Spotlove Closes Toronto

The end of the 26th annual Toronto International Film Festival was really an end to an unexpected and shocking week. Already subdued from last year’s anniversary festivities, this year’s fest was more a celebration of the films rather then a red-carpet rollout for the stars. After the horrific events of Sept. 11 unfolded, that motto was solidified. After one day of cancellations, the festival rolled on, acting as a beacon of perseverance in the face of tragedy. As festival director Piers Handling put it, “we found solace in each other, occasionally losing ourselves in film.”

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Spotlove Does Toronto

Jesus, if one more fucking idiot bumps me in line with his Mama Cass-sized backpack, I’m going to force him to watch Joel Schumacher movies until his eyes burst… oops… back to my column…

Hey folks! The good Doctor’s here for a brief intro note from the 26th Annual Toronto International Film Festival. Bigger then Sundance, more accessible then Cannes, and way way cooler then Venice (but hey, what festival isn’t?), the TIFF has assuredly become Cinema Central for 10 days every September. Whether you’re Joe Eszterhas or Joe Public, there’s tickets available and lots to see. And, best of all, the TIFF doesn’t whore itself out to Hollywood. Sure, the studios are in here in tow, but with 60% of the features being non-English fare, this truly is a film festival, and not a Cannes-Cannes for the stars.

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Cannes Roundup

The 54th annual Festival International du Film de Cannes has ended, and yet another film you will likely never see won the Palme d’Or. The Son’s Room, Italian director Nanni Moretti’s tragicomedy about a psychoanalyst whose happy family life is shattered when his teen-age son dies in a freak diving accident, snagged the Boot’s first top Cannes prize in almost a quarter century. The film, which opened March 8th in Italy, has already earned $3.5M in its native country.

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