TIFF 2023 Adds Films by Jean-Luc Godard, Radu Jude, Pedro Costa, Eduardo Williams, Phạm Thiên & More
In one of their festival announcements, Toronto International Film Festival have unveiled some of the most exciting international offerings of the year with Wavelenghts. Featuring Jean-Luc Godard’s posthumous short Trailer of the Film That Will Never Exist: Phony Wars, Pedro Costa’s Daughters of Fire, Radu Jude’s Do Not Expect Too Much from the End of the World, Bas Devos’ Here, Eduardo Williams’ The Human Surge 3, Phạm Thiên’s Inside the Yellow Cocoon Shell, Angela Schanelec’s Music, and much more, it’s quite an eclectic lineup.
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” stated Anita Lee, Chief Programming Officer, TIFF. “It is also evidence that artist-driven experimental films are thriving and growing a new generation of cinephiles.”
“The increasing necessity to support artists willing to take risks, break rules, and challenge the status quo — especially in our over-saturated media landscape — bears repeating,...
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” stated Anita Lee, Chief Programming Officer, TIFF. “It is also evidence that artist-driven experimental films are thriving and growing a new generation of cinephiles.”
“The increasing necessity to support artists willing to take risks, break rules, and challenge the status quo — especially in our over-saturated media landscape — bears repeating,...
- 8/11/2023
- by Leonard Pearce
- The Film Stage
The Toronto Film Festival has unveiled its Wavelengths program for artist-driven experimental work that includes films by avant garde directors Denis Côté, Radu Jude, the late Chantal Akerman and Wang Bing.
There’s selections for Isiah Medina’s He Thought He Died, an experimental heist film; Angela Schanelec’s Music, a retelling of the Oedipus myth; and Denis Côté’s Mademoiselle Kenopsia, which stars Larissa Corriveau and will first bow at the Locarno Film Festival.
Wavelengths also booked fiction debuts with Rosine Mbakam’s Mambar Pierrette, a portrait of a Cameroonian seamstress; and Phạm Thiên Ân’s Inside the Yellow Cocoon Shell, the Vietnamese director’s hypnotic first feature about a man haunted by past memories when returning to his hometown that picked up the Caméra d’Or in Cannes.
“The increasing necessity to support artists willing to take risks, break rules and challenge the status quo — especially in our over-saturated media landscape — bears repeating,...
There’s selections for Isiah Medina’s He Thought He Died, an experimental heist film; Angela Schanelec’s Music, a retelling of the Oedipus myth; and Denis Côté’s Mademoiselle Kenopsia, which stars Larissa Corriveau and will first bow at the Locarno Film Festival.
Wavelengths also booked fiction debuts with Rosine Mbakam’s Mambar Pierrette, a portrait of a Cameroonian seamstress; and Phạm Thiên Ân’s Inside the Yellow Cocoon Shell, the Vietnamese director’s hypnotic first feature about a man haunted by past memories when returning to his hometown that picked up the Caméra d’Or in Cannes.
“The increasing necessity to support artists willing to take risks, break rules and challenge the status quo — especially in our over-saturated media landscape — bears repeating,...
- 8/11/2023
- by Etan Vlessing
- The Hollywood Reporter - Movie News
A 4K uncut restoration of Chen Kaige’s 1993 Palme d’Or winner “Farewell My Concubine” is a highlight of the Toronto International Film Festival’s (TIFF) Classics strand while Jean-Luc Godard’s last film will feature in Wavelengths.
The Classics strand also includes Canadian producer-director Brigitte Berman’s Oscar-winning feature documentary “Artie Shaw: Time Is All You’ve Got” (1985), portraying the life of the clarinettist and bandleader, and, after decades of oblivion Jacques Rivette’s New Wave classic “L’amour fou” (1969), whose original celluloid elements were damaged in a fire. A 50th anniversary screening of “Touki Bouki” (1973), from Sengal’s Djibril Diop Mambéty and Ousmane Sembène’s “Xala” (1975), presented in 4K, complete the program. Classics is curated by Robyn Citizen, director of programming and platform lead, with contributions from Andréa Picard.
