An Open Letter to TIFF

"Can you lower your triangle of sadness?"

A casting director tells a male model in the opening of Reuben Östlund's Palm d'Or winning film Triangle of Sadness, which premiered at the Toronto International Film Festival last night at the Princess of Wales Theatre. A remarkable film that shows that Östlund continues to push the bar on provactive cinema, this time tackling aspects of the rich and capitalistic mindsets that govern our world. I was perplexed, mesmerized, but at the heart of it all I was upset, angered, enraged, because this film represented in a way, everything that TIFF has become.

As much as I loved this film and everything it represents. I couldn't help but be a little pissed off that the seat I was sitting in to watch this movie was $80. A new Tier A system that TIFF had incorporated into their ticketing prices this year. A grand feat from when I used to work there, as well as attend for over a decade now, when ticket prices to a premiere (premium) screening was $40. Which in its own right is a wide stretch for a movie ticket. Charging higher tier levels limit not only one's ability to afford to go, but also create a power dynamic that has never been the heart of what this festival means to me. This was the first year I started calling TIFF a capitalistic festival, instead of one for the people.

TIFF to me has always been a festival for the public because without them there would be no audience. I have spent my blood, sweat and tears immersing myself into this festival but this year was one where I really considered the question, is it still worth it?

Financially no, it's not. A standard day time screening is still roughly $20, which isn't too much of a stretch when an IMAX release can go to $22, but that's IMAX, and TIFF is well TIFF. You go to the festival to be a part of the experience of cinema goers, and see movies before anyone else. This comes especially important for the celebrated film premieres where fans line up and wait to catch a glimpse of their favorite stars on the Red carpet. Some people devote their days and nights for ten days of this festival to be a part of the power of film, because perhaps they can't afford it, or if they could, they probably couldn't get tickets.

Firstly let's talk about pricing. Back in the day a premium ticket which includes premiere red carpet galas and special presentations were $40 bucks each. All tickets were general admission which meant equality. Everyone has equal opportunity to attend and get a seat at the festival if they lined up early enough to get the best spot. In the past I've lined up 2-3 hours before a film started just so I can get that perfect centre spot and immerse myself in that experience, because I'm a cinephile but I'm also just absolutely crazy about film. For everyone I've ever met in a TIFF line up I could see that they were too. There was no difference between those who stood in line for a public screening in regards to price point because everyone paid the same amount, and each seat, no matter what level of the large theatres that exhibited these films, was determined upon your ability to line up and wait.

This shifted a few years back when TIFF introduced assigned seatings. A normality in concerts and other ticketed events, but a bit of a disruption for usual festival goers because the power of where you sit was no longer in your hands. The control was given over to the machines that assigned you your ticket, or if you are lucky and on time to login you can choose your seat, if there's availability.

TIFF has had a variety of ticketing systems over the years since I worked there, but it was only in the last few years that they had partnered with Ticketmaster to solve the issues of consistently crashing every year on single ticket day - the day when all single tickets can be purchased online, on the phone or in person. Every year there's a crash, every year there's an issue, and no one gets tickets to their top film lists. This is because of a membership tier system that TIFF is known for because they are a non profit organization. If you are a member, which they encourage every year to join, you get an earlier start day to get your single tickets. TIFF also offers ticketing packages where you can buy multiple tickets and get an even earlier start time to redeem your tickets before the general public on single ticket day. This gives you the opportunity to select your seats and tickets for your films before they are all sold out by the public on sale day.

A single membership is roughly $99/year, but they have higher membership levels that can start from $450 for Contributor's Circle ships and move well beyond the thousands for a Patron Circle membership which is tiered Platinum, Gold, Silver and Bronze which starts around $2000/year. This is ludicrous pricing for memberships. Your yearly membership does not include your film tickets for the festival. The perks with each membership determine your start time for ticket package redemption as well as when you can purchase single tickets. This elitist approach has already separated those that can afford and those that can't go to the festival. You don't have to be a member to go to the festival, you just have to wait until single ticket day. As much as it is a festival for the people, the availability of what films you want to see is determined by those that remain after the higher tiered members have already secured their tickets. What remains are the scraps by single ticket day. Any big premiere profile films are unavailable by single ticket day, making individuals new to the festival without a lot of options to get tickets - a rush line or from a third party.

