I’m a horror aficionado. I have watched everything from Melie’s Le Manoir du Diable, Nosferatu, The Cabinet of Dr. Caligari, and other early film depictions of the spectacular and creepy, to today’s special effects riddled gross-out filled shock-fests. My final thesis in film school focused on horror films and it’s easily my favorite genre. While it’s been fun to see horror transition into new things, such as The Blair Witch Project‘s popularization of found footage films, some experiments have been outside of what I enjoy about horror, such as torture porn revitalized in part by Eli Roth with his Hostel series. Roth is one of more than a dozen producers on The Sacrament, the latest from Ti West (The Innkeepers, The House of the Devil, V/H/S), and his influence isn’t heavy-handed but is certainly evident. But what’s different about The Sacrament isn’t a new horror style, but instead its distinct use of near-reality to disguise its horror.

For most of The Sacrament you will truly believe you are watching a documentary, albeit made by naïve journalists, about an atrocious historical event. Three Vice media journalists–one a photojournalist, one a video journalist, and the third an investigative journalist–travel outside the U.S to an undisclosed location. One of them, Patrick the photojournalist, has a sister who has recently written him about how she’s joined a commune after getting clean. Patrick fears for her safety and soundness of mind, while his editors see the chance at a potentially hot story. Upon their arrival outside of Eden Parish, the community his sister has joined, they are met with armed guards, immediately giving their trip an ominous feel and the environment one of distrust. They sort things out with Patrick’s sister, Caroline, and are granted admission into the community as well as the freedom to film. Patrick goes off with his sister while the two others, Jake and Sam, wander the commune interviewing those who will talk to them. Everyone speaks highly of their new life outside the U.S. in this veritable paradise, and ALL of them refer to ‘Father’, the man who made all of this possible.

They are allowed to interview ‘Father’ at the evening’s celebration and this is where the film begins its true tension. Father (Gene Jones) is the definitive charismatic cult-leader. He answers Sam’s questions with a distinct superiority and defensiveness for his ‘family’ and the safety of their home from the outside world. It’s at this point that anyone old enough to remember or know about the Jonestown massacre will feel the hair on the back of their necks raise. Father’s words sound eerily close to ones used by Jim Jones, leader of the People’s Temple cult and mass executioner of over 900 of his followers. But the similarities don’t stop there, and the inspiration for West’s film is so obvious it suddenly makes everything uncomfortably self-conscious.

In the end the film’s make-you-watch devices are what push the film over the edge, causing too much distress by the violence to satisfy the true horror film lover’s thrill-seeking addiction. The fun of horror, at least to this fan, is the roller coaster ride of fright and calm within a story. Without that sense of safety, the thrills can’t seem quite so thrilling. But there is rarely a moment of safety within The Sacrament, so the thrill becomes painful by the end. West’s forceful editing leaves nothing to the imagination, and he knows what Thomas Edison also knew way back in 1895 with The Execution of Mary Stewart, that one of the most ghastly charms of film is its ability to show everyone exactly what death can look like. Whether you want to see it or not.

Perhaps The Sacrament is just being promoted wrong. West’s straight-forward film and its historical similarities can’t help but be taken somewhat soberly, which strangely makes what happens on the screen even more frightening. Unfortunately it’s a kind of scare that feels irreverent, albeit thought-provoking. It will surely be a divisive film among critics, but this horror film lover will probably stick with her ghouls and psychopaths and choose actual documentaries for true-crime and history.

The 57th annual San Francisco International film festival has been taking over Japantown in the Sundance Kabuki Cinema and New People Cinema, and the lineup of films so far hasn’t disappointed, with domestic and international gems from all genres. We’re only a few days into the festival, and there have already been plenty of highlights that you should keep your eye on in the near future (most of these selections have secured domestic distribution), plus one major disappointment.

Let’s start off with the bad news. Part of the festival’s Late Show program, Ti West’s found footage horror flick The Sacrament gathers the usual suspects West pals around with on indie film sets (Joe Swanberg, Amy Seimetz, Kate Lyn Sheil, AJ Bowen) and throws them into a secluded encampment called Eden Parish, constructed and inhabited by people who have a creepily cultish way about them. The film is presented via two cameras our protagonists (Vice journalists) bring to the jungled community to film a profile piece.

Though brimming with talent as is per usual for the merry bunch of indie darlings, their gifts are wasted, as the film can’t avoid the pitfalls of the found footage format, breaking the docu-style illusion when it begins to look too much like a narrative feature in its overblown third act. West, ever the inventive filmmaker, does some interesting things with the limitations the camera, building a decent amount of suspense as the journalists sneak around the open grounds of Eden Parish, but The Sacrament is a disappointment coming off the heels of modern horror powerhouses The House of the Devil and The Innkeepers.

It’s clean sailing from here. Hellion (above), a gritty family drama by Kat Candler set in dusty Southeast Texas, flaunts an excellent cast of screen vets and new blood alike, all of whom deliver the goods in a big way. The film stars Aaron Paul as a widower trying desperately to get his act together as his oldest son (impressive newcomer Josh Wiggins), the titular hellion who’s obsessed with metal, motocross, and vandalizing their tiny town with his punk friends, begins to drag his younger brother (Deke Garner) into his world of dangerous hijinks. The town catches wind of the family’s chaotic home situation, calling child services and threatening to tear them apart forever.

The film is subtle and tasteful, and also has a killer metal soundtrack that jibes well with the dirt-road, tin can setting. Wiggins, who Candler discovered in a Youtube video, is as talented a child actor as I’ve seen in quite some time, especially for a first-timer. His potential is scary. Paul fits into the fatherly role quite well considering he’s coming off of the most definitive role of his career as a hellion himself in Breaking Bad. Juliette Lewis is surprisingly cast in a subdued role as the aunt of the troubled boys, and it’s a bit of a delight to see her excel in such an un-cartoonish role.

