All posts by Pam Jahn

Karlovy Vary International Film Festival 2015 Review

kviff-2015
KVIFF 2015

Karlovy Vary International Film Festival

3 – 11 July 2015

Karlovy Vary, Czech Republic

KVIFF website

The Karlovy Vary International Film Festival turned 50 this year, but it showed no signs of ageing. Quite the contrary, in fact: with an average age of 39 for filmmakers in the main festival section, Karlovy Vary presented the youngest competition line-up in its history, while the East of the West strand has already proven in the past to be a great forum for young filmmakers from Central and Eastern Europe, and this year was no exception.

What makes Karlovy Vary such an exciting place to go is the fact that it remains a festival where discovery and surprise are always guaranteed. We were particularly looking forward to the Midnight Screenings, which included a couple of titles from this year’s FrightFest line-up, Rodney Asher’s latest documentary The Nightmare, which explores the phenomenon of sleep paralysis, and Benni Diez’s bloody killer-wasp horror Stung. Other titles included in the section were Sion Sono’s festival favourite Tokyo Tribe, contemporary Czech horror The Greedy Tiffany (Nenasytná Tiffany) and Kiah Roache-Turner’s apocalyptic zombie flick Wyrmwood, along with two timeless classics: Nicolas Roeg’s The Man Who Fell to Earth and George A. Romero’s The Crazies.

Among the many guests who attended the festival to celebrate its special anniversary were horror legend George A. Romero and Australian actor Ben Mendelsohn, who we had the pleasure to speak with while they were in town. Mendelsohn, who has made a name for himself over the past few years as one of the best supporting actors in American and Australian independent cinema, with films such as The Place beyond the Pines, Lost River and Animal Kingdom, is in peak form as the lead in 70s-style road movie Mississippi Grind, directed by American indie writer-director duo Anna Boden and Ryan Fleck. As for Romero, he was there to present a special screening of one of his favourite films of all time, the newly restored The Tales of Hoffmann.

Karlovy Vary is also a perfect place to catch up on highlights from Cannes and Berlin, and the selection this year included Radu Jude’s historical road-movie-cum-Western Aferim!, Miguel Gomes’s beautifully ambitious Arabian Nights trilogy and Chilean director Pablo Larraín’s disturbing slow-burner The Club, to name only a few. Also worthy of note were Marcin Koszałkaʼs psychological thriller The Red Spider, inspired by mass murders committed in the 1960s, and Dietrich Brüggemann’s Heil, a light-hearted, satirical spin on the rise of neo-Nazism in Germany.

But one of our favourites this year was a small film produced by Ulrich Seidl and directed by Austrian duo Severin Fiala and Veronika Franz: offering a disturbingly twisted new take on Haneke’s Funny Games, Goodnight Mommy (Ich seh, Ich seh) concerns two boys who suspect that their mother, who has just undergone reconstructive facial surgery, is an imposter. The modern home and its rural Austrian surrounding set the tone as the twins are determined to discover the truth about the mysterious woman behind the bandaged face. Notions of identity and motherly love are questioned with shrewd cleverness and brutal consequences in this carefully crafted debut. Subversive humour, impressive performances especially from the young cast and clean production design help maintain a cruel atmosphere throughout, while measured and occasionally bold narrative strokes make the film inherently captivating and visceral at heart.

Pamela Jahn

Close-Up Cinema Opening

Close Up cinema opening party.docx

Date: Saturday 4 July 2015

Doors: 8pm

Venue: Close-Up

Address: 97 Sclater Street, London, E1 6HR

Price: FREE

Close-Up website

Join us in celebrating with our friends at Close-Up who have just opened their new independent cinema in Shoreditch. As other cinemas are converting to digital, Close-Up will continue to offer 16mm and 35mm reel-to-reel as well as digital projection, showcasing classic, contemporary, documentary, experimental and artists’ films. Plus, if you become a member, you can also enjoy 20% discount on cinema tickets for you and a guest, along with free unlimited access to their extensive Video Library and 10% discount in the cafe and bar.

Running from 8pm till late on Saturday 4 September 2015, there will be screenings of a selection of films throughout the night, while the door to the projection booth will be kept open so you can marvel at the two restored 35mm projectors in all their glory.

To mark the launch of the cinema Close-Up present six films by John Cassavetes during July, including Faces, Shadows, The Killing of a Chinese Bookie, A Woman under the Influence, Love Streams and, of course, Opening Night.

