Fall Festival 2022 Standouts: The 15 Best Films from Venice, TIFF, and Telluride

The fall festival first round is a look at not only this year’s award contenders, but some of the best films of the year, full stop.

With the first flush of fall festivals behind us — we’re talking Venice, Telluride, and Toronto’s triple whammy — and the New York Film Festival just on the horizon, we’re taking a look at the circuit’s best films ever. And while it’s easy to use Fall Fest as a window into this year’s award contenders, of which Many Beginning over the past few weeks, including the Venice winner “All the Beauty and the Bloodshed” and the TIFF People’s Choice hit “The Fableman,” the festival has also given us a full stop with some of the best movies of 2022.

These standouts include everything from the aforementioned winners Laura Poitras and Steven Spielberg, as well as new features from perennial favorites Sarah Polley, Martin McDonagh, Luca Guadagnino, Rian Johnson, Joanna Hogg, Koji Fukada and Todd Field. Rising stars are also in no short supply, with first narrative features from both Elegance Bratton and Alice Diop likely to endure for years to come. Among this selection, words like “gem,” “masterpiece,” and “crowd-pleasing” are thrown around with regularity, but not without real thought.

Ahead, we’ve picked fifteen of the best movies from the fall festival season that we’ve enjoyed in recent times. Many of these movies are coming soon near you, big or small screen, and the release dates of those are also indicated. In short: Clear your calendars.

Sophie Monks Kaufman and Leila Latif also contributed to this article.

“All beauty and bloodshed”

that title. Even before it was released, “All the Beauty and the Bloodshed” cast a shudder during the Venice Film Festival competition (which ultimately won), sounding more like a line of Yeats poetry than the director’s latest documentary “CITIZENFOUR” was. Big news: The film lives up to it. Already a strong director, Laura Poitras has leveled off with a massive and devastating work of startling intelligence and still more emotional power.

“All the Beauty and the Bloodshed” is about the life and art of Nan Goldin and how it led her to discover PAIN (Prescription Addiction Intervention Now), an advocacy group targeting the Sackler family for the manufacture and distribution of OxyContin, Which is a deeply addictive drug. The opioid crisis has escalated. It is about the shackles of community, the dangers of oppression, and art and politics in one thing. As the film progresses, the line between them melts.

The incident that led to Goldin being diagnosed with PAIN was his own overdose. She nearly died but came back, and stays clean with the help of a drug called buprenorphine that is more difficult for doctors to prescribe than OxyContin. I won’t spoil the confrontation that suddenly ensues in “All the Beauty and the Bloodshed”, except that, as it happens, Nan is holding her friend’s hand, a small gesture that outlines how the community is. The ballast has been keeping this extraordinary woman alive. When the origins of the phrase “All the Beauty and the Bloodshed” are revealed, it provides a fitting and fiery mourning for those on the other side. This is a terrific film. —SMK

Neon will release “All the Beauty and the Bloodshed” at a later date.

“Banshee of Inishrin”

Searchlight Pictures, exclusive to IndieWire

“Banshee of Inishrin”

Every afternoon – for as long as one can remember on the small, fictional Irish island of Inishrin – two friends are sitting together in a town’s only pub for a few pinches of Guinness. This shared ritual may be the only thing these men have in common. Pedric Sylbhan (a wonderfully disappointed Colin Farrell) is a sweet and simple type who doesn’t ask for much from life, and gives exactly what it takes in return. If he dies five yards from his place of birth, it will be fine for him. Colm Doherty (Brendan Gleeson) is cut from a more intense fabric. An amateur but obsessive fiddler who is in his 60s and convinced he has exactly 12 years to live, Colm is plagued by a certain resentment at the smallness of his existence.

On an idyllic day in 1923, when local birds chirp loud enough for Inishrin’s people to ignore the blasts away from the water and the world, Colm suddenly announces that he will no longer be friends with Pedric. “You didn’t do anything,” insists the old man with the calm demeanor of a doctor offering a diagnosis and his treatment in the same breath. “I don’t like you anymore.”

And so, not six minutes into Martin McDonagh’s deliciously stinging “The Banshees of Inishrin,” the seeds of a new animosity are sown—not a metaphor for the Irish Civil War, an absurd kind of microcosm for it. The result is (so far) the writer-director’s best film since his similarly haunting “In Bruges,” in which a single lead actor trades sublime jabs of existential despair with all the hurtful grace of a heavyweight bout. were found. It is a provocative tragicomedy in which one man’s sympathetic but unshakeable lust for freedom leads to an escalating series of vengeance that can only end in stalemate or self-immolation. Or both. Worse. -of

Searchlight Pictures “The Banshees of Inishrin” will hit theaters on Friday, October 21.

