For fun, Joss Whedon likes to hold late-night drunken Shakespeare readings with his friends at his Los Angeles home (because who doesn’t?). Much Ado About Nothing, his adaptation of Shakespeare’s (arguably) best comedy, is an elaborately staged movie version of the wine-soaked bard parties. This is Whedon’s vacation from the superheroes, literally—on downtime during filming The Avengers, when he was supposed to be on vacation, Whedon gathered his merry troupe of actor friends from the Whedonverse (Buffy, Angel, Firefly, Dollhouse) and shot Much Ado About Nothing in 12 days (at his house, appropriately). Do the booze-fueled get-togethers translate well to the big screen? They sure do, thanks to the agile tongues and keen intelligence of Whedon and his chums.

The beauty of Whedon’s adaptation is that it respects the genius of the original work. Whedon takes the opposite approach of Baz Luhrmann’s flashy, over-stylized Romeo+Juliet—he trusts the power of the source material and is wise enough to not let unnecessary modern flourishes and bells and whistles obstruct Shakespeare’s work. This is a gracious, glitzy firecracker of a film that would make Ol’ Willie proud.

Though Whedon has trimmed a good amount of story off of the play, the original themes—about the many faces of love and the value of honor—remain intact. The plot is dizzying, but Whedon does a good job of making the scenes so entertaining that you dial in to each one, never missing a beat. From beginning to end, the film feels like a never-ending party, with bottles popping incessantly and sharp suits and cocktail dresses filling the screen. The film was shot in black and white, which lends itself well to the modern setting as it makes the house and everyone in it look more elegant and effervescent.

Alexis Denisof and Amy Acker play the timeless romance of Benedick and Beatrice like superstars, making the most of every moment (why these two haven’t had more successful film careers, I’ll never know). Their crackling chemistry (which had been developed over years on Angel) is as scrumptious as anything you’ll see this year. When Denisof tries to impress Acker by doing a cartoonish calisthenics routine in front of her while they have a casual conversation, it’s funny in the most unpretentious way, a nice palette-cleanser to the mean-spirited, sarcastic form of comedy seen in recent years. Denisof and Acker slip in and out of high drama and goofball comedy seamlessly, which is a skill the material requires. One minute they can’t stand the sight of each other, barking and verbally stabbing. The next, they’re declaring their undying love and rubbing noses. It’s all charming, all fluid, all convincing.

Though every cast member gets their moment in the sun, Franz Kranz is a standout as the animated, love-drunk Claudio. He’s given the most emotionally intense scenes in the film, and he brings energy to them that are off-the-charts. Though much less experienced in terms of theater time, Nathan Fillion provides the biggest laughs as the self-involved Chief-of-Police, Dogberry. He sings Shakespeare’s lines with a smirk and a curled eyebrow. “Remember that I am an ass. Though it not be written down, yet forget not that I am an ass.”

The modern Los Angeles setting is occasionally incompatible with the centuries-old dialog—hearing grand Elizabethan speech delivered in front of a refrigerator can be a little hard to swallow. The most difficult scene to digest is late in the film—Hero (Jillian Margese) is left at the altar by Claudio when he accuses her of squandering her virginity on another man. A pack of men then proceed to shout shockingly misogynistic insults at her, slinging their hate-filled scorn until she is so shamed she collapses. It’s hard to completely buy that this would fly in our time, though it ultimately doesn’t affect the drama of the scene significantly.

Much Ado About Nothing is light, good-humored fun. It’s sparkly and summery and full of laughs, though the modern setting doesn’t gel with the Elizabethan material quite as well as I’d hoped. The results are almost always delightful when Whedon works with his mates, and this outing is no exception. If Shakespeare were here to see it, he’d likely be pleased. “Twas a joyful romp, lord Whedon. But what, pray tell, is a ‘Buffy’?”

For years Joss Whedon (Buffy the Vampire Slayer, Firefly, The Avengers) has hosted Shakespeare readings at his Los Angeles home with his best friends, who all just happen to be actors he’s worked with on various projects over the years. Over time (and lots of wine), he got the idea to turn these now-not-so-secret shindigs into a film, the result of which is his ultimate passion project—an adaptation of Shakespeare’s timeless comedy, Much Ado About Nothing.

