For this series, The duty takes you behind the scenes of great stories from its journalists in 2022. At the Toronto International Film Festival, François Lévesque watched, interviewed and wrote almost to the point of exhaustion, but would not change a thing in this week of wonder.
I’m in the grip of a mixture of nervousness and excitement. And for good reason: I’m about to experience my first cover of the Toronto International Film Festival. Unmissable, the event takes place this year in person, after two pandemic crus. I arrive hyper-prepared: dates and times of the premieres, press screenings, interviews and deadlines for the planned texts are duly noted in my phone. However, there are festival hazards beyond my control, sometimes for the worse, but often for the better.
I did well to arrive the day before the opening, I tell myself on Wednesday, September 7, putting my suitcase in my room before leaving immediately. Direction: the press screening of the highly anticipated Women Talkingby Sarah Polley (before my departure from Montreal, I saw certain titles for which interviews are planned: these upstream viewings will save me precious time downstream).
The film, about the abused women of a Mennonite community who wonder if they will leave or stay, upsets me. I forge links with two of the films seen before my visit: Emilya superb biography of the author Emily Brontë, and holy spider (Mashhad Nights), about an Iranian journalist determined to stop a killer of prostitutes. On a notebook, I scribble: “Four films united by heroines shining in a hostile context; theme of sorority acts as a quiet or bubbling but constant force. »
On the morning of Thursday, September 8, it’s a disaster: I went to the wrong “Cineplex Cinema” for the press screening of the film The Whale (The whale), by Darren Aronofsky. I write to the folks at TIFF while jumping in a taxi, aware that I will miss the first 15 minutes of the film. But then, at the destination, a volunteer reassures me while I apologize profusely: “We waited for you before starting, Mr. Lévesque. I remain silent in the face of such thoughtfulness.
Spielberg’s Vulnerability
On Friday, September 9, two observations: the death of Elizabeth II the day before did not dampen the euphoria that reigns in the Queen City, and King Street, pedestrianized during the festival, is impassable due to crowds not in crying, but jubilant. The reason ? Taylor Swift !
The human tide will be almost as imposing the next day for Jennifer Lawrence, at the premiere of Causeway. Moreover, I discuss this Saturday with the director of the film, Lila Neugebauer. Previously, however: mandatory COVID screening test.
It is undoubtedly my busiest day: a press screening, a conference, three interviews, a premiere, a text…
While waiting outside the suite where I’m to join Park Chan-wook, one of my favorite filmmakers, I chat with a publicist I’ve known for years, but is meeting for the first time. Before leaving, she instructs her assistant to give me as much time as I want. In a context where the norm is 10 minutes, this is unexpected.
Shaking my hand, Park Chan-wook says he loves my movie t-shirt Blow Out, by Brian DePalma. We talk at length about decision to leave, prize for directing at Cannes, for his previous films, for his approach; privileged moment.
That same Saturday evening, the world premiere of the autobiographical The Fabelmans (The Fabelmans), by Steven Spielberg. The public welcomes the legendary director like a rock star. It’s very moving to witness the feverishness and vulnerability of one of his heroes. To say the film is up to par is an understatement.
The next day while I’m wearing a movie t-shirt Possessionby Andrzej Zulawski, it’s Darren Aronofsky’s turn to exclaim: “ I fucking love your t-shirt! »
Stolen minutes
In the unexpected department, there is this interview with the director Florian Zeller, for The Son (The son), which will ultimately not take place. On the other hand, I receive confirmation from those with the filmmaker Hirokazu Kore-eda and with the Super star South Korean Song Kang-ho (Parasite) for the touching broker.
Without counting these few stolen minutes in the company of the star ofEmilyEmma Mackey (the series Sex Education), following my interview with the film’s director, Frances O’Connor—another fairy godmother publicist.
On Facebook, I write on September 13: “Last moments at #tiff. I have four (beautiful) interviews before my departure. After “Have you seen such a movie?” the question I’ve been asked most often here is “Did you go to such and such a party?”. The answer, every time? “Nope.” I saw films, I wrote with frenzy and fervor more than a dozen texts (it’s not finished), and I banked a dozen interviews in anticipation of releases in the coming months. A marathon in which I would not change anything. Not even a glass of champagne. I like my profession. I like cinema. »