“Bones and All”

Anton Chekhov once wrote to a colleague that “No one should put a loaded rifle on stage if it’s not going to go off. It’s wrong to make promises you don’t want to keep.” So when Michael Stuhlberg recounts the divine experience of consuming someone “bones and all” to a pair of young cannibal lovers, he loads carcass-sized bullets into Luca Guadagnino’s cinematic gun.

Lovers include Maren (Taylor Russell) and Lee (Timothée Chalamet), both “eaters”, with an appetite for human flesh that transcended their respective families’ bloodshed. The chemistry between the two leads is lovely, but the biggest love story still seems to be between Chalamet and Guadagnino as the director shoots their faces with so much love it’s hard not to shake off their bond.

The story pays clear homage to Terrence Malick’s “Badlands” as two insatiable children travel across the country through golden-hours, but the film is far more gentle towards its lead, swimming from a makeshift first kiss in a slaughterhouse. To shoot everything up to a Kentucky lake with a childlike sense of wonder. Most notably, when our two lovers sit on the edge of a canyon in Nebraska, where Chalamet gently shows off his unique ability to cry. There’s nothing unconventional in watching two lonely souls fall in love against a vast landscape looking into each other’s eyes, but Guadagnino still gifts us with pervasive romance that’s impossible to resist. -ll

MGM and United Artists Releasing “Bones and All” will hit theaters on Wednesday, November 23.

Katherine is called Birdie

“Katherine is called Birdie”

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“Katherine is called Birdie”

Who could possibly have guessed nearly a decade ago when “Girls” creator and star Lena Dunham announced in an opening episode of the ground-breaking HBO series that her Hannah Horvath might be “the voice of my generation.” Or at least a voice. of a generation” which really meant that she was … the voice of the medieval tweens?

Dunham’s fourth film follows Karen Cushman’s acclaimed 1994 YA novel “Katherine, Called Birdie” (Dunham’s title does away with the comma, one of several smart changes used to refresh the story) as a wildly entertaining coming-of-age. Turns in the comedy of the age that captures both the spirit of Dunham and the thrust of Cushman’s novel. Starring ‘Games of Thrones’ breakout Bella Ramsey in the title role, the film – set in medieval England – follows young Catherine (known as “Birdie”) as she takes care of the disinterested (and unaccompanied) world. makes its way through. The whims and desires of your women.

If this sounds ludicrous to you at all, you must read Cushman’s novel, which is refreshing and funny in many ways. And then, you really should watch Dunham’s movie, which is her best film to date, and proof that even Hannah’s most infamous declarations (as written and given by Dunham) have been proved to be true. -This

Amazon will release “Katherine Called Birdie” in theaters on Friday, September 23 and will be streaming on Prime Video on Friday, October 7.

“Eternal Daughter”

Tilda Swinton is down to shape the trickery of the performance since starring in “Orlando” 30 years ago, but “The Eternal Daughter” is her most ambitious undertaking yet. Coming back with her “souvenir” director (and childhood friend) Joanna Hogg, Swinton starred as both mother and daughter in a two-handed two-hander based on the filmmaker’s own life.

As a middle-aged director while vacationing with his mother in a remote, gothic hotel, the younger character grapples with his troubled relationship with his mother as they talk together about their history and future. consider. Both terrifying and emotional, Hogg’s ambiguous narrative style keeps viewers guessing at the mysterious nature of the circumstances, even as it presents the complex mother-daughter bond in crystal-clear terms. -I

A24 will release “The Eternal Daughter” at a later date.

fabelmens

“The Fablemans”

Universal Pictures

“The Fablemans”

Steven Spielberg’s career has gone through several phases, but “The Fablemans” is his most contained and intimate film, a semi-autobiographical drama about aspiring teen Sammy Fableman (newcomer Gabriel LaBelle), as he goes through the movies with a divorce. Finds out his love for you. His parents (Paul Dano and Michelle Williams). As late-period looks in the mirror, it stands out from the rest because Spielberg has never been so personal.

Co-written with Tony Kushner, Spielberg’s honest drama follows his alter ego as Sammy’s obsession with the camera helps him uncover hidden tensions within his family. This revelation adds deep meta layers about the nature of storytelling at the core of America’s foremost physicians, and centers their entire legacy with renewed emotional depth. A truly unique cultural event film for the lovers of the medium. -I

Universal Pictures will release “The Fableman” in limited theaters on Friday, November 11, expanding to Wednesday, November 23.

Check out more of the Fall Festival’s best movies on the next page, including a new Rian Johnson whodunit and Sarah Polley’s return to fiction film.

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