Jean-Marc Vallée enjoys playing heartstrings. He’s drawn to more irreverent forms of playing them but his end goals are clear, and what worked so well in Dallas Buyers Club and Wild—using broken and imperfect people to explore physical and emotional journeys—breaks down Demolition. The flawed protagonist in this case-study in grief is Davis Mitchell, whose emotional intelligence is so low it borders on sociopathic, proven by the (literally) destructive way he chooses to deal with the sudden death of his wife. Jake Gyllenhaal plays Mitchell as well as can be expected for such an irrational character, and Vallée’s introspective style pushes things as far as it can in building real feelings toward the story. It’s Bryan Sipe’s screenplay (his first major feature) that appears to be at fault, shoving as many emotionally explosive elements as possible into one script and only hinting at the sort of saving grace that would allow audiences to forgive the sentimental melodrama capping off the film.

Davis Mitchell is reminiscent of American Psycho’s Patrick Bateman in more ways than just his emotional numbness. Clean-shaven, well-groomed, and career-driven, the house he and his young wife Julia (Heather Lind) share is all glass and metal—antiseptic like he is. During an argument while driving one day he and his wife are hit by a truck and Julia dies at the hospital while Davis escapes without a scratch. Shortly after receiving the news of her death, Davis attempts to buy some M&Ms from a vending machine and, when the package sticks in the machine, he takes down the vending machine company’s info.

With keen editing, Davis’ experience of the details of his wife’s death focuses more on everyone else’s emotions surrounding him, while he remains undisturbed. He escapes during the funeral reception to write a letter to the vending company, describing in awkward detail the circumstances surrounding his attempt to buy M&Ms. It feels distinctly unnatural, as nothing of Davis’ nature suggests he’d care much either way at having gotten the candy or not, but we’re meant to understand this is his way of emoting.

After returning to work as an investment banker soon after Julia’s death, Davis’ father-in-law Phil (Chris Cooper), who is also his boss, encourages him to take some time off and deconstruct his feelings. Davis decides to take him at his word, and though he doesn’t immediately take time off work, he does start taking apart almost anything that annoys him or causes him to wonder. This includes a bathroom stall, his refrigerator, an espresso machine, and his work computer. This behavior, of course, leads to some forced time off, and by this point the customer service representative of the vending machine company, Karen Moreno (Naomi Watts), reaches out to Davis after becoming intrigued by his letters.

What follows is a hard to swallow friendship between the privileged Davis and Karen, a low-income single mother dating her boss and a marijuana—or cannabis, as she prefers to call it—user. While much of what happens on-screen is difficult to believe, such as Davis joining a construction crew to help destroy a house just for a reason to use a sledgehammer, his relationship with Karen and her son Chris (Judah Lewis) feels the most contrived. As if unable to pick a theme, the film slips into piling one high drama scenario onto the next, but through the filter of Davis’s inability to feel anything. If emotional appropriation is a thing, this movie embodies it.

How much more can a rich white man take from the world just to try and elicit some sense of grief for his perfectly awesome dead wife? As Davis bitches to the void through his letters to Karen (which continue, by the way, even after he knows she’s reading them, like some real-life Facebook status update), destroys millions of dollars of material possessions many people would be thrilled to own, and then forces his sorry self into the lives of poorer and more generous people than himself all while ignoring his own family’s attempts to show him love, it gets harder and harder to feel any empathy for Davis. It’s a case study in indulgent and privileged grieving.

Vallée is ever ambitious in exploring the nuances of the human condition and, as usual, he creates a film that looks and sounds beautiful. He’s an expert at incorporating music, even if Heart’s “Crazy On You” doesn’t fit here as smoothly as he might think. I find obvious fault with Gyllenhaal’s character but it’s not to do with his performance. If given the chance to express a more complicated range of emotion, it would have been easier to be endeared to Demolition. Watts is likable but her character is a washrag for Davis to wipe his face on. But the standout of the film is Judah Lewis, who is the only one capable of breaking hearts as a teenager trying to both find and be himself. Lewis’ character is the only one portraying emotions that make some sort of sense: teen angst, passion, and uncertainty. If only the film was about him.

Jean-Marc Vallée is pretty intent on making sure audiences get their yearly dose of heavy-duty emotion. After pulling our hearts out in Dallas Buyers Club and making our eyes red with last year’s Wild, it appears he’s back to beat on our empathetic heartstrings once again. And, this time, he’s getting literal.

In the new trailer for Demolition, which opened last year’s Toronto International Film Festival, Jake Gyllenhaal plays Davis Mitchell, who writes letters of complaint against a vending machine company for that too-often occurrence of a machine failing to deliver on its candy promise. An especially infuriating experience because his wife had died hours earlier in a car accident. When a customer service representative, Karen (Naomi Watts), calls back out of concern for Mr. Mitchell, the two form a wayward friendship which introduces Mitchell to Karen’s son Chris (Judah Lewis).

Davis struggles to truly mourn his wife’s loss and begins a literal deconstruction of his life, with the help of Chris. Chris Cooper plays his father-in-law trying to get him to move on. We imagine tissues will be a must for this one.

Demolition releases theatrically April 8th, 2016.

It’s January, the Oscar nominations are out there and everyone’s giving their two cents about Hollywood race/gender bias, complaining that their favorite movie didn’t get enough attention, and praying to the golden-statue gods that Leonardo DiCaprio finally nabs that elusive award he’s been chasing since he was five years old or something.

2015 was a fascinating year in film. But to be real, it’s exhausting getting pelted left and right on social media with people’s thoughts on the Oscars and their grievances with this past year in film. What’s more, we’re in a veritable dead zone at the movies right now, with little of significance (all due respect) hitting theaters in these last winter months. What better to do, then, than to look beyond awards season and run down our most anticipated movies of 2016?

From arthouse to mega multiplex, there are pictures in the works that we can’t wait to feast our eyes on. Cinephile favorites Rodrigo García, Jeff Nichols, Whit Stillman, the Coens, and Kenneth Lonergan are all ready to blow us away again with their latest offerings, while Disney looks to have another banner year with two Marvel films and a Star Wars spinoff waiting in the wings. Beloved veterans Martin Scorsese and Richard Linklater are back with a pair of ensemble pieces while up and coming rookies Damien Chazelle and Ana Lily Amirpour return to prove their breakout hits were just the beginning of their long and fruitful careers.

