15 Sep film festival season is TIFFing my AFF
The best thing about the two-week marathon that ensues when you do the Toronto+Halifax film festivals back to back as I have this year is the wall-to-wall films. The worst thing aside from the sleep deprivation is the abiding feeling that you’re rather letting down the side by not promptly posting up reviews of every film on your blog.
But as that’s really not been possible, I present, in the place of 17 AWOL film reviews, a series of random festival observations from the past 10 days.
TIFF+AFF is actually a killer pairing. TIFF is really well organized, gets a lot of films that would never play in Halifax, and offers plentiful chances to see, and pose a question to, directors and stars in person. But the Atlantic festival gets a number, this year a large number, of films that are really hard tickets to get in Toronto, and presents them for less than half the price of equivalent Toronto screenings. And it does so all in one multiplex, which makes it dead easy to get from one screening to another. And tickets for the hottest international films are plentifully available, because Halifax audiences are much more interested in regional films than what’s going on elsewhere.
UK English has taken over the subtitling industry. Maybe this has been true for a while, but it seems like every foreign-language film that I have seen so far (and I believe that I’ve seen 7 that were subtitled in their entirety) has been subtitled in UK English. There has been much fancying, significant scoffing—of food, and there have been many lads. This is how I found myself watching a film (Mommy) that was made and set entirely in Canada but subtitled in an English dialect that no native or long-time Canadian would likely use. Perhaps the subtitling will be re-done in time for Canadian or US distribution but this raises an interesting question—does the UK-English-speaking audience at film festivals really significantly outnumber the North American festival audience? If so, that’s surprising to me. Maybe someone who understands the industry better than I do can weigh in with an explanation. I mean, I’m a card-carrying Anglophile so it’s no skin off my teeth. Uh, nose.
While we’re on the topic of subtitling… It is now widespread convention to subtitle even mildly accented English, in English. I am seeing more of this, this year, than I ever have before. Don’t people whose first language is not English find this just a little insulting? And are native English speakers really that thick? I’m talking about perfectly understandable English lines here, echoed as subtitles. I would really like to know more about how this has because a consensus practice.
Goodbye to Language 3D looked way better at the Ryerson Theatre in Toronto than it did at Cineplex Park Lane in Halifax and the only reason I can think of is that Dolby 3D is a significantly better technology than RealD. This is something that I have had no time at all to research so I have no idea if there’s a firm basis to this suspicion. If anyone else knows about the difference between these systems I would welcome your observations and links in the comments. This was the first time that I ever saw the same 3D film projected with the two different technologies in the same week, so it’s nothing I had ever thought to consider before.
Movie-going etiquette is sometimes worse at festivals than at regular commercial screenings. This is of course not true across the board but I’ve been amazed how many glowing smartphone screens have disturbed my viewing experience in the past 10 days. And tonight, for example, at a particular slow, quiet and long film (Winter Sleep) I had to deal with a compulsive foot-tapper somewhere behind me. Super distracting. I don’t remember anyone being that asinine at Guardians of the Galaxy but maybe I just couldn’t hear them.
I have come to derive some perverse enjoyment from the exit walk of shame. You know, where people bend forward and move quickly as they try to hard not to block people’s view as they give up on a screening and leave. As a general rule, the more people bail on a screening, the more I am enjoying the film. This year’s champion has been the nearly impenetrable The Color of Pomegranates, a Toronto screening from which literally dozens of attendees exited in bafflement. It was awesome.