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In the autumnal buzz of the Canadian city of Toronto, the curtain rose this Thursday, marking the beginning of one of North America’s most prestigious cinematic events, the Toronto International Film Festival (TIFF). Despite palpable tension arising from a significant strike in Hollywood’s acting community, the film industry affords itself a respite to celebrate the art of filmmaking.
Under the stewardship of the festival’s CEO, Cameron Bailey, the Canadian metropolis welcomes the crème de la crème of the cinema industry, including prominent figures from the Screen Actors Guild‐American Federation of Television and Radio Artists (SAG-AFTRA) union, who are at the center of a protest demanding better working and remuneration conditions for actors. Duncan Crabtree-Ireland, the representative of SAG-AFTRA, emphasized the urgency of resuming negotiations, on the sidelines of the premiere of the latest film from legendary director Hayao Miyazaki, The Boy and the Heron, likely presented as the animation master’s final masterpiece at the age of 82.
Opening with a piece that perhaps signifies the farewell of a cinematic giant, the festival promises a program rich in emotions and discoveries. Among the significant works screened is Gonzo Girl, Patricia Arquette’s directorial debut. She will be honored with an award this Sunday for her relentless advocacy for wage equity.
The French cinema sphere also takes center stage with the showcasing of The Undesirables by director Ladj Ly, an intense exploration of marginalized communities in the Parisian suburbs, coming four years after his Oscar-nominated debut, Les Misérables.
Music aficionados are not left behind, with the global premiere of the documentary on Lil Nas X, Long Live Montero, and another dedicated to Paul Simon’s music, In Restless Dreams.
Over recent years, TIFF has established itself as a true barometer for the Oscars, with films honored by the audience award frequently clinching the prestigious Best Picture statuette later on.
In this backdrop, all eyes will be on the debuts of Dumb Money, a satirical take on the 2021 retail investors’ rebellion against large investment funds, as well as Ezra, starring Robert De Niro in a lead role, and Knox Goes Away, Michael Keaton’s directorial feature starring Al Pacino.
In an industry shadowed by turmoil and strikes, the Toronto International Film Festival stands as a convergence point celebrating cinema, offering a platform for independent and international productions, and underscoring, as Cameron Bailey noted, the “strength of cinema at this moment.”
With AFP