So, while everyone else continues to moan about Oscar racial bias while simultaneously butchering Alejandro González Iñárritu’s name, join us as we look forward to what should be a spectacular year in film.

Way Too Indie’s Most Anticipated Films of 2016

31

Rob Zombie is one of the most polarizing genre filmmakers working today, with equal amounts of people believing his films to be brilliant art or tasteless filth. His latest film, 31, has received lots of hype leading up to its Sundance premiere due to an MPAA controversy. If there’s anything we’ve learned from Zombie’s past features, it’s that he’s completely unafraid of going too far in regards to grim violence. His breakout film, The Devil’s Rejects, is an exercise in brutality that also includes some unexpected moments that are genuinely sweet and endearing. According to the director, 31 features a similar tone to the aforementioned film, which is definitely a positive thing. Set on Halloween night in the 1970s, the film finds a group of psychotic clowns capturing unsuspecting people and forcing them to play deadly carnival games. While this could be perceived as cheesy, Zombie’s history of going completely balls to the wall with everything leaves little doubt that 31 will be genuinely unsettling. [Blair]

Assassin’s Creed

Game players across the globe have long been eagerly awaiting Justin Kurzel’s adaptation of the popular action-adventure series, Assassin’s Creed. And seeing as it’s one of my most anticipated films of 2016, you’d think that I’m a die-hard fan of the game as well. Surprisingly, I’ve never played it (despite always having had an interest in doing so), and thus my excitement to check out Kurzel’s adaptation doesn’t stem from adoration of the original source material. More so, it stems from my love of the cast and crew at the helm of the project. Assassin’s Creed is co-written by Michael Lesslie, one of the co-writers of Kurzel’s brilliant adaptation of Shakespeare’s Macbeth, from last year. It’s shot by Adam Arkapaw (also Macbeth, True Detective, Top of the Lake, Lore, The Snowtown Murders, Animal Kingdom), undoubtedly one of the world’s finest working cinematographers. And lastly, the film stars Michael Fassbender and Marion Cotillard who, with Macbeth, already proved what a dual force they can be on screen. It’s hard not to expect greatness from this immensely talented group of individuals’ next cinematic output. [Eli]

The Bad Batch

Ana Lily Amirpour made a huge impression on the indie world a couple years ago with her directorial debut of A Girl Walks Home Alone at Night, even landing on our list of the Best Foreign Films of 2014. With her upcoming film The Bad Batch, Amirpour scores big name actors Jim Carrey and Keanu Reeves (though the extent of their roles is unknown at this time) along with Diego Luna and Suki Waterhouse to star in a film described as a cannibal love story set in a post-apocalyptic Texas wasteland. We can only hope Amirpour offers another highly stylized genre mashup like she did in her first effort, and capitalizes on the extraordinary talent she’s been blessed with here. While there hasn’t been an official release date announced yet, we’d expect The Bad Batch to premiere on the festival circuit later this year. [Dustin]

Bad Santa 2

Comedies are often funniest when they make you laugh in a very particular, unique way that may not be for everyone, but is just right for you. 2003’s Bad Santa was that kind of movie for me, with its irreverent, dark, disgusting sense of humor still making me laugh hysterically over a decade after I first watched it. In its (true) sequel, Bad Santa 2, Billy Bob Thornton reprises his role as scummy small-time crook/mall Santa Willie Stokes as Mean Girls director Mark Waters sits at the helm. Joining Thornton onscreen are Tony Cox (reprising his role as Willie’s partner in crime, Marcus), Christina Hendricks, Kathy Bates and the returning Brett Kelly as pudgy Santa admirer Thurman Merman. Principal photography for the film commenced just recently, and with Zoolander 2 on deck this year as well, I’m beginning to have high school flashbacks of spilling my popcorn at my multiplex from laughing so hard. [Bernard]

Captain America: Civil War

With Ant-Man, the Marvel Cinematic Universe concluded “Phase 2” of its ongoing celluloid superhero saga. In that time, heroes have been born, friendships have been forged, and Avengers have been assembled. Those first two phases of films—12 pictures in all—have led to the kickoff of Phase 3: Captain America: Civil War. This is a film that will pit hero against hero and probably disassemble The Avengers as we know them today, as the US government wants superheroes to register their powers; not every hero thinks they should, creating a philosophical divide and both sides are digging in. There hasn’t been a film in the MCU franchise with this much at stake. It not only marks the beginning of the end for some characters and storylines, it also marks the beginning of the beginning for others, making the film a critical point along a dynamic timeline that Marvel has projected into 2019. To add a twist, Civil War marks only the third time an MCU director has helmed a sequel of his previous film. Jon Favreau, director of what once was best of the MCU, Iron Man, directed Iron Man 2 to disastrous creative results. Joss Whedon, who directed the film that toppled Iron Man as the best—The Avengers—directed that film’s sequel, Avengers: Age of Ultron; his results weren’t much better than Favreau’s. That pattern now continues. Brothers Anthony and Joe Russo return from helming Captain America: The Winter Soldier, the MCU film I strongly believe tops them all, to direct this one. Will the superhero sophomore jinx sting the Russos like those before them? I hope not, and I can’t wait to find out. [Michael]

Cosmos

The fact that Andrzej Zulawski has returned to feature filmmaking after a fifteen-year hiatus should be a cause for celebration. Like many of the Polish auteurs, from Kieslowski to Polanski, Zulawski’s images are always striking. His Cronenberg-esque English-language horror film, Possession, is among the best of its kind, brimming with terror and excitement. But it’s possible Cosmos, with its suggestively panoptic title, could be something more ambitious. Perhaps it will be more comparable to Zulawski’s unfinished opus, On the Silver Globe, as the plot also seems relatively abstract. Regardless, the film is shaping up to be quite the triumph. It premiered in August of last year at the Locarno International Film Festival to rave reviews, so it would appear the great director has not lost his footing. [Cameron]

Doctor Strange

I don’t know much about Doctor Strange, but what I do know points to possibly Marvel Studios’ strangest (yeah, OK, pun intended) film so far. Benedict Cumberbatch as an intergalactic crime-fighting magician? I’m down with that. The film’s director has also piqued my interested, as Scott Derrickson could bring a dark edge to that could-be goofy one-sentence description. Derrickson is one of the best filmmakers working today in mainstream horror, even if I was greatly disappointed by his last film, Deliver Us from Evil. Marvel has had a rocky history with directors with a vision, though I think this narrative is a little overplayed considering what we see on screen—the pre- and non-Avengers films have always had a bit of the filmmaker’s character in there, so I expect Derrickson’s style to show on screen. Along with Cumberbatch, Doctor Strange will also feature Rachel McAdams, Chiwetel Ejiofor as Baron Mordo (that has to be the villain, right?), Mads Mikkelsen, and Tilda Swinton as something called “The Ancient One.” If Doctor Strange turns out to be as crazy and scary as I hope, it might be Marvel’s new torch holder. [Aaron]

