100 films from 100 filmmakers featuring movies from six continents, 44 countries and 12 decades of cinema
If you're looking for key works in the realm of arthouse cinema, Bil Antoniou and ThatShelf.com writers Pat Mullen, Rachel West, Colin Biggs and Barbara Goslawski have looked through the Channel's Permanent Gallery and put together list and reasons for why you should start with these.
The week's edition of The Criterion Shelf surveys the Criterion Channel's collection of films by women directors.
Our film editor explains what's unique about TIFF's new heavily curated Platform programme and why you should be checking out the twelve films it's comprised of.
The third program of TIFF’s Short Cuts International focuses on the everyday decisions and words we use and how the impact of those decisions and dialogue, or lack of them, can be just a world shaking as the ones we agonize over. In The Tricycle Thief director Maxim Bessmertnyi takes us to Macau and into […]
Thanks to some great performances and Claire Denis’ always exceptional ability to mine suspense out of the purposefully vague, Bastards saves itself from needless convolution and a story that’s pretty much on the level of a late 90s American boilerplate thriller.
Not familiar with the work of masterful French filmmaker Claire Denis? With a retrospective of her work about to kick off at the TIFF Bell Lightbox this Thursday and a new film opening this Friday, here are five great places to start and become acquainted with one of the most boundary pushing and thoughtful filmmakers working today in our new series we like to call Fast Five
We talk to TIFF Cinematheque programmer Brad Deane about the classic films playing for free at this year's Toronto International Film festival, how the Cinematheque sources their prints, why he feels strange watching things on his computer, which film he’s most excited to share this year, a bit about this year’s line-up, a few tidbits about TIFF’s upcoming David Cronenberg retrospective, and what films he would love to see restored so he can share them in the future with festival audiences.
The films of the incomparable Claire Denis are subtle lessons in semiotics. They are like moving photographs, or graphic novels with almost no words: the viewer must (and can) put together the story from the images, like they are a fly hovering with no knowledge of past context. The third of Denis’ African-centred films, White […]