Toronto International Film Festival (tiff) 41 for 2016

[Chris Knipp]

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Toronto International Film Festival (tiff41) runs 8-18 September this year. Here's a preview of the program.

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The festival opens with the Magnificent Seven remake starring Chris Pratt with Denzel and Ethan. Other mainstream blockbusters debuting include sci-fi thriller Colossal with Anne Hathaway, and A Monster Calls with Sigourney, Felicity, and Liam helping a troubled young boy. Fresh from Venice comes La La Land, Damien Chazaelle's go at reviving golden-age musicals, with Ryan and Emma (which Ignatiy Vishnevetsky of AVClub loves) and Denis Villeneuves's sci-fi thriller Arrival, also from Venice, which Peter Bradshaw (sadly, not on hand at Toronto) gave 4/5 stars to earlier.

Oliver Stone's Snowden starring Joe Gordon-Levitt premieres as does another biopic, LBJ, starring Woody (Harrelson, not Allen, though the latter might have been a wonderfully surreal twist). Snowden has not impressed; the Metacritic rating is in the 50's. Tom Ford the designer is back with a dark crime drama called Nocturnal Animals. Another is Jim Sheridan's drama set in a metal hospital, The Secret Scripture (Rooney Mara, Vanessa Redgrave star). From the UK comes Amma Asante's A United Kingdom,a drama about Botswanan President Seretse Khama's marriage two white Englishwoman Ruth Williams Khama, starring David Oyelowo and Rosamund Pike.

Villeneuve’s Arrival will be a gala, and so will Mira Nair’s Queen Of Katwe starring Lupita Nyong’o, Amma Asante’s A United Kingdom, J.A. Bayona’s A Monster Calls, and Peter Berg’s Deepwater Horizon. Is the latter going to be an ecology-focused film, I wonder, or just another thriller (it stars Mark Wahlberg).

Literary adaptations include Ewan McGregor's directorial debut with an adaptation (long awaited by some) of Philip Roth's American Pastoral - and also Juan Carlos Medina directing an adaptation of Peter Ackroyd's spooky novel The Limehouse Golem, which stars the late Alan Rickman with Bill Nighy. Rachel Weisz's Denial describes the historian Deborah Lipstadt's battle with Holocaust denier David Irving.

There will also be imports from Sundance, Cannes, and the Berlinale, among others. Thus Andrea Arnold's soon-opening American Honey, Kenneth Lonergan's Casey Affleck vehicle Manchester (that one also in the NYFF, like Maren Ade’s Toni Erdmann, also here), Nate Parker's winner about Nate Turner from Sundance (opening in the US 7 Oct.) Brith of a Nation. There will be a Park Chan-wook adaptation of Sarah Waters' Fingersmith, moving the story's action from Victorian times to Thirties Korea.

The Toronto Midnight Madness sidebar will feature new work from Paul Schrader, an adaptation of Edward Bunker's action thriller novel Dog Eat Dogstarring Nicolas Cage, Willem Dafoe and Christopher Matthew Cook. And there will be a new film by Trollhunter director André Øvredal, The Autopsy of Jane Doe, starring Emile Hirsch, Brian Cox, and English lass Ophelia Lovibond. There will be a Ben Wheatley Thriller, Free Fire, in the same program.

Less definable or explicable titles include Catfight starring Anne Heche, Sandra Oh, and Alicia Silverstone and Nick Cannoin's Dance Hall, about the Jamaica dance scene.

Documentaries at Toronto will include I Am Not Your Negro, a history of race in modern America based on James Baldwin's unfinished Remember This House, and Jim Jarmusch's film about Iggy Pop's band "The Stooges," Gimme Danger. Gaza Surfing Club is about that unlikely activity in that unlikely location. Mascots is the latest mockumentary from Christopher Guest. There are two other mucial documentaries, one about Justin Timberlake by Jonathan Demme and one about the Rolling Stones by Paul Dugdale.

The whole huge program will close (perhaps again inexplicably) Kelly Fremon Craig's teen flick The Edge Of Seventeen, starring Hailee Steinfeld. Not to be confused with David Moreton's 1998 gay coming-of-age classic Edge of Seventeen starring Chris Stafford, which I doubt it will compete with in lasting value.

[Chris Knipp]

Toronto news: Nate Parker controversy.