Demolition

Fresh off the successes of his recent films Dallas Buyers Club and Wild, Jean-Marc Vallée’s next directorial effort, Demolition, looks like more character-driven brilliance from the filmmaker. Starring the perpetually under-appreciated Jake Gyllenhaal, the film follows an investment banker who attempts to rebuild his life after the unexpected death of his wife. With a fantastic director, a fantastic lead, and a fantastic supporting cast—featuring the likes of Naomi Watts and Chris Cooper—there is a lot to get excited about when it comes to Demolition’s upcoming release. While having a great cast and crew doesn’t always result in a great movie, it certainly stacks the odds in favor of such, which is a justifiable cause for excitement. If the film can elicit the same kind of raw, human emotion that Vallée’s previous works have, we’re all going to be in for a treat when Demolition arrives in theaters this April. [Blair]

Elle

A cyberthriller starring Isabelle Hupert from genius provocateur, Paul Verhoeven? That’s not a logline I need to hear twice. Verhoeven is chiefly remembered for his ability to pull off social commentary through science fiction better than just about anyone else in the game. He skewered the noxious politics of Robert Heinlin’s military-approved novel, Starship Troopers, by adapting it in such a way that its virtues are mocked as opposed to upheld, resulting in one of the best anti-propaganda films of the past few decades. Prior to this, he exploded with the smash hit, RoboCop, a blockbuster about a corrupt company that seeks to saturate an impoverished Detroit with its state-of-the-art technology to profit through monopolized gentrification. But even before this, before the name Verhoeven was familiar to American audiences, he was churning out pulpy, Hitchcockian erotic thrillers that were supremely stylized and vigorously entertaining. With Elle, a film that sounds so Hitchcockian it’s a wonder Brian De Palma isn’t directing it. [Cameron]

Everybody Wants Some

Following up his critically acclaimed masterpiece Boyhood, Richard Linklater heads back into familiar territory with a slacker comedy that has cult status written all over it. His upcoming film Everybody Wants Some follows a group of college baseball players in the early ’80s who embark on a wild weekend of freedom and unsupervised adulthood. Fans of his ’70s inspired high school stoner classic Dazed and Confused will undoubtedly notice similarities. That’s by design as Linklater’s newest film is a self-proclaimed “spiritual sequel” to the fan favorite Dazed, containing the same setup of boys chasing girls, drinking, and pot smoking, only a decade later. The former film introduced us to little-known actors who later became superstars (Matthew McConaughey and Milla Jovovich) so there’s a chance the same could happen with the young cast here as well (Blake Jenner, Zoey Deutch, Ryan Guzman, Tyler Hoechlin, Wyatt Russell). Everybody Wants Some is slated to premiere at SXSW this year as the opening night film. [Dustin]

Ghostbusters

2016 appears to be going for some sort of record for Most Franchise Films distributed in a year. Almost every weekend sees some next installment of whomever your favorite superhero is (Batman, Superman, X-Men, and Captain America will all be hanging out in 2016), or the next star war or trek, and don’t get me started on nostalgia-produced installations such as Independence Day: Resurgence, Zoolander 2, Finding Dory, and Bridget Jones’s Baby. Straight old remakes are more rare, as they should be when the originals are so perfect. So while no one is likely hankering for another Jungle Book, Pete’s Dragon, or Jumanji—though they are going to get them anyway—there is one remake we can get genuinely excited about this year: Ghostbusters. Re-imagining the 1984 classic with female leads (especially one made up of today’s funniest women: Kristen Wiig, Melissa McCarthy, Kate McKinnon, and Leslie Jones), directed by a man who not only makes hilarious films but seems to innately understand the unique humor women afford to film, Paul Feig, is not only a great indicator that Hollywood might finally be wising up that we need less Get Hard and more Spy and Bridesmaids. Sure the film is banking on people’s love for the original, but I’m betting the fresh perspective secures it as a success on its own and further proof the world wants to see ladies save the day while Chris Hemsworth plays the secretary. How’s that for role reversal? [Ananda]

Hail, Caesar!

Hail, Caesar! is as close to a “blind buy” as it comes to a most anticipated list simply because it’s the Coen brothers (True Grit, Inside Llewyn Davis). I’ll admit that I was a little wary when I first heard the film was being released in early February—but again, it’s the Coen brothers. Sure, the Coens have their fair share of misses, and Hail, Caesar! seems much more in the comic vein of their less successful films. Given what we’ve seen in the trailers for the film, at worst it seems like a fun and disposable film. The cast is spectacular: Clooney, Brolin, Tatum, Swinton, Johansson, Fiennes, Hill, McDormand—I could make an art-house Expendables joke which is even more apt as Dolph Lundgren is also in the film. Hail, Caesar! may not be on the same plane as the Coens’ recent run (last three films nominated for Best Picture), but I’m ready for a sharp, very fun, nostalgic madcap run through the Golden Age of Hollywood that only they could provide. [Aaron]

La La Land

Though it wasn’t quite his debut, Whiplash allowed filmmaker Damien Chazelle to emerge in a big way in 2014. At the time of the movie’s release, the common refrain concerning Chazelle’s high school past as a jazz drummer was that it helped him to imbue his movie—about a musician—with a sense of musicality and rhythm. His cuts, perfectly timed with the diegetic soundtrack, made the journey of a song cinematic. Which is why it’s no surprise that the writer/director’s follow-up to his Oscar-winning second movie is a full-on musical. La La Land (set for release July 15th) reunites Crazy, Stupid, Love co-stars/charm machines Ryan Gosling and Emma Stone with Rosemarie DeWitt, John Legend and Whiplash standout J.K. Simmons in supporting roles. Set in modern day Los Angeles, the upcoming film features Gosling as a jazz pianist that falls for an aspiring actress, and from the first look, an old-fashioned tone seems evident. In an era where the majority of big movie musicals are stodgy adaptations of Broadway shows, Chazelle—who turns 31 years old January 19th—is poised to bring some vitality to a genre desperately in search of some. [Zach]