The Wavelengths strand has 12 feature films and 19 shorts, as well as a suite of four restored early films by...
The Classics strand also includes Canadian producer-director Brigitte Berman’s Oscar-winning feature documentary “Artie Shaw: Time Is All You’ve Got” (1985), portraying the life of the clarinettist and bandleader, and, after decades of oblivion Jacques Rivette’s New Wave classic “L’amour fou” (1969), whose original celluloid elements were damaged in a fire. A 50th anniversary screening of “Touki Bouki” (1973), from Sengal’s Djibril Diop Mambéty and Ousmane Sembène’s “Xala” (1975), presented in 4K, complete the program. Classics is curated by Robyn Citizen, director of programming and platform lead, with contributions from Andréa Picard.
The Wavelengths strand has 12 feature films and 19 shorts, as well as a suite of four restored early films by...
- 8/11/2023
- by Naman Ramachandran
- Variety Film + TV
The Toronto International Film Festival has announced this year’s Wavelengths and Classics sidebars, the former section known for its politically charged, geographically diverse fare with a wide range of work drawn from the worlds of documentary, contemporary art, and international art-house cinema.
Wavelengths this year counts 12 feature films and 19 shorts, as well as a suite of four restored early films by the singular Chantal Akerman.
Of note in the Wavelengths short section, North American audiences will finally get to see Jean-Luc Godard’s swan song short, Trailer of the Film That Will Never Exist: Phony Wars, which played Cannes this past spring.
Another highlight in the Classics sidebar is the 4K uncut restoration of Chen Kaige’s Farewell My Concubine, the only movie from China to win the Palme d’Or. The original film had 20 minutes cut by then Miramax Boss Harvey Weinstein much to the chagrin of jury...
Wavelengths this year counts 12 feature films and 19 shorts, as well as a suite of four restored early films by the singular Chantal Akerman.
Of note in the Wavelengths short section, North American audiences will finally get to see Jean-Luc Godard’s swan song short, Trailer of the Film That Will Never Exist: Phony Wars, which played Cannes this past spring.
Another highlight in the Classics sidebar is the 4K uncut restoration of Chen Kaige’s Farewell My Concubine, the only movie from China to win the Palme d’Or. The original film had 20 minutes cut by then Miramax Boss Harvey Weinstein much to the chagrin of jury...
- 8/11/2023
- by Anthony D'Alessandro
- Deadline Film + TV
Classics includes restored version of Jacques Rivette’s New Wave film L’amour Fou.
Toronto International Film Festival (TIFF) has announced selections in the Wavelengths and Classics programmes ahead of the festival (September 7-17).
The expanded Wavelengths section offers 11 features and 19 shorts including the world premiere of Canadian artist and filmmaker Isiah Medina’s deconstructed heist tale He Thought He Died (pictured), Denis Côté’s Mademoiselle Kenopsia, and Angela Schanelec’s retelling of the Oedipus myth, Music.
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” said Anita Lee, TIFF’s chief programming officer. “It is also evidence...
Toronto International Film Festival (TIFF) has announced selections in the Wavelengths and Classics programmes ahead of the festival (September 7-17).
The expanded Wavelengths section offers 11 features and 19 shorts including the world premiere of Canadian artist and filmmaker Isiah Medina’s deconstructed heist tale He Thought He Died (pictured), Denis Côté’s Mademoiselle Kenopsia, and Angela Schanelec’s retelling of the Oedipus myth, Music.
“Wavelengths is a testament to the range of cinema celebrated at TIFF,” said Anita Lee, TIFF’s chief programming officer. “It is also evidence...
- 8/11/2023
- by Jeremy Kay
- ScreenDaily
The Toronto International Film Festival has added an additional 17 films to its 2023 lineup, with the new entries the work of a variety of bold international directors, from Radu Jude and Kleber Mendonca Filho to the late Jean-Luc Godard and Chantal Akerman.
The Wavelength section contains 12 features, two films paired in a single program and 19 shorts grouped in three separate programs. It is devoted to “artist-driven experimental films,” in the words of TIFF Chief Programming Officer Anita Lee. “Wavelengths continues to be a celebration of subversion, personal expression, and the vast, inexhaustible capabilities of cinema to enlighten, inspire, awe, resist, disrupt, and propose new ways of seeing and being in the world.”