For more information on the regular Close-Up cinema programme visit the Close-Up website.

East End Film Festival 2015 Preview

EEFF_2015_banner
EEFF 2015

East End Film Festival

1 – 12 July 2015

Various venues, London, UK

EEFF website

Running from 1 to 12 July, this year’s edition of the East End Film Festival presents an eclectic mix of new films from global and local independent filmmakers as well as industry masterclasses, free pop-up cinema screenings and music-focused events. With a special focus on showcasing home-grown talent , it’s also a great place for late and new discoveries of all kinds and one of the most exciting events this year is the screening of Hélène Cattet and Bruno Forzani’s neo-giallo The Strange Colour of Your Body’s Tears, now presented with a brand new original score by Edinburgh-based musician Ben Power (Blanck Mass, Fuck Buttons). The result is a fascinating score that enthralls, seduces and terrifies in equal measure and that is also available on double vinyl, released by Death Waltz Originals, presented in a 425gsm reverse board gatefold sleeve pressed on an exclusive screening event colour ltd to 500 units.

We are also delighted to be taking part again in a special day of screenings in the opulent and ornate surroundings of the Masonic Lodge Temple on Saturday 4 July, the perfect venue for a krimi classic such as The Dead Eyes of London, which screens at 1pm, followed by a special talk on krimi cinema hosted by Electric Sheep’s Alex Fitch, who will be joined by author and critic Kim Newman, and author Jim Harper. The afternoon screenings are then followed by a masquerade ball, in homage to George Franju’s 1963 production of Judex.

Among other highlights we are looking forward to an afternoon of radical film from contemporary Greece at the Whitechapel Galley, Marielle Heller’s celebrated Sundance hit Diary of a Teenage Girl and a special gala screening of Volker Schaner’s enlightening docu-portrait Lee ‘Scratch’ Perry’s Vision of Paradise, with the reggae and dub legend himself in attendance.

For more information about the programme and how to book tickets please visit the EEFF website.

Edinburgh International Film Festival 2015 Preview

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EIFF 2015

Edinburgh International Film Festival

17 – 28 June 2015

Edinburgh, UK

EIFF website

With a new Artistic Director bringing a breath of fresh air into the festival, the line-up of 69th Edinburgh International Film Festival promises a diverse selection of what’s new in British and American indie cinema, mixed with some classic treats and a vast number of smaller gems from around the world that are unlikely to be coming to a cinema near you any time soon.

Running from 17 to 28 June 2015, the festival opens with homegrown feature film The Legend of Barney Thomson, about a Glasgow barber who accidentally turns into a serial killer, and closes with Scott Graham mild family drama Iona, with plenty of thrills on offer in between.

The Night Moves strand has been notoriously hit-and-miss in recent years, but hopes are high for this year’s selection, which includes Takashi Yamazaki’s adaptation of Japanese body-snatcher manga Parasyte: Part 1, Corin Hardy’s terrifying feature debut The Hallow, Bobby Roe ‘s mockumentary-mixed-horror-fiction The Houses October Built, Hungarian fantasy flick Liza, the Fox-Fairy, Australian futuristic action-adventure Infini, and Turbo Kid, a retro homage to sci-fi/horror films.

We also look forward to the final film by gothic horror master Carlos Enrique Taboada, Poison for the Fairies, which screens as part of a special focus on Mexican cinema alongside Alejandro Jodorowsky‘s <Santa Sangre and 60s supernatural drama Macario.

Standing out from the pack in the New Perspectives strand are low-budget Japanese sex comedy MakeupRoom, Austrian comedy Therapy for a Vampire and two German entries: Kafka’s The Burrow, adapted from the author’s 1923 short story, and Baran bo Odar’s Who Am I – No System Is Safe, starring Tom Schilling (Oh Boy).

Other highlights in the programme include US productions Dope, directed by Rick Famuyiwa, and Jon Watts’ B-movie Cop Car, while Simon Pummell’s sci-fi feature debut Brand New-U and David Blair’s supernatural thriller The Messanger both seem worth checking out from the selection of British films on offer.

