#Harriet TIFF 2019

[preraphaeliteknight]

I saw a picture of Joe on Tik Tok that I have never seen before. He was in a white long sleeve tshirt, black dress pants and black shoes, wearing his watch and his hair is kind of messy. There were people mingling in the background. Any idea what event this may have been or where this picture came from? Because he looks so hot that it may be my new religion.

Do you mean these photos? They’re from the Harriet premiere at TIFF in 2019. He took off the blazer for the after party! 🤗

[whoworewhatjewels]

Best Jewelry Spotted at the 2019 Toronto International Film Festival

Best Jewelry Spotted at the 2019 Toronto International Film Festival from Julia Stiles $115,000 diamond earrings to Sarah Paulson's antique diamond drops

From colorful gemstones to sparkling diamonds the stars brought their jewelry A-game to this year’s TIFF. Here are our picks for the best jewelry spotted at the 2019 Toronto International Film Festival.

JENNIFER LOPEZ: JLO was like a ray of sunshine on the red carpet for the Hustlerspremiere. Holding a glittering Judith Leiber money clutch, the actress wore Amwaj statement winged diamond earrings…

[joealwyndaily]

Joe at the Harriet premiere after party

[thefilmstage]

One of the most famous Americans who has ever lived, despite being born in the humblest circumstances imaginable; whose life was full of heroic actions with life-or-death stakes undertaken despite razor-thin margins of error; who is a figure of enormous moral consequence and whose life spanned an era of great historical import, Harriet Tubman was also a black woman, and thus it is only now, 66 years after The Eddie Cantor Story (for instance), that she is the subject of a Hollywood biopic. This is an obvious observation, but one nevertheless worth making. The flip side of it, though, is that it was always likely that Harriet would fail to live up to its subject—that the conventions of the biopic genre would feel more reductive than usual when it’s Harriet Tubman’s life and times being compressed into a two-hour arc enacted by actors with very 21st-century teeth. And so it proves.

Continue reading our TIFF review of Harriet.

[dottiep]

Anyone who saw Cynthia Erivo in her towering Broadway debut as Celie in the The Color Purple, for which she won the best actress in a musical Tony in 2016, instantly knew that she had big things in her future. It turns out that not all of them center on singing.

[...]

However, the one thing everyone seems to agree about is that Erivo does her part as well as anyone could. We meet Tubman as a slave on a family plantation in Maryland, back when she was known as 'Minty,' having been born Araminta Ross. We see her dreams crushed when the plantation owner rejects a letter in which a lawyer confirms that she, her mother and her sisters should have been freed years earlier, per the will of the person who bought them, and threatens her with sale to another plantation. We witness her gutwrenching decision to leave behind her husband (Zackary Momoh), a free man whose future she does not want to jeopardize, and the rest of her family, and risk her life in a bid for freedom. And we see her taken in by northern abolitionists (played very well by Leslie Odom, Jr. and Janelle Monae), only to feel compelled to go back for more of those still enslaved.

[bisluthq]

I just saw it here, he actually was in Toronto in 2019 for Harriet's promotion and the photos are really good... Anon, can you give us more details?

Yes that’s when he played with the puppers anon is giving an accurate anecdote and he did look ~nice at TIFF but yeah idk why he is like THAT striking and captivating in person and why everyone loses their shit over him.

[scrapyardboyfriends]

Jenny’s Belated Live Blogging - 24th September 2019

- What another lovely installment of ‘I care about none of these stories’ with a side of Damnit Asan!

- The thing is...none of these stories are offensive or even that bad per say....they’re just dull. It’s always rough when we get weeks with none of the main A plots the show currently has going. 

- The stuff with Jai and Laurel and Archie wasn’t much more than moving the plot along. Still enjoy her supporting him though. Also...Dan that was a weak effort you made there with Archie. 

- The Will and Harriet stuff is like...fine?! I mean it’s not the worst story...it’s just worthy of being much more than the D plot and I feel like it’s gone on too long already. Is it this week they get found out and Moira loses it? I think so. That’s good. Time to move on. Because I think they’re fine as a background couple. And I don’t mind Dawn with her dad. 