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Nate Parker

Nate Parker's directed and starred-in Nate Turner film Birth of a Nation faces serious publicity problems due to emergence of the director/star's own past sexual assault history. Oscar hopes may have dimmed. A NYTimes article (http://www.nytimes.com/2016/09/12/movies/nate-parker-deflects-questions-about-his-past-to-push-birth-of-a-nation-in-toronto.html) tells the story of how the issue arose but was quashed, remaining "the elephant in the room," at the TIFF. (The film was enthusiastically received at Toronto; but the American Film Institute cancelled a screening, and the Q&A had awkward moments.)

At the Toronto Q&A after screening of Birth of a Nation, Parker
would not directly answer questions about the rape charges from his time as a 19-year-old college student at Penn State University. He was charged in the case and acquitted in 2000, but his accuser committed suicide a few years ago. [Times]

At the Q&A other cast members expressed their dedication to the film and getting the Nate Turner story out to the public.

Nate Turner was the leader of a slave rebellion in Virginia in 1831.

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[Chris Knipp]

Reviews coming out of Toronto, Sept. 2016.

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Natalie Portman in Jackie

AVClub's (http://www.avclub.com/article/denzel-washington-chris-pratt-and-less-magnificent-242343)2016 TIFF daily reports by Ignatiy Vishnevetsky and A.A. Dowd may be found here (http://www.avclub.com/article/denzel-washington-chris-pratt-and-less-magnificent-242343). They like Jackie, starring Natalie Portman, which surprises me, but Pablo Larraín did direct it, so you might expect something interesting despite the deadly subject. "Pablo Larraín's portrait of the first lady before and following John F Kennedy's assassination does't play to the standard tropes of Hollywood biopics. It's a singular vision" (Nigel M Smith, Guardian (https://www.theguardian.com/film/2016/sep/13/jackie-review-natalie-portman-kennedy-jfk)),

The GUARDIAN (https://www.theguardian.com/film/torontofilmfestival) has been doing excellent Cannes, Toronto, and Sundance coverage lately and you'll find their TIFF 2016 reviews here (https://www.theguardian.com/film/torontofilmfestival).

Mike D'Angelo is doing Tweet reviews. Here are the first of them, in order of appearance.
Mike D'Angelo ‏@gemko Sep 9
The Commune (Vinterberg): 53. Not really about the commune itself, which is odd given that Vinterberg grew up in one.

Mike D'Angelo ‏@gemko Sep 9
The Magnificent Seven (Fuqua): 50. "And they were…*magnificent*" the most hilarious pregnant pause since LAST FACE's "a man…and a woman."

Mike D'Angelo ‏@gemko Sep 9
Nelly (A. Émond): 44. Really dug her last film (OUR LOVED ONES), but she has no better luck than anyone else with the great-writer biopic.


Mike D'Angelo ‏@gemko Sep 9
/Toni Erdmann/ (Ade): still 82. A different (but equally rewarding) experience this time, barely registering as a comedy at all.

Mike D'Angelo ‏@gemko Sep 9
Dog Eat Dog (Schrader): 34. Mostly just unpleasant, but almost worth seeing just for Cage's sustained Bogart impression at the end.

Mike D'Angelo ‏@gemko Sep 9
Pyromaniac (Skjoldbjærg): 47. These photographs / I don't want 'em / These photographs / I don't need 'em. Never quite catches...yeah.
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Nocturama

Mike D'Angelo ‏@gemko Sep 9
Nocturama (Bonello): ? Depends where I ultimately land on the ending, the ugliness of which I'm not sure is justified. But this is stunning.
He adds (still about Nocturama): "There's a straight line to it from DAWN OF THE DEAD through NIGHT OF THE COMET, which was wholly unexpected. (Went in stone cold.)" Then further adds: "In any case, lots of cowards among the major fest programmers this year. (And I assert that having moral reservations of my own.)" Ignatiy Vishnevetsky is very positive about it, and not worried about the ending. Nocturama has already opened in France to good reviews (AlloCiné press rating 3.5/30; public 2.9/71).

Mike D'Angelo ‏@gemko Sep 9
The Net (Kim): 49. Sorry to disappoint, but it's a fishing net. CITIZEN RUTH minus the jokes, with North/South in lieu of choice/life.


Mike D'Angelo ‏@gemko Sep 9
Nelly (A. Émond): 44. Really dug her last film (OUR LOVED ONES), but she has no better luck than anyone else with the great-writer biopic.

