It's a fact; in times of economic depression, cinema attendance goes up. Be it to obtain a sense of escapism from gloomy realities or a need for genuine culture detached from the monotony of the everyday, people of all ages are turning up to movie theatres more than they ever have in the last 30 years. Recently, at the Toronto Film Festival, a festival of movies were on show and the town was brimming with celebrities such as Drew Barrymore and Natalie Portman, whom the crowds were dying to see. Having read a few articles from journalists on site who had the opportunity to watch and review the films, here´s a selection I made of the year´s movies to watch, and most likely contenders for the 2010 Oscars.

I´ll start with the least obvious choice, The Bad Lieutenant, directed by Werner Herzog, which has had some first-class reviews. A sequel to Abel Ferrara's 1992 Bad Lieutenant, Time Magazine calls it a “dark, daft, vagrantly intoxicating melodrama”. It stars Nicolas Cage in what is said to be a brilliant comeback performance. He plays the role of Lieutenant Terence McDonagh, a drug-dealing cop filled with nervosas whose benevolent services in Hurricane Katrina lead him to addiction and severe back pains. The movie recounts his confrontations in the aftermath of the catastrophic event with a world full of crime, injustice and corruption. McDonagh´s prostitute girlfriend, with whom the relationship is more than dysfunctional, is played by Eva Mendes. The Guardian calls it “a mesmerising thriller”.

Next up, The Joneses, directed by Derrick Borte, sparked my interest. It´s been called a satire on modern day consumerism, and many have dismissed it as ill timed given the current economical climate. Demi Moore and David Duchovny play the parents of a seemingly perfect family, freshly occupying a new home in the suburbs. The affluent family that appear exemplary from the outside are actually a team of salespeople hired by a company to flaunt their belongings. The aim is to convince their neighbours to buy the same things as them so that they can be equally happy. This tale of a peculiarly manoeuvered business scheme strikes me as quite unique in its theme and plot. I sense it could either be a gem or a catastrophe.

A Single Man, based on the Christopher Isherwood novel and directed by Tom Ford has had flawless reviews. It seems the ex-Gucci fashion designer has ticked all the right boxes in his directorial debut which he financed totally independently. According to reviews in the New York Times, it is impeccably filmed with aesthetically sublime takes and artistically poignant shots. George (Colin Firth), a gay professor, tragically loses his lover and after 16 years of mourning, can only think of one thing, suicide. Information suggests Firth delivers an extraordinary performance in what the International Herald Tribune call “a celebration of the male form with a sensual reverence.” It´s a new path for the actor who breaks from his usual soft hearted Englishman to a melancholic and heartbroken man touched by the solitude of heartbreak. The part earned him the Best Actor prize at the Venice Film Festival, and most critics guarantee an Oscar Nomination.

