Matt Damon has two anticipated films (Suburbicon and Downsizing), Jake Gyllenhaal can start making room on the bookshelf for an Oscar (with Stronger), and Emma Stone kicks court as Billie Jean King (in Battle of the Sexes), but the 42nd Toronto International Film Festival, running Sept. 7 – 17, is also a smorgasbord of smaller-plate, international fare. Keep your eyes open for these upcoming releases, just a few offerings among the 340 films from 74 countries playing at Toronto’s festival.
The Butterfly Tree (Australia)
Finn (Ed Oxenbould) is a teenaged butterfly collector in mid-transformation, not unlike the specimens he collects. He and his father (Ewen Leslie) are still mourning the loss of Finn’s mother when Evelyn (Melissa George), an intoxicating presence, moves into town. Both men fall under her spell while fumbling through their grief in different ways, but Evelyn has secrets of her own to hide. Some joyous technicolour animation enlivens the frame when things threaten to get blue. Written and directed by Priscilla Cameron.
Don’t Talk to Irene (Canada)
In Park, Ontario, Geena Davis is God ... to 15-year-old Irene, at least. Barred from the internet and TV from her overprotective single mother, Irene (Michelle McLeod) turns to an old Geena Davis movie poster for guidance. The voice tells her to follow her dreams and try out for the cheerleading squad, despite her roly-poly physique. Instead, Irene ends up suspended with the resident mean girl and doing two weeks’ probation at a nursing home full of randy seniors (overseen by Kids In the Hall alumnus Scott Thompson). It turns out to be the perfect place for Irene to find her mojo. “Thank you for liking me and not Taylor Swift,” the voice of god deadpans.
Samui Song (Thailand)
Festival favourite Pen-ek Ratanurang is back with his latest noir thriller Samui Song, about a soap opera actress named Viyada (Chermarn Boonyasak) whose wealthy, foreign husband Jerome (French director Stephane Sednaoui, perhaps best known for his 9/11 rescue effort photographs) has become brainwashed by a cult leader called the Holy One. With divorce “no longer an option” and the help of a handsome ally (David Asavanond), Viyada goes to desperate lengths to be loosed from her husband’s grip.
The Lodgers (Ireland)
An uncommonly beautiful sister and uncommonly odd brother, Rachel and Edward (Charlotte Vega, Bill Milner) are twins celebrating their 18th birthday. But “what is there to be happy for?” Rachel asks. The siblings are prisoners in their sprawling county estate in Ireland, abiding by three rules: don’t let anyone in the house, don’t leave one another alone, and lock the bedroom doors at midnight. Something is definitely amiss: there’s that weeping cellar access door in the front hall, and some preternaturally creepy sightings by the lake. Worse still, the trust money is running out, a solicitor is on his way to the manse, and Charlotte’s credit at the village shop is cut off. So when a stranger (Eugene Simon) returns from the wars, Charlotte sees him as a way out. Directed by Brian O’Malley (Let Us Prey) and also starring creepy-character stalwart David Bradley.
Manhunt (Hong Kong, China)
Action maestro John Woo remakes a classic 1976 Japanese thriller in this story about a successful prosecutor (Zhang Hanyu) falsely accused of robbery, rape and multiple murders. Masaharu Fujiyama is the detective sent to bring him in. Expect explosions, lengthy fight scenes and heavily armed damsels.
Call Me By Your Name (Italy, France)
Already praised at Sundance and Berlin, Italian director Luca Guadagnino’s Call Me By Your Name is a coming-of-age story set during a sun-drenched summer during which 17-year-old Elio (Timothee Chalamet) navigates his feelings for Oliver (Armie Hammer), a visiting American and one of his father’s doctoral students. Based on Andre Aciman’s 2007 novel and scripted by James Ivory.
Ava (Iran, Canada)
Written and directed by Sadaf Foroughi, an Iranian-born writer and producer now residing in Canada and making her feature debut. Ava (Mahour Jabbari) is growing up and straining against the strict confines of traditional Iranian society, particularly after her overbearing parents insist on a gynecological visit to ensure Ava is still a virgin. The intrusion triggers a rebellious streak in Ava that has potentially dangerous consequences.