Shot in Whedon’s home to preserve the spirit of the Shakesperean meetings, the film is full of jovial fun, firecracker performances, and a certain verbal virtuosity that both Whedon and Shakespeare share an affinity for. It’s a respectful take on the play because Whedon tells the story in his own voice, not Shakespeare’s. Much Ado About Nothing is timeless, and Whedon appreciates that—he doesn’t inject dialog about iPhones or computers to make it feel ‘modern’. It’s a faithful adaptation, yet also deeply personal.

The stars of the film, Alexis Denisof (Benedick) and Amy Acker (Beatrice), worked with Whedon most famously on Angel, his excellent spin-off of the beloved Buffy the Vampire Slayer. I’m a long-time Whedon fan and absolutely adore Denisof and Acker’s work, so I’m not ashamed to say that I was thoroughly overjoyed to have the opportunity to chat with the duo about Much Ado, working with Whedon, and the benefits of low-budget filmmaking.

WTI: For years Joss’ friends, including you two, have been doing Shakespeare readings at his house just for fun. When he approached you about taking these readings and turning them into a film, was the thought that you wanted to share your little Shakespeare pow-wows with the world, or were you just doing it for fun and playing it by ear from there?

Alexis Denisof: Number 2, for sure. We weren’t even thinking [it would become as big as it is] now. As [filming] was moving along, we all sensed that something special was happening. During shooting Joss was like “Umm…this is looking good. This could be more than the straight-to-DVD or internet release I was thinking it might be.” Amy was saying she thought he was going to shoot it on his iPhone.

Amy Acker: He always said it would be fun to share the readings with people. He thought it would be nice if it was on PBS or something, like a taped reading series in the backyard (laughs). We didn’t know what we were doing, or else we would have probably cried making it! “We’re going to mess up!” (laughs)

AD: Not really knowing [where the project was headed] and not having that much time and having a lot to do, we just put our heads down and got to the business of making it. We didn’t think much about the outcome or get hung up on what it was going to be or how it was going to be received. We just put all our attention on being in the scene, bringing the scene to life, bringing the character to life, and bringing the relationship to life. That’s your favorite place to be as an actor and an artist, to be free of any expectation. There was no failing, you know? If [I wanted] to do push-ups in a scene, I could do push-ups in a scene. If [Amy] wanted to fall down the stairs, she could fall down the stairs. It was sheer joy from beginning to end.

WTI: Joss has his familiar troupe of actors he likes to work with frequently. He draws amazing performances out of you all, and he has a way of making you perform at your very, very best. You two, along with Joss, created one of my favorite television romances of all time as Wesley and Fred on Angel. There’s an intangible quality to a Joss Whedon actor—the way you speak, the way you move, the fine balance of drama and fun. When he looks for new actors to bring into the group, what qualities is he looking for?

AD: Ooh…I don’t think I’ve been asked that before! I guess Joss sees more than meets the eye in a person. He wants to share the hidden talents that an actor might not be getting the opportunity to share, and he sees that, celebrates that. That’s why actors love to work with him. If you’re lucky enough to work with Joss, he’s going to find areas to explore that he might not have even thought of himself if you haven’t been given the opportunity [in the past]. That’s one of the things we’ve loved about him.

AA: You don’t really have to say “I’ve always wanted to do this.” He’ll come to you and be like “I think people should see you do this.” Then, you realize in the back of your head “I was really wanting to be a blue demon!”

AD: That takes a lot of courage from a director and a writer because most directors and writers have a studio breathing down their back and the expectations of delivering something that’s guaranteed to work and deliver. [Studios] don’t want to be told “I want to try this with this actor, I want to find this side of them” or “I want to tell this story in a new way that’s never been told.” [If he went to a studio and said] “Would you like to give me money to shoot Shakespeare in black and white with actors who are good friends that I think would be great for the material, but aren’t necessarily box office [stars].” You know, what studio would put money into that? None of them. But, to Joss, that’s what it’s all about.

AA: I think the common thread of all the actors, especially in this movie, is that everybody is there one hundred percent. There was no one he brought into the project that was not fully invested, whether they had one line or soliloquies running up stairs. Everybody was there to help each other and to help make the movie happen. I think that was important to him.