Films in the section include “Do Not Expect Too Much From the End of the World” from the fiery Romanian satirist Radu Jude, “Here” from Belgian director Bas Devos,” the “Oedipus” retelling “Music” from Angela Schanelec, Brazilian Kleber Mendonca...
The Wavelength section contains 12 features, two films paired in a single program and 19 shorts grouped in three separate programs. It is devoted to “artist-driven experimental films,” in the words of TIFF Chief Programming Officer Anita Lee. “Wavelengths continues to be a celebration of subversion, personal expression, and the vast, inexhaustible capabilities of cinema to enlighten, inspire, awe, resist, disrupt, and propose new ways of seeing and being in the world.”
Films in the section include “Do Not Expect Too Much From the End of the World” from the fiery Romanian satirist Radu Jude, “Here” from Belgian director Bas Devos,” the “Oedipus” retelling “Music” from Angela Schanelec, Brazilian Kleber Mendonca...
- 8/11/2023
- by Steve Pond
- The Wrap
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Julia Ducournau at the 2021 Cannes Film Festival. (Photo by Stephane Cardinale / Getty Images)Cannes has come to a close with the Palme d'Or win of Titane, making Julia Ducournau only the second woman to win the prize in the festival's history. Check out the rest of this year's winners here. Following Cannes, we're looking ahead to fall festival season: San Sebastian's lineup includes the latest by Lucile Hadzihalilovic and Terence Davies; and Locarno has added films by Charlotte Colbert and Russian Gleb Panfilov to its now-complete roster. The Museum of the Moving Image's First Look Fest has also announced its full program, which will showcase films by Claire Simon, Lina Rodriguez, James Benning, and more, as well as the world premiere of Ken Jacob's 3D film, Double Wow. The much-anticipated lineup for this...
- 7/21/2021
- MUBI
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Luis Buñuel (left) and Jean-Claude Carrière (right).The great Jean-Claude Carrière has died. The prolific screenwriter worked across genres and penned scripts from Philip Kaufman's The Unbearable Lightness of Being to Luis Buñuel's The Discreet Charm of the Bourgeoisie, and more recently, Philippe Garrel's The Salt of Tears. Revisit Notebook contributor Lawrence Garcia's overview of Carrière's wide-ranging career here. Actor Christopher Plummer, one of the last links between Classic Hollywood and today, has also died. Throughout his long and illustrious career, Plummer worked with filmmakers like Nicholas Ray, Sidney Lumet, Anthony Mann, Robert Mulligan, Anatole Litvak, Michael Mann, Spike Lee, Terrence Malick, and Pete Docter.The International Film Festival Rotterdam has come to an end, and the winners of this year's awards can be found here. The Berlinale is continuing...
- 2/10/2021
- MUBI
Atomic Garden“What’s good,” as you probably know, is urban slang. It means “what’s up?” Like a lot of slang, however, it can have very different meanings. One must be aware of the subtleties of context. But in the context of a festival report, it could have an entirely different meaning. It could be a way of asking for recommendations. “Hey, you saw those films? Well, what’s good?” In that respect, the films I discuss below might be taken (erroneously) as my picks for the absolute best films screened at the 2018 Media City Film Festival in Windsor, Ontario. This would imply that I saw all the films screened (I didn’t), or that any film not mentioned below somehow didn’t merit a mention.This is simply not true. For one thing, several of the best films screened at Media City this year are films I have...
- 12/10/2018
- MUBI
Here we go again. Festival time. Why do we put ourselves through this? All so we can make semi-coherent pronouncements on The Year in Film? So that when the Oscar bloggers come crawling out of their holes each September, hoping to see their gold-plated shadows, we can say that we were somewhere else, appreciating the true art of the medium? Why not? Someone has to hold fast against the all-consuming law of the market. Wavelengths is as good a place as any to make a stand in favor of the contrarianism of beauty and rage.But how do you define a year in cinema? Each year, film festivals, both major and minor, go through hundreds upon hundreds of selections and submissions, taking into account all sorts of criteria: relative importance of the films in question; the local taste of the audience; due diligence to certain studios, donors, and sales agents...
