Features archive

The Day I Discovered Stanley Kubrick

October 23, 2014

Peter Howell reflects on the first time he saw 2001: A Space Odyssey. “We were all suitably awed by the Glendale’s huge curved screen, which is still the most impressive one I’ve ever seen.”

I’ll Take That, Thanks: Genre Films and Horror Hybridity

October 16, 2014

As much fun as their gene-splicing, cliché-mashing and shameless pilfering can be, genre filmmakers may have become worryingly risk-averse. With Toronto After Dark 2014 creeping its way into town, Jason Anderson looks at Wyrmwood and Kumiko, the Treasure Hunter as examples of a mongrelized tradition defined by cross-pollination

Music and Lyrics: God Help the Girl and True Stories

October 9, 2014

“Some pop songs feel like short films.” Adam Nayman explores musicians who have also turned to filmmaking.

Sleeping with the Enemy: Gone Girl and the challenge of movies about marriage and murder

October 2, 2014

Jason Anderson dissects the wreckage that results when two people who’ve pledged to love and care for one another instead come to feel very differently about the person on the other side of the bed.

In a Future Canada: Sizing Up Canada’s Oscar Hopeful Mommy

September 25, 2014

Angelo Muredda writes about Xavier Dolan’s “Mommy” and how it reflects against recent Canadian Oscar contenders.

FIPRESCI Diary: Toronto International Film Festival, part two

September 19, 2014

Thom Ernst recounts the experience of being a member of the FIPRESCI jury at the Toronto International Film Festival.

Platforms for Performance: A Conversation with Matías Piñeiro

September 10, 2014

José Teodoro chats with filmmaker Matías Piñeiro.

What’s old is new: TIFF’s “retro” Cinematheque programme

September 9, 2014

Adam Nayman discusses the current state of TIFF’s Cinematheque program.

FIPRESCI Diary: Toronto International Film Festival

September 8, 2014

Thom Ernst details the initial experience as a member of the TIFF FIPRESCI jury.

What makes a Master?

September 6, 2014

Of all the programs at the Toronto International Film Festival, Masters is at once the most rarified and the most difficult to define, Adam Nayman writes.