AD: He sees the spirit of true collaboration, which is that serving the greater good of the project is as important as serving yourself. I think he knew that he could put people into the film that would work together as a team and bring it to life and do whatever was needed. [Much Ado About Nothing] is the definition of a passion project.

WTI: Everybody in the film delivers their lines very well, but you two actually have some great physical comedy moments. How much fun did you have with that?

AD: It was fun. We keep tipping our hat to Joss, but part of why is his love [for] Shakespeare and part of what is in his storytelling is exploring these great, lofty moments of beautiful poignant love or these dreadful tragic moments of self-loathing, but through all of that, there’s always time for a good pratfall or a good moment of slapstick. He’s not afraid to go to all of those places within the same story, and that’s the case with Shakespeare too. Some of it came out of us, the actors, but some of it came out of Joss seeing the scene a particular way. There’s a scene where I do some pretty silly calisthenics, and that came to me very suddenly [when we were setting up the first take.] I just had a moment of clarity with the character and I saw this physical thing that I thought would put a twist on the scene. We kinda tried it, didn’t we?

AA: That was one of the scenes we were practicing on our own while [the rest of the crew] was shooting something inside. He did [the calisthenics thing] and we were talking about it some more and we said “Let’s get Joss and see what he thinks!” (laughs)

AD: He was slightly concerned (laughs).

AA: He came around (laughs).

AD: He did it a little bit out of faith in us.

AA: I think we did one safety take without the crew (laughs).

AD: That was where the low-budget movie was in our favor because, you know, he had to say yes. We were all in this for the fun of it. He was very willing to go almost anywhere with [the project] within certain parameters, because he had a strong vision for the movie and a strong feel he wanted to bring to it. With that safety he gave us he made us incredibly free. I think that’s part of why the movie’s so infused with fun and joviality and so approachable and easy.

Make sure to catch Much Ado About Nothing when it hits select cities this Friday (June 7th )

The thing I’ll remember most about this year’s San Francisco International Film Festival were the amazing conversations I had with some of the talented filmmakers in attendance during the festival’s two-week stretch. Everybody was open and willing to share their enthusiasm about film and filmmaking, and all of the good vibes were fueled by the festival’s exceedingly strong program. Film after film, I was thoroughly entertained and excited.

The list below is my top 5 films from the festival, but only spots 1 and 2 were a lock for me. The other three spots could have easily gone to a number of other films at the festival. John Vogt-Roberts’ The Kings of Summer showcases three of the most promising young actors in the game right now standing toe to toe with some of the funniest people on earth. Morgan Neville’s Twenty Feet From Stardom was a sleeper for me, packing more emotional punch than I expected from a documentary about backup singers. Atiq Rahimi’s achingly gorgeous The Patience Stone is a force of nature that grows on me more and more as I sit with it. Prince Avalanche is flat-out one of David Gordon Green’s best films. And the list goes on.

I encountered a few clunkers at the festival, but there were too many excellent films for the bad ones to sour the experience. Overall, SFIFF 2013 was an excellent two weeks at the movies, and I highly recommend you make the trip out here next year. It’s a big festival with a lot of buzz and fantastic guests, but with none of the stressful chaos or hectic energy of other, more popular festivals. It was a complete blast, and I look forward to next year.

Though the festival is over, make sure to stay tuned to Way Too Indie in the coming weeks for tons of amazing content coming out of the festival. We’ve got a FLOOD of great interviews from SFIFF coming your way in the coming weeks—

Michael Cera & Sebastian Silva—Crystal Fairy
Richard Linklater & Julie Delpy—Before Midnight
Sarah Polley—Stories We Tell
David Gordon Green—Prince Avalanche
Alexis Denisof & Amy Acker—Much Ado About Nothing
Nick Robinson, Gabriel Bassos & Moises Arias—The Kings of Summer
Onata Aprile, David Siegel & Scott McGehee—What Maisie Knew
Atiq Rahimi—The Patience Stone
Jeremy Teicher—Tall as the Baobab Tree
PJ Raval & Dennis—Before You Know It

Way Too Indie’s Top 5 Films at the San Francisco International Film Festival

#5 – Much Ado About Nothing

What I found impressive about Joss Whedon’s Shakespeare adaptation of Much Ado About Nothing was that it felt more ‘Joss’ than ‘William’. Whedon and his merry band of thespians do what they do best—tell a story with uncanny wit, sass, silliness, and humanity. Shakespeare’s play is timeless, and Whedon respects this. Modernity plays no role here, and the focus is squared solely on the ever-shuffling relationships of the marvelously acted characters.

