Frankie | TIFF 2019
By Kent Turner September 11, 2019
If Portugal becomes overrun with tourists, blame can go to director Ira Sachs’s new drama.
If Portugal becomes overrun with tourists, blame can go to director Ira Sachs’s new drama.
Ken Loach returns to TIFF with a film that is, in many ways, as strong and less predictable than I, Daniel Blake, which won the Palme D’Or, and Toronto-based Semi Chellas adapts author Susan Choi’s fictionalized take of Patty Hearst on the lam.
The festival can boast of its own discovery, the world premiere of director Diana Peralta’s debut film, a family drama of regret and remembrance.
An intriguing film that introduces viewers to a cutting-edge new science without ever losing sight of the human aspect.
A one-stop destination for those who haven’t been to Park City or Austin this year.
Three very different films come to a stop with open endings in this annual festival of recent Italian film, including a richly photographed cavalcade of moral rot and a striking and atmospheric gem.
Effective and affecting and with an unflagging pace, The Gasoline Thieves is likely to satisfy—and scar—many of its viewers.
The eleventh annual Panorama Europe showcases European works that have won acclaim at festivals and represent the continent’s diversity of art-house cinema.
The most thoughtful deconstruction of a film imaginable, as well as an ideal festival choice for those who used to buy DVDs just for the commentaries.