‘Huda’s Salon’: Hany Abu-Assad Offers a Fearless Reckoning on Women’s Oppression in Occupied Palestine [TIFF Review]

Munich Match is a drama series inspired by the infamous 1972 Olympics massacre. Creator Michal Aviram, who writes and exec produces the Sky series, said during the series’ pane at Deadline’s New Tube event that she had a “deep fixation” on the famous photo from the Olympic Village balcony and wanted to create a show inspired by these events.

During my first year of film school, my teacher would assign a great task to all her students during a post-production and sound course. The assignment was a unique redubbing exercise, stripping the audio and initial sound mix from pre-existing film scenes.

Mounia Akl’s feature debut, “Costa Brava, Lebanon” comfortably occupies a space between “Beasts of the Southern Wild” from “Honeyland”: Each movie deals with environmental dilemmas, ranging from climate change to the loss of biodiversity, but in their own ways and their own approaches. “Honeyland” takes the narrative nonfiction tack, chronicling the travails of a Macedonian beekeeper; “Beasts of the Southern Wild” grieves Hurricane Katrina’s aftermath with magical realism.

Guns, gold bars, drug lords, military coups, folk heroes, tall tales, and ghost stories. Is there a 2021 film that gives more bang for the buck than Jean Luc Herbulot’s superb “Saloum”? This is not a case of “too much” movie, where the director and screenwriter thoughtlessly stuff as many ingredients into the pot as they can and hope the concoction doesn’t boil over.

We casually throw the word “icon” around with such abandon these days that it almost feels like we need a new, more potent idiom to describe those who actually fit the bill. But until we get that term, let’s say that Sigourney Weaver is an absolute icon and leave it at that — a brilliant actor equally adept at drama, action, and comedy, a three-time Academy Award nominee (two of them in the same year), the kind of screen presence who lifts just about anything she’s in.

Comfortable in his newly found friendship, Hatzín (Hatzín Navarrete), a teenager from Mexico City who traveled to Chihuahua’s northern state to reclaim his father’s remains, pretends to be upset and explains he’s decided to return home. He laughs several seconds later, tricking Mario (Hernán Mendoza), his boss and impromptu life mentor.

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Cult classics generally don’t happen on purpose and they usually don’t happen in just 10 days, either.

TORONTO – There’s something intoxicating when an established filmmaker unexpectedly challenges themselves creatively with a new project. Acclaimed writer and director Terence Davies does just that with his latest endeavor, “Benediction,” a biopic about the life of the celebrated poet Sigfried Sassoon that debuted at the 2021 Toronto International Film Festival this past weekend.

For generations, women who pushed against their expected roles in life were written off as mad, and in extreme cases, locked away. For equally as long, these women were fodder for art that depicted their madness as evil.

Reuniting with “St. Vincent,” director Theodore Melfi, Melissa McCarthy, and Chris O’Dowd play a married couple on the rocks after the unexpected loss of their baby tears them apart.

In writer-director Stephen Karam’s feature debut, the dark horror-comedy “The Humans,” it’s not so much a bump in the night or the creak in the door that can rupture an untapped fear. Those are merely the externalized notes that grant music to the ever-present existential dread.

According to the basic tenets of Christian scripture, all god’s creatures are worthy of judgment-free love. And while the hypocrisy of those words is rarely interrogated in “The Eyes Of Tammy Faye” — the bible belt preachers and communities presented in the film often fail to practice what they preach and are never forced to examine their own accumulation of wealth — these parts of the bible are really not the film’s concern.

In writer-director Stephen Karam’s feature debut, the dark horror-comedy “The Humans,” it’s not so much a bump in the night or the creak in the door that can rupture an untapped fear. Those are merely the externalized notes that grant music to the ever-present existential dread.

Everyone knows someone like Rebeca Huntt. A born-and-bred New Yorker, she came of age in a one-bedroom apartment on the Upper West Side, her family’s pride and joy.

Co-created by Ava DuVernay and former 49ers quarterback Colin Kaepernick — who silently took a knee during the US national anthem in 2016 in protest of the racial inequality and indiscriminate killing of Black Americans by police — “Colin in Black and White,” the limited docudrama series from Netflix, follows its subject as he looks back on his formative years as an adopted, biracial high school and college athlete with his eyes set on becoming a professional quarterback.

I’m not entirely convinced everything needs to be a movie. In this case, I don’t know that there is any way to make a film about the journey of a parent as they hear their child’s school has an active shooter without it feeling exploitative of our nation’s current epidemic of violence.

To open: Ada (Milana Aguzarova), a young woman living in North Ossetia, is planted against the cement wall by the freeway. As the tumult of cars rushes by, a young man — the seemingly lovesick Tamik (Arsen Khetagurov) — calls for her.

TORONTO – The filmmaking partnership of Scott McGehee and David Siegel has forged what can only be described as an unexpected path. After their 2001 breakout indie thriller “The Deep End” the duo found creative success in family dramas such as “Bee Season” and “What Maisie Knew.” Now, after an eight-year break following “Maise,” they return with “Montana Story,” a strangely thin melodrama held together by Haley Lu Richardson’s captivating performance.