- The Millie stuff is just so over dramatic. Jamie losing his mind blaming himself when she’s literally fine other than a cast on her foot just feels silly. The idea that Andrea was sleeping with both Graham and Jamie at the same time is ridiculous. I really need them to state everyone’s ages on screen because I am #concerned. The thing is, the idea of Graham having a secret daughter when he lost one before she was born, is actually sort of interesting. I mean...if Graham was at all an interesting character that is. But the way this is all set up, it just feels really clunky and convoluted and again, really over dramatic for the situation. Plus....are they really going to do it in the first place? Or will they do a DNA test and Jamie will turn out to be the dad anyway? (But really...how old is he supposed to be?! Because his canon, in theory, age looks really bad and why does no one have a problem with it?)

- Also...Marlon...have you ever met Millie? I love the village connections but that one felt super forced because Jamie is so isolated up at Home Farm these days that it doesn’t feel like he interacts with anyone, let alone his daughter. At least they said that it was Rhona that told him about it. That seems more plausible. 

- I’m glad the kiss plot seems to have been put to rest now. The thing is, I thought the initial scenes between Zak and Faith were good. And I thought the scene between Zak and Belle today was good. But...did it need to have a month in between and all this excess drama? I feel like she could have just walked in on them or something and that could have been that. Just seems like they needed something to do with all of these characters. 

- And now time for today’s installment of: Damnit Asan! - Sigh...I like him freaking out about Belle maybe moving in and talking to Billy about it. That was a fun brothers moment. And I feel like they could totally work out this little tiff and be a good couple but...alas. 

[uniquequotesonlife]

10 Best Movies of 2019 (So Far)

With the summer movie season winding down, we look back at the top 10 films cinema has had to offer this far into 2019.

The summer movie season of 2019 is over. While the heat continues to swelter, and school by and large remains out, the final weekend of new Hollywood blockbuster extravaganzas has sped off the scene like a getaway car. And given the box office receipts for most of the studio tentpoles this year, we imagine the whole industry is ready to put the summer behind them. Be that as it may, cinema remains strong, hence why we think is the perfect time to look back on the year so far. While many others like to take stock of the movie calendar at the literal halfway mark that occurs at the end of June, we prefer letting the biggest moviegoing season to wrap up and only start reflecting during the deep breath before film festivals like TIFF and Telluride kick off the awards season. Indeed, you’ll see below that this July and August have been unusually fruitful. Looking back at the first seven-plus months of 2019 reveals that, for whatever box office hand-wringing, it’s already been a promising time for new voices making an impact and legendary auteurs communicating with the changing filmmaking landscape. So without further ado, please join us in celebrating the top 10 movies of 2019. So far.

10. The Peanut Butter Falcon

Tall tales and the myths they build can be stronger than any river current in the American South. Many of the best works of fiction from that part of the country embrace such grandiosity, and The Peanut Butter Falcon is no exception. An infinitely sweet film populated with outsized personalities, directors Tyler Nilson and Mike Schwartz’s transcendentalist adventure was one of the biggest surprises out of SXSW earlier this year, and months later it still radiates an authentic breezy charm. Very much a modern day Huckleberry Finn for those labeled as disabled or special needs, the film crafts its own legend around Zak (Zack Gottsagen), a young man with Down Syndrome that society wishes to forget. Save for Eleanor (Dakota Johnson), his concerned doctor at the retirement home the state abandoned him in, no one really cares when Zak escapes to chase his dream of becoming a professional wrestler. Yet a dispiriting prologue gives way to the loveliest journey as Zak befriends Tyler (Shia LaBeouf) and hitches a ride with the good ol’ boy on a raft floating down the North Carolina Outer Banks. It’s a movie happily supplied with homespun love and wonderfully textured characters, including all three leads, among whom LaBeouf proves nigh unrecognizable as the reluctant Good Samaritan by way of Mark Twain’s St. Petersburg.