- 9/8/2018
- MUBI
It’s been an interesting run-up to the Toronto International Film Festival, and in terms of the survival of the species, the good ol’ U.S.A. has been something of a race to the bottom. What would do us in first: violent neo-Nazis whose activities are almost explicitly condoned by the Klansman In Chief? Or a 1,000-year weather event on the Gulf Coast whose magnitude surely owes something to global climate change, and whose aftermath of collapsing dams and exploding chemical factories has everything to do with systematic neglect?Given the state of things down here, who wouldn’t want to repair to Canada for some challenging cinema? As always, the Toronto International Film Festival (Tiff) is the place to be in September, and Wavelengths once again features the best of the fest. This is because the films selected for Wavelengths are the opposite of escapism. Whether they tackle...
- 9/7/2017
- MUBI
I’ve been making 16mm durational urban landscape voiceover films, slowly but surely, since the late ‘90s. My short film Blue Diary premiered at the Berlinale in 1998. My two features, The Joy of Life (2005) and The Royal Road (2015) both premiered in the prestigious New Frontiers section at the Sundance Film Festival and have been as wildly successful as experimental films can be. Which is to say, they remain fairly obscure. My small but enthusiastic fan-base frequently asks me for recommendations of films that are similar to my own in terms of incorporating durational landscapes and voiceover and a meditative pace. While it is certainly one of the smallest subgenres in the realm of filmmaking, here are a handful of excellent landscape cinema examples by the practitioners I know best. I confess that my expertise here is limited and hope that the learned Mubi community will chime in with additions in the comments field below.
- 10/11/2016
- MUBI
Her Silent SeamingPerhaps more than most other forms of cinema, experimental film and video is an auteur’s medium through and through. Since the production model for avant-garde work is almost exclusively artisanal, with a single individual (or possibly a duo or an artists’ collective) making the work from a studio context similar to that or a sculptor or photographer, it only makes sense to consider these works are expressions of an artist’s point of view. As such, those of us who regularly engage with experimental work will inevitably use the artist as the primary mode of categorization—who to keep track of, who seems promising, etc.But there’s a bit more to it. One of the greatest joys of avant-garde filmgoing, as any fan will tell you, is seeing an expertly curated program of films, be they new short works, recontextualized classics, or some combination thereof. A...
- 1/22/2016
- by Michael Sicinski
- MUBI
Youth On The MARCHThere are 48 individual films screening in the Wavelengths section of this year’s Toronto International Film Festival. The relative importance of this section, amidst the vast array of offerings in this relatively huge festival, depends on your taste in movies, of course, to say nothing of your specific objectives. If you’re coming to Toronto to try to score a hot tip in this year’s Oscar race, well . . . I feel sorry for you on a number of levels. But Wavelengths is unlikely to be your jam. Originally conceived exclusively as a showcase for experimental and non-narrative films (hence the section’s title, a direct tribute to avant-garde master and Toronto native son Michael Snow), Wavelengths now encompasses the edgier, less commercial side of art cinema. This is the first of two preview essays, and my aim is to cover everything in the section. These are the...
- 9/12/2015
- by Michael Sicinski
- MUBI
Mono No Aware continues its hardcore commitment to keeping the practice of expanded cinema alive with their 8th annual edition that will run on December 5-6 in Brooklyn, NY at LightSpace Studios.
This is two nights of creative, live cinematic performances utilizing only analog equipment and materials that will never be repeated again in the universe.
Some of the performances include returning champion Joel Schlemowitz, who will be creating a 3-D experience using overhead projectors; and the wonderful Winnipeg underground film scene is represented by Scott Fitzpatrick, who will be turning the book Victorian Frames, Borders and Cuts into a 16mm triple projection.
For all of Mono No Aware’s amazing performances, they are so unique that we are listing them copied and pasted directly from the festival’s website below. But, for even more information, such as screening venues, please visit their official website.
December 5
Starts 9:00 p.m.
This is two nights of creative, live cinematic performances utilizing only analog equipment and materials that will never be repeated again in the universe.