I hesitate to say that there is a standout in the cast—everyone has moments of greatness. The film’s leads, Alexis Denisof and Amy Acker, are prime examples of how Whedon extracts every bit of potential out of his actors. They transition from brutally disdainful to drunkenly flirtatious on a dime, effortlessly, and they pull off hilarious slapstick gags that would be cringe-worthy in the hands of most. These physical bits are Chaplin-funny. By the end of the film, I felt great—completely satisfied and wholly content. I hope this isn’t the last we see of Mr. Whedon on the independent scene.

#4 – Tall as the Baobab Tree

Jeremy Teicher’s Tall as the Baobab Tree explores the transitional social climate of a small village in Senegal where the recent introduction of education into the village by way of a newly constructed school has shaken up old traditions. Previously, girls had commonly been forced into early marriage, but with education now accessible to them, the prospect of early marriage has become far less appealing. A new, fortuitous future is now within their grasp, but the old ways of the village can’t be undone so easily.

Teicher, only 24, depicts Senegal and Africa in a refreshingly optimistic and respectful light in his narrative feature debut, eschewing the heart-wrenching, pitying depictions seen in most films about the community. He shows his characters happily sitting and sharing a meal with one another, laughing and teasing, making plans for the future and enjoying the present. This is universal stuff, a family story. Few things excite me more than when a young filmmaker finds his voice early, and Teicher’s staggering potential shines bright like the sun in Baobab.

#3 – You’re Next

Festivals like SFIFF are often inundated with weighty films that can leave you mentally and emotionally exhausted, so it’s an absolute treat when a film can leave you physically exhausted—You’re Next had everybody who watched it at the festival breathing heavy, jumping, screaming, and occasionally running. Seriously. The guy sitting next to me literally leaped over his seat and darted for the exit. It was hands down the most fun I had at the festival.

Adam Wingard’s gorefest—in which a rich white family taking a vacation is terrorized by crossbow-wielding freaks—deserves its spot on the list because it’s the best example of the genre in years. Not only does Wingard instill fear with style and cinematic inventiveness, he does it with a sharp intellect—nothing is dumbed down here. None of the kills in You’re Next are revolutionary, but they feel revolutionary because they’re filmed so freakin’ well. The when you see an axe kill, it feels like your first time seeing an axe kill—brutal, brutal, brutal. Also, the hero that emerges from the group of victims is one of the baddest butt-kickers since Sigourney Weaver’s Ripley. Ladies, prepare to feel empowered.

#2 – Before Midnight

One of the first films I saw at SFIFF this year was Richard Linklater’s third installment in his wonderfully improbable ‘Before’ romance series, Before Midnight. It set the bar sky high for the rest of the festival, enchanting me with stars Ethan Hawke and Julie Delpy’s effortless, impassioned performances and Linklater’s silently spectacular direction.

Set (and filmed) 18 years after Jesse (Hawke) and Celine (Delpy) met on a train in Vienna in Before Sunrise, and 9 years after their fateful reunion in Before Sunset, Before Midnight follows the duo, now parents of twin girls, as they find their youthful affection for each other battered by the stresses of reality. Hawke, Delpy, and Linklater have all upped their game to unbelievable heights here—an almost 15-minute-long shot of Jesse and Celine driving down a winding road while having an immaculately acted conversation is simply breathtaking. It’s the best film in the series, and I’m completely aware of how bold that statement is. Just watch it—you’ll understand.

#1 – Stories We Tell

Though I find Richard Linklater’s Before Midnight to be virtually flawless, Sarah Polley’s Stories We Tell feels just a hair more special to me right now, in this moment. Linklater’s romance saga has been moving me for nearly two decades, but Polley’s film touched me deeply and swiftly, in a way that no other film did. For this festival, in these two weeks filled with dozens of films, Stories We Tell was my favorite film.