A funny and surprisingly dark odyssey movie, David Zellner’s Kumiko, the Treasure Hunter has an incredibly unique premise that never loses its novelty or charm. Rinko Kikuchi plays Kumiko, a Japanese office worker who finds a VHS copy of Fargo and sets out on a journey to the American city in search of the briefcase full of cash Steve Buscemi buries in the snow in the Coen’s classic, which Kumiko for some reason believes to be a documentary of some sort. Rinko is charming as Kumiko, the certifiable sociopathic, unstoppable treasure hunter, and the film, while comedic, also explores mental instability in a meditative, eerie fashion.

On a much, much lighter note, Ping Pong Summer (above) by Michael Tully  is an entertaining time warp for anyone raised in the taste-deficient 80s-90s era of Nickelodeon, B-boys, ICEEs, and arcades. Set in 1985, the film follows young Rad Miracle (Marcello Conte) who, while on a family vacation at a beachside resort town, meets his best friend, the girl of his dreams, the biggest bully in the neighborhood, and a former ping pong legend (Susan Sarandon). Wave after wave of ’90s nostalgia washed over me throughout the film, and I found myself mouthing “wow” constantly at how authentically cheesy the props, costumes, and sets are. Perfect watching conditions: afternoon on a school day, eating Cinnamon Toast Crunch, wearing neon shorts and L.A. Gears.

Over the last 2 weeks my opinions have changed towards some of the films I’ve seen. Watching up to 4 films in one day can be exhausting, and sometimes through reflection films can seem better or worse in retrospect. In other words, if there are inconsistencies between my list and the reviews/ratings I gave, deal with it.

My Top 20 Films from the 2013 Toronto International Film Festival:

#20 – The Strange Colour of Your Body’s Tears

It’s amazing how much Cattet/Forzani’s style worked in Amer, and how much it didn’t work here. At the start I was thinking it might be the best film I saw at TIFF up to that point. At the end it felt like nails on a chalkboard.
The Strange Colour of Your Body’s Tears review

#19 – Moebius

This only gets ranked above Strange Colour purely by the fact that I could watch it without a problem.
Moebius review

#18 – The Green Inferno

Half of the movie is poorly acted and written drivel. The other half’s nastiness and excellent make-up by KnB make it more tolerable, but this belongs right alongside the other horror films only available on VOD.
The Green Inferno review

#17 – Like Father, Like Son

A complicated moral tale destroyed by its director making his characters spend 2 hours catching up to agree with his point of view (which is established immediately). A snooze.
Like Father, Like Son review

#16 – A Field in England

A cheap, nonsensical and mind-maddening period piece involving alchemists and hallucinogenic mushrooms. Some fun moments when things go berserk editing-wise, but that’s about the only entertainment value I got out of it.
A Field in England review

#15 – Night Moves

Kelly Reichardt is still terrific behind the camera, but she put all her eggs in the wrong basket this time. Nothing really works here on a fundamental level, leaving the visuals and cast to do their best.
Night Moves review

#14 – October November

Gotz Spielmann’s disappointing follow-up to Revanche tries to tell a dramatic story with no real drama in it. An admirable effort, but nothing more than that.
October November review

#13 – Canopy

An amazing debut on a technical level, but ultimately lacking. Still, Aaron Wilson will be a name to look out for if he makes another film.
Canopy review

#12 – R100

At times hilarious, but completely baffling overall. Hitoshi Matsumoto’s usual brand of off-kiler humour and self-aware jokes just don’t mix as well as his other films this time.
R100 review

#11 – The Sacrament

Ti West’s attempt to document a modern-day Jonestown hasn’t been aging well with me. It’s still well-done, and has some excellent warming up in the first two acts, but it isn’t making much of an impact in the way his previous films have with me. The subject matter seems a little bit in poor taste too if you know what it’s based on, but it’s still an effective horror film.
The Sacrament review

#10 – Under the Skin

I have my issues with it, but I can’t deny Under the Skin‘s power. It’s one of the more Kubrickian films I’ve seen in years, and I still can’t shake some images from it out of my head. I wish the shift in the second half was handled better, but in time I feel like I’ll grow to appreciate Under the Skin much more than I already do.
Under the Skin review

#9 – Gravity

It’s disappointing from Cuaron, but I can’t deny how much of a technical marvel this is. Expect this to win all the technical awards at the Oscars. There won’t even be a competition.
Gravity review

#8 – Manakamana

One of the most fascinating films I saw at the festival, and it further establishes Harvard’s Sensory Ethnography Lab as one of the best documentary producers today. It was a pleasant surprise when Cinema Guild picked this up for distribution, and I hope that people are willing to give it a chance.
Manakamana review

#7 – Blind Detective

Johnnie To loses his mind, and the results are just as entertaining as many of his other films. Even when he’s switching genres between films (or within the films themselves), To proves he’s one of the more consistent filmmakers working today.
Blind Detective review

#6 – Why Don’t You Play In Hell?

Sono is back on form with his absolutely insane love letter to 35mm filmmaking and projection. It’s gloriously bonkers, simultaneously all over the place and tightly controlled, and a fun time for the most part.
Why Don’t You Play In Hell? review

#5 – The Past

Asghar Farhadi makes yet another well-done drama, with a terrific cast playing people who can’t escape the tragedies from (say it with me) their pasts. Farhadi seems to be the only filmmaker doing stories like this today, and we’re all the better for it.
The Past review

#4 – Oculus

Mike Flanagan lives up to the potential he showed in Absentia. It’s a horror film that understands the power of story, with a terrifying villain and a terrific script that uses its single location brilliantly. Hopefully audiences will discover Oculus, as the horror genre needs more people like Flanagan.
Oculus review

#3 – Stranger By The Lake

Gorgeous, seductive and a total nail-biter by the end. Stranger is an amazingly well-constructed film that will resonate with anyone who watches it.
Stranger By The Lake review

#2 – Only Lovers Left Alive

A film where one can live vicariously through its characters, and Jarmusch nails the carefree tone he’s clearly going for. It’s a big, long kiss to great artists throughout history, and it’s a total blast to watch.
Only Lovers Left Alive review

#1 – Stray Dogs

Tsai Ming-Liang’s swan song pushes the limits of his style (and his actors!) further than ever before. It’s a film where the weight of time on its characters are fully understood, and a showcase of just how masterful Tsai is when it comes to form. If it truly is his last film, he’ll be going out with one of his best films to date.
Stray Dogs review

The Green Inferno

It seemed to be fate that I’d have a day devoted exclusively to genre films at TIFF. After the excellent reaction to Eli Roth’s The Green Inferno at its midnight screening, I caught up with it the next day. This time Roth decides to take on a subgenre of horror that hasn’t been touched in a while: cannibal horror. Fans of Cannibal Ferox or Cannibal Holocaust should know that Roth delivers and then some when it comes to the cannibal part of the subgenre’s name.

A group of activist students decide to fly from New York to the Peruvian Amazon and protest a corporation bulldozing a primitive tribe. Their plan is seemingly successful, but only because of their manipulating of a UN Ambassador’s daughter (Lorenza Izzo) to join the protest. On the way back their plane crashes in the forest, and soon enough they’re all kidnapped by the tribe they were protecting.

Roth has been known for his gory horror films, and The Green Inferno is by far his goriest one yet. The effects by KnB are too well-done, in that they can be downright disgusting at times. The second half of Inferno, where the cast tries to survive the tribe’s brutality, benefits from its focus on the nastiness. A few scenes are total howlers, and it wouldn’t surprise me if Roth made these with the midnight crowd in mind.

The ultraviolent second half can’t sustain the film though, and it’s more of a relief than anything considering how godawful everything before it is. Roth has assembled a cast of bad actors and bad accents, who all deliver bad dialogue. The inclusion of political commentary on activism is laughable too, but it’s not surprising since Roth has never been known for his depth. Fans of Cabin Fever and Hostel will love The Green Inferno as it has more unlikable characters getting brutally killed, but this proves that Roth can never live up to the hype he’s been building for himself over the years.

RATING: 5.6

The Sacrament

It was interesting to follow up The Green Inferno with The Sacrament, Ti West’s new film which was actually produced and presented by Eli Roth. Roth introduced the film at its TIFF premiere, telling audiences who saw The Green Inferno to “delete” that movie from their memory before The Sacrament began (I was way ahead of Roth long before he said that). West is one of the few American horror directors working today who can actually make something scary, and he continues to prove that with his latest film. It’s a lesser work in comparison to the rest of his filmography, but it’s still a creepy little horror film that stays consistent with West’s work up to now.

The Sacrament is framed as a documentary by VICE Magazine. Opening with a text crawl that explains the term “immersionism” and how it relates to VICE, correspondent Sam (AJ Bowen) explains how his friend Patrick (Kentucker Audley) received a letter from his sister (Amy Seimetz) talking about a religious group she joined that moved from the US into an unnamed country. Patrick accepts her invitation to visit the compound, taking Sam and a cameraman (Joe Swanberg) along without telling them.

Ti West is clearly obsessed with Jonestown, and The Sacrament essentially is a Jonestown movie. I assume that legally he couldn’t adapt the true story, but he follows the basic facts of what happened in Guyana closely. The modern setting and use of a camera crew puts a spin on it, along with a few other dramatic liberties West takes, but for anyone who has heard of Jim Jones it will be very easy to know where things will go.

Amazingly The Sacrament still worked for me despite knowing everything that would happen. This is because the events at Jonestown are so horrifying that the first two acts are filled with dread at what’s about to come. West plays into that too, periodically dropping some moments in that show something is seriously wrong with the compound. Once cult leader Father (Gene Jones) shows up to do an interview with the documentary crew, The Sacrament begins firing on all cylinders. Jones is fantastic as Father, with the interview sequence showing just how charismatic and dangerous he is as a character.

Soon after the interview things begin taking a turn for the worse, making way for the intense and disturbing final act. With The Sacrament West intelligently uses the mockumentary (calling it found footage wouldn’t be entirely accurate, as West said himself at the Q&A) format, creating a realistic what-if scenario of Jonestown if it happened today. He also stages some seriously impressive sequences, using long takes and stationary shots to pull off some truly disturbing moments. The Sacrament might not quite be a breakout for West, as the concept might not fly with mainstream audiences, but it still establishes him as one of the only consistent horror filmmakers working today.

RATING: 7.1

Canopy

Part of me wanted to describe The Sacrament as a minimalist film for its genre, but after seeing Aaron Wilson’s Canopy, Ti West’s film looks insanely busy in comparison. Running at just under 80 minutes, Canopy is a very simple feature that sometimes thrives off of its no frills approach.

In the jungles of Singapore during World War II, an Australian pilot (Khan Chittenden) crashes his plane. Waking up hanging from a tree, he stumbles around the jungle trying to avoid Japanese soldiers. He eventually runs into a Chinese resistance fighter (Tzu-Yi Mo) who is hiding in the jungle for the same reasons. From there the two of them team up by pure necessity, trying to escape without being spotted and killed.

The one thing everyone will mention about Canopy is its gorgeous technical work, and it deserves the praise. With approximately 6 or 7 words spoken in the film, the visuals and sound end up doing most of the heavy lifting. The locations are gorgeous, and cinematographer Stefan Duscio provides an abundance of gorgeous images in the jungle setting. As nice as the visuals are, the real winner here is the sound design. It’s obvious that a lot of care went into providing the soundtrack to Canopy, and the results can be heard. It’s completely immersive, and when Wilson decides to throw in a few expressionist sequences the visuals and sound work together quite well.

With all that said, Canopy‘s simplistic approach ends up being more of a detriment than a benefit to the film. As accomplished as the film is technically, the main relationship doesn’t feel natural in the slightest, and the whole thing feels very slight by the time the surprisingly abrupt ending comes around. Canopy functions as a good way for Wilson to establish himself as a talented director and craftsman, but there’s very little to go on other than his technical skills. Hopefully with a follow-up feature, Wilson can show that he can create some substance to match his style.

RATING: 6.5

Oculus

My day ended at the World Premiere of Mike Flanagan’s Oculus. It was midnight, and the crowd was rowdy and ready to go once programmer Colin Geddes introduced the film. It was a bit of a surprise then that, other than some applause for a few sequences here and there, the crowd was dead silent through most of the film. That speaks to the power of Flanagan’s film, which is a terrific horror movie and the most entertaining film I’ve seen up to this point.

Kaylie (Karen Gillan) and Tim (Brenton Thwaites) are siblings who haven’t recovered from their parents deaths 11 years ago. Their father (Rory Cochrane) tortured and murdered their mother (Katee Sackhoff) before Tim shot and killed him in self-defense. The incident put Tim in a mental hospital for a decade, and the film starts with him getting released from psychiatric care at age 21. Kaylie tells him upon his release that she’s found the cause of their parents deaths: The Lasser Glass, a centuries-old mirror in their childhood home that supposedly drives its owners to harm themselves and others.

Kaylie and Tim bring the mirror back to their childhood home, with Kaylie setting up an elaborate plan to prove the mirror’s sinister influence and destroy it once and for all. Oculus, which was adapted from Flanagan’s short of the same title, ports over the same sequence from the original short almost word-for-word: A long, exposition-filled monologue explaining the mirror’s history along with all of its victims. This sequence, which is excellently done in both films, gets to the heart of what makes Mike Flanagan such a terrific horror director (Note: I’m a big fan of Flanagan’s past work, and I included his film Absentia on our Great Horror Films You Haven’t Seen feature). He knows the power of a good, well-developed backstory, and viewers will eat up the extensive history of the haunted mirror.

And for most of Oculus, the creep factor comes from discovering just how powerful the Lasser Glass mirror truly is. The mirror’s power is entirely through screwing around with people’s perception, and its manipulations are so extensive that by the end of the film it’s hard not to be freaked out.

Flanagan and Jeff Howard’s screenplay is a truly rare thing in the horror genre: It’s smart. The film crosscuts between Kaylie and Tim’s present-day battle with the Lasser glass and what happened to them as children. At first this seems like an odd choice, given that we’ve already been explained about what happened to their parents from the beginning, but by the final act it comes together in a truly effective way. Without giving away too much, the mirror’s distortion of perceptions eventually merges the two timelines in a way that’s so seamless it’s hard to notice exactly when the changes occurred. It’s an inventive way to change up the cross-cutting, and watching it in action makes for a truly admirable site. I can’t think of the last time a horror film used a single location so well, or had a structure so ambitious.

Admittedly there is a little bit of a cheese factor here, mainly with some ghosts that don’t have the same chilling impact as the scenes where people get tricked by the mirror, but it isn’t distracting enough to bring things down. Oculus is a truly rare horror film these days: one that’s truly original, with a great screenplay and some legitimately unsettling moments. It currently does not have distribution but it’s the best horror film I’ve seen this year, and I have a good feeling that it will stay on top at the end of 2013. In my write-up for Absentia I said that, with a bigger scale Flanagan might deliver something truly special. After seeing Oculus I’d say he delivered on that promise, and then some.

RATING: 7.5

Stay tuned for an interview with Mike Flanagan

Next up:

I start the day with Kelly Reichardt’s Night Moves before moving on to the follow-up from the director of Revanche and Jonathan Glazer’s Under the Skin. And oh yeah, I squeeze in some time for a little film playing here called Gravity.

With 288 features set to play over 11 days, it was a tough process to narrow down our top picks for the Toronto International Film Festival. TIFF can function as a way to catch up on some of the hotter festival titles from earlier this year, or as a sign of what 2014’s films will look like. Our list, which you can read below, covers a wide range from genre films to Cannes winners and even some movies generating Oscar buzz. Way Too Indie will be covering the Toronto International Film Festival this year, and we hope to catch as many films on this list as we possibly can along with many other films as well. This year the Toronto International Film Festival takes place from September 5th to 15th.

Way Too Indie’s 10 Must See Films at TIFF 2013

#10 – The Sacrament

It’s safe to say that Ti West is one of the best American horror filmmakers working today. The House of the Devil is one of the best horror movies in the last ten years, a nostalgic and atmospheric throwback to the 80’s that still causes the creeps even on repeat viewings. His follow-up, The Innkeepers, was a ghost story that had the audacity to spend time (!) developing its characters before putting them in horrifying situations. Now West is back with The Sacrament, a film that takes its inspiration from Jim Jones’ cult in the 1970’s. A reporter takes a camera crew along with him to investigate a cult that his sister ran off to, where presumably things will take a turn for the worse. With Eli Roth producing, The Sacrament might finally expose mainstream audiences to something truly scary for once. [CJ Prince]

#9 – The Great Beauty

I’m quite the admirer of Paolo Sorrentino’s last film, This Must Be the Place (I believe I placed it at #2 on my top ten list of that respective year). I thought it was a very well-directed piece on the oddities that liter America, spearheaded by a delicious lead performance by Sean Penn (one of his best). Sorrentino has finally followed up that overlooked gem with The Great Beauty. The film played at Cannes earlier in the year, where it was met with a lot of acclaim. Our very own Dustin Jansick liked the film too. The Great Beauty has been described as a 2.5 hour love letter to Rome, its history and its beauty. If I were attending this year’s edition of Toronto, this film would be near the top of my must see list. [Blake Ginithan]

#8 – Devil’s Knot

“The West Memphis Three.” No, that’s not the name of the bluegrass band that plays at your local farmer’s market. It’s the handle that was given to three teenagers who were wrongfully accused of brutally murdering three children in 1993 and subsequently sentenced to life in jail, despite the lack of hard evidence. Devil’s Knot, Atom Egoyan’s (The Sweet Hereafter, Chloe) crime drama take on the murderous tale as inspired by Mara Leveritt’s book of the same name, has got an interesting assemblage of a cast gracing the screen: the criminally underrated Elias Koteas; the mysterious, moody up-and-comer Dane DeHaan (Chronicle); the always-solid-sometimes-great Reese Witherspoon; the supremely talented Colin Firth. And that’s just a handful. The reaction coming out of TIFF (where it’s making its world premiere) will likely be a good indication of how big a splash the genre thriller will make in the domestic market. [Bernard Boo]

#7 – Dallas Buyers Club

Matthew McConaughey has been a popular name across the festival circuit this year. I had the chance to see his memorable performance in Mud at Sundance London in April and was extremely impressed by both actor and film. I’d love for Dallas Buyers Club to be another example of McConaughey’s diversity as the plot has a lot of potential to explore controversial topics and utilise the dramatic undertones which should ensue. [Amy Priest]

#6 – The Double

Not to be confused with the awful film of the same name starring Richard Gere from a couple years ago, The Double is Richard Ayoade’s directorial follow-up to his fantastically whimsical and charming coming-of-age film Submarine. The Double follows a man (Jesse Eisenberg) who discovers his doppelganger (also played by Eisenberg) who is constantly one-upping him in life and at work. Billing itself as a comedy comes as no surprise given Ayoade’s comedic background in The IT Crowd, The Mighty Boosh, and Garth Marenghi’s Darkplace, which are all reasons even for some to get excited for the newest work baring his name. [Dustin Jansick]

#5 – Kill Your Darlings

In addition to getting some of the best buzz out of Sundance this year, Kill Your Darlings already has almost unanimous approval among critics who’ve seen it. The film dreams up the early beginnings of the Beat generation’s founding heroes, Allen Ginsberg (Daniel Radcliffe), William S. Burroughs (Ben Foster), Jack Kerouac (Jack Huston), and Lucien Carr (Dane DeHaan). Brought together during their time at Columbia University in the 40s, their friendship was made bond by a gruesome murder, which sets the backdrop to what appears to be an edgy, sexy and intriguing film. These sexually-curious, substance-abusive, and creatively-unconventional icons provide excellent inspiration for a young cast and relatively young director. John Krokidas’s film is, as he put it in an interview, a sort of “origin” story for these influential anti-conformist heroes. Furthermore, with change happening all over the world as more accepted norms are challenged, it’s no surprise that several films have been released of late focusing on this historic cultural shift. I look forward to it’s October release to see it myself. [Ananda Dillon]

#4 – Blue is the Warmest Color

It’s a little difficult, after seeing the movie poster—the soft, pale skin; the snow-white background; the seductive, dangerous, staring eye; the shimmering splash of arctic-blue hair accompanied by color-matched brushstrokes that spell out B-L-U-E—to not be more than a little intrigued by Abdellatif Kechiche’s upcoming French drama, Blue is the Warmest Color. Then there’s the massive, snowballing hype surrounding the film that’s been steadily picking up speed ever since it came out of Cannes as the belle of the ball—critics adored it, and it won the Palme d’Or, which pretty much secures it a spot in the “must-see” column in the back of every cinephile’s mind. If that’s not enough to entice you, the film has received an NC-17 rating due to the extended, “is it porn?” lesbian sex scenes between stars Adéle Exarchopoulos and Léa Seydoux. [Bernard Boo]

#3 – Don Jon

Written, directed and starring Joseph Gordon-Levitt, this comedy is set to impress many at TIFF this year as many film fans are already calling it a “great directorial debut” and with recommendations across the board. Jon Martello (Levitt) is the modern day Don Juan who objectifies everything in his life, especially women. His journey is focused on learning about love and appreciating life. I’m very excited to see it succeed, but also very sad I’ll have to wait for it’s UK release on 15th November compared to my lucky U.S. friends who’ll catch it on 27th September. [Amy Priest]

#2 – Gravity

I have been waiting for Alfonso Cuaron to follow up Children of Men for 7 years. Seven. Years. Well folks, he’s finally back and boy does it seem like he’s ready to drop another masterpiece on us. Already being met with raves from the Venice Film Festival, Gravity is ready to take the fall awards circuit by storm. Certainly on its way to getting multiple technical Oscar nominations, Cuaron’s Gravity tells the story of two astronauts who, after a freak accident, are stranded in the nothingness of space. George Clooney and Sandra Bullock anchor the film’s heart and soul, but it’s the Mexican director and his cinematographer (Emmanual Lubezki) who will probably steal the show here. Word is that Cuaron still loves his long tracking shots and Gravity has one that is nearly 13 minutes in length. This isn’t just my most anticipated film of the festival, it’s my most anticipated of the year. [Blake Ginithan]

#1 – 12 Years A Slave

It is almost hard to believe that 12 Years A Slave will only be Steve McQueen’s third feature film because an amateur quality is never sensed in his work. Going by his (short) track-record of films we can expect two things from this new film; a commanding narrative with powerful cinematography and Michael Fassbender (who has appeared in every film of his to date). McQueen’s last film Shame stunned audiences all-over, including its premiere at the Venice Film Festival, but because of the explicit sexual content in the film it earned the dreaded NC-17 rating, which essentially forfeited its chances to receive any Oscar nods. However, people are already gossiping about 12 Years A Slave being an Oscar contender ahead of its premiere because the film has all the checkmarks the Academy favors: American historical drama, award winning cast, and an mid-October release date. Time will tell how much, if any, accolade 12 Years A Slave will earn, but we will count earning the top spot on our list as its first. [Dustin Jansick]

Easily my favorite program of the Toronto International Film Festival each year is the Vanguard program. This TIFF program aims to be “provocative cinema that defies convention”, which features films that have an unique look and feel to them. Essentially, Vanguard shares similar aspirations as the Un Certain Regard section at Cannes. Having said that, Alex van Warmerdam’s odd-ball film Borgman actually played In Competition at Cannes (we enjoyed the film), but should make a great fit in Vanguard for TIFF. Some other noteworthy titles in the Vanguard lineup this year are Ti West’s The Sacrament and the French duo who made Amer (Hélène Cattet and Bruno Forzani) are back with The Strange Color of Your Body’s Tears.

2013 has already been a pretty solid year for documentaries (Valentine Road, Stories We Tell, The Act of Killing), but TIFF Docs should contain even more great titles from around the world. This year the program includes; the latest from Errol Morris entitled The Unknown Known, a few titles from Cannes (Jodorowsky’s Dune, The Last of the Unjust, and The Story of Children and Film), and well as Frederick Wiseman’s At Berkeley.

Check out the fill lineup for the Vanguard and TIFF Docs programs below.

Vanguard lineup

Blue Ruin [Jeremy Saulnier] USA – North American Premiere
A classic American revenge story, Blue Ruin follows a mysterious outsider whose quiet life is turned upside down when he returns to his childhood home to carry out an act of vengeance. Finding himself in a brutal fight to protect his estranged family, he proves to be an amateur assassin. Starring Macon Blair.

Borgman [Alex van Warmerdam] The Netherlands/Belgium/Denmark – North American Premiere
Borgman is the central character in Alex van Warmerdam’s dark, malevolent fable. Is he a dream or a demon, a twisted allegory or an all-too-real embodiment of our fears? Borgman is a sinister arrival in the sealed-off streets of modern suburbia. His presence unleashes a crowing gallery of distortion around the careful façade constructed by an arrogant, comfortable couple, their three children and nanny. Starring Jan Bijoet, Jeroen Perceval and Hadewych Minis.

Celestial Wives of the Meadow MariAlexey Fedorchenko, Russia Canadian Premiere
Comprised of 23 vignettes illuminating the pagan-influenced mores of western Russia’s Meadow Mari, the latest film from director Alexey Fedorchenko (Silent Souls) is a beguiling, painterly portrait of a culture driven by a ritualistic appreciation of female beauty and feminine sexuality.

The Fake [Yeon Sang-ho] Korea – World Premiere
A rural village is determined to be submerged and its residents are compensated for relocation. A swindler named Choi deceives the poor villagers with false religion to make them give up their compensations as church offerings. Min-chul, an infamous local good-for-nothing waster, discovers the truth, but he is unable to convince anyone; especially against Reverend Sung, who is revered by the people, but who in fact is someone Choi scouted to serve his purpose. When Min-chul’s own faithful daughter is forced into prostitution by these fakes, he sets out to get even.

Horns [Alexandre Aja] USA – World Premiere
Horns, a supernatural thriller driven by dark comedy, mystery and romance follows Ignatius Perrish as he awakens after a hard night of drinking to find he has grown a pair of horns. In addition to his devilish appearance, the horns cause people to fall into a trance and voice their most unspeakable thoughts, an effective tool in Ig’s quest to discover the truth of his girlfriend’s murder. Starring Juno Temple and Daniel Radcliffe.

People In Places(Gente En Sitios) [Juan Cavestany] Spain – World Premiere
This kaleidoscopic film weaves together approximately 20 fragmented scenarios that offer a view of contemporary Spain, drawing conclusions about the persistence of the human condition, strangeness, and the chaos within relationships. Starring Raul Arevalo, Eduard Fernandez and Santiago Segura.

Proxy [Zack Parker] USA – World Premiere
While walking home from her latest OB appointment, a very pregnant Esther Woodhouse is brutally attacked and disfigured by a hooded assailant. This horrible event seems to be a blessing in disguise when Esther finds consolation in a support group. Her life of sadness and solitude is opened up to friendship, understanding, and even acceptance. However, friendship and understanding can be very dangerous things when accepted by the wrong people.

The Sacrament [Ti West] USA – North American Premiere
From acclaimed writer/director Ti West (The House of the Devil, The Innkeepers) and horror master Eli Roth (Hostel, Cabin Fever, The Last Exorcism), The Sacrament follows two Vice media correspondents as they set out to document their friend’s search to find his missing sister. They travel outside of the United States to an undisclosed location where they are welcomed into the world of “Eden Parish,” a self-sustained rural utopia comprised of nearly 200 members. At the centre of this small, religious, socialist community is a mysterious leader known only as “Father.” As their friend reunites with his sister, it becomes apparent to the newcomers that this paradise may not be as it seems. What started as just another documentary shoot soon becomes a race to escape with their lives. Starring Joe Swanberg, AJ Bowen, Kentucker Audley, Amy Seimetz and Gene Jones.

Sapi [Brillante Mendoza] Philippines – World Premiere
With the rival station Philippine Broadcasting Channel (PBC) eating up the TV audiences’ major share, Sarimanok Broadcasting Network (SBN) needs a miracle to stay alive in the competition. In these mad and fearful times, SBN’s news team finds that documenting an actual spiritual possession would be their only hope.

Sex, Drugs & Taxation (Spies & Glistrup) [Christoffer Boe] Denmark – International Premiere
Sex, Drugs & Taxation is based on the true story about the spectacular friendship between two of the most notorious and provocative men in 1960s Denmark: the eccentric lawyer-turned-politician, Mogens Glistrup, and the ‘travel king’, millionaire, womanizer and public provocateur, Simon Spies. Starring Pilou Asbæk, Nicolas Bro and Jesper Christensen.

Soul [Chung Mong-Hong] Taiwan – International Premiere
A-Chuan, a quiet 30-year-old man working as a chef in a Japanese restaurant, collapses suddenly and is rushed to a hospital. His colleagues send him to his father, who resides in the mountains. While there, A-Chuan becomes immobile: he won’t speak, eat or even go to the toilet on his own. One day his father returns from work only to find A-Chuan sitting in the corner with his daughter lying dead in a pool of blood. In an unfamiliar, eerily calm voice, A-Chuan says, “I saw this body was empty, so I moved in.”

The Strange Color of Your Body’s Tears [Hélène Cattet and Bruno Forzani] Belgium/France/Luxembourg – North American Premiere
A woman vanishes. Her husband inquires into the strange circumstances of her disappearance. Did she leave him? Is she dead? As he continues his search, he plunges into a world of nightmare and violence… Starring Klaus Tange, Jean-Michel Vovk, Sylvia Camarda, Sam Louwyck and Anna D’Annunzio.

Thou Gild’st the Even [Onur Ünlü] Turkey – North American Premiere
Man is created of anxiety. —Euripides
In a small Anatolian town, life goes on: Cemal is an assistant referee in football matches; Yasemin works on a farm; and Defne is a street vendor who sells books. In this town with two suns and three full moons in the sky, Cemal — who has the ability to see through the walls — has no expectations out of life, and looks for a way out with Yasemin — who can move objects with her fingers. However, Defne, who can freeze time, will muddle things up, and Yasemin’s immoral boss’ actions will contradict the invisible elementary school teacher’s advice, who is trying to eliminate the worries of Cemal. Thou Gild’st the Even is a black and white film about the ordinary sorrows, worries and troubles of townspeople with extraordinary abilities.

We Gotta Get Out of This Place [Simon Hawkins and Zeke Hawkins] USA – World Premiere
With only three weeks left until his two best friends leave for college, Billy Joe robs his cotton farmer boss, Giff, in order to pay for one last blow-out weekend in Corpus Christi, Texas. Arriving home from the weekend, the teens find the consequences of Billy Joe’s actions brutal. Now Billy Joe, Bobby, and Sue will be taken on a ride that will test love, heartbreak, trust, and crossing that permanent line from adolescence into adulthood.

TIFF Docs lineup

A Story of Children and Film [Mark Cousins] United Kingdom – North American Premiere
A Story of Children and Filmis the world’s first movie about kids in global cinema. A passionate, poetic portrait of the adventures of childhood — its surrealism, loneliness, fun, destructiveness and vitality — as seen through 53 great films from 25 countries, director Mark Cousins’ landmark film is an eye opener and a celebration of both childhood and the movies.

Ain’t Misbehavin’ [Marcel Ophüls] France – North American Premiere
The director of The Sorrow and the Pityshares his memories with us, stories both incredibly rich and fascinating, making Ain’t Misbehavin’a cheerful and bittersweet trip through cinema history. Son of the great director Max Ophüls, Marcel can be a generous man and an admirer. Marcel talks with and about personalities like Jeanne Moreau, Bertolt Brecht, Ernst Lubitsch, Otto Preminger, Woody Allen, Stanley Kubrick and, of course, his friend François Truffaut.

At Berkeley [Frederick Wiseman] USA – North American Premiere
At Berkeleyis a documentary film about the University of California at Berkeley. The film explores the major aspects of university life of America’s premier public university with particular emphasis on the administrative efforts to maintain the academic excellence, public role, and the economic, racial and social diversity of the student body in the face of severe budgetary cuts imposed by the California legislature.

Beyond the Edge [Leanne Pooley] New Zealand – World Premiere
It was an event that stunned the world and defined an era. Sir Edmund Hillary’s incredible achievement remains one of the greatest adventure stories of all time: the epic journey of a man from modest beginnings who overcame adversity to reach the highest point on Earth. Screening in 3D.

Burt’s Buzz [Jody Shapiro] Canada – World Premiere
Burt’s Buzzis an in-depth and personal look at the life of Burt Shavitz, known to millions around the world as the ‘Burt’ of the Burt’s Bees natural product brand. The documentary explores what it means to be marketed as an icon, and how that life differs from the one of the man behind the logo.

The Dark Matter of Love [Sarah McCarthy] UK – North American Premiere
The Dark Matter of Lovefollows three Russian children learning to love their adoptive American family through a scientific programme. From the director of The Sound Of Mumbai: A Musical.

The Dog [Allison Berg and Frank Keraudren] USA – World Premiere
In 1972, John Wojtowicz attempted to rob a Brooklyn bank to pay for his lover’s sex-change operation. The story was the basis for the film Dog Day Afternoon. The Dogcaptures John, who shares his story for the first time in his own unique, offensive, hilarious and heartbreaking way.

Faith Connections [Pan Nalin] France/India – World Premiere
Filmmaker Pan Nalin travels to Kumbh Mela, one of the world’s most extraordinary religious events. There, he encounters remarkable men of mind and meditation, some facing an inextricable dilemma; to embrace the world or to renounce it. Faith Connectionsexplores such diverse and deeply moving stories as a young runaway kid, a Sadhu, a mother desperately looking for her lost son, a yogi who is raising an abandoned baby, and an ascetic who keeps his calm by smoking cannabis — all connected by one faith against the spectacular display of devotion.

Filthy Gorgeous: The Bob Guccione Story [Barry Avrich] Canada – World Premiere
Through his lens, Bob Guccione witnessed, influenced and played a starring role in easily one of the most controversial and socially and sexually revolutionary eras in modern history. Reclusive, yet outspoken, Guccione used his art, his fortune and his outspoken views on sexuality and politics to create scandal, change and debate. Unlike his publishing rivals, Hefner and Flynt, there is more to Guccione than meets the eye.

Finding Vivian Maier [John Maloof and Charlie Siskel] USA – World Premiere
A mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lockers and discovered decades later, is now considered among the 20th century’s greatest photographers. Maier’s strange and riveting life and art are revealed through never before seen photographs, films, and interviews with dozens who thought they knew her.

Hi-Ho Mistahey! [Alanis Obomsawin] Canada – World Premiere
Alanis Obomsawin tells the story of Shannen’s Dream, a national campaign to provide equitable access to education for First Nations children, in safe and suitable schools. She brings together the voices of those who have successfully brought the Dream all the way to the United Nations in Geneva.

Ignasi M. [Ventura Pons] Spain – World Premiere
Ignasi M., a world renowned museologist, is living a dramatic moment, but has the capacity to turn any situation into an edifying one and any discomfort into a hilarious series of facts.

Jodorowsky’s Dune [Frank Pavich] USA – North American Premiere
The story of legendary cult film director Alejandro Jodorowsky’s staggeringly ambitious but ultimately doomed film adaptation of the seminal science-fiction novel Dune .

The Last of the Unjust [Claude Lanzmann] France/Austria – North American Premiere
Through an interview with Benjamin Murmelstein, from Nisko in Poland to Theresienstadt, and from Vienna to Rome, Claude Lanzmann provides an unprecedented insight into the genesis of the Final Solution. It reveals the true face of Eichmann, and exposes without artifice the savage contradictions of the Jewish Councils.

The Mayor [Emiliano Altuna Fistolera] Mexico – Canadian Premiere
Mauricio Fernandez is the polemical mayor of San Pedro Garza García, the wealthiest and safest municipality in Latin America. He presents himself as an active ruler who is capable of cleaning his municipality of drug cartels without questioning the methods he uses to achieve this. The Mayordescribes the wild times of a country that is marked by violence and the complete discredit of the ruling class.

Midway [Chris Jordan] USA – World Premiere
In the middle of the Pacific Ocean lies a tiny unincorporated territory belonging to the United States called Midway — the site of one of greatest naval battles of all time. Before the navy set up station, this island served for centuries as a breeding ground for hundreds of species of seabird — most notably the Albatross. Midway lies at the center of the Great Pacific Garbage Patch, where the seabirds’ feeding grounds are teeming with plastic waste. Unknowingly, the Albatross feed their chicks our refuse and so the very waters that once sustained them, now threaten their lives. Through stunning imagery and narration, the voice of the island tells their epic tale of survival. Both elegy and warning, the film explores the interconnectedness of species, with the Albatross on Midway as mirror of our humanity. This is their story and ours, an inspiring tale of how life and love endure despite incredible odds.

Mission Congo [David Turner and Lara Zizic] USA – World Premiere
Death, diamonds and greed — a story of a US businessman’s pursuit of an irresistible opportunity during one of the worst humanitarian crises of modern times.

The Square (Al Midan) [Jehane Noujaim] Egypt/USA – World Premiere
The story of revolution — behind the headlines. From the 2011 overthrow of a 30-year dictator, through military rule, and culminating with the overthrow of the Muslim Brotherhood president in the summer of 2013 — follow a group of Egyptian revolutionaries as they battle leaders and regimes, risking their lives to build a society of conscience.

Tim’s Vermeer [Teller] USA – World Premiere
Tim Jenison, a Texas-based inventor, attempts to solve one of the greatest mysteries in all art: How did 17th century Dutch Master Johannes Vermeer (Girl with a Pearl Earring ) manages to paint so photo-realistically 150 years before the invention of photography? The epic research project Jenison embarks on to test his theory is as extraordinary as what he discovers.

The Unknown Known [Errol Morris] USA – North American Premiere
Errol Morris offers a mesmerizing portrait of Donald Rumsfeld, one of the key architects of the Iraq War. Although Rumsfeld has held lofty positions of American political power for half a century, most people know little about him. When Rumsfeld wrote, as part of his most famous meditation, that an “unknown known” refers to “things you think you know that it turns out you do not,” he could have been speaking about himself. The Unknown Knownis not intended as yet another postmortem on the Iraq War, but rather an illumination of a mystery.

Unstable Elements [Madeleine Sackler] USA – World Premiere
Comprised of smuggled footage and uncensored interviews, Unstable Elementsintroduces viewers to artists struggling under Europe’s last dictatorship. When the KGB targets dissenters, the members of the Free Theater find themselves torn between their art and safety. This compelling documentary showcases the power of art to change the world.

When Jews Were Funny [Alan Zweig] Canada – World Premiere
When Jews Were Funnyis director Alan Zweig’s personal exploration into the roots and the manifestations of his Jewish identity, and particularly the question of how this Jewishness of his has persisted, though he’s done nothing to maintain it. He begins his exploration by trying to answer a question that’s intrigued him since childhood. Why were all the comedians he watched on TV in the fifties and sixties, Jewish? At first he doesn’t get the answers he was hoping for, but he trusts in the old saying, “two Jews, three opinions” and eventually some answers start to form.