Some of the performances include returning champion Joel Schlemowitz, who will be creating a 3-D experience using overhead projectors; and the wonderful Winnipeg underground film scene is represented by Scott Fitzpatrick, who will be turning the book Victorian Frames, Borders and Cuts into a 16mm triple projection.
For all of Mono No Aware’s amazing performances, they are so unique that we are listing them copied and pasted directly from the festival’s website below. But, for even more information, such as screening venues, please visit their official website.
December 5
Starts 9:00 p.m.
- 11/26/2014
- by Mike Everleth
- Underground Film Journal
Nb: Films by Robert Beavers, Peter Hutton, and Luther Price were unavailable for preview. However, I said some very nice things about these men and their work in general over at The Dissolve.
In years past, I have attempted to present this extended article as a preview; my aim has been to send it off into the world either the day before of the day of Tiff's kick-off. That has proven impossible this year, and, dear reader, I am heartily sorry for having offended thee... But the fact that Wavelengths is a beat that is becoming harder and harder for one person to adequately cover is undoubtedly a sign of good health. Since last year, when Tiff enfolded the former Visions section (a space for formally adventurous narrative features) into Wavelengths (Tiff's experimental showcase), not only has interest in the section grown exponentially. The section can now more fully reflect...
In years past, I have attempted to present this extended article as a preview; my aim has been to send it off into the world either the day before of the day of Tiff's kick-off. That has proven impossible this year, and, dear reader, I am heartily sorry for having offended thee... But the fact that Wavelengths is a beat that is becoming harder and harder for one person to adequately cover is undoubtedly a sign of good health. Since last year, when Tiff enfolded the former Visions section (a space for formally adventurous narrative features) into Wavelengths (Tiff's experimental showcase), not only has interest in the section grown exponentially. The section can now more fully reflect...
- 9/9/2013
- by Michael Sicinski
- MUBI
The most enigmatically grouped programme in this year's Wavelengths was the third showcase. Where Wavelengths 1 was modelled on the fading analogue medium of celluloid, and Wavelengths 4 interpreted the concept of 'space' in six radically different ways, the theme of Serial Rhythms seemed to evolve from one piece to the next. Links between each work showed hints of motifs or ideas from the previous film, but to look at any two random films in the programme, one would be hard-pressed to locate many discernible commonalities. In truth, I think programmer Andréa Picard likes it best that way. In her introduction, she did not hesitate to mention the vagaries within this set's curation. She'd initially toyed with a concept of death, but admitted (and this was evident) that that theme drifted further away in the compilation's second half. There was still a concrete vision in the end - that being, to create...
- 9/27/2011
- IONCINEMA.com
“Ah, yes! Rose Lowder!” This is the response when the name of the French experimental filmmaker comes up in conversation among the avant-garde cognoscenti, the recognition that Lowder is not only a major master of our time but a kind of inevitability, one of the essential pillars of cinema as a material artform. And yet, her work isn’t as widely written about or addressed in canonical surveys, compared with comparable figures of her generation, with comparable levels of achievement. It seems that Lowder is taken as a given, part of the overall landscape of the experimental film universe, an axiom. No one makes films like hers, but there are dozens of films for which Lowder is the only logical point of comparison. Her Bouquets series has become her best known set of films (arguably the works that cemented her reputation), but they are but one small part of an...
- 9/12/2011
- MUBI
As has been noted many times before, by me and others, the Wavelengths series of the Toronto International Film Festival is like a festival unto itself. So far removed from the red carpet nonsense, the deal-making, and the me-firstism of web journalists hoping to hit the Web with their initial impressions of some new Bryce Dallas Howard vehicle, Wavelengths affords breathing room to cinema and video at its most formally adventurous and, yes, uncommercial. We come here to look and listen, not to look “at” or listen “to,” and if that sounds hopelessly pretentious, come on down to the Jackman Hall and see for yourself. It’s actually quite cleansing, often funny, and a guaranteed good time, at least in part. (Short films are like the weather in my hometown of Houston, Texas. Don’t like it? Wait a moment. It’ll change.)
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
Sadly, Wavelengths 2011 will be the final year for series curator Andréa Picard.
- 9/8/2011
- MUBI
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