In addition to all things new, this year’s main retrospective focuses on Walter Hill’s early career, including his car chase classic The Driver, the suspensful and sweaty Southern Comfort and The Long Riders, Hill’s take on the exploits of the Jesse James and Cole Younger gang. Running parallel to this, the Little Big Screen showcase features an eclectic mix of 1960s and ‘70s American TV movies and offers a rare chance to see Sam Peckinpa’s Noon Wine on the big screen, and a couple of vampire cult classics: Tobe Hooper’s Salem’s Lot and John Llewellyn Moxey’s The Night Stalker. Other classic treats include Mark Christopher’s belated director’s cut of his cult disco film, 54, and a beautifully remastered version of Carol Reed’s classic The Third Man, ahead of its limited theatrical run across the UK at the end of this month.

For more information about the programme and how to book tickets visit the EIFF website.

Pamela Jahn

Cannes 2015 Preview

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Cannes 2015

Cannes International Film Festival

13-25 May 2015

Cannes, France

Cannes website

In its 68-year history, Cannes has never been short of stars and scandals but it seems that in more recent years the darker, bolder, more daring films are to be found in the sidebars rather than in the main Competition line-up. And while 2014 proved particularly strong with It Follows, When Animals Dream and Ryan Gosling’s Lost River, a first glance at this year’s programme promises another exciting festival to come.

Opening on 13 May with Emmanuelle Bercot’s Standing Tall , there seems to be a focus on French social drama this year, but beyond that, the Competition still includes a number of intriguing works from both new and already established directors. Having won the Un Certain Regard award in 2009 for Dogtooth, Greek director Yorgos Lanthimos returns to the festival with what might be one of this year’s boldest and presumably funniest sci-fi love stories, The Lobster, while Gomorra-director Matteo Garonne presents his first English-language film with Tale of Tales, based on the collection of fairy tales of 17th century writer Giambattista Basile, who predates more familliar household names such as the Brothers Grimm, Andersen or Perrault. We will also be checking out Todd Haynes’s 50s lesbian melodrama Carol, Paolo Sorrentino’s Youth, his eagerly awaited follow up to The Great Beauty, as well as the latest offerings form Denis Villeneuve, Sicario, and Gus Van Sant’s The Sea of Trees, starring Matthew McConaughey as an American man lost in Japan’s suicide forest. Plus, we look forward to George Miller’s Mad Max Fury Road and Justin Kurzel’s Macbeth, both screening ‘out of competition’.

In addition, this year’s Un Certain Regard strand features new works by exciting directors including Kiyoshi Kurosawa (Journey To The Shore), Brillante Mendoza (Trap) and Apichatpong Weerasethakul (Cemetery of Splendour), alongside two promising Korean entries: The Shameless by Oh Seung-Uk and Madonna by Shin Suwon. And we also look forward to a special screening of Gaspar Noé’s latest offering Love.

Elsewhere in Cannes, the films that stand out from the line-up in the Directors’ Fortnight programme are US director Jeremy Saulnier’s follows up to his brilliant Blue Ruin with Green Room, a story of punk rockers battling neo-Nazis starring Anton Yelchin, Imogen Poots and Patrick Stewart, and Takashi Miike’s gangster-vampire hybrid thriller Yakuza Apocalypse: The Great War Of The Underworld, which receives a special presentation. Plus, we will also try to catch at least one of Miguel Gomes’s Arabian Nights, the three-film contemporary epic from the Portuguese director, which is loosely based on Scheherazade’s tales of ‘One Thousand And One Nights’ but essentially devolves into a chronicle of Portugal’s economic malaise.

Pamela Jahn

For more information on the full line-up, visit the Cannes website.

Berlinale 2015 Preview

Berlinale 2015 poster
Berlinale 2015

Berlin International Film Festival

5 – 15 February 2015

Berlin, Germany

Berlinale website

Celebrating its 65th anniversary, this year’s Berlinale promises exciting new works from some of our favourite directors. And while the line-up is the usual mixed bag of hits and misses, there is still a great diversity of films on show that go beyond the eye-catching heavyweights, high-profile gala features and prestige ‘Berlinale Special’ screenings, which this year include the likes of Sam Taylor-Johnson’s much talked-about adaptation of EL James’s erotic fiction Fifty Shades of Grey and Anton Corbijn’s James Dean biopic Life.