Last Days in the Desert

I’ve always been fascinated by experimental takes on Biblical tales. The source material is literally ancient, so it’s highly refreshing whenever a filmmaker decides to approach it unconventionally, unafraid to deviate from the consensus understandings of the deeply subjective text. Last Days in the Desert appears to be just such a film. The story centers on Jesus’s 40 days of fasting and prayer in the desert; a hazy period of isolation and temptation. It’s the kind of wide-open premise that is ripe for abstract, contemplative filmmaking. But there’s an extra angle of intrigue in the casting of Ewan McGregor as both Jesus and Satan. Perceived whitewashing aside, the double role is a really cool choice, and I’m eager to see what it means for the film’s ideas and what it brings out of McGregor. Also, Rodrigo García directs the first feature script he’s written since the underseen gem, Mother and Child (2009). Last Days in the Desert appears to be a bit of a departure as far as style and subject matter goes, but here’s hoping it represents an invigorating new turn in the director’s career. [Byron]

Love & Friendship

Back in 2011, Whit Stillman fans were ecstatic to see him return to filmmaking after a 13-year hiatus with Damsels in Distress. Luckily, the wait for his next film won’t be nearly that long, with Sundance announcing that his latest feature Love & Friendship will premiere at the festival. This time Stillman has changed gears, adapting a Jane Austen novella taking place in the late 18th century about a widow trying to find husbands for herself and her daughter. It’s new territory for Stillman, although his skill for skewering yuppies and the upper class in his earlier works makes the prospect of him tackling an elegant period piece all the more appealing. But the most exciting part has to be its cast, which stars Chloe Sevigny and Kate Beckinsale, making Love & Friendship a Last Days of Disco mini-reunion we never knew we needed. [C.J.]

Manchester by the Sea

This year’s Sundance lineup came as a surprise compared to previous years, with a lot of big American indie directors unveiling their latest works. And while we can’t wait for the likes of Kelly Reichardt and Todd Solondz to premiere their newest films, it’s Kenneth Lonergan’s Manchester by the Sea that has us most excited. His last film Margaret took over six years to get released due to legal troubles (a long saga well worth looking into), but the film was a bonafide masterpiece, a grand American epic that never got a proper chance to shine. Yet despite committing offenses that would throw most people in director jail for life, Lonergan has returned with a brand new feature about an uncle (Casey Affleck) having to take care of his teenage nephew after his brother dies. It sounds like a return to the low-key, humanist material of You Can Count on Me, and if Lonergan can make something half as good as that we’re in for something truly special. [C.J.]

Midnight Special

Of all the movies on the horizon in 2016, none are more tantalizing to this writer than Jeff Nichols’ Midnight Special. The Take Shelter and Mud director reunites with a surging Michael Shannon to tell the story of a father (Shannon) protecting his young son, Alton (Jaeden Lieberher), from a government task force and a scary religious sect as they race to a secret location. Why all the fuss over one boy? Turns out, Alton’s got special powers (and some freaky glowing eyes) which makes him a big-time target for evil scientists and god-fearing madmen. In Take Shelter we saw Nichols and Shannon examine the nature of paranoia in a fascinating way, but with an added sci-fi element and a thriller pursuit narrative, Midnight Special opens up a world of possibility for the actor-director team. [Bernard]

The Nice Guys

I’m a child of the ‘80s. As such, I was there for the birth of Lethal Weapon. The 1987 Richard Donner film, easily the best buddy cop film made (before and since), was written by Shane Black. It was his first screenplay. While nothing he’s done since can top that, everything he’s done has been a helluva good time. That includes his two directorial efforts, 2005’s Kiss Kiss Bang Bang and 2013’s Iron Man 3 (both of which he also wrote). Thanks to the cult popularity of the former, the box office success of the latter, and the critical acclaim of both, Black is back behind the camera (and the keyboard) with The Nice Guys. The film, starring heavy-hitters Russell Crowe and Ryan Gosling, has its leads playing private eyes in 1970s Los Angeles, investigating the suicide of a porn star. If the trailer is any indication, Black’s crackling dialogue will be just one of the highlights of this crime thriller, and surely other Black-isms (humor, Christmas, kidnapping, kids in peril, etc.) will be on full display as well. [Michael]

Passengers

So we don’t have a ton to go off of when it comes to Passengers, but what I do know not only piques my interest but gives me reason to believe this could be one of the most unique, interesting, and entertaining films that comes out in 2016—a year I continue to bemoan as already looking formulaic and franchised to the hilt. What we know: The Imitation Game director Morten Tyldum is directing, Chris Pratt and Jennifer Lawrence are starring (I mean, how hot are they right now?!), and Jon Spaihts wrote the script. As the man most likely responsible for the better parts of Prometheus, Spaihts as writer means the sci-fi elements of this labeled “Epic Sci-Fi Romance” are apt to be pretty solid and Tyldum has proven his directing acumen aplenty. The film’s story follows Chris Pratt’s character, Jim, awakening 60 years early on a spaceship transporting cryogenically frozen passengers on a 90-year journey to a new colony. Rather than face a lonely life and death by himself, he decides to wake up another passenger, Jennifer Lawrence’s Aurora. The Sleeping Beauty reference is cute, the premise sounds both funny and strange, and with unconventional romances like Her captivating audiences recently, this may be a great idiosyncratic and original watch. [Ananda]

Rogue One: A Star Wars Story

As a massive Star Wars fan, I’m not sure any 2016 title captures my curiosity more than this one. I say “curiosity” rather than outright “anticipation” because I don’t know at all what to expect. We’re even more in the dark than we were with The Force Awakens. Aside from the animated film that played like an extended pilot for the Clone Wars television show, the franchise has never ventured outside the core episodes on the big screen. The prospect of leaving the Skywalkers behind and exploring new territory through a series of anthology stories is an exciting one and Rogue One will be the first test of that concept. I’ve always wanted to see a Star Wars movie take on the perspective of the soldiers and spies on the ground and this film’s Wild Bunch-style premise presents plenty of intriguing possibilities. An outstanding and diverse cast, coupled with an inspired choice of director in Gareth Edwards (Godzilla, Monsters), makes the project all the more enticing. [Byron]