A Rush line is where people can line up early to have a chance to a seat in a sold out screening for a lower price point - closer to $40 for a premium and $20 for a regular screening, just the way it used to be all in. Fifteen minutes before the film they allow rush tickets to be given out depending on how many seats remain in the theatre. Your ability to get a seat is also determined by how early you stand in line. The longest I've stood in line for rush is probably 3 to 4 hours which not necessarily guaranteed me a ticket. I was once turned away after waiting hours in line to only come a few people close to getting in. Rush is a gamble. You are rewarded if you are insane enough to arrive five hours before the screening, but who has that sort of time?

One thing that angered me tonight was the fact that in my Dress Circle second row centre $80 seat where I could see the screen perfectly and was to that point satisfied, I couldn't help but notice that a few seats to my right on the first row there were empty seats. But not just one or two, but almost a whole section of about 8 seats were empty before and during the screening. These are seats that I assume we're purchased by a Patron Member, holding the luxury of an early start time perhaps, buying some of the best seats in the house and not attending. Or, and this may be a stretch, a Ticketmaster bot that had gotten the good seats and a scalper trying to resell the tickets that they were unfortunately unable to sell. From both scenarios the former seems a bit more likely, but I could be wrong. Regardless here are a bunch of amazing seats available that could have gone to these troopers in the Rush line. One that I saw stretch from King St up and passed Adelaide and maybe even into Richmond. Like I said some people are crazy and will line up for hours for a premiere screening. So this leads me to believe that someone wasn't doing their job. Whoever was supposed to be coordinating rush didn't count out empty seats and those that were turned away at the start of the movie missed out on the best seats in the house and TIFF lost out on a little extra profit for their non profit organization.

This is where the idea of double booking came to mind, the first time I ever acknowledged that this could be an issue. Wherein the ticketing system could have made an error and released more tickets than there were seats. This was the case for Monday night's screening to Glass Onion: A Knives Out Mystery. A film so popular that Netflix gave it five screening slots. All of which were sold out. So what ended up happening at this particular screening that I attended was that a bunch of individuals came up from Rush, or a bunch came up as ticketholders and couldn't find a seat. Staff immediately called upon the audience to move over if there's an empty seat or to let them know if there was available so they can sit everyone and start the film on time. This was not the case and time progressed as people looked for seats. It has gotten to a point where staff or volunteers has said that, no one was allowed to reserve seats for their friends anymore, if they weren't in theatre than it's too bad because these people waiting needed to be seated. “If we see a jacket or coat over a seat you are saving, we will remove it so that these people can get a seat,” is what I heard and was absolutely mortified about. I read online that people who got popcorn couldn't return to their seats because they were now gone. Many people were turned away as the screening began. So another wild and outrageous moment to befall this once graceful festival.

It's unfortunate that TIFF falls right at the start of the Mercury Retrograde. Yes, that time of the year where all communication and technology goes on the fritz for three weeks and people are in absolute chaos. What a perfect time to bring thousands of people into downtown Toronto to see films!! Not only are wires of communication crossed, people say the wrong thing or act the wrong way, but technology also seems to malfunction. My data internet wasn't loading as I approached a theatre trying to get my ticket on my phone. How in need we are to our devices ! How subservient we have become to our technology, that the act of ripping a ticket to a film is now a thing of the past. It's not fair to blame all disorder upon Mercury, though it is a major culprit at this time. But regardless of the astrological influences, there are still major issues that arise during the festival every year. It wouldn't be TIFF if something dramatic didn't make the news.

I for one have gotten tired of the drama, I just want to save it for the screen to show me. Life has been too chaotic enough in the last two years to include anything else to shock our systems. We go to films to escape the traumas of the planet and immerse ourselves into art, into the love of cinema that can take us places we could never go but always have wanted to be. It's just a shame that a large percentage of film lovers don't get this opportunity. TIFF is important to me because it takes me to places I've never been, feelings I've never felt, and experiences I could never dream of. I ahve laughed, cried and healed through movies at this festival and I hate that others cannot experience the wonders these film can offer.

The large disparity of what the festival has become in terms of monetary and financial affordability limits regular film lovers the opportunity to attend. If they can afford it, they can't get the tickets from those that can afford to dig a little deeper into their pockets for a chance at the better seats that they eventually don't even attend. And those that have no idea how to even get tickets are stuck waiting at the Red carpet for a piece of some of the action, simply happy to say they saw “insert your famous actor here.”

