Shadan’s TIFF Diary #3: ‘Women Talking,’ ‘Chevalier,’ Big Drama and Big Surprises

I feel very confident in saying that TIFF was the greatest adventure of my life. While I’m saving my big, sappy farewell for my final post tomorrow, I do have some regrets. I wish I made more time (or any time, really) to see friends and colleagues. I wish I made an effort to watch more international features (more on that tomorrow) and a few lighter films. I missed the chance to see some big titles, including Florian Zeller’s The Son (the mixed reviews have made me even more eager) and Sebastián Lelio’s The Wonder.

I also missed out on some great food. Toronto is one of the best cities for international cuisine, but none of that made its way to me this time around. No poutine. Not even a single trip to Tim Hortons. My TIFF diet consisted of concession stand popcorn and sour candy. (My official ranking of TIFF venues based on the quality of their snacks is as follows: 1. Scotiabank Theater 2. TIFF Bell Lightbox 3. Roy Thompson Hall 4. Royal Alexandra Theatre 5. Princess of Wales Theatre).

So if I’m lucky enough to make it back to TIFF,  I need to come with more self-awareness, more self-confidence, and more snacks in my purse.

Also, I didn’t get any selfies with big stars, but I did see Werner Herzog coming out of an elevator. I’m told a Herzog sighting is a festival-going badge of honor.

Here is another crop of films I can’t stop thinking about and films that need to be on your radar.

Women Talking: 

Sarah Polley’s Women Talking was the first runner-up for TIFF’s People’s Choice Award. The film is one of my favorites of the festival. Beyond that, I hope this silences any doubts as to the accessibility of the film. In fact, I’d argue Women Talking is precisely the type of film audiences want more of—thoughtful, intelligent, with meat on its bones and something to say—with high-caliber talent in front and behind the camera able to do this story justice.

After facing brutal and repeated violence at the hands of the men in their colony, a group of women gather to discuss their options—stay in their homes and risk more abuse or leave and start over on their own. Ranging in age and life experience, each woman comes with a different point of view as they reconcile their faith and their futures.

During the post-film Q&A, Polley said she wrote several passes of the script, adapted from Miriam Toews’ novel of the same name, to ensure that each character was fleshed out. And it shows. What I appreciated most about Women Talking is that each character is given a moment, a chance to speak their mind. Claire Foy and Jessie Buckley are standouts in a remarkably well-utilized cast.  

Women Talking is a must-watch film because it’s very well made. And also because it serves as a reminder that we can find a way forward despite our differences and difficult circumstances. If only we make an attempt to engage.

Carmen:

In addition to stars and high-profile filmmakers, TIFF 2022 featured entries from several in-demand composers. My favorites include Carter Burwell’s score for The Banshees of Inisherin, John Williams for The Fabelmans, and Reznor and Ross’ fol to Empire of Light. This brings me to Nicholas Britell’s score for Carmen, the true star of the film. Britell serves as an executive producer, and his thumbprint is all over the project, his music woven beautifully into this love story, a reimagining of the classic opera of the same name.

Carmen marks the directorial debut of famed choreographer Benjamin Millepied (Black Swan is among his many credits), whose eye for movement translates beautifully on screen. Carmen is a visual love letter to his art form, and it’s interesting seeing a master capture his craft. I absolutely loved the way the film’s dance sequences were framed and shot. The music and dancing are captivating and make for a really unique viewing experience. Unfortunately, I just don’t feel as strongly about the story Carmen is trying to tell. Paul Mescal, whose career I’ve followed closely since Normal People, is seriously miscast opposite Melissa Barrera, whose screen presence shines through a script that lets her down.

Ultimately, Carmen is a bit uneven, but it bears repeating that the strength of the music and choreography make it absolutely worth your time. I’ll be very interested to see what Millepied does next and if he’ll continue to blend his artistic endeavors in such engaging ways.

Biosphere: 

Carmen and Biosphere are wildly different, but both mark directorial debuts taking big swings. Giving away any major plot points or even trying to describe Biosphere, would be a disservice to the truly wild viewing experience. Go into Biosphere knowing as little as possible. And buckle up. The film is a two-handed buddy comedy starring Sterling K. Brown and Mark Duplass, who give themselves over to the insanity with abandon.

Not every element works, and some threads feel under-cooked, but I admire Mel Eslyn for making such an audacious first feature, one that has a lot to say about gender, politics, and human nature. I’m already looking forward to her next film.

Chevalier:

I’ve loved Kelvin Harrison Jr. since seeing him in the under-rated and under-seen Luce. Chevalier is another in a string of fascinating career choices and performances. Harrison Jr. stars as Joseph Bologne, a charismatic composer who becomes the Chevalier de Saint-Georges in Marie Antoinette (Lucy Boynton)’s court.

He embarks on a competition to become the musical director of the Paris opera and, in the process, begins an affair with his married lead singer Marie-Josephine (the luminous Samara Weaving). Chevalier explores the life of a brilliant Black artist with a forgotten legacy. Director Stephen Williams unravels class, race, political upheaval and forbidden love with a sharp eye. Chevalier is a lush, sweeping biopic with incredible performances and so many jaw-dropping costumes. Another major win out of TIFF.   

The Woman King:

The Women King is now out in theaters, and you’ll regret it if you don’t see it on the biggest screen you can find. Viola Davis leads a stacked ensemble as a general training the next generation of female warriors who will protect their West African kingdom. My TIFF audience erupted multiple times during the incredibly well-done fight sequences. Like Women Talking, The Women King is exactly the kind of film we need more of— a well-made crowd-pleaser that centers Black women and their narratives. I can’t wait to watch it again.

I have a few digital screeners to watch for TIFF titles I didn’t catch in person so I’ll be back tomorrow if one final diary (and goodbye) for TIFF 2022. Thank you all for reading!