In an intrepidly naked and personal documentary, Polley skillfully weaves together a tapestry of memories of her late mother Diane, contributed by members of her family and old friends. We walk beside Polley as she doubles back on her family’s history, uncovering life-altering secrets as she conducts breathtaking—and sometimes heartbreaking—interviews with her subjects.

The immediacy of the film is what makes it so engaging—there wasn’t a single moment where I wasn’t completely glued to the screen. I hung on every word, every image, and marched to every single beat of Polley’s drum. You can’t ask for much more from a film or a director. It’s got everything—suspense, laughter, tears, betrayal, heartache, and one of the most richly textured voice-overs I’ve ever heard, provided by Polley’s father, Michael. I wouldn’t dare to delve into what makes this film truly special, as I’d be robbing you of one of the most thrilling movie experiences of the year. It was a close race between spots one and two on the list, but Polley’s willingness to graciously invite us deep into her personal life solidified her top spot.

On Saturday night, SFIFF was all about the screening of Joss Whedon’s much buzzed-about Shakespeare adaptation, Much Ado About Nothing, and the excitement emanating from the gorgeous Sundance Kabuki Cinema was infectious. There was a line stretching down the block of excited Whedon-ites (and Shakespeare…um…heads?) who were itching to pile into the theater to watch the highly-anticipated film.

The film’s stars, Amy Acker and Alexis Denisof, were in attendance, and I was waiting for them on the red carpet, shaking with anticipation. Why the shaking, you ask? The two also starred in Angel, Whedon’s Buffy the Vampire Slayer spin-off, which is one of my favorite television shows of all time. I’m a huge Joss Whedon fan (my wedding invitations were Buffy-themed), so it was a special (and surreal) moment for me to take their picture as they posed in front of the SFIFF banner.

Before the screening, Acker and Denisof were asked to introduce the film and thought out-loud that they wished Mr. Whedon were there to help, as he is better at this kind of thing. So, naturally, they called his cell, put him on speakerphone, and had a hilariously awkward conversation in which Whedon seemed to have absolutely no idea what was going on. It was one of the most bizarre film introductions I’ve seen, but it was fun and entertaining nonetheless. They held a Q&A after the film and spoke at length about their previous roles together on Angel, much to my excitement.

Now, on to my impressions of the film.

Much Ado About Nothing

Contrary to what you may have read about Joss Whedon’s take on Shakespeare, Much Ado About Nothing isn’t simply a ‘contemporary’ interpretation—it’s a purely Whedon interpretation. It’s full of his playful wit, his best friends (who happen to be fantastic actors), and gorgeous views of his home, in which the entire film was shot. The film feels personal because of its history—Whedon and his friends have been holding Shakespeare readings at his house for years, and this film had always been a dream project for him.

Benedick (Denisof), Claudio (Franz Kranz) and Don Pedro (Reed Diamond) arrive at the home of Leonato (Clark Gregg). During their visit, Beatrice (Acker), Leonato’s neice, and Benedick engage in a biting war of words (it’s revealed in the opening scene that they’d had a one-night-stand) while Claudio finds himself falling for Leonato’s daughter, Hero (Jillian Morgese). The two pairs flaunt, taunt, and flirt with each other until calculated deceptions by the malevolent Don John (Sean Maher) introduce deadly implications into the game.

Whedon’s take on the story is as timeless as the source material, which can be mostly attributed to Whedon’s uncanny ability to create on-screen magic with his actors. Denisof is simultaneously dashing and bumbling, and Acker is a silver-tongued vision in a summer dress. Their wordy quarrels are as engaging and vicious as a fight scene, but when they fall for each other, they morph into juvenile, giddy sweethearts. The duo’s charming, Chaplin-esque physical performances are highlighted by Whedon. There are almost too many noteworthy performances to mention, but Kranz is a surprising standout, with his impassioned delivery and ability to handle any mood or tone thrown at him.

Shot in classy black and white, Whedon’s photography is super-smooth, and he proves that he knows how to use his camera wisely (an eavesdropping scene with Denisof is spotless.) Much Ado About Nothing is the perfect alternative to the modern ‘rom-com’, and is a joy to watch with an audience. Whedon handles the cherished source material with finesse and makes it look like he was born to do it.