When you truly look at what we have become as a society you start to see the madness. But if it weren't for films to show us this state of humanity do you think we'd figure it out for ourselves? Is the need for art still important so that we can put the mirror up to our own nature of being? What can challenge and shift us into social change but art? We need art in our lives more than ever, it's just a shame that the value is more attainable for a small percentage than those of the greater public, those that watch with humility because they love film. The same people that buy the tickets to get into the seats that power the box office cycle. The people that fuel this industry. When did the industry decide that the value of the people was no longer valid unless the price tag dictates otherwise?

The triangle of sadness refers to the middle part of the forehead where the eyebrows meet. That little section that wrinkles with stress. A small symbol to name a film, but one that captures an enormous degree of frustration and meaning towards how we choose to live, and what we place value in. This is a movie where a bunch of rich people board a yacht to only have it capsize and experience the polarity of their position. Not only do we worship our capitalistic society, we strive to push it past the limits, to raise the shock value and attain a greater stake in an experience. What is more valuable than an experience? Some would say a lot less than the price of a movie ticket.

Eternals

I get overly excited about Marvel Studios films, everytime I see one I know I'm in for a treat because it is always an emotional experience. I've probably cried during the last three of them due to an overwhelming degree of humanity and the overarching themes of love, loss and heart these films exhibit through characters and stories that resonate archetypes and mythology of storytelling. For anyone that throws shade at Marvel, I can only say that it's probably a projection of jealously at how well a studio has done for themselves in ten years, because the output is beautiful, majestic and resonates on themes that hit to the core.

I've been waiting to see Eternals for years now, and I can say that it is a stunning display of wonder and awe, and contemplates on how we understand our humanity, and questions our place in the universe. There are deep themes of love, longing and loss. There is an appreciation of history over the centuries and the nature of humanity's behaviour throughout the ages; choices that hurt and brought pain, and those that healed and nurtured. The Eternals are reflections of our truest selves, as they are known to have existed for centuries, and thus resonate the deepest traits of human emotions.

In this film I saw our strengths, our weaknesses, our capacity to love, our faults and angers, the emotions that bring us down and rise us up, our darkest pains and greatest joys, and at a time where we have truly lost those we have cared about, been taken away and separated from each other, it has taught the respect for unity and togetherness. Yes there are superheroic action sequences, and yes there are CGI creatures to battle, but there are beautiful locations all around the world, there are amazing performances by some of our most talented actors, and it is helmed by a truly gifted and talented director. Chloe Zhao has brought a film about family, how we need each other at a time when we have become so divided, so far. But there is always time for rebirth and as we say goodbye to the first ten years of the characters we loved in the Avengers, it's time to welcome a multitude of wonderful souls within the wonder that is Marvel.

#Marvel #Eternals

The Story of Marvel Studios: The Making of the Marvel Cinematic Universe Book Unwrapping!

I just got a copy of the brand new tome of a book about the making of Marvel Studios by Tara Bennett and Paul Terry.

Here’s my first unwrapping video of this gorgeous hardcover collector’s edition!

The Story of Marvel Studios: The Making of the Marvel Cinematic Universe

Details about the book and where to purchase on the main website here :

• 512 pages chart the entire history-making story of Marvel Studios—from its inception, through Phases One, Two, and Three, and to the dawn of Phase Four

• Featuring more than 200 interviews with the studio’s staff, cast, and crew for all 23 movies in The Infinity Saga

• Includes more than 500 production photos, plus never-before-seen filmmakers’ archival materials and personal memorabilia from the cast and crew

• Deluxe two-volume, foil-stamped cloth hardcover set, featuring exclusive cover art by Ryan Meinerding (Marvel Studios Head of Visual Development)

• Metallized reinforced slipcase with exclusive wrap-around MCU concept art montage, featuring art by Adi Granov, Ryan Meinerding, Andy Park, and Charlie Wen

• Foreword by Kevin Feige (President of Marvel Studios and Chief Creative Officer of Marvel)

• Afterword by Robert Downey Jr. (Tony Stark/Iron Man)

The Last Duel: or How Perspective Alters the Truth

JODIE
MATT
BEN
ADAM
NICOLE
RIDLEY

THE LAST DUEL

There are elegant subtleties of tone, perspective and performance showcased in this film that displays artistic mastery of cinema.  Such work under the helm of the great Ridley Scott, achieves a profound transference of energy marveled by the story that Ben Affleck, Matt Damon and Nicole Holofcener have brought to the table, albeit one of difficult subject matter, it is an important feat that demands one's attention, especially for the times we live in now. 

A story of rape is a hard pill to swallow, and is one people often avoid due to the horror of the subject matter, and the delicate requirement of its conversation. Cinema is a way for people to actively and effectively discuss it with sensitivity and respect as it is raises to such a degree that no eyes or ears can turn away, and when it ends is where the real conversations can be made. Ridley Scott expands the scope to a visually epic display, that encompasses cinematic realism to push the conversation into full form. By taking a true story of rape in the medieval 14th century, there is a grandiose display of a period where knights duel to the death for honor, loyalty and pride, but what it leaves behind is the tragedy of a time of despair for the women who endured such hardships. 

One cannot watch a film set in 1386 Normandy in a theatre in 2021 without knowing full well the current climate of predatory behaviour upon the victims of rape and the truth behind their stories. A film like this shows the truths being told within our present have been built upon the traumas of our past, the cycles of pain, silence and fear of speaking out due to, as the film so aptly puts it "the power of men."

What Ben, Matt and Nicole have so delicately done in their each telling of a perspective of character in similar fashion to the storytelling of Rashomon, is allowing their actors to explore subtleties of silent expression to manifest their thoughts and feelings, which are often askew and glanced over when repeated and shared after the fact. By differing perspectives, it allows the audience to understand how one may portray their "truth," and how that may be differed in the eyes of those present in the act, in this case the rape of Jodie Comer's Lady Marguerite.

Adam Driver's Jacques Le Gris, the perpetrator of the act, who's story of the truth is displayed in the pursuit of love masquerading his sense of pride. His insistence of belief that Marguerite feins interest in him clouds his judgment to follow through with his advancements upon her, and he sees the sexual act akin to how he would treat his ladies of the court that already lust after him. It is his personal justification that she deserves to be with him rather than her husband Jean de Courrouges (Matt Damon) that merits his sinful act. What Adam Driver has always been marvelous at is owning the space he is in, as he does so not only with his sheer height and physicality, but the way he commands and controls with his voice and presence. His gaze longs endlessly and it is that strength and will that pushes forward his want as Jacques Le Gris. It is with his rugged power and force that he dominates the battle fields, but his intellect and charm that also wins over Ben Affleck's Count Pierre d'Alençon's fealty and prized friendship in his court. Amongst the companionship of the Count, Le Gris was able to gain kinship and loyalty, but also partake in the many spoils and luxuries of women, land and promotion in rank. But like all boy's clubs that engage in lustful acts, it is not until Le Gris is accused of rape by Courrouges, that Pierre gives council to his defense. And like all boy's clubs that value their face and standings, his advice was to "deny, deny, deny."

By portraying the film in three acts, each showcasing the truth told by Jean de Courrouges, Jacques Le Gris, and the Lady Marguerite, in that order, we as the viewer are able to see the evolution of the story, and truth unfold through varying perspectives. As the first two acts display the men's stories, we see that both men attribute their skills on the battlefield to a high degree, and their respect for women in similar merit. De Courrouges, a true warrior at heart, but broke to his name vows for the hand of Lady Marguerite, knowing he will receive a fine dowery in return, which grants him a stable standing and land he feels he is owed. That is until Le Gris, now a liege to Pierre, his bookkeeper and tax collector, receives the land owed to de Courrouges and a gift from Pierre. Once friends on the battlefield have become rivals in wealth and court esteem. De Courrouges looked down upon by the Count, and Le Gris favoured. The only thing of value to him is the beautiful Lady Marguerite. While wars have been known to be fought over women it is just fitting that Le Gris' fancy towards her incites jealousy, love and lust. So while the first two acts portray two squires ranks of nobility it also showcases their hindrance of morality fall in pursuit of a woman that will ultimately decide their destiny, as de Courrouges' accusations lead to the final judicial duel to the death. 

In the first two acts we see Lady Marguerite's compliance to the marriage to de Courrouges. She follows the orders of men, and tends to her husband's ownership in his eyes to fulfill her duty as a wife, to bring him an heir, which she has failed to do in the first few years of their marriage. We see that her will is rarely her own, and though she yearns to give birth and please her husband, she cannot but lose heart to her lack thereof. While through Le Gris' eyes she is seen a beauty and charm to be added to his list of accomplishments and accolades. Known to be a womanizer in the courts, he can't help but take what he feels he so rightly deserves, again away from de Courrouges. It isn't until we observe the final act in the Truth According to Lady Marguerite, wherein the titled words all fade away leaving the word "Truth,”it's clear, that this perspective, written by Nicole Holofcener, demands the most attention.

