TORONTO FESTIVAL EXPLORES THEMES OF WAR
By Joan Dupont International Herald Tribune
International Herald Tribune, France
Sept 8 2006
TORONTO It was an Indian summer day in Toronto when we trooped out
of Mira Nair’s "Monsoon Wedding" – Bollywood fun and dancing – just
before noon, Sept. 11, 2001. The festival never recovered from the
shock of that day and ground to a halt.
Today, winds and currents from around the world are blowing through
the 31st Toronto International Film Festival, which opened Friday and
continues until Sept. 16. Fallout from that day is visible in a rash of
movies that take on themes of the times – war, terrorism, executioners,
victims and outcasts – treating them either frontally or obliquely.
The Toronto festival, tucked between those in Venice and New York
and open to world cinema and dissident voices, is showing the highly
controversial "Death of a President" by the British director Gabriel
Range, a fictionalized imagining of the assassination of George W.
Bush, simulated by digital effects.
The festival’s co-directors, Piers Handling and Noah Cowan,
foreseeing criticism, issued a statement that read in part: "’Death
of a President’ by Gabriel Range is fictional drama told in the
style of a documentary. Range, in concert with some of the finest
special effects professionals, mixes archival footage with narrative
elements to construct a highly original film; a falsified history on
what would be a tragic event. ‘Death of a President’ addresses a wide
array of contemporary issues, including the loss of civil liberties,
the ramifications of war, and ultimately critiques the overwhelming
influence and manipulation of mass media."
On the eve of the festival opening, Handling and Cowan discussed this
and other films included in their lineup in an e-mail: "’Death of a
President’ is a classic cautionary tale," Cowan pointed out. "Bush’s
assassination, while harrowing, is more trigger than climax. The film
is about how the Patriot Act, especially, and how Bush’s divisive
partisanship and race- baiting has forever altered America."
He describes another premiere, "Mon Colonel," written and produced
by Costa-Gavras, directed by Laurent Herbiet, about 1960s Algeria,
as "an Iraq film in Algerian disguise."
"The Bubble," by the Israeli Eytan Fox, about a homosexual affair
between an Israeli peacenik and a young Palestinian, is a daring film
that comes to a shocking end. "The Bubble" refers to how Israelis
describe life in "cool" Tel Aviv. "The most shocking thing about
‘The Bubble,’" according to Cowan, "is its shift in tone." The film
goes to great lengths to establish a "place of safety" within Israel,
a secular polysexual meeting place in Tel Aviv, until the winds shift.
Jay Anania’s "Day on Fire" and Julia Loktev’s "Day Night Day Night"
portray suicide bombers. Phillip Noyce’s "Catch a Fire," set in South
Africa, is a portrait of the creation of a terrorist, and Hal Hartley’s
"Fay Grim" is about Patriot Act madness.
"These are just a few of the films that perceive crucial events and
situations obliquely," says Handling, adding that he is also struck by
the desire of contemporary filmmakers to explore, to go abroad to make
films about situations that are not native to their country: Gianni
Amelio to China for "Missing Star," Robert Guediguian to Armenia
to make "Le Voyage en Armenie," Benoît Jacquot to India to make
"L’Intouchable," Volker Schlondorff to Poland to make "Strike."
The Argentine director Santiago Amirgorena’s "A Few Days in September,"
an intriguing glance at the days that lead up to Sept.
11, is told in the form of a political thriller. The film, starring
Juliette Binoche and John Turturro, just opened in Paris where
Amirgorena, an author and screenwriter, lives. He has made a deeply
European film, a kind of "Third Man" with comic overtones, set in
Venice, with Turturro as an assassin who quotes William Blake’s
"Tyger" while stalking his prey.
"My film is not dedicated to Sept. 11," the director said in a phone
interview. "For me, the event is historic and political – this is my
reading – and spy stories often have a political background. My film
is not militant; it’s not about good and evil. I had Orson Welles’s
movies and characters in mind, especially the part he played in
‘The Third Man,’ a kind of monster, and ‘A Touch of Evil’ – the way
Welles took a genre and went beyond it. Terrorism is not a matter of
good and evil. It is complicated, a desperate act."
Amirgorena’s film is part of the Special Presentations program
that, along with Galas, and various sidebar events, takes place in
moviehouses all over town.
The section opens with Florian Henckel von Donnersmarck’s "Das Leben
der Anderen" (The Lives of Others), a political thriller, set before
the fall of the Berlin Wall, during the Stasi era. And Mira Nair is
back with a new movie, "The Namesake," adapted from Jhumpa Lahiri’s
novel.
The Galas, Canadian and foreign-language films, and American studio
productions, include many world or North American premieres such as
Michael Apted’s "Amazing Grace," Patrice Leconte’s "Mon Meilleur Ami,"
and "Dixie Chicks: Shut up and Sing" by Barbara Kopple and Cecilia
Peck. Ridley Scott’s "A Good Year," adapted from Peter Mayle’s novel,
set in the vineyards of Provence, is the closing night film.
Toronto has always been a festival for original programming. This year,
there is a section on African Diversity, partly made of films shown at
Cannes, such as Tahani Rached’s moving "These Girls," about homeless
girls in Cairo, and Rachid Bouchareb’s prize-winning "Indigènes"
portraying Algerian conscripts in France, as well as Spike Lee’s
"When the Levees Broke: A Requiem in Four Acts," on the Hurricane
Katrina that devastated New Orleans last year.
"We are now seen as an important festival for awards-destined films,"
says Handling, director at Toronto since 1994. "The fall season speaks
to the more serious films and these tend to be the films nominated
for awards. We are also a key event for the buying and selling of
quality films in the world."
This event, now ranked by many as second to Cannes, skims the cream
off the Continental festivals, but awards no Palms nor Lions, and
is a something of a phenomenon. Starting out in 1975 as a Festival
of Festivals, home to local cineastes such as David Cronenberg and
Atom Egoyan, Toronto opened up to independent cinema from all over the
world and made room for big studio films, too. No longer as casual and
user-friendly, perhaps, it has kept something of its free-spirited,
festive vocation. Because it is not bound by tradition, it remains a
festival that belongs to the moviegoing, multiethnic public, a natural
audience for every kind of film.
"This is a movie-loving town," says Handling. "There is an audience
here to sustain the vastness of our selection, and they are our
primary target. Without them we would be nothing."
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