9. Luce

The best movies provoke discussion, and few this year will be as challenging as the conversations borne by director Julius Onah and screenwriter J.C. Lee’s Luce. A film based on Lee’s own play, the movie interrogates the idea of the American Dream and wonders if even when it comes true, how much of that is a manipulation by those who espouse skepticism of it. The film is about a star athlete and valedictorian named Luce (Kelvin Harrison Jr.). Actually, Luce was just what his parents (Naomi Watts and Tim Roth) made up after they adopted him from a war-torn African nation, unable to pronounce his birth name. Even so, he very much is their son and not only the apple of their eye, but that of his whole school. Perhaps this is why his teacher, Ms. Harriet Wilson (Octavia Spencer), holds him to a different standard than his other African American peers. It’s a story about a school-sized tinderbox of good intentions that threatens to ignite after Harriet finds illegal fireworks in Luce’s locker, all of which bubbles with the tension of a thriller even as it plays like a truth-searching drama. Luce is a Rorschach Test for both the characters and audiences to examine their own racial biases, and the hypocrisy of expectations. Nevertheless, the film exceeds ours.

8. Avengers: Endgame

It would be easy in more cynical circles to shrug off Avengers: Endgame as the ultimate fan service movie, and in fact it is. But after 11 years of world-building, and the even more impressive franchise-building occurring outside of its continuity, Marvel Studios’ 22nd installment is the grandest of commercial and long-form narrative achievements. By making a series finale to all the movies that came before it, including the cliffhanger in Avengers: Infinity War, Marvel Studios President Kevin Feige and his legion of collaborators, most notably directors Joe and Anthony Russo, and Iron Man star Robert Downey Jr., find the rare quality that most eludes traditional television storytellers: a fully satisfying ending. At three hours, Avengers: Endgame rises above almost anything else Marvel has ever produced and acts as a pseudo-manifesto for the studio. While many of the parts are lesser than the whole, the tight storytelling and tonal consistency over nearly two dozen films pays off with the kind of multi-tiered catharsis and spectacle that drives global moviegoers into theaters by the tens of millions. Not since the days of Cecil B. DeMille has there been an epic so brimming with familiar faces, but unlike the overstuffed Infinity War, this showmanship is wrapped in a bow of gracefulness. This is the ultimate Marvel Studios movie. With a renewal of the charisma and humanity Downey first brought to this enterprise, there is a creative spark shining bright here… and that leaves open the question of how Marvel can possibly repeat this high-note, both in terms of heart and gross, ever again.

7. Toy Story 4

Toy Story 4 didn't need to be made. The ending of 2010’s Toy Story 3 was the perfect conclusion to a saga that began the day a child named Andy first played with a cowboy doll called Woody. Yet we’re so glad that Toy Story 4 exists, as Pixar discovered a soulful epilogue to the characters who first made the studio the preeminent animation house of the 21st century. Essentially a coda to an already finished yarn, Pixar’s elegant solution to being required to return to the childhood daydream of Woody and Buzz Lightyear is to permanently wrap-up their shared journey in the most adult of ways. On the surface, this is another story about Woody (Tom Hanks) trying to teach a wayward toy its purpose, in this case a do-it-yourself Frankenstein’s Monster named Forky (Tony Hale). But Toy Story 4 raises a much more interesting question about what would make Woody want to move on with his life as a lost toy? Experiencing something akin to a midlife crisis when he crosses paths with old flame Bo Peep (Annie Potts), Woody is asked to change his perspective of what life is meant to be after reaching a certain age, just as a post-John Lasseter Pixar discovers a new and hopefully more inclusive identity. This movie does, after all, finally give Bo Peep depth and a humanity as heart-rending as anything to do with the cowboy that has a snake in his boot. Not bad for characters made of cloth and porcelain.

6. Midsommar

If you ever wanted a movie to burn down your toxic relationship, Midsommar is gasoline that comes with already lit flames. As Ari Aster’s heartfelt explanation of why some people do not belong together, this Swedish set film turns cult-based horror on its head and reverses everything you might expect from the director of Hereditary. Bringing horror out into the sunshine, Midsommar presents a world that is as shadowless as it is pitiless. Taking place almost entirely during the July rituals of an obscure (and fictional) Pagan commune, the film provides a set of antagonists who might kill you with kindness while displaying an egalitarian empathy as foreign to modern (and selfish) American traditions as their deadlier customs. This creates a striking backdrop to a potent allegory about why Florence Pugh’s Dani and Jack Reynor’s Christian really should have broken up long ago. Pugh is especially haunting as a young woman who’s in a state of perpetual trauma after hanging on to a worn-out band aid in need of tearing for six months. Her harrowing epiphany adds an insidious persuasiveness to cruel machinations that turn cooing Millennial intellectuals into horror’s new dumb American red meat. And the fumes produced by their roasting are quite beautiful, indeed.