What is remarkable about Jodie Comer, which has been showcased in her previous works, more so highlighted in the marvelous Killing Eve, is her own attention to detail, and absolute mastery of subtleties. These little twitches, looks, glances, shifts in tone, timing and thought, all attribute to her wonderful ability of raising the bar for the whole film. She is captivating in her silences, for it is within her eyes, as the viewer, that we see and understand the truth of her torturous existence. In her act we see her pain; in being married off akin to being sold like cattle; how her purpose is to make an heir but endure the rough sexual intercourse to a brute; to be lusted after by another squire of court, and when she turns down his advances, is ultimately raped, and now stands trial for her truth. Her existence is a struggle to fight not only for the sinful injustice done to her, but for her voice to be heard, and to not be silenced. Her will to speak is the breaking of the wheel held by powerful men. It is in her eyes that the vocation to be a mother, and hold worth, to stay alive in a horrible world without rights means risking everything. In her perspective, even admitting that she was raped by another man to her husband is met with anger, rage and denial. There are subtle differences in shot angles, dialogue shifts and changes that Ridley Scott accurately places that allow us to feel the Lady Marguerite's position. By moving in on an extreme closeup, we see in Jodie's eyes and mannerisms, the full weight of her position, her fear, her sadness, her struggle. This differs from the previous two acts shown in favour of the men’s feelings of how her accusations will hurt their namesake and titles. Which is why, even once the duel is fought and won in her honor, it is ultimately for the pride and name of Jean de Courrouges as victorious. The Lady Marguerite’s victory is not that she was believed, but that she is alive. For this is a time where even if you are believed in the eyes of God, there will only be acts of man that justify and merit your existence. 

The Last Duel is a film that will leave many feeling shortchanged, off, and uncomfortable. But that is a small price to pay to gain a little perspective. If only a percentage of what is felt can amount to the scale of what is shown then there is work being done, and it seems that is all the creators ask for. With all the spectatorship and epic allure of period piece costumes, sets, horses, battles and grandiose scope of action, the bare essential underlying question is, "do you believe the truth when it is asked of you?" Because this is a hard topic to discuss, let alone to portray on screen. But if for a mere two and a half hours, one can hold their attention and listen, observe and believe, it will be a fraction of what women have had to endure for centuries. If this film works in being able to ask the difficult questions, then we as a more conscious people can begin to look for the right answers, and help those still lost and struggling to find the strength to speak their own truth.

Edward Snowden’s ‘Permanent Record’

I finally finished #EdwardSnowden 's book Permanent Record. It's probably the fastest book I've read of it's size and depth, several hours over about a week, but I have to say I'm floored by the brilliance of the craft, and the heroic persistence to get this information to the people.

Even in writing this I know it's being monitored, maybe even silenced or put into a corner of a watchlist on some algorithmic board of other awakened individuals. But for anyone who knows me, I value my privacy and delve deep into aspects of secrets, Hermetics, cryptic and conspiratorial depths of analysis written for the alternative to mainstream consciousness. So it's by no by far from me to read Snowden's book when I found it in the library. It provides more details that were originally shown to me by the documentary Citizenfour and Oliver Stone's Snowden, both of which I highly recommend, as well as many interviews I've seen of him, but to read his personal story and account of his journey was something that fascinated me to my core.

Ultimately the premise that underlies my own values, to which I hope most people see as one of truth to one's personal rights of privacy and freedom, to live their lives to their best interests, rather than exposed to altered or skewed perceptions of the public. We can never truly know the depths of someone unless we communicate with them on intimate deeper levels.

A whistle-blower for human rights and freedoms is judged by the American Government as a traitor, a criminal, and demands to be extradited for trial, while the same state fully acknowledges and has betrayed their people's rights for decades, engineering a system of deceit and criminal activity far more subversive and dangerous than we can imagine. Who is the true culprit of these crimes against humanity?

I digress, and open this conversation up to the reader and those who seek the truth. Research, and be informed, not by what is told to us by a mainstream media conglomerate, but your own intelligence, your consciousness is at war and you deserve the freedom of it's existence. Only when we come together do we unify our understanding of how to live harmoniously, free of perversion or scrutiny, in my hopes, oneness, compassion and care. For we need it now more than ever.

Much love and light,

J

#FreeSnowden #FreedomofSpeech #Oneness #Unity #Compassion