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TIFF ’11: Vanguard Titles

Posted Wednesday, August 3rd, 2011 - Comments Off on TIFF ’11: Vanguard Titles
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Toronto – The 36th Toronto International Film Festival® announces a fresh and provocative lineup in this year’s Vanguard programme. Works presented under the Vanguard banner are young and cutting edge. From the dystopian to the sci-fi, from comedy to terror, the 2011 Vanguard programme features daring works from around the world, including Russia, France, Thailand, China, Norway, Chile and Australia.

Carré Blanc Jean-Baptiste Leonetti, France/Luxembourg/Belgium/Switzerland World Premiere Philip and Mary, two teenagers whose parents were crushed by the system, are placed in an orphanage with frightening education methods. Twenty years later, they became husband and wife and have all the appearances of a wealthy couple. However, while Philip is a cog in the system, Mary goes into a depression that seems irreversible. Unable to have kids, they are on the verge of breaking. But Mary will do anything to show Philip that together they can love and survive in a frozen desert where men have become monsters. Starring Sami Bouajila, Julie Gayet, Jean-Pierre Andreani, Fejria Deliba and Valerie Bodson.

Generation P Victor Ginzburg Russia/USA North American Premiere Set in 1990s Moscow, Generation P details the parallel rise of poet-turned-copywriter Babylen Tatarsky through both a new advertising business and the shadowy Cult of Ishtar, whose acolytes control the media. Starring Vladimir Yepifantsev, Michael Yefremov and Andrei Fomin.

Headshot Pen-ek Ratanaruang, Thailand/France World Premiere Tul, a straight-laced cop, is blackmailed by a powerful politician and framed for a crime he did not commit. Disillusioned and vengeful, he is soon recruited to become a hitman for a shadowy group aimed at eliminating those who are above the law. But one day, Tul is shot in the head during an assignment. He wakes up after a three-month coma to find that he sees everything upside down, literally. Tul begins to have second thoughts about his profession. But when he tries to quit, roles are reversed and the hunter becomes the hunted. Can Tul find redemption from the violence that continues to haunt him?

Love and Bruises Lou Ye, China/France North American Premiere Hua, a young teacher from Beijing, is a recent arrival in Paris. Exiled in an unknown city, she wanders between her tiny apartment and the university, drifting between former lovers and recent French acquaintances. She meets Matthieu, a young worker who falls madly in love with her. Possessed by an insatiable desire for her body, he treats Hua like a dog. An intense affair begins, marked by Matthieu’s passionate embraces and harsh verbal abuse. When Hua decides to leave her lover, she discovers the strength of her addiction, and the vital role he has come to play in her life as a woman. Starring Tahar Rahim, Corinne Yam, Jalil Lespert, Sifan Shao, Vincent Rottiers.

Oslo, August 31 Joachim Trier, Norway North American Premiere Anders wanders the city, meeting people he hasn’t seen in a while. Long into the night, the ghosts of past mistakes will wrestle with the chance of love, of a new life, with the hope to see some future by morning… From the director of the award-winning Reprise. Starring Anders Danielsen Lie, Hans Olaf Brenner, Ingrid Olava, Johanne Kjellevik Ledang.

Snowtown Justin Kurzel, Australia North American Premiere When 16-year-old Jamie is introduced to a charismatic man, a friendship begins. As the relationship grows so do Jamie’s suspicions, until he finds his world threatened by his loyalty for, and fear of, his newfound father-figure John Bunting, Australia’s most notorious serial killer. Starring Lucas Pittaway, Daniel Henshall, Louise Harris.

The Year of the Tiger Sebastián Lelio, Chile North American Premiere Manuel is imprisoned in a jail in the south of Chile, which collapses on the night of the violent earthquake of February 27, 2010. Manuel escapes and becomes a fugitive, lost in the middle of the catastrophe. He returns to his home only to find out that it has been ravaged by a tsunami, which has also taken the lives of his wife and daughter. As Manuel travels through completely destroyed landscapes, he enters deeper and deeper into his own devastated areas. This strange freedom will bring him to face nature’s cruelty and take his own human existence to its limit. Starring Luis Dubó, Sergio Hernández, Viviana Herrera.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon