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The 39th annual Toronto International Film Festival was held in Canada from 4–14 September 2014. David Dobkin 's film The Judge, starring Robert Downey Jr. And Robert Duvall was the opening night film. 'The Punisher' & 'Jessica Jones' Canceled By Netflix. Jessica Hausner. Female photographer, Dee, meets a pretty brunette model, Eleanor, in an upscale hotel.
UPDATE: See of this film. I suspect that, when he refers to the 'coldness' of the film towards the end of the review, Fr Hanvey has not taken a full account of the 'stylised' / 'choreagraphed' form of the film. He instead suggests a 'discreet nihilism' - which is perhaps a fair interpretation of Jessica Hausner's premise of separating character from activity. Since writing my own review, I have reflected that, in leaving aside the warmth of the friendships that are typical of a visit to Lourdes, there is an unintended mis-representation of the phenomenon of Lourdes.
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See my last paragraphs below. I posted about this film when it was premiered at the Venice Film Festival earlier this year; on Saturday, Zero and I went to see its UK premiere (sounds very grand!). It was being screened twice in London as part of the London Film Festival. It can be described as a minority interest film in three senses - it is what one would call an 'art house' production, it is a French language film rather than English, and it has a title that suggests a religious theme. For all that, the NFT1 cinema at the British Film Institute was pretty much full for a 9 pm screening on a Saturday night. The film won the FIPRESCI prize (awarded by a jury of film journalists) at the Venice Film Festival, and has since won the (and ). An, can be found at the site of the Austrian Film Commission, and is worth reading before you continue to read my comments below.
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It is a quite enjoyable film to see and does, in my view, represent a genuine encounter of the producer with the phenomenon of Lourdes. The film's credits suggest a considerable collaboration with the Shrine, and scenes are shot in Lourdes itself.
That having been said, I think it would be wrong to view it as being a religious film or as being a film about Lourdes as a religious phenomenon - see the interview with Jessica Hausner to see what I am getting at here. Nevertheless, that a producer such as Jessica Hausner is willing to engage with Lourdes is something that I find quite fascinating. One thing that has to be appreciated about this film is that its artistic style is one of being very 'stylised' (my own word for it) or of being characterised by a certain 'choreography and geometry' (the words of the interviewer, endorsed explicitly by Jessica Hausner). This means that its characterisations are intended to be, and need to be seen as, representative rather than literal. As you watch some scenes in the film, this creates a difficulty in understanding the meaning of the actions and words of the characters, and you end up not quite sure what to make of them. The portrayal of the priest accompanying the pilgrimage, for example, seems rather distant, unwelcoming and perhaps hostile until you see it in a stylised way. This whole stylised nature is stated explicitly (in visual form, of course) in the opening title sequence, which shows the laying out of the tables in the pilgrims hostel for their first meal, and then the arrival of the pilgrims, almost as if it were a dance.