Silence

Silence is one of those projects that get kicked around for years, taking different forms on its path to production. Martin Scorsese’s interest in the story dates back over 20 years, and previous attempts to produce the movie included names like Daniel Day-Lewis and Ken Watanabe among casting. Repeated delays even lead to one of the film’s producers suing Scorsese in 2012 for repeatedly putting off the movie in favor of films like The Departed and Hugo. Complicated productions can overshadow a film’s release, however, in the case of new material from the director of Raging Bull and Goodfellas (how do you pick two?) the potential for excellence always remains high. Silence stars Liam Neeson and Andrew Garfield—who lost 40 pounds and grew some magnificent facial hair for the part—as well as Star Wars: The Force Awakens standout Adam Driver. Set in the 17th century, the film tells the story of Jesuit priests who face persecution in Japan for spreading the teaching of Christianity. Scorsese’s work tends to be elevated by his personal connections to a story, and the legendary filmmaker’s Catholic roots will hopefully provide an entry point for one of his longest gestating projects. [Zach]

The Witch

It’s easy to refrain from getting too worked up over films from first-time directors, especially those featuring casts of little knowns, because there isn’t much to root one’s anticipation in. Robert Eggers’ The Witch is indeed a directorial debut featuring a cast of little knowns, but isn’t in any way, shape, or form a film that I’m having an easy time waiting for. Admittedly, I have a soft spot for the horror genre, but based on the film’s unforgettably tense and borderline-gothic trailer, it seems like it will be an atypical genre flick: relying less on sudden shocks and more on an atmosphere of dread and uncertainty to affect its viewers. Furthermore, the Sundance debut of The Witch rewarded Eggers with the high honor of their Best Director prize. It’s refreshing to see a filmmaker emerge on the horror scene with a film so strong that its reception, thus far, has been almost universally positive. Without even having seen it, this directorial debut has already strengthened my faith in the future of the horror genre, as well as providing my spooky side with something to keenly await in the coming year. [Eli]

The first round of titles for the 40th Toronto International Film Festival were announced this morning by Piers Handling, CEO and Director of TIFF and artistic director Cameron Bailey. 15 Galas and 34 Special Presentations were announced and, as usual, represent a diverse range of directors and countries.

Among the standouts are the opening night film starring Jake Gyllenhaal and Naomi Watts, Jean-Marc Vallée’s Demolition, a film about a man struggling with his wife’s tragic death through an unlikely communication with the customer service department of a vending machine company. Other titles to get excited for: Ridley Scott’s hotly anticipated The Martian, a new comedy from Julie Delpy, Peter Sollett’s Freeheld, and Cary Fukunaga’s much buzzed about Beasts of No Nation, and a new documentary from Michael Moore. Tom Hooper’s The Danish Girl starring Eddie Redmayne is sure to garner great interest as well.

Previous festival favorites, such as Paolo Sorrentino’s Youth and John Crowley’s Brooklyn, will also make their North American and Canadian premieres, as well as Yorgos Lanthimos’ The Lobster and Sebastian Schipper’s Victoria.

One thing’s for sure, TIFF continues to lead the Fall festival pack, and although Telluride’s lineup won’t be revealed until Labor Day weekend, TIFF continues to be the launching platform for awards season, and this year looks as promising as any.

The 40th Toronto International Film Festival runs from September 10 to 20, 2015.

GALAS

Beeba Boys
Deepa Mehta, Canada, World Premiere
An adrenaline-charged violent Indo-Canadian gang war mixes guns, bhangra beats, bespoke suits, cocaine, and betrayal. Gang boss Jeet Johar and his loyal, young crew are audaciously taking over the Vancouver drug and arms scene from an old-style crime syndicate. Hearts are broken and family bonds shattered when the Beeba Boys (known as the “nice boys”) do anything “to be seen and to be feared” — in a white world.

Demolition
Jean-Marc Vallée, USA, World Premiere (Opening Night Film)
In Demolition, a successful investment banker, Davis (Jake Gyllenhaal), struggles after losing his wife in a tragic car crash. Despite pressure from his father-in-law (Chris Cooper) to pull it together, Davis continues to unravel. What starts as a complaint letter to a vending machine company turns into a series of letters revealing startling personal admissions. Davis’ letters catch the attention of customer service rep Karen (Naomi Watts) and, amidst emotional and financial burdens of her own, the two strangers form an unlikely connection. With the help of Karen and her son (Judah Lewis), Davis starts to rebuild, beginning with the demolition of the life he once knew.

The Dressmaker
Jocelyn Moorhouse, Australia, World Premiere
Based on the best-selling novel by Rosalie Ham, The Dressmaker is a bittersweet, comedy-drama set in early 1950s Australia. After many years working as a dressmaker in exclusive Parisian fashion houses, Tilly Dunnage, a beautiful and talented misfit, returns home to the tiny middle-of-nowhere town of Dungatar to right the wrongs of the past. Not only does she reconcile with her ailing, eccentric mother Molly, and unexpectedly falls in love with the pure-hearted Teddy, but armed with her sewing machine and incredible sense of style, Tilly sets out to right the wrongs of the past and transforms the women of the town but encounters unexpected romance along the way. Starring Kate Winslet, Liam Hemsworth, Judy Davis and Hugo Weaving.

Eye in the Sky
Gavin Hood, United Kingdom, World Premiere
London-based military intelligence officer Colonel Katherine Powell (Helen Mirren) is remotely commanding a top secret drone operation to capture a group of dangerous terrorists at their safe-house in Nairobi, Kenya. The mission suddenly escalates from a capture to a kill operation, when Powell realizes that the terrorists are about to embark on a deadly suicide mission. American drone pilot Steve Watts (Aaron Paul) is poised to destroy the safe-house when a nine-year-old-girl enters the kill zone just outside the walls of the house. With unforeseen collateral damage now entering the equation, the impossible decision of when to strike gets passed up the kill chain of politicians and lawyers as the seconds tick down. Also stars Alan Rickman, Barkhad Abdi and Iain Glen.

Forsaken
Jon Cassar, Canada, World Premiere
Tormented by a dark secret, an aging gunfighter abandons a life of killing and returns home, only to discover his mother has died. He’s forced to confront his estranged father and the life he left behind. Starring Donald Sutherland, Kiefer Sutherland and Demi Moore.

Freeheld
Peter Sollett, USA, World Premiere
Based on the Oscar-winning documentary and adapted by the writer of Philadelphia, Freeheld is the true love story of Laurel Hester and Stacie Andree and their fight for justice. A decorated New Jersey police detective, Laurel is diagnosed with cancer and wants to leave her hard-earned pension to her domestic partner, Stacie. However the county officials — the Freeholders — conspire to prevent Laurel from doing so. Hard-nosed detective Dane Wells and activist Steven Goldstein come together in Laurel and Stacie’s defense, rallying police officers and ordinary citizens to support their struggle for equality. Starring Julianne Moore, Ellen Page, Michael Shannon and Steve Carell.

Hyena Road (Hyena Road: Le Chemin du Combat)
Paul Gross, Canada, World Premiere
A sniper who has never allowed himself to think of his targets as humans becomes implicated in the life of one such target. An intelligence officer who has never contemplated killing becomes the engine of a plot to kill. And a legendary Mujahideen warrior who had put war behind him is now the centre of the battle zone. Three men, three worlds, three conflicts — all stand at the intersection of modern warfare, a murky world of fluid morality in which all is not as it seems.

LEGEND
Brian Helgeland, United Kingdom, International Premiere
The true story of the rise and fall of London’s most notorious gangsters, brothers Reggie and Ron Kray, both portrayed by Tom Hardy in an amazing double performance. LEGEND is a classic crime thriller that takes audiences into the secret history of the 1960s and the extraordinary events that secured the infamy of the Kray twins.

Lolo
Julie Delpy, France, North American Premiere
While on holiday in the south of France, Parisian sophisticate Violette falls in love with carefree geek Jean-René. As their relationship blossoms, Jean-René heads to Paris to spend more time with Violette but finds himself up against her possessive teenage son Lolo who is determined to sabotage their relationship by any means necessary. A razor-sharp comedy from Julie Delpy.

The Man Who Knew Infinity
Matthew Brown, United Kingdom, World Premiere
A true story of friendship that forever changed mathematics. In 1913, Ramanujan, a self-taught mathematics genius from India, travelled to Trinity College, Cambridge, where he forged a bond with his mentor, the eccentric professor GH Hardy, and fought to show the world the magic of his mind. Starring Dev Patel and Academy Award winner Jeremy Irons.

The Martian
Ridley Scott, USA, World Premiere
During a manned mission to Mars, astronaut Mark Watney is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive. Millions of miles away, NASA and a team of international scientists work tirelessly to bring “the Martian” home, while his crewmates concurrently plot a daring, if not impossible rescue mission. Based on a best-selling novel, and helmed by master director Ridley Scott, The Martian features a star-studded cast that includes Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Pena, Kate Mara, Chiwetel Ejiofor, and Donald
Glover.

The Program
Stephen Frears, United Kingdom, World Premiere
From Academy Award-nominated director Stephen Frears (The Queen, Philomena) and producers Working Title (The Theory of Everything), comes the true story of the meteoric rise and fall of one of the most celebrated and controversial men in recent history, Lance Armstrong. Starring Ben Foster, Dustin Hoffman, Chris O’Dowd and Guillaume Canet.

Remember
Atom Egoyan, Canada, North American Premiere
Remember is the contemporary story of Zev, who discovers that the Nazi guard who murdered his family some 70 years ago is living in America under an assumed identity. Despite the obvious challenges, Zev sets out on a mission to deliver long-delayed justice with his own trembling hand. What follows is a remarkable cross-continent road-trip with surprising consequences. Starring Academy Award winners Christopher Plummer and Martin Landau.

Septembers of Shiraz
Wayne Blair, USA, World Premiere
A thriller based on the New York Times bestseller, this is the true story of a secular Jewish family caught in the 1979 Iranian revolution and their heroic journey to overcome and ultimately escape from the deadly tyranny that swept their country and threatened to extinguish their lives at every turn. Starring Salma Hayek and Adrien Brody.

Stonewall
Roland Emmerich, USA, World Premiere
This fictional drama inspired by true events follows a young man caught up during the 1969 Stonewall Riots. Danny Winters (Jeremy Irvine) finds himself alone in Greenwich Village, homeless and destitute, until he befriends a group of street kids who introduce him to the local watering hole, The Stonewall Inn — however, this shady, mafia-run club is far from a safe haven. As Danny and his friends experience discrimination, endure atrocities and are repeatedly harassed by the police, the entire community of young gays, lesbians and drag queens who populate Stonewall erupts in a storm of anger. With the toss of a single brick, a riot ensues and a crusade for equality is born. Starring Jeremy Irvine, Jonathan Rhys Meyers, Ron Perlman and Joey King.

SPECIAL PRESENTATIONS

Anomalisa
Charlie Kaufman and Duke Johnson, USA, Canadian Premiere
A man struggles with his inability to connect with other people. Starring Jennifer Jason Leigh, Tom Noonan and David Thewlis.

Beasts of No Nation
Cary Fukunaga, USA/Ghana, Canadian Premiere
Based on the highly acclaimed novel, director Cary Fukunaga’s Beasts of No Nation brings to life the gripping tale of Agu (newcomer Abraham Attah), a child soldier torn from his family to fight in the civil war of an African country. Idris Elba dominates the screen in the role of Commandant, a warlord who takes in Agu and instructs him in the ways of war.

Black Mass
Scott Cooper, USA, Canadian Premiere
In 1970s South Boston, FBI Agent John Connolly persuades Irish-American gangster Jimmy Bulger to act as an informant for the FBI in order to eliminate their common enemy: the Italian mob. The drama tells the story of this unholy alliance, which spiraled out of control, allowing Whitey to evade law enforcement while becoming one of the most ruthless and dangerous gangsters in Boston history. Starring Johnny Depp, Joel Edgerton, Benedict Cumberbatch, Rory Cochrane, Jesse Plemons, Kevin Bacon, Dakota Johnson, Julianne Nicholson, Corey Stoll and Peter Sarsgaard.

Brooklyn
John Crowley, United Kingdom/Ireland/Canada, Canadian Premiere
Set on opposite sides of the Atlantic, this drama tells the profoundly moving story of Eilis Lacey, a young Irish immigrant navigating her way through 1950s Brooklyn. Lured by the promise of America, Eilis departs Ireland and the comfort of her mother’s home for the shores of New York City. The initial shackles of homesickness quickly diminish as a fresh romance sweeps Eilis into the intoxicating charm of love. But soon, her new vivacity is disrupted by her past, and Eilis must choose between two countries and the lives that exist within. Starring Saoirse Ronan, Domhnall Gleeson, Emory Cohen, Jim Broadbent and Julie Walters.

The Club
Pablo Larraín, Chile, North American Premiere
Four men live in a secluded house in a seaside town. Sent to purge sins of the past, they live under a strict regime and the watchful eye of a caretaker. Their fragile stability is disrupted by the arrival of a fifth man who brings with him their darkest secrets.