Mike D'Angelo ‏@gemko Sep 9
Divines (Benyamina): 69*. Richly deserving Caméra d'Or winner starts out loose and energetic, ends up horiifyingly tragic.

* Spare me.
I don't know what he means by that final comment but he clearly loves this movie, and wishes its obscure lead could become a real star.

Mike D'Angelo ‏@gemko Sep 10
The Rehearsal (Maclean): 52. Initially looks like a drama-school
version of Altman's THE COMPANY, which [thumbs-up sign]. Alas, there's a plot. He adds about The Rehearsal: "This would've been less of a crushing disappointment were it Maclean's fourth or fifth feature since JESUS' SON, rather than her first." It is a NYFF Main Slate selection.

Mike D'Angelo ‏@gemko Sep 10
Snowed In (Stone): 48. Bit perplexed by this as there's never even so much as a flurry. A lot of it takes place in Hawaii!
Facetious, of course, because this is Oliver Stone's film about Edward Snowden. Unfortunately, it's being described as "dry" and "limp" (for D'Angelo this rating isn't all that bad) but maybe the subject after all was not a very exciting one, despite the newsworthy aspects of the leaks. Don't make him as a person exciting.
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I Am the Pretty Thing That Lives in the House

Mike D'Angelo ‏@gemko Sep 11
I Am the Pretty Thing That Lives in the House (Perkins): 67. Just an exercise in sustained creepiness, but often a highly effective one. He adds: "A rare case of copious voiceover narration that works. Also dug how it was lit—like an electronic device at 20% brightness." He is adding more tweet-comments this time; is that because he isn't getting to write daily roundups for anyone?

Mike D'Angelo ‏@gemko Sep 11
(re)Assignment (Hill): 25. Actually think I can make a case for this as not grotesquely offensive. Not grotesquely stupid is another matter. An instance of D'Angelo brutality so cleanly administered it seems fair. The detailed Playlist (http://theplaylist.net/walter-hills-reassignment-cant-find-fun-bonkers-premise-tiff-review-20160911/)review makes this movie sound poorly and cheaply made and wrongly humorless for a patently absurd story. Too bad, because it has Sigourney Weaver in it. GUARDIAN (https://www.theguardian.com/film/2016/sep/12/reassignment-review-toronto-film-festival-sigourney-weaver) calls the film "tone-deaf in every possible way" and "a strong contender for 2016's worst movie."

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[Chris Knipp]

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More new movies at Toronto.

Deepwater Horizon Gets 4/5 stars from the Guardian's (https://www.theguardian.com/film/2016/sep/14/deepwater-horzion-review-mark-wahlberg-toronto-film-festival) Benjamin Lee as a bold actioner that also dares to attack the BP oil giant responsible for the disaster. Mark Wahlberg plays an everyman engineer. The film comes off despite the unsuccess of Peter Berg's previous films, "heavy-handed" Lone Survivor and "forgettable" The Kingdomm. The Guardian continues to provide multiple TIFF reviews but their previous top movie critics haven't come.

The Bleeder (https://www.theguardian.com/film/2016/sep/14/the-bleeder-review-liev-schreiber-chuck-wepner-boxer-rocky-toronto-film-festival-tiff)gets 4/5 stars from the Guardian reviewer, " Liev Schreiber is a knockout as the schlub who inspired Rocky."

Lion is a "sturdy, effective" drama (Vanity Fair) directed by former commercials director Garth Davis about a boy separated from his little brother in India as a child who grows up comfortably middle class into Dev Patel in Australia. It stars Rooney Mara, Nicole Kidman as the adoptive mother, and Dev Patel as the grown up adopted child and is a movie the Weinstein brothers, whose Oscar hopes have faded of late, have high hopes for.

Blair Witch is a remake of the surprise hit of 1994, that pseudo found-footage mini-budget cult film you could barely get a seat at the cineplex to see, I remember. Guardian says it's Blair Witch turns a modern horror classic into a jump-scare funhouse, which sounds good, but the Metacritic rating based on six reviews is 53, so the technical skill scored only with half the writers, it appears. AVClub's A.A. Dowd gives it a B-.

Raw, written and directed by Julia Ducournau, is another horror movie, about cannibalism, so vivid that paramedics had to be rushed to the screenings when the gore caused viewers to faint.

