TIFF 2024 EDITOR’S JOURNAL: Entry #3 — Happy Cronenberg Day
Toronto International Film Festival
September 5-15, 2024
NadaMucho.com Editor/Publisher Matt Ashworth is on site in Toronto journaling for our first trip to the Toronto International Film Festival (TIFF).
Thursday, September 12
2:30 p.m. — The Shrouds North American Premiere @ Royal Alexandra Theatre
Pharrell’s “Get Lucky” was playing as I stepped into the historic Royal Alexandra Theatre for the first time, setting the perfect mood after seeing the premiere of his new LEGO biopic on Tuesday. It was the second screening of Cronenberg’s latest, The Shrouds, and I felt “on brand” in my McLusky shirt.
Cronenberg first hit my radar during my obligatory beat writer phase in my late teens with his adaptation of Burroughs’ Naked Lunch. Then, like many fans of fringe art from my generation, I became captivated by his 1996 film Crash, the one where Patricia Arquette, Holly Hunter, and James Spader explore sexual thrills amid car wreckage. It was the quintessential cool film for after-parties in my 20s. Since then, I’ve only seen Eastern Promises, which I loved. However, our blog’s lead critic had harsh things to say about his most recent work, Crimes of the Future (2022).
Yet, Cronenberg’s influence as the progenitor of “body horror” is everywhere at TIFF 2024. Other films in the festival, like Shell, The Substance, and Exhuma, all nod to his legacy in their own twisted ways. Shell is a dark comedy where Elisabeth Moss plays an actress going head-to-head with a beauty firm led by Kate Hudson. Think vanity and identity clashes mixed with some seriously creepy science experiments. Then there’s The Substance, starring Demi Moore, which dives into horror territory with plenty of surreal, physical transformations that blur the line between psychological dread and the grotesque. Finally, Exhuma brings Korean horror into the mix. It’s about a group investigating a mysterious illness tied to a sacred ancestral grave.
The Shrouds follows a technological entrepreneur, played by Vincent Cassel, grieving his wife’s death as his world crumbles into a nightmare of sex, paranoia, and grief. To me, the film shows that Cronenberg truly understands how the world works and how to subvert it. His keen perception of technology’s intersection with death explores how we honor the deceased and touches on the corporate, political, and underground forces shaping our digital world. The understated ‘80s film approach to dialogue and reactions to big reveals brings a surprising warmth and humor to the narrative. When it ended and my phone booted back up, I added “go back through Cronenberg’s catalog” to my ever-growing list of film nerd to-dos.
After the film, Cronenberg spoke about love, death, and our connection to the physical form with calm eloquence. He even suggested that the film’s Grave Tech technology could become a viable business, encouraging young entrepreneurs to start with a “grave cam” in their backyard. It was pretty cool.
Quick Shout-Out: Ravi Soups—a gem around the corner from our Airbnb. Their small but carefully crafted menu revolves around eight soups, with a large bowl plus a cheese biscuit for just $10 USD. I dragged Tim there right after The Shrouds, and it was my third visit of the week. It gives off “Soup Nazi” vibes, except the staff are actually super kind. Their enclosed backyard patio, complete with tables and string lights, is a perfect little escape.
9:30 p.m. — Shell World Premiere at the Princess of Wales Theatre
Film Description — Down-on-her-luck actress Samantha Lake (Elisabeth Moss) is drawn into the ultra-glamorous world of Zoe Shannon (Kate Hudson), the CEO of the health and wellness company Shell. But when their patients, including starlet Chloe Benson (Kaia Gerber), start to go missing, Samantha realizes that Shell may be hiding a monstrous secret.
My Thoughts — After watching Shell tonight and The End last night, it kind of feels like two stinkers in a row. Shell couldn’t seem to decide whether it wanted to be campy and funny, serious, or just plain weird—and ended up not really nailing any of them. It felt more like a movie that needed commercials—which isn’t necessarily a bad thing. I grew up on network TV films in the ’80s and early ’90s and have a warm affinity for zany narratives with just enough good characters and surprises to keep me coming back after the break. But that’s not what I’m looking for at a film festival, I guess.
Despite solid performances from Elisabeth Moss and Kate Hudson, the story just didn’t work for me. It lacked the engaging, compelling narrative that I expect to pull me in from start to finish, especially at a festival. That said, our senior critic Tim Basaraba liked it, so be sure to check out his review for a different perspective.
Friday, September 13
3 p.m. — SATURDAY NIGHT Canadian Premiere at the Princess of Wales Theatre
On Friday, I slept in a bit while Tim embarked on an epic five-film day. I took a stroll around Toronto to loosen up before my first screening.
The line of largely affluent-looking attendees wrapped around three blocks leading up to the Princess of Wales Theatre. Pleasant enough conversation floated around, and surprisingly, I didn’t hear a single SNL catchphrase poorly delivered. Inside, an older lady adorned in expensive-looking jewelry was moved to a more accommodating seat—typical festival scene.
The TIFF programming lead introduced the film, noting that director Jason Reitman couldn’t attend because he’s working on a top-secret project. That’s exciting news from the director who brought us Juno (2007) and Thank You for Smoking (2005).
Reitman’s SATURDAY NIGHT captures the frenzied lead-up to the very first episode of Saturday Night Live, as a motley crew of then-unknown, untrained comedians prepare to step into the spotlight that would forever change television and launch them to stardom.
Seeing a film about SNL had me empathizing with those nerds who get nervous when their favorite comic book or science fiction narratives make it to the silver screen. For me, this is sacred territory. As early as I can remember, I have been a huge fan of SNL and its legacy. My dad and uncle raved about the ’70s cast while I was enamored with Chris Farley, Adam Sandler, Phil Hartman, Molly Shannon and company. When Netflix first started streaming, I went back and watched nearly every episode before they yanked them down. I’ve also read several books on SNL and the late-night TV wars, so I had a lot of familiarity and high expectations going into this film—and it met them all. Watching SATURDAY NIGHT felt like being a fly on the wall for a night I’ve often pondered.
In interviews, Reitman mentioned that he told the cast they only needed to capture one key essence of their characters, given the large ensemble format and limited screen time, and they all nailed it. The actors playing Dan Aykroyd, Jane Curtin, and Garrett Morris were particularly spot-on. Reitman did a fantastic job with SATURDAY NIGHT. It’s incredibly difficult to dramatize real people and events without making it feel like a true-crime reenactment video, but this film pulled it off. The story was frenzied, dizzying, and entertaining from the get-go. The percussive score helped amplify that energy.
I didn’t want the film to end. I wished they had recreated more of the first episode and worked in a narrative around the public and network reactions. Heck, how about a new film for every episode of that first magical season? Or maybe a Peacock series starring this same cast?
9:05 p.m. — The Cut World Premiere at Scotiabank Theatre
There are already plenty of boxing movies, and I’m not sure we needed another one. However, if you’re younger than me and haven’t yet reached your lifetime quota of very good boxing films like Raging Bull, Rocky, the Boxer, the Fighter and Million Dollar Baby, The Cut is definitely worth seeing. It’s raw, intense, and, at times, devastating.
Director Sean Ellis brings a visceral quality to the film, capturing the physical and emotional toll of a fighter’s obsession. Orlando Bloom delivers an excellent performance, immersing himself in the role of a man driven to confront personal demons by getting back in the rink at any cost. The film is solid and engaging, keeping you invested from start to finish. In a genre where it’s easy to fall into clichés, The Cut manages to land a few fresh punches.