#tiff16

[curiouswildi]

Oscar Isaac at the 2016 Toronto International Film Festival

#oscar isaac #poe dameron #star wars the last jedi #tiff16 #oscar isaac goodies

[jimmoriartyisking]

Andrew Scott and Rachel Weisz with Cali the dog

#andrew scott #rachel weisz #cali the dog #so cute! #tiff16 #tiff 2016 #denial #doggo #own post

[snowflakes000]

https://twitter.com/Sharbs101/status/774248653829443584

#manuel garcia rulfo #manu rulfo #mag7 #tiff16

[goslingfrance]

Ryan Gosling for InStyle Mag by Matthew Brookes at TIFF 2016.

#ryan gosling #la la land #photoshoot #TIFF16

[queen-scarlett-is-here]

#Scarlett Johansson #red dress #TIFF16 #tiff 2016 #tiff '16 #pretty

[cardamomblessing]

going through my old tiff pics and saw this one ;_____; they're so cute

#tiff16 #oscar and elvira saved my life

[rootsreggaehub]

Repost from @blair.inc.family. @rodeopromo - This Saturday September 23rd #UpCloseAndPersonal with #prohgres #xklusive and a very special guest #toronto #Canada get ready #ItsAllAboutTheBusiness #concert #tdot #THE6IX #tiff16 #scarborough #markham #brampton #luxynightclub #rebelnightclub #stadiumnightclub #barcodesaturdays #g987fm #VIBE105 This Saturday #linkup #teamreggae @twilighteventsto @ticketgateway @2linedmusichut

#upcloseandpersonal #toronto #teamreggae #vibe105 #linkup #brampton #markham #stadiumnightclub #concert #canada #tdot #barcodesaturdays #itsallaboutthebusiness #tiff16 #luxynightclub #scarborough #prohgres #rebelnightclub #xklusive #g987fm #the6ix

[elzorab]

Hey everyone, please click the link in my bio to watch my short doc #TiffedOff which details what happened last year when TIFF stole my work and the words #infiniteviews for their ads. Thank you so much ! This is the link for the video... https://m.youtube.com/watch?feature=youtu.be&v=mOk-6l-1jIw #tiff17 #tiff16 #2017 #filmfestival #to #movies #toronto #tdot #thesix #canada #hogtown #torontofilmfestival #ontario #artcouncil #candaartacouncil #festival #ontarioartscouncil #canadianart #ont

#toronto #hogtown #festival #filmfestival #canadianart #tiff17 #2017 #torontofilmfestival #tiff16 #to #tdot #tiffedoff #ontarioartscouncil #candaartacouncil #infiniteviews #artcouncil #thesix #canada #movies #ontario #ont

[aaroneckhartweb-blog]

#repost @ccphotophoto #calimondays today is blonde hunk and major #mancrush #AaronEckhart who brought #twoface to life brilliantly in the best #batmanmovie there ever was (rip #heatthledger )...he was in town for #tiff16 promoting the film #bleedforthis with his costar the now very buff #MilesTeller ....I think Mr.Eckart is the poster boy for the #squarejawcleftchin ideal... he's very nice and very dreamy ( #obvs )

#squarejawcleftchin #heatthledger #repost #obvs #twoface #bleedforthis #calimondays #aaroneckhart #mancrush #batmanmovie #tiff16 #milesteller

[cityoffandommadness]

#gif #Andrew Scott #tiff16

[elena-et-les-films]

How the West was Lost: Revisiting HELL OR HIGH WATER (2016)

Hell or High Water 

The simplicity and the over nobility of its political message bothered some on release, yet that is not necessarily the biggest of Hell or High Water's problems. More disappointing is the way in which the film’s argument and its undeniably intelligent structure are so often made too overt, overriding its depth and nuance. What could have worked as interesting subtext in a film centred on fully-fledged characters here becomes the sole focus of the film. Subtext has become text, and in turn the characters are not presented as fully realised people but rather as ciphers, as representatives of ideas; mechanisms at the service of a clever construction.

This phenomenon, already visible in Taylor Sheridan's work on Sicario (2015), seems to be a symptom of the popularity of films that work like clockwork. An intelligent construction has become so fashionable, a mark of 'intelligent' and Oscar-worthy filmmaking, that what was once subtext - that which once worked in tandem to the narrative mechanisms at work in a film - has now been fully brought to the fore. With this will to make movies as outwardly efficient and economical as possible has come a need to jettison subtlety, ambiguity and nuance - the key ingredients needed for an emerging subtext - in favour of overt and demonstrative clarification of theme. This allows (re)viewers to more easily detect the intelligence and sophistication of the director, and yes, to flatter themselves for 'getting' the film. 

Sicario

The most troubling aspect of this tendency is not so much the ego-trip of the film's writer, rather, it signals the end of real entertainment. Discovering a film’s subtext, the influence it has on how characters work and how we understand them is one of the biggest pleasures to be enjoyed in film viewing. When all of a film’s elements fit perfectly - that is, when characters are not real people but merely pure products of their circumstances - and all the work is already done by the film itself, there is little fun to be had.

A counterexample to Hell or High Water is James Mangold's Cop Land (1997), a film with similar scale, laconic tone and tragic overtones. That film also works like a well-oiled machine, finding all the narrative beats of the classical western across its runtime. Yet unlike Hell or High Water, it remains surprising and thrilling throughout. This is partly due to the fact that the film is largely indebted to the Western. In a bared landscape where the basics of civilisation and humanity are constantly questioned and under threat, every look, every object, and every action takes on an overt meaning. This obviousness, this inescapability, is inherently tragic.

Cop Land 

In George Stevens’ 1953 film Shane - which Cop Land heavily references - and in countless other Westerns, there is no escaping the overt significance of a gun. In another genre set in more civilised society, one can find valuable reasons to justify its existence and use. But in the wild landscape of the Western, a gun is just a weapon meant to kill. The same tragic overtness is at work in Cop Land. When sheriff Freddy Heflin (Sylvester Stallone) visits his ex-girlfriend at her house, a picture of her husband on a shelf is a painfully overt sign that she has moved on. Similarly throughout the film, Heflin is confronted with tragically obvious evidence that his police friends are corrupt.

In Hell or High Water, facts are also presented in a painfully matter-of-fact way. Boards that read "IN DEBT?" on the side of the road brutally highlight the economic desperation in Texas. A man on the peripheries of the film is seen escaping a fire with his horses, indicating the vast isolation of the space. However, this powerfully blunt presentation isn't so much aimed at the characters, as it is in Cop Land and Shane, but rather it is aimed at us, the viewers. It is in this respect that the film falls into the demonstrative trap already found in Sicario and before it Andrew Dominik's crushingly didactic neo-Western Killing Them Softly (2012).

Shane

Of course the harsh context presented in the film does influence brothers Toby (Chris Pine) and Tanner Howard (Ben Foster). The men are so desperate they decide to rob banks, and to a certain extent, the bluntness of this presentation works to explain why they go to such extremes. Yet unlike the lead characters of Shane and Cop Land, the Howard brothers never actually try to overthrow this tragic situation. Their actions are perfectly in line with the economic crisis. The intensely matter-of-fact presentation does not go against the grain of these characters as it does for those in Cop Land and Shane.

In both Mangold and Stevens' films, the horror and injustice of the criminals seen grows more and more obvious and thus increasingly violent. This escalation fits with the lead characters' unrest, characters who ultimately decide to change their situation. In Cop Land, Heflin stops turning a blind eye to the corruption of his police friends when he becomes aware of just how violent they can get. Likewise in Shane, the ex-gunfighter abandons his excuse for passivity and for owning a gun when the outlaws become more and more ruthless - the film features one of the most shocking deaths in all Westerns. In a deadly showdown, he annihilates his enemies before leaving the town and declaring "there aren't any more guns in the valley."

In Hell or High Water such brutal overtness has no effect on the two lead characters and thus feels gratuitous. When Tanner breaks the rules and kills someone during a botched bank robbery, Toby does not react in any particular way. The plan stays on, and they move on to the next bank.

Hell or High Water 

Only Texas Ranger Marcus Hamilton (Jeff Bridges) is affected by the increase in overt horror and violence. When his partner Alberto Parker (Gil Birmingham) is swiftly, bluntly killed by Tanner, Hamilton takes the matter into his own hands and decides to put an end to it all himself - just as Shane and Heflin did before him. Hamilton is the only character that feels like a real person in the film precisely because he is not simply a vessel enacting the film’s thesis about the tragic, inescapable cycle of economic misery in Texas.

The obviousness of that message actually makes sense in the context of this character, because this overtness has an effect on him and he goes against it. Indeed, the increasing violence of the bank robberies - culminating with the murder of his colleague - are direct results of the economic misery of Texas. Thus in killing Tanner, Hamilton revolts against this miserable situation and attempts to overthrow it.

Hell or High Water 

One could argue that the bank robbers are the true rebels, but they do not overthrow the system: they turn it in their favour. At the end of the film, Toby recovers the family ranch by paying off the debt owed to the Texas Midlands Bank with the money he and his brother stole from various branches of the same bank.

After Hamilton’s revolt, it is a shame that the ending sees him return to being a powerless vessel in Taylor Sheridan’s hands. Hamilton lets Toby go with the money he stole for no other reason than to let the film enforce an artificial sense of tragedy much less powerful than the stand for dignity and human values that both Cop Land and Shane execute so well. In a final scene so 'written' it hurts, an actual sense of disappointment is felt as Hamilton disappears into the narrative cogs of David Mackenzie's film as swiftly as he managed to transcend them.

By Elena Lazic.

#hell or high water #david mackenzie #elena lazic #tiff16 #western #cop land #james mangold #shane #george stevens #review #critique #cinema #jeff bridges #chris pine #ben foster #gil birmingham

[rachelweiszcraig]

Rachel Weisz l TIFF16 Portraitsi

#Rachel Weisz #TIFF16

[oliviacookeworld]

‘Katie says goddbye’ 2016 Toronto International Film Festival - Portraits, Los Angeles Times

#olivia cooke #wayne roberts #chris lowell #mireille enos #toronto film festival #2016 #TIFF16 #katie says goodbye

[snowflakes000]

http://m.post.naver.com/viewer/postView.nhn?volumeNo=5049885&memberNo=21724264

#manuel garcia rulfo #manu rulfo #mag7 #tiff16

[soldierofcinema]

Soldier of Cinema’s aka Robert Mitchell’s Video Diary of his adventures at the 2016 Toronto International Film Festival.

#toronto international film festival #tiff #TIFF16 #midnight madness #red carpet #Interviews #paul schrader #morgan spurlock #sunny pang #Iko Uwais #SADAKO vs KAYAKO midnight madness #rats #dog eat dog #horror #cinema #Robert A. Mitchell #soldier of cinema #video #videographer #video diary #Toronto #film festival #Sean Gunn #joe bini #julia ducournau #Raw #Grave #gemma arterton #michelle rodriguez #michael fassbender

[sianrich68]

#Reposting @we.love.chadwickbose -- #chadwickboseman was interviewed (along with Teresa Palmer & Fabrice Du Welz) at #TIFF16 last year by #VarietyStudios about #MessageFromTheKing check it out! @chadwickboseman #movies #netflix #netflixmovies #netflixoriginal #blackpanther #captainamerica #actorslife #makeupbyme

#reposting #netflix #varietystudios #chadwickboseman #makeupbyme #movies #blackpanther #actorslife #netflixoriginal #tiff16 #captainamerica #netflixmovies #messagefromtheking