One of the greatest highlights for us is undoubtedly Guy Maddin’s The Forbidden Room, screening in the notoriously unpredictable Forum section. Following his ambitious noir gangster ghost tale Keyhole in 2012, Maddin, who has a long-standing relationship with the festival, returns with a film, co-directed by Evan Johnson, that resembles an endless nightmare where plot, characters and locations constantly flow into one another.

Screening in Competition are Peter Greenaway’s Eisenstein in Guanajuato, Pablo Larraín’s The Club, Werner Herzog’s Queen of the Desert and Sabu’s Chasuke’s Journey, alongside other notable contenders such as Alexey German Jr.’s Under Electric Clouds, Radu Jude’s Balkan western Aferim!, and the highly anticipated German entry Victoria, by Sebastian Schipper. Plus, following on the heels of last year’s eccentric Berlinale winner Black Coal, Thin Ice, comes Chinese offering Gone With the Bullets, the second part of Jiang Wen ‘Bullet’ trilogy, which started with his cryptic 2010 comedy gangster drama Let the Bullets Fly.

Among the films we will be checking out in the Forum and Panorama strands are Emyr ap Richard and Darhad Erdenibulag’s quietly radical adaptation of the Kafka classic K, Mitchell Lichtenstein’s haunting game of insecurities Angelica, and Mark Christopher’s rediscovered and extended 54: Director’s Cut. We also look forward to Marcin Malaszczak’s The Days Run Away like Wild Horses over the Hills, which takes its title from a collection of poems Charles Bukowski wrote for his lover, and Matthias Glasner’s Blochin – The Living and the Dead, the pilot to a new German TV crime drama series starring Jürgen Vogel.

As always, the Berlinale will present a vast number of documentaries, this time focusing quite heavily on cult figures and troubled artists including Fassbinder, Nina Simone, Kurt Cobain and Yvonne Rainer, while Joshua Oppenheimer is at hand to present The Look of Silence, his acclaimed follow-up to The Act of Killing. Also of note is B-Movie: Lust & Sound in West-Berlin about the music, art and chaos in the wild West-Berlin of the 1980s, and Jean-Gabriel Périot’s A German Youth, which looks at the gradual transformation and increasing politicisation of the Red Army Faction (RAF) at the end of the 1960s until they took up armed resistance, constructed entirely from archive footage and audio material.

Germany in the late 60s also features heavily in this year’s Berlinale Classics strand, which offers a rare chance to see Jürgen Böttcher’s Born in ’45 on the big screen, alongside newly restored versions of E. A. Dupont’s Varieté and Richard Brooks’s In Cold Blood. Finally, this year’s Retrospective celebrates the 100th anniversary of ‘Glorious Technicolor’ films, with titles including John M. Stahl’s Leave Her to Heaven, Anthony Mann’s The Naked Spur and Powell and Pressburger’s Black Narcissus.

For more information about the programme and how to book tickets visit the Berlinale website.

Pamela Jahn

The 12th London Short Film Festival

LFF 2015
LSFF 2015

The 12th London Short Film Festival

Dates: 9-18 January 2015

ICA, Hackney Picturehouse, Oval Space, London

LSFF website

For its 12th edition, the London Short Film Festival presents another exciting and jam-packed line-up, inluding 34 themed film programmes alongside a number of live shows and inventive events. Running from 9 to 18 January, the LSFF core programme of selected shorts will screen across Hackney Picturehouse and the ICA, where the festival kicks off in style with a screening of the British Council Best UK Short Award nominees, followed by the ever popular Funny Shit selection.

Other themed programmes include the ever popular Fucked Up Love, Lo-Budget Mayhem, Night of the Living Docs, Surreal Worlds, Teenage Girls Go Crazy! as well as new additions Tales of the Unexpected, WTF: Outside the Box, Gothic! and A Musical Box.

We are particularly excited about the music and film crossover event that sees Gazelle Twin working alongside experimental animator Carla MacKinnon to create a new live show at the ICA on 15 January. Also worth checking out is the London premiere of the Branchage Festival commission of Jersey-based band Semu Ca’s new score to outlandish silent documentary-fiction hybrid Häxan: Witchcraft through the Ages (in association with Filmphonics live scores at the Hackney Attic).

Other noteworthy events include analogue synthesizer obsessives documentary I Dream of Wires (in association with Dazzle London), followed by a live set by electronic duo Shitwife and analogue visual projections by Julian Hand; The Errorists‘ ‘The Ascendant Accumulation of Realism’ featuring live cello by Andreas Köhler and the videowork of Hilary Koob-Sassen; and the world premiere of Silver Shoes, the portmanteau feature by Jennifer Lyon Bell, who works with feminist erotic content.