The Top Award, the Gold Lion, at TIFF was obtained by Samuel Maoz, the Israeli director, for his film Lebanon. Aside from the usual boycotts that were ever so present with regards to Israel, the film obtained some raving reviews. Lebanon has already been described by the leading US entertainment magazine Variety as "the boldest and best" of recent films from Israel about the country's wars in Lebanon. It takes place during the 1982 Israel-Lebanon war, which Maoz himself was a part of. Apart from the opening and closing shot, the entire movie takes place in a tank containing four nervous soldiers, and this claustrophobic setting is ideal in showing the nightmare and tension of war. As a member of the audience, you must want them to stay in there and be safe yet beg to see them escape as well. It is this resulting apprehension that seems to have created the movie´s strong reactions. The film is a survivor's haunted memory of a conflict, one which is still relevant today, and was undoubtedly one of the festivals biggest hits.
Life During Wartime, directed by Todd Solondz is another film that critics worldwide were highly anticipating and overall were not disappointed by. It handles the tough subject of domestic crime with strength as it centres on a few troubled families who all have secrets. From what I gather, they have all committed some disturbing acts yet have to learn to forgive as, inevitably, family ties remain. One such act is pedophilia, to give you an idea of the scale of atrocity we are dealing with. The controversial movie is supposedly a sequel to his film Happiness, directed in 1998, but many critics fail to see it as this. I found the director’s take on it, as described by him at a press conference, most compelling: “Life During Wartime is a film about the ghosts you literally carry around with you, and about the idea of forgiveness in the face of the impossible to forgive.” The film was equally loved and loathed.
The Cadillac People’s choice award this year went to the film Precious directed by Lee Daniel and co-produced by Oprah Winfrey. The Sundance hit about an abused Harlem teenager's road to redemption through literacy has been popular amongst many critics who hail the movie as the next Slumdog Millionaire. The latter won the same prize last year and went on to win eight academy awards. The film is directed at “people with insecurities”, says Daniel, who explains he made the film “for anyone who’s ever looked in the mirror and felt unsure about the person looking back”. Based on the novel Push by Sapphire and with a major role for singer Mariah Carey, this could be set to be one of the biggest successes of the movie world.
Soul Kitchen by Fatih Akin is one I definitely will not want to be missing as I have always been such a fan of his work namely the film Head On. The film tells the story of young man's frenetic struggle to keep his offbeat restaurant in Germany going. Entertainment Weekly calls the film “brisk paced with sharp ideas and eclectic music” which is a compliment coming from a US newspaper to a Turkish filmmaker. The film also won the Special Jury Prize at the Venice International Film Festival and was amongst the favorites for many of the movie goers this year in Canada.
Another darling was Up in the Air by Jason Reitman, the Oscar nominated director of Juno. Here, the centre of attention is given to Ryan Bingham, played by George Clooney, a corporate downsizing expert whose cherished life on the road is threatened just as he is on the cusp of reaching ten million frequent flyer miles, and just after he’s met the frequent-traveler woman of his dreams. It supposedly addresses the fears and anxieties of our time and manages to connect to a large audience because, according to The Guardian, “it taps, in a rich and bold and immediate way”. George Clooney plays the part of a pure product of the new America, an addict for an existence in which everything has become systematized. Allegedly brilliant and with Clooney delivering a fine performance, it seems we have yet another Oscar Contender.
Lastly, a film festival wouldn’t be complete without some Coen Brothers action who are back with a vengeance with A serious man. Of all the movie sites and newspaper culture sections I may have studied, this came out as the best film by the majority. It appears they´ve made their most Jewish film to date, a film about physics professor Larry Gopnik and the Jewish subculture of a late-60s Minnesota town. Larry's life begins to fall apart when his wife says she wants a divorce, and in the great unraveling that follows. Working with few recognizable stars, the Coens have made a funny but what one blogger called an “odd and inquisitive" film about guilt. Paste Magazine journalist called A Serious Man “one of the most fascinating, maybe even heartfelt, renderings of a Kafkaesque sensibility that I've seen” coming up with a range of analogies in which the movie may be an Ode to Kafka, and subsequently, their best work to date. Other critics agreed and enjoyed the fact that contrary to its title, it wasn’t that serious at all.
At the Toronto International Film Festival, director Sam Mendes claimed the recession had finally hit the cinema industry. He alludes to the fading monopoly of the industry, meaning earnings have to be vastly distributed leaving small amounts for production, but the actual sales remain higher than ever. Take a look at the US Box office where companies such a media monster Viacom had a record summer selling $4.3bn worth of movie tickets. And judging from the immense selection of movies on offer for the new year, it´s clear industry players want to keep this trend going. Be it with artistic motives, or for the sake of capitalist opportunity, it seems we aren’t short of brilliant movies just yet. Enjoy it while it lasts.
At the Toronto International Film Festival, director Sam Mendes claimed the recession had finally hit the cinema industry. He alludes to the fading monopoly of the industry, meaning earnings have to be vastly distributed leaving small amounts for production, but the actual sales remain higher than ever. Take a look at the US Box office where companies such a media monster Viacom had a record summer selling $4.3bn worth of movie tickets. And judging from the immense selection of movies on offer for the new year, it´s clear industry players want to keep this trend going. Be it with artistic motives, or for the sake of capitalist opportunity, it seems we aren’t short of brilliant movies just yet. Enjoy it while it lasts.














