VIFF Dailies – Sep 28, 2020

Every day during this year’s festival, we’ll be offering you some supplemental reading (and the odd visual aid) in order to better inform your future viewing or appreciation of work you’ve already seen.

If you’ve had the chance to watch Joel Bakan and Jennifer Abbott’s The New Corporation: The Unfortunately Necessary Sequel, then you know that their sprawling follow-up to 2003’s groundbreaking The Corporation might just be the doc that launches a thousand Google searches. In this interview with POV Magazine, Bakan and Abbott explain the events that put this sequel in motion. (Any guesses as to how many times Trump is mentioned?) Meanwhile, The Tyee‘s Dorothy Woodend considers the film and reflects on how the idea of a better human society is one that’s still worth fighting for.

Those who’ve seen Suzanne Crocker’s First We Eat and find themselves a little peckish may want to peruse the recipes the filmmaker has shared for Braised Speckleberry Goose, Wild Mushroom and Barley Risotto, Birch Brittle and other north of 60 fare.

Acclaimed experimental filmmaker Mike Hoolboom sat on the Rotterdam jury that presented Nuria Giménez’s My Mexican Bretzel with the Found Footage Award. Over on his website, he reminisces about the jury experience and the virtues that ultimately separated Giménez’s film from the pack. “How happy we were to live through cinema’s déjà vu, the forgotten pictures of the past that have been reformed and reframed here in Rotterdam. There was one movie that shone for us more brightly than any other. We were floored by its unique use of sound, its luxurious spaciousness, its courage in embracing silence. “

In My Rembrandt, director Oeke Hoogendijk has assembled a motley crew of well-heeled art collectors, “their pink, twinkly-eyed faces positively beam out of the screen, and surely Hoogendijk is inviting us to wonder how Rembrandt himself would have painted them.”

My Wonderful Wanda “premiered” at the virtual Tribeca Film Festival in April before moving on to Cannes’ virtual Marché du Film. Director Bettina Oberli talked to Variety about the origins of this film, her postponed opera and her hopes to make an English-language film next.

Here We Are is yet another VIFF title that was distinguished with an “official selection” designation from this year’s cancelled Cannes. Coming courtesy of Nir Bergman – whose BeTipel Israeli television series was adapted for 14 different countries (including in North America as HBO’s In Treatment) – and has been declared “a beautiful film that should be high on your list of ‘must see at VIFF 2020′” by Taste of Cinema’s David House (who is easily one of Vancouver’s most devoted filmgoers).

If you want a taste of some of the stunning cinematography that awaits you in Adam Brown’s Into the Storm, look no further than the film’s Instagram account.

Ray Yeung’s Twilight’s Kiss has amassed acclaim and accolades – including Best Actor and Best Supporting Actor prizes at the Hong Kong Film Awards – since it premiered in Busan last fall. At this year’s Berlinale, Yeung sat down with Film Inquiry to discuss screening his portrait of an affair between elderly men to socially conservative audiences in Hong Kong.

VIFF year-round audience’s will undoubtedly remember Pierfrancesco Favino’s masterly turn in The Traitor at this year’s Italian Film Festival. Gianni Amelio’s Hammamet sees the veteran actor once again at the top of his game.

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