My Entire High School Sinking Into The Sea (, the "handmade" and "primitively beautiful to look at" animated film by Dash Shaw that's in the NYFF Main Slate, got a B from A.A. Dowd of AVClub who was "charmed." Maybe a youth thing. VAriety's Owen Gleiberman says "handmade animated feature is primitively beautiful to look at but also perilously twee: an absurdist teen hipster disaster film." I'd like to see just what it looks like.

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[Chris Knipp]

D'Angelo resumes tweet-reviewing.

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Arrival

He came back with: "Have spent the last 3 days practicing if-you-can't-say-something-nice, but will now resume tweeting for the benefit of my departed roomies."


Mike D'Angelo ‏@gemko 23h23 hours ago
(Also I did like LA LA LAND, albeit not its musical numbers, and NOCTURNAL ANIMALS is half of a great movie, conceptually quite bold.)

He was underwhelmed by the latest by Kiyoshi Kurosawa, and I'd agree this younger Kurosawa has gone downhill lately.


Mike D'Angelo ‏@gemko 23h23 hours ago
Daguerrotype (Kurosawa): 45. Not feeling his recent predilection for ponderous ghost stories. Brief attempt to replicate PULSE falls flat.

He had trouble with that latest by Hong Sang-soo. He re-watched it.


Mike D'Angelo ‏@gemko 22h22 hours ago
Sitting down for a 2nd look at YOURSELF AND YOURS, as I suspect my chronic difficulty telling Hong's actors apart hampered my comprehension.

But that didn't help after all.


Mike D'Angelo ‏@gemko 20h20 hours ago
/Yourself and Yours/ (Hong): still 46. Well, I tried. Sketchily floats ideas explored much more potently in ETERNAL SUNSHINE and Kim's TIME.

He thought Demme's new music doc was pretty great even though he noted he was a bit unnerved at first by its likeness to the same director's earlier Stop Making Sense, his 1984 Talking Heads convert film, which was the first review D'Angelo ever published,he notes, "32 frickin' years ago."


Mike D'Angelo ‏@gemko 17h17 hours ago
Justin Timberlake + the Tennessee Kids (Demme): 60. Super slick 'n' corporate, but nobody beats Demme at shooting enormous bands onstage.

He's wowed by the French Canadian director Denis Villeneuve's latest one.


Mike D'Angelo ‏@gemko 15h15 hours ago
Arrival (Villeneuve): 68. On the one hand, it labors to explain everything (even name-checks Sapir-Whorf!); on the other hand, whaaaaa?
The reviews are through the roof for this apocalyptic sci-fi film: Metacritic 80%. But D'Angelo qualifies, "Personal aspect didn't really work for me, otherwise riveting." (His notes and reservations are usually worth paying attention to.)He said its premise really fooled him. And he adds:

Mike D'Angelo ‏@gemko 15h15 hours ago
(And even that shaky personal aspect gets bonus points for the most effective false assumption any movie has engineered on me in a while.)
I'm sure the volubility and multiplicity of his tweet-reviewing this time is due to his now having a publication to compose daily TIFF bulletins for this year, which is certainly a shame. ]

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[Chris Knipp]

More D'Angelo tweet reviews.


Mike D'Angelo ‏@gemko 6h6 hours ago
Voyage of Time (Malick): 57. Did my best to ignore the narration, concentrate on oft-stunning images. Still, 40-min IMAX is probably right.
He meant that 40-min. version must be better than the 90-min. one he saw here.


Mike D'Angelo gemko
The Age of Shadows (Kim): 54. Must confess I lost track of the convoluted intrigue in this K-Resistance thriller. Intermittently rousing.


Mike D'Angelo ‏@gemko 6h
Kékszakállú (Solnicki): 72. Often say of films that I loved everything except the narrative. This is those films with the narrative removed.


Mike D'Angelo ‏@gemko 4h4 hours ago
Never Ever (Jacquot): 56. DeLillo's "The Body Artist" can't really work w/o the internal monologue, but it works better than you'd think.

He explains: "That's not a cute analogue, btw. This actually is an adaptation of "The Body Artist," which I did not know going in. My jaw dropped."

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[Chris Knipp]

D'Angelo's last few tweet reviews and best-of TIFF.


Mike D'Angelo ‏@gemko Sep 17
Joe Cinque's Consolation (Dounoukos): 60. Insane Australian true-crime story, meticulously staged w/ a superb central perf by Maggie Naouri.