5. The Farewell

Another film about the shock incurred by contrasting cultures, The Farewell is also a gorgeously realized portrait of a woman who feels drawn yet alienated by both sides of her identity. But whatever confusion she might experience is supplanted by an absolute love for her grandmother and the connection that elder represents to an ever-fading past. Writer-director Lulu Wang’s incredibly personal drama is equal parts hilarious and heartbreaking, all while never once making a single false step in its unusual path through grief—one that must be made in total silence. The Farewell centers on Awkwafina’s Billi, a 30-year-old New Yorker who was born in China and was only six when her parents moved to the States, leaving a vague impression of an idyllic childhood with her grandmother Nai Nai (Shuzhen Zhou). However, what exactly this feeling of severed identity means to Billi comes to the surface when Nai Nai is diagnosed with lung cancer… something that her family will not tell her of because in China, it is the family’s emotional burden to carry the knowledge of a seeming death sentence. Believing she only is suffering from a cold, Nai Nai is thrilled that her adult children from America and Japan are returning home for a wedding that is in reality a pretense for everyone to say goodbye—although not Billi. Her parents think she’ll crack and admit this pantomime. Thus she must crash her grandmother’s own living wake. Billi’s saddened homecoming is constantly juxtaposed by her grandmother’s glowing delight to have a full house again. Occupying the space between tragedy and joy, Billi’s Western apprehension to Chinese custom and her longing to reconnect with it, Wang finds a canvas to paint every shade of anguish and exhilaration offered by nostalgia and an unfamiliar heritage. Awkwafina also confirms she is a star on the rise by carrying this intimate tragi-comedy with a role that requires her to speak in English, in Chinese, and most impressively not at all, while still saying everything.

4. Us

Jordan Peele follows up his directorial debut with another horror movie that will be dissected and debated for a long time to come. More ambitious than Get Out, and arguably the most vividly photographed chiller in ages, Us is bigger but still razor-focused on its subject. A massive allegory about class warfare turning storybook supernatural, Peele imagines a conflict between the haves and have-nots in American society while noting that, at the heart of the matter, they’re the same exact type of people. With a deft touch and sense of humor that is as refreshing as it was in Get Out, Peele introduces audiences to the Wilson family, who have seemingly everything but are still envious of keeping up with the proverbial (white) Joneses. For patriarch Gabe (Winston Duke), this can be accepted as a point of obliviousness, but Lupita Nyong’o’s Adelaide cannot feign such innocence as she has seen the face of want and hunger—it was her own—and she left it to rot. Yet it rises for her again when “Red,” her doppelganger she once spied in a funhouse mirror, comes home with equally twisted doubles of her family. It is a tour de force showcase for Nyong’o, who gives an Oscar-worthy turn as both Adelaide and Red. Us provides a juicy parable as rich as the best Twilight Zone storytelling by Rod Serling that inspired it. The end might overreach, but the breadth of its vision and arm remains an inspiration.

3. The Last Black Man in San Francisco

You cannot hate a place unless you love it. This is a paradox that Joe Talbot and Jimmie Fails’ The Last Black Man in San Francisco posits with illuminating insight. An epic poem for the modern age of gentrification, this is a movie that focuses on a Bay City whose skyrocketing real estate has pushed the faces and hands that built its skyline to the fringes. It’s a fact of life encapsulated by an opening image of a young black girl going to school by the edge of saltwater so poisonous that city employees will only venture there in hazmat suits. Pushed literally to the edge of society, Jimmie Fails—a character played by the man who has lived this life and wrote the story down—dreams of reclaiming what was once his family’s birthright: a Victorian home in the Golden Gate area that his grandfather claims to have built with his own hands. It is now owned by a privileged middle aged white couple, yet when they enter into an inheritance dispute with relatives, an opportunity opens up for Jimmie and his best friend Montgomery (Jonathan Majors) to move in as squatters. This is a lyrical love letter to cities that no longer exist, and landscapes that once allowed dignity for those who toiled in them. Obviously it is Jimmie’s personal life story, but it is the insights of Montgomery, Emile Mosseri’s mournful score, and Adam Newport-Berra’s surreal camera setups that elevate Last Man’s song and verse into a celestial elegy. One which provides as much hope as it does despair.

