by Jason Osiason

Presented below is the first installment in a series of four, showcasing the highlights from my experience at the 2023 Toronto International Film Festival.

Anatomy of a Fall:

Anatomy of a Fall is a controlled and understated take on the “whodunit” sub-genre. It opens up the wounds of a relationship gone cold, both metaphorically and quite literally, crafting an engaging courtroom drama. Sandra, played by Sandra Hüller, finds herself in the midst of this drama after her husband’s mysterious death, which forces her to confront the painful realities of her marriage and the emotional fallout it has on her son, Daniel, portrayed by Milo Machado Graner. This film primarily focuses more on the nuance of emotion rather than the circus of judicial procedurals, highlighting the strained relationship between Sandra and her son.

It’s an intensely thrilling mystery, peeled back layer by layer to reveal bitter truths, uncertainties, and questions of trust and belief in one’s love for another. Sandra Hüller, as Sandra, delivers a powerhouse performance, and, alongside the restrained and methodical direction of Justine Triet, makes for one of the most exciting releases of the festival season. Perhaps the most revealing component of Fall is Milo Machado Graner’s performance as Daniel, which leans into the harsh truth of what the movie is actually about. It’s not a question of whether or not she is guilty of killing her husband, but why? Daniel’s perspective adds depth to the narrative, showcasing the emotional turmoil and complexity of understanding his mother’s actions and the disintegration of his family. [A-]

The Boy and The Heron: 

Hayao Miyazaki’s The Boy and The Heron — the master auteur’s first film in just over a decade — is a testament to the enduring power of such a visionary’s imagination. Emerging from a self-imposed “retirement,” Heron is replete with fantastical charm and off-beat humor, feeling like an epilogue or encore to a cinema-defining career. Showcasing some of the most endearingly affectionate storytelling in Studio Ghibli’s recent catalog, this is classic Miyazaki.

The film shifts focus to the character of Mahito and his budding friendship and conflict with the titular Heron. Mahito, grappling with the unresolved grief over his mother’s untimely death, finds solace and adventure in his interactions with the Heron. Here, the film’s true comedy shines, beautifully complemented by genuinely incredible visual storytelling and a flare of childlike wonder mixed with darkness. Mahito’s journey into a spiritual realm where he imagines he can rescue his mother is at the heart of this magical narrative.

With a beating heart of magic and soul, it profoundly explores a young boy’s unresolved grief over his mother’s untimely death and his imagining of a spiritual realm where he can rescue her. If Heron is his swan song, it is truly divine. [A-]

The Zone of Interest:

Jonathan Glazer is a filmmaker who rarely works in black and white, often forging a middle path in narrative intent and storytelling techniques. The Zone of Interest attempts to adopt this style but isn’t as successful or varied. It aims to portray history’s worst evil through the lens of ordinary people and their families, particularly from the perspective of a father struggling to maintain his family’s utopian lifestyle while his job as one of history’s greatest mass murderers is threatened.

This approach is certainly unique, but it ultimately feels more like a simple acknowledgment rather than a profound exploration. As we follow the father, who is striving to balance his heinous occupation with his domestic life, the film delves into the disturbing normalization of atrocity within a seemingly idyllic existence. Although provocative in its intent, the film is at times hollow in its execution, leaving the audience questioning the depth of its message.

Despite this, Glazer’s perspective is undoubtedly intriguing and opens up for wide-ranging discussions. I only wish there had been a clearer throughline connecting the intent with the finished story, which occasionally targets those blissfully unaware of the horrors lurking in the shadows. There’s much to discuss here, but it doesn’t fully come through in the film. [B-]

The Royal Hotel:
Welcome to the bar from hell. The Royal Hotel is an extremely impressive directorial exercise, showcasing Kitty Green’s remarkable skills, following her debut feature of equal quality, The Assistant. It features friends and American backpackers, Hanna and Liv, portrayed with prowess and passion by their respective actors. They abandon their corporate jobs for a chance to free themselves in Australia, saving money while working at a local bar teeming with the dregs of society.

The Royal Hotel deviates from the typical ‘all men are bad’ formula by building overwhelming dread, misery, and tension through an extremely intelligent script. It cleverly teeters on the edge of the intolerable, endlessly approaching but never quite crossing the line of no return. The film’s atmospheric cinematography further amplifies the story’s unsettling mood, making it a visually captivating experience, and solidifying Kitty Green’s place as a director to watch. [B+]

Dream Scenario

Surrealist filmmaker Kristoffer Borgli follows up his phenomenal Sick of Myself with his latest work, Dream Scenario, exploring the deep absurdist depths of cancel culture and the philosophy of being a living, breathing, metaphysical meme of momentary internet fame. Nicolas Cage delivers gold yet again as a distressed professor who becomes a widespread sensation after inexplicably appearing in the dreams of everyone around the world. No longer a joke amongst his peers, he has become a viral topic of conversation due to the world’s shared experience of his character, Paul Matthews, for better or worse, as he struggles to keep his life together atop his newfound stardom.

Think Charlie Kaufman with a very dark, absurdist, misanthropic twist. The film is a whirlwind odyssey that doesn’t look for easy answers but provides biting commentary on the relevant topic of cancel culture facing our modern society. Although the film sometimes loses sight of its overall larger point, it takes unique narrative twists and turns that prove to be highly satisfying. The entire ensemble gives excellent performances, with Dylan Gelula delivering a standout performance as a publicity associate who reenacts her dream sexual fantasies with Cage in one of the film’s most memorable sequences. [B]

Fallen Leaves

Fallen Leaves marks my delightful introduction to the world of Kaurismäki. The film unfolds with the tender precision of a master who watches over the working class, not with pity, but with a profound and affectionate understanding. It follows the story of Ansa and Holappa, two lonely individuals who find each other in the most unassuming of places. With its wry humor, it captures the everyday oddities of life, wrapping its keen observations in the warm embrace of a love story that is as hopeful as it is sincere.

Ansa, portrayed with subtle grace, works at a grocery store, while Holappa, played with a quiet charm, is a construction worker. Their romance proves that even amidst hardship, the human spirit can find companionship and joy. The director’s vision is complemented by cinematic nods to Jim Jarmusch, threading a tapestry of references that are as delightfully unexpected as they are fitting.

In its entirety, Fallen Leaves stands as a testament to the resilience of love and the enduring charm of human connection, all while echoing the unique voice of its creator. A film that is not only enjoyed but felt, it leaves an indelible mark on the heart and the mind long after the credits roll. [B+]