Colonia
Florian Gallenberger, Germany/Luxembourg/France, World Premiere
Colonia tells the story of Lena and Daniel, a young couple who become entangled in the Chilean military coup of 1973. Daniel is abducted by Pinochet’s secret police and Lena tracks him to a sealed off area in the south of the country called Colonia Dignidad. The Colonia presents itself as a charitable mission run by lay preacher Paul Schäfer but, in fact, is a place nobody ever escapes from. Lena decides to join the cult in order to find Daniel. Starring Emma Watson, Daniel Brühl and Michael Nyqvist.

The Danish Girl
Tom Hooper, United Kingdom, North American Premiere
The Danish Girl is the remarkable love story inspired by the lives of artists Lili Elbe and Gerda Wegener (portrayed by Academy Award winner Eddie Redmayne and Alicia Vikander), directed by Academy Award winner Tom Hooper (The King’s Speech, Les Misérables). Lili and Gerda’s marriage and work evolve as they navigate Lili’s groundbreaking journey as a transgender pioneer.

The Daughter
Simon Stone, Australia, North American Premiere
A man returns to his hometown and unearths a long-buried family secret. As he tries to right the wrongs of the past, his actions threaten to shatter the lives of those he left behind years before. Starring Geoffrey Rush, Paul Schneider, Miranda Otto and Sam Neill.

Desierto
Jonás Cuarón, Mexico, World Premiere
Moises is traveling by foot with a group of undocumented workers across a desolate strip of the border between Mexico and the United States, seeking a new life in the north. They are discovered by a lone American vigilante, Sam, and a frantic chase begins. Set against the stunningly brutal landscape, Moises and Sam engage in a lethal match of wits, each desperate to survive and escape the desert that threatens to consume them. Starring Gael García Bernal and Jeffrey Dean Morgan.

Dheepan
Jacques Audiard, France, North American Premiere
To escape the civil war in Sri Lanka, a former Tamil Tiger soldier, a young woman and a little girl pose as a family. These strangers try to build a life together in a Parisian suburb.

Families (Belles Familles)
Jean-Paul Rappeneau, France, World Premiere
When Shanghai-based businessman Jérome Varenne learns that his childhood home in the village of Ambray is at the centre of a local conflict, he heads there to straighten things out and finds himself at the centre of familial and romantic complications. Starring Mathieu Amalric.

The Family Fang
Jason Bateman, USA, World Premiere
Annie and Baxter Fang have spent most of their adult lives trying to distance themselves from their famous artist parents. But when both siblings find themselves stalled in life, they return home for the first time in a decade where they become entangled in a dark mystery surrounding their parents’ disappearance. Jason Bateman directs and stars, along with co-stars Nicole Kidman and
Christopher Walken, in this film based on the New York Times bestseller.

Guilty (Talvar)
Meghna Gulzar, India, World Premiere
Based on true events that set off a media frenzy all over the world, Guilty follows the 2008 Noida Double Murder Case of an investigation into the deaths of 14-year-old Aarushi Talwar and 45-year-old Hemraj Banjade, a domestic employed by Aarushi’s family, in Noida, India. The controversial case lives on in the mind of the public, despite a guilty verdict that sentenced the parents of
the murdered girl to life in prison. Starring Irrfan Khan.

I Smile Back
Adam Salky, USA, Canadian Premiere
Adapted from the acclaimed novel by Amy Koppelman, I Smile Back explores the life of Laney (Sarah Silverman), a devoted wife and mother who seems to have it all — a perfect husband, pristine house and shiny SUV. However, beneath the façade lies depression and disillusionment that catapult her into a secret world of reckless compulsion. Only very real danger will force her to face the painful root of her destructiveness and its effect on those she loves.

The Idol (Ya Tayr El Tayer)
Hany Abu-Assad, United Kingdom/Palestine/Qatar, World Premiere
A young boy in Gaza, Mohammad Assaf, dreams of one day singing in the Cairo Opera House with his sister and best friend, Nour. One day, Nour collapses and is rushed to the hospital where it is discovered that she needs a kidney transplant. Nour leaves Mohammad with a dying wish that someday, he will become a famous singer in Cairo. Escaping from Gaza to Egypt against
unbelievable odds, Mohammad makes the journey of a lifetime. From two-time Academy Award nominee Hany Abu-Assad comes this inspirational drama inspired by the incredibly true story of Mohammed Assaf, winner of Arab Idol 2013.

The Lady in the Van
Nicholas Hytner, USA/United Kingdom, World Premiere
Based on the true story of Miss Shepherd, a woman of uncertain origins who “temporarily” parked her van in writer Alan Bennett’s London driveway and proceeded to live there for 15 years. What begins as a begrudged favour becomes a relationship that will change both their lives. Filmed on the street and in the house where Bennett and Miss Shepherd lived all those years, acclaimed director Nicholas Hytner reunites with iconic writer Alan Bennett (The Madness of King George, The History Boys) to bring this rare and touching portrait to the screen. Starring Maggie Smith, Dominic Cooper and James Corden.

Len and Company
Tim Godsall, USA, North American Premiere
A successful music producer (Rhys Ifans) quits the industry and exiles himself in upstate New York, but the solitude he seeks is shattered when both his estranged son (Jack Kilmer) and the pop-star (Juno Temple) he’s created come looking for answers.

The Lobster
Yorgos Lanthimos, Ireland/United Kingdom/Greece/France/Netherlands, North American Premiere
In a dystopian near future, single people are obliged to find a matching mate in 45 days or are transformed into animals and released into the woods. Starring Colin Farrell, Academy Award winner Rachel Weisz, John C. Reilly, Léa Seydoux and Ben Whishaw.

Louder than Bombs
Joachim Trier, Norway/France/Denmark, North American Premiere
An upcoming exhibition celebrating photographer Isabelle Reed three years after her untimely death brings her eldest son Jonah back to the family house, forcing him to spend more time with his father Gene and withdrawn younger brother Conrad than he has in years. With the three men under the same roof, Gene tries desperately to connect with his two sons, but they struggle to reconcile their feelings about the woman they remember so differently. Starring Isabelle Huppert, Gabriel Byrne and Jesse Eisenberg.