2. Once Upon a Time in Hollywood

The arrival of a new Quentin Tarantino movie always comes with debate and some degree of controversy. But when the smoke clears, Once Upon a Time… in Hollywood will be remembered as one of his very best. A film that demands multiple viewings, Once Upon a Time is the rare major studio movie that requires you to meet it on its own terms, a sad fact Tarantino is aware of and deconstructs with a surprising degree of wistful melancholy. An obvious love letter to the long-gone Hollywood of the 1960s, which by ’69 saw the studio system in its death throes, the movie is also a commentary of our own cultural moment where auteurs pursuing massive original ideas, like Tarantino, and movie stars not defined by what cape they’ve worn on screen, like Leonardo DiCaprio and Brad Pitt, are almost a thing of the past. Tarantino’s elegiac meditation is as much about his and movie stars’ own setting sun as it is the Hollywood movies he grew up on, but it is also an unimaginably ambitious and celebratory film that dismisses plot and audience expectations that have been flattened by a decade of formula. Here is a film that revels in just chilling out with morally ambiguous characters while also offering a vessel that connects the past and present via giddy historical revisionist madness. Starring DiCaprio and Pitt as fading TV star Rick Dalton and his stuntman Cliff Booth, the film champions the intangible alchemy between charisma and cinema, providing both with their best material in years. Pitt may, in fact, have never been better than as the smiling cowboy whose high noon is with a counterculture that is burying his and Rick’s livelihoods. Their journeys, meanwhile, are paralleled by the rise of a new star named Sharon Tate (Margot Robbie) and the youthful change she represents. The importance of Sharon, and her subtly interconnected world, is determined by how much you know of her going in. For those who do, she is more than just the idol of her age; she is the soul of Tarantino’s sweetest movie, both in terms of its ‘60s setting and its desire to divorce a lifetime of light from the specter of Charles Manson’s half-century of darkness. Unlike Tarantino’s last three pictures, this isn’t about revenge; it’s a bedtime yarn dreaming of salvation for Hollywood, for culture, and for a legacy that can live on past 26 years.

1. Booksmart

Despite her celebrity, Olivia Wilde has always seemed a little underrated as an actor. That should change going forward as Wilde also announces herself as a major directorial talent with Booksmart. A pitch-perfect comedy that writes a teen anthem for the next generation, Booksmart proves that the cinematic R-rated comedy is not dead, and further it can only get better as it invites new diverse voices to reconfigure the form. Among those voices accompanying Wilde are screenwriters like Susanna Fogel and Katie Silberman, and a fresh-faced cast that is more than game to refocus the coming-of-age narrative on the type of nerdy young women who previously might’ve been lucky to be in the fuzzy background, if included at all. Kaitlyn Dever and Beanie Feldstein make a banquet out of protagonists Amy and Molly, two Type A’s who are Ivy League-bound and think the perfect night before graduation is watching Ken Burns documentaries. But upon realizing that all the supposed flakes they wrote off in their senior class are also headed toward bright futures after four years of partying, Molly will make up for missing out by dragging Amy on an odyssey toward the perfect Gen-Z high school party. So there you have it, the 10 best movies of the year so far. Agree? Disagree? Did we leave something off? Let us know in the comment section below! Sourcehttps://www.denofgeek.com/us/movies/282640/best-movies-2019 Read the full article

[wavemstudios]

‘Harriet’ Review: A Bland Biopic That Offers No Insight into an American Hero | TIFF 2019 http://dlvr.it/RCwSVQ http://dlvr.it/RCwSVQ

[joealwyndaily]

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Cynthia Erivo on working with Joe Alwyn

[thequeereview]