Stay tuned to Way Too Indie for our full review and an interview with Alexis Denisof and Amy Acker!

In a few days, San Francisco will be flooded with film geeks, critics, filmmakers, hobos (they’re always there), and film lovers of all kinds for the 56th annual San Francisco International Film Festival. San Francisco hosts a huge number of film festivals throughout the year, and SFIFF is the biggest and brightest the city has to offer. I’ll be on hand throughout the festival to provide you with the usual good stuff—recaps, reviews, and interviews.

In this festival introduction, I’ll be highlighting a few of the films I’m looking forward to checking out at the festival. From veterans like Richard Linklater (Bernie, Dazed & Confused) and Joss Whedon (Serenity, Avengers) and their latest works, to some exciting, innovative films from fresh talents like indie-horror maverick Adam Wingard, there’s a lot to look forward to from some of the industry’s best.

Before Midnight

18 years after Before Sunrise and 9 years after Before Sunset, ‘90s independent film godfather Richard Linklater invites us again to eat, drink, walk, and talk with Jesse (Ethan Hawke) and Celine (Julie Delpy), one of the most unforgettable couples in modern film. As we check in on the couple for the third time, we find them in Greece, middle-aged, with children, and at odds with each other due to their divergent plans for the future of their family. With their once unstoppable passion buckling under the pressures of their long-term commitment to one another, they begin to question how long their commitment will last.

I was about 11 when I saw Before Sunrise, and returning to this series twice now, with more experienced eyes each time, has been an incomparable cinematic experience that I’ll always treasure. It’s fascinating to see the actors age along with the story, and it’s even more fascinating to watch as their skills—along with Mr. Linklater’s—mature over time.

Much Ado About Nothing

In a break from the CGI spectacle of his gargantuan superhero endeavors, Joss Whedon sheds the spandex in his retelling of Shakespeare’s brilliant comedy. Though the scale and setting of Much Ado About Nothing is much more contained than his recent work, Joss still has his favorite toys to play with here—witty dialog and a talented ensemble cast of Whedon familiars. Filmed as an escape during the production of The Avengers, Much Ado is a passion project for Whedon that looks to be a perfect fit for his directorial skill set. He should be able to handle Shakespeare’s comedy well, especially with the gifted brigade of actors at his disposal.

You’re Next

Few things scare me more than murderous home invaders. Director Adam Wingard has created a godforsaken concoction, a film about murderous home invaders with—wait for it—crossbows and creepy-ass animal masks! The victims of the bizarre band of psychos are the Davisons, a family on vacation in their secluded country home. They’re played by some familiar faces on the independent scene—Joe Swanberg, Amy Seimetz, Ti West—and one of them just might be badass enough to give the mask-wearing freaks a taste of their own medicine.

Twenty Feet From Stardom

I’m a sucker for music documentaries, and Morgan Neville’s Twenty Feet From Stardom looks to shine the spotlight on a group of musicians seldom given the attention they deserve—background singers. Following industry legends like Tata Vega (Elton John, Michael Jackson), Darlene Love (Sam Cooke, Frank Sinatra), and Merry Clayton (Joe Cocker, Rolling Stones), Twenty Feet gives insight into the lives of these unheralded masters of their craft. Fifty years ago, background singers provided the melodic backbone for countless pop hits, but their role in the music industry taking a back seat in recent years. There are a myriad of interesting stories to unearth here, and Neville, a veteran in the music-doc scene, is sure to present them stunningly.

Museum Hours

A security guard is patrolling the Viennese museum where he works when he meets a mysterious woman who he shares life-changing conversation with as they stroll through the museum and the city surrounding it. I love a good walk-and-talk film, and along with Before Midnight I’m sure Museum Hours will satiate my appetite for long, interpersonal, existential dialog. Every time I try to strike up a conversation like this in real life, all I get are bored, vacant stares, so I try to live vicariously through films like this to make me feel better about myself. Also, the premise is simply irresistible and I’ve always wanted to visit Vienna. This is the power of films, folks.

The lineup for the 2012 Toronto International Film Festival has been released (thanks to Variety) ahead of the official announcement from TIFF (which is suppose to be later this morning). The first set of films for this year’s lineup this morning is a doozy. Leading the pack as the opening film of the festival (which is also its world premiere) is Rian Johnson’s new Sci-Fi thriller Looper. Other films getting world premieres are Argo (Ben Affleck), Cloud Atlas (The Wachowskis & Tom Tykwer), The Silver Linings Playbook (David O. Russell) and A Place Beyond The Pines (Derek Cianfrance).

Perhaps the most welcoming news was that Terrence Malick’s To The Wonder would play although since it is not under the world premiere category we can assume it will play elsewhere first. Other notable films that will be making either an International or North American premiere are; The Company You Keep (Robert Redford), Anna Karenina (Joe Wright), and The Reluctant Fundamentalist (Mira Nair).

Below is the full list of the films announced so far. Expect plenty of more films announced over the coming weeks as TIFF usually showcases around 300+ annually. The festival runs September 6th through the 16th this year. This year C.J. Prince will be attending the festival and reporting back for Way Too Indie so stay tuned.

World Premieres:
Looper – (Rian Johnson) – (Opening Film)
Cloud Atlas – (The Wachowskis & Tom Tykwer)
Argo – (Ben Affleck)
The Silver Linings Playbook – (David O Russell)
Love, Marilyn – (Liz Garbus)
Free Angela And All Political Prisoners – (Shola Lynch)
The Place Beyond The Pines – (Derek Cianfrance)
Midnight’s Children – (Deepa Mehta)
Hyde Park On Hudson – (Roger Michell)
Great Expectations – (Mike Newell)
Inescapable – (Rubba Nadda)
Twice Born – (Sergio Castellitto)
English Vinglish – (Gauri Shinde)
The Perks Of Being A Wallflower – (Stephen Chbosky)
Thanks For Sharing – (Stuart Blumberg)
End Of Watch – (David Ayer)
Imogene – (Robert Puccini and Shari Springer Berman)
A Late Quartet – (Yaron Zilberman)
Much Ado About Nothing – (Joss Whedon)
Frances Ha – (Noah Baumbach)
The Time Being – (Nenad Cicin-Sain)
Writers – (Josh Boone)
At Any Price – (Ramin Bahrani)
Venus And Serena – (Maiken Baird)
Byzantium – (Neil Jordan)
Quartet – (Dustin Hoffman)
Ginger And Rosa – (Sally Potter)
A Liar’s Autobiography – (Ben Timlett, Bill JOnes, Jeff Simpson)
Foxfire – (Laurnet Cantet)
In The House – (Francois Ozon)
The Impossible – (JA Bayona)
Hannah Arendt – (Margarethe Von Trotta)
Mr. Pip – (Andrew Adamson)
Capital – (Costa-Gavras)
The Attack – (Ziad Doueriri)
Zaytoun – (Eran Riklis)
The Deep – (Baltasar Kormakur)
Dreams For Sale – (Nishikawa Miwa)
The Last Supper – (Lu Chuan)

International/North American Premieres:
To The Wonder – (Terrence Malick)
Anna Karenina – (Joe Wright)
The Reluctant Fundamentalist – (Mira Nair)
The Company You Keep – (Robert Redford)
Jayne Mansfield’s Car – (Billy Bob Thornton)
A Royal Affair – (Nikolai Arcel)
Dangerous Liasons – (Hur Ji-Ho)
Thermae Romae – (Hideki Takeuchi)
Caught IN THe Web – (Chen Kaige)
Dormant Beauty – (Marco Belloccchio)
Everybody Has A Plan – (Ana Piterbarg w/Viggo Mortensen)
Kon-Tiki – (Espen Sandberg
Reality – (Matteo Garrone)
A Few Hours Of Spring – (Stephan Brize)
The Hunt – (Thomas Vintenberg)
The Iceman – (Ariel Vromen)
Lore – (Cate Shortland)
No – (Pablo Larrain)
OUtrage Beyond – (Takeshi Kitano)
Rust And Bone – (Jacques Audiard)
The Sapphires – (Wayne Blair)
Tai Chi O – (Stephen Fung)

Canadian Premiere:
The Sessions – (Ben Lewis)