Throughout the Festival Hackney Picturehouse will host DVD-Bang, a pop-up micro cinema based on the South Korean movie rental shops, as well as the industry programmes, including workshops and happy hour drinks. The ICA will screen LSFF’s experimental new short film programmes, including the regular Leftfield & Luscious, alongside Celluloid Traces and a showcase of the best of UK animation.

For more information and the full programme, please visit the LSFF website.

Sitges Film Festival 2014

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Sitges 2014

Sitges International Fantastic Film Festival of Catalonia

3-12 October 2014

Sitges, Spain

Sitges website

The 47th edition of the long-standing Catalan genre film festival offered an amazing selection of fantastical cinema, an impressive list of guests, fun midnight screenings and a great zombie parade, all in a beautiful seaside setting.

Among the highlights at Sitges this year were horrific post-Spanish Civil War sisterly drama Shrew’s Nest, produced by Alex de la Iglesia, Sergio Caballero’s sci-fi oddity La distancia, excellent neo-giallo The Editor, Marjane Satrapi’s acclaimed dark comedy The Voices, Dumplings director Fruit Chan’s latest film The Midnight After and intense Belgian serial killer thriller The Treatment.

Although this year’s edition opened with the disappointing fourth instalment of the [REC] franchise, excitement soon flared up again with the well-executed Belgian boyscout slasher Cub, which had an interesting multi-antagonist set-up and ingenious death traps. Also showing on the first weekend, the remarkably disturbing Creep was an American thriller about a terminally ill man who hires a cameraman to make a film for his unborn son. With sophisticated tone shifts and immaculate, taut direction, it was a deeply unsettling exploration of insanity and sexuality.

The programme also included some of our festival favourites: creepy and poignant Australian monster tale The Babadook, Scandinavian droll crime thriller In Order of Disappearance, energetic Cannon Films documentary Electric Boogaloo, dreamy vampire tale A Girl Walks Home Alone at Night, sci-fi-tinged marital horror Honeymoon, thoughtful Irish ghost story The Canal, Russian sci-fi epic Hard to Be a God, Korean crime thriller A Hard Day, subversive erotic comedy Wetlands, fantastical masterwork It Follows, not forgetting Fabrice du Welz’s take on the Lonely Hearts killers, Alleluia.

BFI London Film Festival 2014 Preview

LFF 2014 festival identity

BFI London Film Festival

8-19 October 2014

London, UK

LFF website

This year’s 58th edition of the BFI London Film Festival promises an exciting line-up filled, as ever, with a mixture of high-profile gala features, previous festival winners and hits, and a vast number of smaller gems that are unlikely to be coming to a cinema near you any time soon.

Running from 8 to 19 October 2014, the festival opens with the European premiere of The Imitation Game and closes with Brad Pitt tank-confined thriller Fury, with plenty of thrills on offer in between.

Our top picks include The Duke of Burgundy, Peter Strickland’s follow-up to his eerie Berberian Sound Studio and eccentric Berlinale winner Black Coal, Thin Ice.

Featuring some of our favourites from this year’s Cannes and Etrange Festival, the line-up also includes Sion Sono’s Tokyo Tribe, Ana Lily Amirpour’s Iranian vampire tale A Girl Walks Home Alone at Night, Aleksei German’s final sci-fi epic Hard to Be a God, David Robert Mitchell’s creepy, intelligent thriller It Follows and Lisandro Alonso’s hallucinatory 19th-century meta-Western Jauja, starring Viggo Mortensen as a dizzy captain who follows his missing daughter into an existential void.

Straight from TIFF, we also recommend Mark Hartley’s Electric Boogaloo, which delivers a frenetic look at the rise and fall of 1980s action-exploitation studio Cannon Films, and Myroslav Slaboshpytskiy’s shocking The Tribe, whereas Abel Ferrara’s Pasolini, which attempts to recreate the last day in the life of the Italian director, is too elliptical and confounding to really satisfy.

Among the films we look forward to are The World of Kanako, a new stylish and provocative thriller from Confessions director Tetsuya Nakashima, Ning Hao’s racy Spaghetti Western homage No Man’s Land and the Misery-style Spanish thriller Shrew’s Nest, as well as a 40th anniversary screening of Tobe Hooper’s restored horror masterpiece The Texas Chain Saw Massacre.

