca Guadagnino’s film for the most part stayed faithful to the script, some of the intimate moments in Ivory’s adaptation were altered for various reasons concerning the director and the film’s stars Armie Hammer and Timothee Chalamet. In discussion with Ben Mankiewicz, Ivory touched upon his disappointment that CMBYN did not contain nudity even though the script called for it. He said,

“I hate talking about the subject and at one point I was told not to by Sony Pictures because it would make people not go see the movie… There’s always been a lot of nudity in our [Merchant-Ivory] movies, male, female. We’ve never worried about that very much. I’ve always felt that in love scenes, when showing people in love or when they just made love or whn they’re about to make love to put sheets around them. I always thought [to include it] … I was told that would happen in this film. However the two guys [Hammer and Chalamet] had it in their contracts [not to]. Let me just say this English actors don’t care about that at all. Or French actors. They walk around naked all the time. It’s not true of American actors. There’s a kind of modesty.”

It’s hard not to compare CMBYN with Maurice. Both are romantic period pieces, one set in 1980s Italy and the other early 20th century England, that focus on gay characters. The outcomes for the two sets of couples are very different but many of the story elements are the same and both include references to ancient Greek and Roman literature and art. When Mankiewicz brought this up, Ivory disagreed. He thinks they are quite different except that they are both “unashamed presentations of gay love.”

The story of Maurice was ground breaking in that it was unashamed in its presentation of romances between men. Renowned author E.M. Forster wrote the novel in 1913 and 1914 and revisited it a few times over the decades. When he passed away in 1970, he left the manuscript behind with a note that read “publishable, but worth it?” It was indeed published the following year but considered a minor entry into his ouevre. In conversation, Ivory pointed out that Forster couldn’t have published it in his lifetime. He went on to say, “it would have been considered obscene. It was a story with what was considered criminal acts in England. Then laws in England were changed in the early ’60s. So it could be published. But by that time he was pretty old and he wasn’t thinking about it a lot. Various friends of his who had read it over the years told him not to [even though] they liked it.”

Upon the success of the Merchant-Ivory adaptation of Forster’s A Room With a View, Ivory and his team received offers from studios for all sorts of projects. One of them was a treasure hunting adventure film set in the Caribbean and starring Tom Cruise. When that project fell through, Ivory revisited Forster’s work, reading and re-reading his various novels and stories. Ivory had read Maurice when it first came out but hadn’t thought of adapting it to film until he read it again a decade later. In the interview he said:

“I thought that Maurice was sort of the other side of the coin of A Room With a View. It was really the same kind of story. The same kind of people. Privileged, upper-middle class, educated, English people who were going to live a lie rather than really seek personal happiness, romantic happiness. They were prepared in A Room With a View and in Maurice to live some lie and pretend that they didn’t loved the person they really loved. I thought that was very relevant to today. A lot has changed since 1910 but people’s attitudes about living a lie had not always changed.”

Forsters executors at King’s College were hesitant that a film adaptation of Maurice wouldn’t pan out.  ccording to Ivory, they were mostly concerned that the novel didn’t have the prestige of Forster’s other work and that a movie might drag down his literary reputation. Eventually they relented. Screenwriter Jhabvala was otherwise occupied writing her novel Three Continents and also fairly uninterested in Maurice as a project. However she did contribute what Ivory calls “very good and highly useful dramatic suggestions” to the script Ivory worked on with Kit Hesketh-Harvey.

 

Maurice
James Wilby and Hugh Grant in Maurice (1987)

 

The film starred relative newcomers James Wilby as Maurice, Hugh Grant as Clive and Rupert Graves as Alec Scudder. Because it was difficult to get all the cast members at the same place at the same time there was little-to-no-time for rehearsals and script read throughs and barely enough time for the actors to get to know each other before shooting very intimate scenes. Mankiewicz asked Ivory what it was like to direct a love scene with two actors who had yet to develop chemistry with each other. Ivory’s response:

“It’s a bit like throwing a dog and a cat in a box together. You just have to see what’s going to happen. “

Maurice was well-received at the Venice Film Festival, where it received several prizes, played for several months at The Paris Theater in New York and was praised by critics. Maurice was ahead of its time in many respects but also came at the perfect time. Ivory pointed out that

“It came out at the height of the AIDS epidemic. It was at its worst point. If you think that maybe because of that people would have backed off from it. But I think people didn’t dare to criticize it because of that very fact. This huge tragedy was going on. People who might have attacked it said it was not the time. Especially a film with a happy ending.”

 

CMBYN
Timothee Chalamet and Armie Hammer in Call Me By Your Name (2017)

 

Fast forward thirty years later and Ivory’s Call Me By Your Name (2017) garners critical praise and a cult following. And that Academy Award for best adapted screenplay didn’t hurt either. About CMBYN’s appeal, Ivory shared,

“I’m stopped on the street all the time in New York. People recognize me. Maybe it’s my cane or something. They come up to me. Sometimes it will be much older couple, man and wife, and they go on and on about how they love the film. I’ve also noticed that with teenage girls who are just crazy about it, of course that’s Timothee Chalamet I know. They see it again and again and again. It’s just playing everywhere. It’s a love story between some attractive young people in the most beautiful place in the summer. Apart from it’s general tone as a film it’s just something that appeals to people. The same thing can be said A Room With a View. It’s the same kind of feel. A Room With a View had that same kind of audience reaction everywhere in the world.”

What’s next for James Ivory? For years he’s been trying to get funding for an adaptation of Shakespeare’s Richard II without much success. Currently he’s working on a screenplay for Alexander Payne based on a story Ruth Jhabvala wrote for The New Yorker shortly before she died. It was optioned years ago by Payne and Fox Searchlight but only recently has it been revisited.

Read more of my TCMFF coverage over on my classic film blog Out of the Past.

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