Inked in 1951, the Treaty of San Francisco specified the compensations and conditions Japan had to comply with following its defeat in World War II, essentially marking the nations first steps toward regaining sovereignty, but it also affected the cultural landscape of the country.
Toronto-based director Kazik Radwanskis third feature had a considerable gestation period. The project emerged from lead Deragh Campbells cameo in How Heavy This Hammer (2015), and gradually expanded this condensed moment into Campbells finely calibrated, profoundly committed performance in this years Anne at 13,000 ft.
As the cinema lights come up after Cunningham, Alla Kovgans dazzling 3D documentary about 20th-century American dancer and choreographer Merce Cunningham, the audience makes a trilling noiseits the rare sound of strangers noting shared delight. This is only the third day of the Toronto International Film Festival and while audience members remove their 3D glasses and decide whether to settle in for the Q&A, I wonder whether its too soon to consider Cunningham a festival highlight.
Berwick-upon-Tweed is a visual heaven. Nestled down the railway from Edinburgh on the coast of Northumbria, this border town has changed allegiances between Scotland and England many times.
One of many sad questions following the implosion of New Yorker Films was that of their impressive (and consistently cultivated) catalog of works from Brazil, including masterpieces by Cinema Novo auteurs such as Nelson Pereira dos Santos, Carlos Diegues and, most famous of all, Glauber Rocha.