TIFF 2019: Festival Highlights

TIFF 2019: Festival Highlights

The 44th Toronto International Film Festival opens this Thursday 5th September, with public tickets now on sale. TIFF 2019 features new work from filmmakers such as Marielle Heller, the Safdie brothers, Pedro Almodóvar, Steven Soderbergh, Noah Baumbach, Amy Jo Johnson, Rian Johnson, Yorgos Lanthimos, Ira Sachs, Lorene Scafaria and Taika Waititi, as well as the final film from Agnès Varda. Heavy…

[dottiep]

'Harriet' Shows "The Human Woman Behind The Hero" Says Star Cynthia Erivo | TIFF

[thetaylorfiles]

Why was Joe dressed like he's going to work in an office? I think he should hire a stylist. Or get a new one. His red carpet looks are so off sometimes (FX Networks Starwalk 2019, Harriet TIFF premiere etc). Even when he wears a nice suit, he pairs it with a weird shirt. He's got the height and the looks, he just needs leading man style!

I’m sure he has one. He’s sure as fuck not choosing his own outfits/suits to his own events and premieres. He’s way too fashion forward (even if not risk taking) to not be using a stylist or two.

[ramascreen]

Here's The New Poster For HARRIET Movie About Harriet Tubman

Here’s The New Poster For HARRIET Movie About Harriet Tubman

You’ve watched my #TIFF #TIFF19 #TIFF2019 video review of #Harriet #HarrietMovie and now, here’s the film’s new poster. Focus Features will release Harriet in theaters November 1, 2019

Story: Based on the thrilling and inspirational life of an iconic American freedom fighter, HARRIET tells the extraordinary tale of Harriet Tubman’s escape from slavery and transformation into one of America’s…

[jessicakehoe]

TIFF 2019: Let the Oscar Buzz Begin

Last year’s Best Picture Oscar winner was a divisive one. Green Book was largely panned by critics and plagued with problems ranging from a racist screenwriter to the fact that the family of its subject wasn’t consulted in the making of the film. But its running in the Oscar race was all but secured when it won the coveted Grolsch People’s Choice Award at TIFF. Historically, the award has been a pretty good indicator of which film will go on to nab the biggest award of the year (past Grolsch winners include 12 Years a Slave, The King’s Speech and Slumdog Millionaire, which won big at the Oscars just a few months later.)

This year’s winner, Jojo Rabbit, has been similarly divisive but if history’s taught us anything, it’s not to write off a Grolsch winner. As the final film festival on the circuit before awards season kicks off–following Telluride, Venice and Cannes—TIFF is where awards chatter gets cemented and speculation heats up. Read on for a roundup of the films whose buzz we expect to carry them right through to February, when awards season comes to a close with the Oscars.

Jojo Rabbit It’s not often that a Hitler film is described as “whimsical” but the word comes up time and again in reviews of the satirical film, which may have divided critics but earned a standing ovation from audiences. “Everyone in Toronto can agree that, on paper, Jojo Rabbit shouldn’t work. What they have trouble agreeing on is everything else,” notes a Vulture review. The film, about a Nazi-loving young boy whose worldview is shaken when he begins to fall for a Jewish girl his mother is hiding in their attic, currently has a Metacritic score of 52% but as IndieWire reminds us, plenty of films have seen awards season love despite middling reviews from critics, most recently Bohemian Rhapsody and Green Book. I expect to see a nom for the film in the Best Picture category and Kiwi director Taika Waititi might just score one too.

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Marriage Story This Netflix film about a couple navigating divorce was the runner-up for the Grolsch award and my personal favourite from the festival this year. There’s no obvious villain, no picking of sides, no one injured party—the grievances are messy, complicated and equally valid on both sides. As the couple whose marriage is ending, Adam Driver and Scarlett Johansson both deliver tour de force performances, and Laura Dern swoops in with a memorable turn as Johansson’s shrewd lawyer. Expect nods for all of them, as well as for the film’s director and writer Noah Baumbach.

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Parasite All anyone could talk about at Cannes in May was acclaimed Korean director Bong Joon-Ho’s film Parasite, which went on to win the festival’s highest honour, the Palme d’Or. It received similar critical acclaim at TIFF and came in third for the People’s Choice Award. The film follows a family of con artists who overtake an affluent household, and weaves together themes of class and capitalism into a captivating thriller. If it gets the recognition it seems poised to receive, it’ll make history as the first Oscar-nominated film from South Korea.