Mike D'Angelo ‏@gemko Sep 17
Souvenir (Defurne): 51. Fluffier version of THE SINGER with Huppert in the Depardieu role. Toggles between charming and sappy..
He adds: Its biggest problem, like THE SINGER's, is that its star isn't much of a singer (which we already knew from 8 WOMEN). Hot streak ended.

( I don't recall that being a big problem with Depardieu in The Singer, a film I'm very partial to; I can see it being one for Hupert because she hasn't the physical authority. How many festival films is she in this year?)


Mike D'Angelo ‏@gemko Sep 18
That's my TIFF. Favo(u)rites:

1. Nocturama (Bonello) (74)
2. Kékszakállú (Solnicki) (72)
3. Divines (Benyamina) (69)
4. Arrival (Villeneuve)(68)
5. I Am the Pretty Thing That Lives in the House (Perkins) (67)
Opinions and thumbnail descriptions of Kékszakálu appear on CritisRoundup (http://criticsroundup.com/film/kekszakallu/).

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[Chris Knipp]

All D'Angelo's tweet 2016 TIFF tweet reviews collated by score.

(He seems to have left off his W//Os this year, so fewer listed.)

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Gastón Solnicki, Argentina, director of Kékszakállú

His top five from TIFF '16:
1. Nocturama (Bonello) (74)
2. Kékszakállú (Solnicki) (72)
3. Divines (Benyamina) (69)
4. Arrival (Villeneuve)(68)
5. I Am the Pretty Thing That Lives in the House (Perkins) (67)

All of them:
/Toni Erdmann/ (Ade): still 82. A different (but equally rewarding) experience this time, barely registering as a comedy at all.

Nocturama (Bonello): ? [later 74] Depends where I ultimately land on the ending, the ugliness of which I'm not sure is justified. But this is stunning.

Kékszakállú (Solnicki): 72. Often say of films that I loved everything except the narrative. This is those films with the narrative removed.

Divines (Benyamina): 69*. Richly deserving Caméra d'Or winner starts out loose and energetic, ends up horiifyingly tragic.
*Spare me.

Arrival (Villeneuve): 68. On the one hand, it labors to explain everything (even name-checks Sapir-Whorf!); on the other hand, whaaaaa?

I Am the Pretty Thing That Lives in the House (Perkins): 67. Just an exercise in sustained creepiness, but often a highly effective one.

Joe Cinque's Consolation (Dounoukos): 60. Insane Australian true-crime story, meticulously staged w/ a superb central perf by Maggie Naouri.

Justin Timberlake + the Tennessee Kids (Demme): 60. Super slick 'n' corporate, but nobody beats Demme at shooting enormous bands onstage.

Souvenir (Defurne): 51. Fluffier version of THE SINGER with Huppert in the Depardieu role. Toggles between charming and sappy.

Voyage of Time (Malick): 57. Did my best to ignore the narration, concentrate on oft-stunning images. Still, 40-min IMAX is probably right.

Never Ever (Jacquot): 56. DeLillo's "The Body Artist" can't really work w/o the internal monologue, but it works better than you'd think.

The Age of Shadows (Kim): 54. Must confess I lost track of the convoluted intrigue in this K-Resistance thriller. Intermittently rousing.

The Commune (Vinterberg): 53. Not really about the commune itself, which is odd given that Vinterberg grew up in one.

The Rehearsal (Maclean): 52. Initially looks like a drama-school
version of Altman's THE COMPANY, which [thumbs-up sign]. Alas, there's a plot.

The Magnificent Seven (Fuqua): 50. "And they were…*magnificent*" the most hilarious pregnant pause since LAST FACE's "a man…and a woman."

The Net (Kim): 49. Sorry to disappoint, but it's a fishing net. CITIZEN RUTH minus the jokes, with North/South in lieu of choice/life.

Snowed In (Stone): 48. Bit perplexed by this as there's never even so much as a flurry. A lot of it takes place in Hawaii!

Pyromaniac (Skjoldbjærg): 47. These photographs / I don't want 'em / These photographs / I don't need 'em. Never quite catches...yeah.

/Yourself and Yours/ (Hong): still 46. Well, I tried. Sketchily floats ideas explored much more potently in ETERNAL SUNSHINE and Kim's TIME.