Maggie’s Plan
Rebecca Miller, USA, World Premiere
Maggie’s plan to have a baby on her own is derailed when she falls in love with John, a married man, destroying his volatile marriage to the brilliant Georgette. But one daughter and three years later, Maggie is out of love and in a quandary: what do you do when you suspect your man and his ex-wife are actually perfect for each other? Starring Julianne Moore, Greta Gerwig, Ethan Hawke, Bill Hader and Maya Rudolph.

Mountains May Depart (Shan He Gu Ren)
Jia Zhang-ke, China/France/Japan, North American Premiere
The new film from master filmmaker Jia Zhang-ke (A Touch of Sin) jumps from the recent past to the speculative near-future as it examines how China’s economic boom has affected the bonds of family, tradition, and love.

Office
Johnnie To, China/Hong Kong, International Premiere
Billion-dollar company Jones & Sunn is going public. Chairman Ho Chung-ping has promised CEO Chang, who has been his mistress for more than 20 years, to become a major shareholder of the company. As the IPO team enters the company to audit its accounts, a series of inside stories start to be revealed. Starring Chow Yun Fat, Sylvia Chang, Tang Wei and Wang Ziyi.

Parched
Leena Yadav, India/USA, World Premiere
Three ordinary women dare to break free from the century old patriarchal ways of their village in the desert heartland of rural India. Starring Tannishtha Chaterjee, Radhika Apte and Surveen Chawla, this unforgettable tale of friendship and triumph is called Parched.

Room
Lenny Abrahamson, Ireland/Canada, Canadian Premiere
Told through the eyes of five-year-old-Jack, Room is a thrilling and emotional tale that celebrates the resilience and power of the human spirit. To Jack, the Room is the world… it’s where he was born, where he and his Ma eat and sleep and play and learn. But while it’s home to Jack, to Ma it’s a prison. Through her fierce love for her son, Ma has managed to create a childhood for him in their 10-by-10-foot space. But as Jack’s curiosity is building alongside Ma’s own desperation — she knows that Room cannot contain either indefinitely. Starring Brie Larson, Jacob Tremblay, Joan Allen, Sean Bridgers and William H. Macy.

Sicario
Denis Villeneuve, USA, North American Premiere
In the lawless border area stretching between the U.S. and Mexico, an idealistic FBI agent (Emily Blunt) is enlisted by an elite government task force official (Josh Brolin) to aid in the escalating war against drugs. Led by an enigmatic consultant with a questionable past (Benicio Del Toro), the team sets out on a clandestine journey that forces Kate to question everything that she
believes.

Son of Saul (Saul Fia)
László Nemes, Hungary, Canadian Premiere
October 1944, Auschwitz-Birkenau. Saul Ausländer is a Hungarian member of the Sonderkommando, the group of Jewish prisoners isolated from the camp and forced to assist the Nazis in the machinery of large-scale extermination. While working in one of the crematoriums, Saul discovers the body of a boy he takes for his son. As the Sonderkommando plans a rebellion, Saul decides to carry out an impossible task: save the child’s body from the flames, find a rabbi to recite the mourner’s Kaddish and offer the boy a proper burial.

Spotlight
Tom McCarthy, USA, International Premiere
Spotlight tells the true story of the Pulitzer Prize-winning Boston Globe investigation that would rock the city and cause a crisis in one of the world’s oldest and most trusted institutions. When the newspaper’s tenacious “Spotlight” team of reporters delves into allegations of abuse in the Catholic Church, their year-long investigation uncovers a decades-long cover-up at the highest levels of
Boston’s religious, legal, and government establishment, touching off a wave of revelations around the world. Starring Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, Stanley Tucci, Brian d’Arcy James and Billy Crudup.

Summertime (La Belle Saison)
Catherine Corsini, France, North American Premiere
Delphine, the daughter of farmers, moves to Paris in 1971 to break free from the shackles of her family and to gain her financial independence. Carole is a Parisian, living with Manuel, actively involved in the stirrings of the feminist movement. The meeting of the two women changes their lives forever. Starring Cécile De France, Izia Higelin, Noémie Lvovsky and Kévin Azaïs.

Sunset Song
Terence Davies, United Kingdom/Luxembourg, World Premiere
Terence Davies’ epic of hope, tragedy and love at the dawning of the Great War follows a young woman’s tale of endurance against the hardships of rural Scottish life. Based on the novel by Lewis Grassic Gibbon and told with gritty poetic realism by Britain’s greatest living auteur, Sunset Song stars Peter Mullan and Agyness Deyn.

Trumbo
Jay Roach, USA, World Premiere
The successful career of 1940s screenwriter Dalton Trumbo (Bryan Cranston) comes to a crushing end when he and other Hollywood figures are blacklisted for their political beliefs. Trumbo tells the story of his fight against the U.S. government and studio bosses in a war over words and freedom, which entangled everyone in Hollywood from Hedda Hopper (Helen Mirren) and John Wayne to Kirk Douglas and Otto Preminger.

Un plus une
Claude Lelouch, France, World Premiere
Charming, successful, Antoine (Jean Dujardin) could be the hero of one of those films he composes the music for. When he leaves for a job in India, he meets Anna (Elsa Zylberstein), a woman who isn’t like him at all, but who attracts him more than anything. Together, they are going to experience an incredible journey.

Victoria
Sebastian Schipper, Germany, Canadian Premiere
On a night out in Berlin, Victoria meets four young local guys. After joining their group, she becomes their driver when they rob a bank. Finally, as dawn breaks, everyone meets their destiny.

Where to Invade Next
Michael Moore, USA, World Premiere
Oscar-winning director Michael Moore returns with what may be his most provocative and hilarious movie yet. Moore tells the Pentagon to “stand down”— he will do the invading for America from now on. Discretely shot in several countries and under the radar of the global media, Moore has made a searing cinematic work that is both up-to-the-minute and timeless.

Youth
Paolo Sorrentino, Italy/France/United Kingdom/Switzerland, North American Premiere
Youth explores the lifelong bond between two friends vacationing in a luxury Swiss Alps lodge as they ponder retirement. While Fred (Michael Caine) has no plans to resume his musical career despite the urging of his daughter Lena (Rachel Weisz), Mick (Harvey Keitel) is intent on finishing the screenplay for what may be his last film for his muse Brenda (Jane Fonda). And where will inspiration lead their younger friend Jimmy (Paul Dano), an actor grasping to make sense of his next performance? From Italy’s Oscar-winning foreign language film writer and director Paolo Sorrentino, Youth asks if our most important and life-changing experiences can come at any time — even late — in life.