And we will definitely be checking out In the Basement, the new documentary by Austrian enfant terrible Ulrich Seidl, in which he investigates the many strange things his fellow countrymen do in their cellars. Also worthy of note are Gregg Araki’s White Bird in a Blizzard, Damián Szifrón’s Wild Tales, Justin Benson and Aaron Moorhead’s Spring and the Nordic werewolf fantasy When Animals Dream.

Finally, for everyone who hasn’t had a chance to see it on the big screen yet, the LFF’s popular archive screenings will include a painstaking restoration of Sergei Paradjanov‘s 1968 masterpiece The Colour of Pomegranates, along with other treasures such as King Hu’s Dragon Inn and restored 1934 silent film The Goddess, starring the iconic Ruan Lingyu.

Pamela Jahn

For more information about the programme and how to book tickets visit the LFF website.

Toronto International Film Festival 2014 Preview

TIFF 2014 1
TIFF 2014

Toronto International Film Festival

4-14 September 2014

Toronto, Canada

TIFF website

For many years the Toronto International Film Festival has been as overwhelmingly big and thrilling as a film festival can be. But with every new edition, TIFF seems to get even bigger and better. This year’s event, which runs from 4 to 14 September, has a packed Midnight Madness selection that includes the world premiere of Matthew Kennedy and Adam Brooks’s The Editor, a loving tribute to, or parody of, the gory giallo thrillers of Mario Bava and Dario Argento, alongside Jonas Govaerts’s promising Belgium horror debut Cub, and Kevin Smith’s bizarre Tusk.

In addition, the line-up features Sion Sono’s Tokyo Tribe, David Robert Mitchell’s It Follows, Hal Hartley’s Ned Rifle and Myroslav Slaboshpytskiy’s The Tribe, all of which also screen at Etrange Festival in Paris, which takes place at the same time. Mark Hartley presents his latest documentary Electric Boogaloo, which chronicles the rise and fall of 1980s action-exploitation juggernaut Cannon Films, plus there will be another opportunity to catch the hilarious Vampire mockumentary What We Do in the Shadows, which arrives in UK cinemas in November.

Plenty more exciting titles are on show in the always superb Vanguard strand, including The Duke of Burgundy, Peter Strickland’s follow-up to his eerie Berberian Sound Studio, the Misery-style Spanish thriller Shrew’s Nest and The World of Kanako, a new stylish and provocative thriller from Confessions director Tetsuya Nakashima.

James Franco’s latest Faulkner adaptation The Sound and the Fury, Abel Ferrara’s Pasolini and Jean-Baptiste Léonetti’s The Reach, the eagerly awaited follow-up to his 2011 debut feature Carré Blanc will receive a special presentation, plus the most promising big hitters in the official gala section come in the form of Shim Sung-Bo’s high-seas adventure Haemoo, co-scripted by Bong Joon-ho, and Andrea Di Stefano’s debut feature Escobar: Paradise Lost.

In addition to the many world and international premieres on show, there are of course this year’s earlier festival favourites to catch up on such as Cannes winner Winter Sleep, David Cronenberg’s Maps to the Stars, Xavier Dolan’s Mommy, Gabe Polsky’s Red Army about the Soviet Union’s dominance of ice hockey during the Cold War and Bennett Miller’s Foxcatcher, which also receives a gala screening at this year’s 58th BFI London Film Festival (8-19 October). Straight from Venice comes Ramin Bahrani’s superb dramatic thriller 99 Homes, atmospheric Austrian chiller Goodnight Mommy and The Look of Silence, Joshua Oppenheimer’s highly anticipated follow-up to The Act of Killing.

For previous TIFF coverage check out our Colonial Report from the Dominion of Canada.

As a very special treat, the always exciting Cinematheque archive strand presents Winnipeg director John Paizs’ 1985 classic Crime Wave, which brilliantly apes the look of 1950s educational films and trashy crime movies, alongside Atom Egoyan‘s Speaking Parts and a painstaking restoration of Sergei Paradjanov‘s 1968 masterpiece The Colour of Pomegranates.

For more information about the programme and how to book tickets visit the TIFF website.

Watch the TIFF festival trailer: