2018: Another Year of Cinema Come and Gone

This year was a real game changer for a person like myself. To kick things off, it was the first year in which I was able to attend TIFF as a press member rather than as any other audience member. It was a defining moment for myself, though I don’t want to brag a little too much about what happened there. It was just a good year for cinema in general. That’s all I can really say, and I want to bring more attention to the many films that I absolutely loved this year – and so many of them came around this year and so forth. We’re already nearing the end of a decade, and through the good and the bad, the cinema has always been able to provide nothing but the greatest pleasures through and through. Although as we look through the films that have come to define 2018 as a whole, there were many surprises that came along the way just as there were disappointments – all of which came in between the very best and the worst in cinema through the year. So without further ado, let us begin. Continue reading →

The 91st Academy Awards: Comments and Concerns

It has been an absolutely astonishing year for the cinema. But for as amazing a year as 2018 had been, we’re also left with facing one of the most insulting awards seasons to have come by in recent memory. You’d think that given last year’s set of nominees they actually would have been growing progressively better, especially having given a film like Moonlight the top honour for the 2016 ceremony (and a well-deserved one at that), but after the Golden Globes came by, I was already worried that we’d already be in store for one of the absolute worst in recent memory. To think that the Oscars would already have gone far beyond that “popular film” award in order to try and raise their viewership, as if the ceremonies themselves haven’t already been stale enough (i.e. overlong montages praising the industry and shallow activism that amounts to nothing), who knew that we’d be in store for one that was so out of touch – particularly in last year’s amazingly bad timing (with it being only barely ahead of the Olympics rather than in February like they usually were)? As a supposed celebration for the cinema comes by within the year, there are many things here to be concerned about.

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Barry Jenkins Gives a New Life to James Baldwin’s Legacy with If Beale Street Could Talk: TIFF Review

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If there’s anything to be said about Barry Jenkins, his track record is already setting himself up to become one of this generation’s best working filmmakers after his Academy Award-winning second film Moonlight, so how does he manage to follow up with his third film? Adapting the words of James Baldwin onto the screen shouldn’t seem like such an easy task for just about any writer-director, yet Barry Jenkins shows himself to be the perfect choice with relative ease. But as every small detail starts to come together in order to form what Barry Jenkins manages to bring to life in his own adaptation of If Beale Street Could Talk, you already start to feel that this film was so clearly made out of love for the text of Baldwin. This is a romance story on the surface, but Jenkins also takes that template to make something more meditative, just as Baldwin’s own social critiques would have inspired from American society back in his time – for watching this film we only find his message is still alive. There’s no better way to put how fully realized an effort like this is, and for all I know it may very well be one of the decade’s most beautiful films.

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