Daguerrotype (Kurosawa): 45. Not feeling his recent predilection for ponderous ghost stories. Brief attempt to replicate PULSE falls flat.

Nelly (A. Émond): 44. Really dug her last film (OUR LOVED ONES), but she has no better luck than anyone else with the great-writer biopic.

Nelly (A. Émond): 44. Really dug her last film (OUR LOVED ONES), but she has no better luck than anyone else with the great-writer biopic.

Dog Eat Dog (Schrader): 34. Mostly just unpleasant, but almost worth seeing just for Cage's sustained Bogart impression at the end.

(re)Assignment (Hill): 25. Actually think I can make a case for this as not grotesquely offensive. Not grotesquely stupid is another matter.

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[Chris Knipp]

Toronto 2016 prizewinners.

La La Land - People's Choice Award. Damien Chazelle's tribute to Hollywood musicals.


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La La Land with Ryan Gosling and Emma Stone.

La La Land was not ignored by D'Angelo, who tweeted lately
Mike D'Angelo ‏@gemko Sep 18
While I'm not as over the moon for LA LA LAND as most, it's my favorite Audience Award winner since...wow, Kitano's ZATOICHI won in 2003.

The festival's other top honor, the Platform Prize, went to Pablo Larraín's Jackie.

The festivals's multiple and largely parochial other awards:
Short Cuts Award for Best Canadian Short Film: Alexandre Dostie's Mutants
Short Cuts Award for Best Short Film: Raymund Ribay Gutierrez's Imago
City of Toronto Award for Best Canadian First Feature Film: Johnny Ma's Old Stone
Canada Goose Award for Best Canadian Feature Film: Mathieu Denis and Simon Lavoie's Those Who Make Revolution Halfway Only Dig Their Own Graves
FIPRESCI Discovery Prize: Mbithi Masya's Kati Kati

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I am not Emma Bovary

FIPRESCI Special Presentations Prize: Feng Xiaogang's I Am Not Madame Bovary
NETPAC Award for World or International Asian Film Premiere: Maysaloun Hamoud's In Between
Grolsch People's Choice Midnight Madness Award: Ben Wheatley's Free Fire
Grolsch People's Choice Documentary Award: Raoul Peck's I Am Not Your Negro
Dropbox Discovery Programme Filmmakers Award: Yanillys Perez's Jeffrey


For a TIFF '16 awards roundup piece see The Verge (http://www.theverge.com/2016/9/19/12975302/la-la-land-peoples-choice-award-tiff-2016-oscars).

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[Johann]

Chris you do a helluva lotta heavy lifting on filmleaf.
I genuinely appreciate your formidible writings.
(and Mike's tweets! The guy is just great)

[Chris Knipp]

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Rebecca Hall in Christine

Weekend viewing: The Magnificent Seven (partial), The Queen of Katwe; Christine.

Thanks Johann, I appreciate your comments. Praise means a lot coming from you.

I took a glimpse of The Magnificent Seven this weekend, which as a lady in the line ahead of me commented, is "a remake of a remake." It looked horrible - part of the screen out of focus, the colors amazingly garish (bad projection? or lousy print?) What followed was so crudely violent in the first quarter hour that I left and watched The Queen of Katwe, the Disney movie, instead. Turns out it debuted at Toronto too. It's certainly more wholesome fare, and great to look at, but I didn't find enough in it that departed from the conventional underdog sports biopic template to make a review out of. The principals, David Oyelowo and Lupita Nyong'o, plus vibrant newcomer Madina Nalwanga, are all excellent and give their all within the limits set for them.

I just finished Antonio Campos' truly excellent Christine, but I have to hold my review of it till US theatrical release time 14 Oct. It was a hard watch - not fun stuff to see a real historical (depressed) person cruising toward on air suicide, but I found myself having good memories of so many well-crafted details and I'm tempted to say it's better than it ever had to be, a leap forward for Campos after the good but relatively marginal Afterschool and Simon Killer.

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[Johann]

Cool. Let's not discuss The Magnificent Seven. It's just seven. Seven actors of varying skill levels.
No "magnificence" anywhere...lol

When will Hollywood learn to be more original? It's 2016 for fucks sakes!
Gimmme a fraction of their money. I'd kill it so hard that they'd kill me..

TIFF seemed to have nice offerings this year, but I'm not Kappa with them, and never will be. :)