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Joker Joker’s already been making headlines for its “dangerous” and “scary” messaging and critics have been divided on its actual merits, but they do all seem to agree that an Oscar nom is on the cards for Joaquin Phoenix. The film also won the Golden Lion at Venice, so it might have some Best Picture chances as well.

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Hustlers The wild card entry here is definitely Jennifer Lopez, whose excellent performance as a stripper turned con artist in this film based on a true story got rave reviews at TIFF. Whether the film will sit well with Oscar voters, who tend to be a conservative, older bunch, is yet to be seen, but the buzz attached to her name is undeniable. Writer-director Lorene Scafaria also deserves recognition for distilling a complicated, layered story into a tight, well-crafted narrative with both heart and hustle.

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Harriet In the first and only biopic ever made on American abolitionist Harriet Tubman, Tony Award-winning actress Cynthia Erivo (whom audiences may remember from her supporting role in Widows last year) delivers a powerful performance as the titular character who risks her life to get slaves to freedom on the Underground Railroad. Both she and Janelle Monae, who plays a free Black woman providing shelter and support to slaves fleeing the south, could be in the running for nominations in the Lead and Supporting categories respectively.

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A Beautiful Day in the Neighbourhood There’s not much Mr Rogers in this Mr Rogers film, which mostly belongs to Matthew Rhys, who plays the Esquire journalist whose article the film is based on. A Supporting Actor nod for Tom Hanks—who is truly the Mr Rogers of our time—is a sure bet, and Matthew Rhys might sneak in with a nod too. Marielle Heller (who was overlooked last year for her excellent Can You Ever Forgive Me?) might well score a nomination for her deft, measured direction as well.

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Ford v Ferrari Two of the best actors of our time, Matt Damon and Christian Bale, co-star in this film about an automotive designer (Damon) and racecar driver (Bale) who try to build a Ford Mustang ahead of the 1966 Le Mans race in France. According to Macleans, “it has all the hallmarks of an Oscar Best Picture nominee—a story powered by high-octane chase scenes, a culture war pitting white-bread America against snotty Europeans, and a pair of blue-chip stars.”

Judy For her portrayal of Hollywood icon Judy Garland in the final months of her life, Renee Zellweger got a three-minute standing ovation and a whole lot of Oscar buzz at the festival. Variety writer Jenelle Riley tweeted, “In 15 years at #TIFF I have never seen a standing ovation like the one for Renee Zellweger at JUDY.” Entertainment Weekly‘s Joey Nolfi also commented on the audience reaction, writing, “Renee Zellweger is crying. I’m crying. Everyone is fucking crying and Judy is a soaring, emotional wallop of a comeback for its star.” So it’s safe to say that come February, the actress will be sitting at the Dolby Theatre with a fourth Oscar nomination to her name.

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Just Mercy As a prisoner on Death Row for a murder he didn’t commit, Jamie Foxx is both cynical and hopeful, and his moving performance may earn him his second Oscar (he won in 2005 for Ray). Brie Larson could earn a Supporting nod too, and Michael B Jordan—as the activist and lawyer who makes it his mission to work with disenfranchised communities in the prison system—might finally score his first Oscar nom.

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The Two Popes The Hollywood Reporter has deemed it “a triumph of writing as well as unostentatious filmmaking.” Starring Anthony Hopkins and Jonathan Pryce, the Netflix film imagines a series of meetings between Pope Francis and Pope Benedict at the height of a scandal in the Catholic church. Critics seem to have loved its witty, humorous energy and the bromance at its centre, so nominations for the two veteran actors are likely on the table.

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TIFF 2019: Harriet, Wasp Network, Guns Akimbo | Festivals & Awards

TIFF 2019: Harriet, Wasp Network, Guns Akimbo | Festivals & Awards

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by Robert Daniels

September 11, 2019   |  

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Every year a film arrives about a famous white figure: Marie Curie, Winston Churchill, Queen Elizabeth II—yet there’s never been one about Harriet Tubman. In the eyes of white producers, the worth of Black heroes not in spandex lacks equal measure with their white counterparts. Until now. More superhero origin story than…