Eight days. 30 movies. Little sleep. And 90 minutes worth of Japanese dominatrixes on a kinky, violent warpath.
That was my experience at the 2013 Toronto International Film Festival, though only in broad strokes. Note: Those dominatrixes came in the form of Hitoshi Matsumoto's bonkers dark comedy R100, a crowd favorite during the festival's Midnight Madness section.
Reporting from a festival as gigantic as TIFF is no easy task. One look at the film program, which details every single world premiere and special screening on the enormous schedule, is enough to send the most diligent of movie critics into feverish sweats. How the hell will I see everything I need to see? Why must they screen the biggest movies all alongside each other, as to make it impossible to see them all? And what in cinema's name are Asphalt Witches and Borgman? Do I need to watch them, or spend that time watching hopping vampires in Rigor Mortis? And, just accept it, by sitting through three-hour epics like Mandela: Long Walk to Freedom, The Disappearance of Eleanor Rigby: Him and Her, and Blue Is the Warmest Color, you're missing out on two other movies at a time. There's no way around it.
It's an endurance test, as well as an exercise in strategizing and time management, but by the end of something like TIFF, you're a more informed movie lover, able to tell the masses all about what's on the horizon in the wide world of filmdom. Taken from the best of the 30 movies Complex saw at the Toronto International Film Festival, here are 10 new truths about where the movies and their stars stand after the globe's largest, and one of its most influential, film-centric gatherings. We survived with these new perspectives. With only a few S&M scars from Matsumoto's R100.
Written by Matt Barone (@MBarone)