With preparations for Sundance 2022 already in the works and Cannes in the rearview mirror, fall festival season is finally just around the corner. While every major film festival has its merits, it’s hard to deny that the fall festival circuit is the most exciting for several reasons. Venice, TIFF, Telluride and NYFF have established themselves as the launchpad for awards season and are often home to the year’s buzziest titles. Glitz, glamour and a whole lot of great movies; here are fifteen fall festival premieres that are certainly worth keeping an eye on.
(Note: any film that has already premiered at a film festival earlier in the year, whether it was Sundance, Berlin or Cannes, will not be included on the list. So while we are looking forward to Sean Baker’s “Red Rocket”, Wes Anderson’s “The French Dispatch”, Celine Sciamma’s “Petite Maman” and Julia Ducournau’s “Titane”, among many others, the purpose of this article is to highlight films that are yet to premiere and have not been viewed by critics or the public.
Belfast (Dir. Kenneth Branagh) – I’ve put my faith in Kenneth Branagh in the past and I’ve gotten burned, so I struggled to decide whether or not I should include his latest film on this list. The Irish Shakespearean actor-turned-director does not necessarily have the best track record, especially in recent years. “Murder on the Orient Express” and “Artemis Fowl” in particular were huge disappointments and ranked among the worst films those respective year’s had to offer. However, I can’t ignore the signs indicating that “Belfast” could end up being something truly special. Shot in black and white with an impressive cast including Judi Dench and Jaimie Dorman, “Belfast” is an autobiographical portrait of Branagh’s own experience growing up in a working class family in Northern Ireland in the late 60’s. Focus Features has already mounted a strong Oscar campaign for the film and the fact that it is playing the festival circuit is certainly a good sign. (Telluride/TIFF)
C’mon C’mon (Dir. Mike Mills) – Despite having only three films under his belt and an extended music video for the American rock band “The National”, I can confidently say that Mike Mills is one day going to be considered one of the most important American independent filmmakers of his generation. Few filmmakers are able to convey their own perspective on life and bring the audience into their world as effectively as Mills. 20th Century Women in particular, ranked among my favorites of the 2010s and I believe it’s a perfect film in every regard. C’mon C’mon seems to be another knockout, with affectionately crafted characters, witty dialogue and some of Mills own personal wisdom thrown in the mix. With Joaquin Phoenix by his side, as well as crisp black and white cinematography and a score composed by members of the National, C’mon C’mon could very well be Mills most high profile film to date and it’s certainly going to be widely discussed throughout awards season. (Telluride/NYFF)
Dune (Dir. Denis Villeneuve) – It seems like Critics, cinephiles and awards pundits have been talking about Denis Villeneuve’s highly (and I mean HIGHLY) anticipated adaptation of Frank Herbert’s classic novel for years now, but the long-awaited premiere of the star-studded blockbuster is finally approaching. Most blockbusters of this scope almost always skip film festivals altogether, but the fact that Warner Bros. have scheduled Dune to play at most of the major fall festival indicates that they are confident they have something very special on their hands. The studio utilized a similar strategy for Todd Phillips “Joker”, and that film went on to cross a billion dollars at the Box Office and earned 11 Oscar nominations, so the future is looking bright. If anything’s certain, Dune will absolutely be the hottest ticket at every festival it plays at and I am confident that the hype will be through the roof once reviews start pouring in. (Venice/TIFF/NYFF)
The Hand of God (Dir. Paolo Sorrentino) – Italy’s leading filmmaker at the moment is back with his most personal film to date. Reuniting with his artistic muse, Toni Servillo, and bringing along newcomer Filippo Scotti, The Hand of God is a deep dive into Sorrentino’s tumultuous childhood and a love letter to the city he once called home. While Sorrentino’s last film “Loro” failed to find an audience, he has generally been one of the most consistent directors working today in both film and television. While “The Great Beauty” won him an Oscar and “The New Pope” gained him International recognition, “The Hand of God” seems like it could be his magnum opus and the film his entire career has been leading up to. (Venice/Telluride)
The Humans (Dir. Stephen Karam) – Films based on theatre productions often get a bad rep, as many of them are entirely focused on performances and dialogue, rather than incorporating elements exclusive to the cinematic medium in order to enhance the material. Florian Zeller’s Oscar-winning drama “The Father” set a precedent for play-to-film adaptations and Stephen Karam’s “The Humans” seems to be following in it’s footsteps. Based on a beloved Tony-Award winning play, “The Humans” is a psychological family drama with an impeccable cast including, Steven Yeun, Amy Schumer, Richard Jenkins, Beanie Feldstein and Jayne Houdyshell. “The Humans” is on track to be one of the best written and acted films of the year, and will likely be a fierce Oscar contender. (TIFF)
Last Night in Soho (Dir. Edgar Wright) – Edgar Wright is one of the most knowledgeable cinephiles on the planet and certainly one of the most prolific filmmakers working today. He’s one of a handful of modern filmmakers who can draw mass audiences in with his name alone. Hot Fuzz, Scott Pilgrim vs. The World and Shawn of the Dead are stylish and skillfully directed genre-comedies that have cemented their status as “cult-classics”. Cult-Classic is the key word here, as Edgar Wright has never made a prestige film; that is until now. Wright is straying from his comedic roots and delving into the world of horror, specifically 70s psychological horror, taking influence from masters such as Dario Argento and Nicolas Roeg. Based on the trailers and the way in which Edgar Wrights speaks about the film in interviews, it’s safe to say that Last Night in Soho may very well be his magnum opus. (Venice/TIFF)
Parallel Mothers (Dir. Pedro Almodovar) – Since bursting onto the scene in the late 1980s with “Women on the Verge of a Nervous Breakdown”, legendary Spanish filmmaker Pedro Almodovar has remained one of the most consistent and successful international filmmakers currently working. After delivering his most personal film to date with “Pain & Glory”, “Parallel Mothers” seems more in line with Almodovar’s signature films like “All About My Mother” and “Talk to Her”. Reteaming with his artistic muse Penelope Cruz, and introducing newcomer Milena Smit, Almodovar’s latest sees him once again exploring motherhood and what it means to be a mother, with two strong female leads in the forefront. (Venice/NYFF)
The Power of the Dog (Dir. Jane Campion) – On November 19th, 1993, Jane Campion’s romantic-drama “The Piano” hit theatres and became an instant sensation, going on to earn eight Academy Award nominations. Many critics believed that Campion would become one of the defining filmmakers of her generation, but her career has not been as prolific as many would have expected. She has been on hiatus from filmmaking since 2009. However, during that time she worked on the mini-series “Top of the Lake” and its sequel “Top of the Lake: China Girl”, which earned her heaps of acclaim. Campion is finally making her long awaited return to filmmaking with an adaptation of Thomas Savage’s novel of the same name. With a cast including Benedict Cumberbatch, Kirstin Dunst and Jesse Plemons in supposedly their most meaty roles to date, as well as a score composed by Jonny Greenwood, The Power of the Dog is a western-revenge tale on track to be one of this year’s strongest Oscar contenders. (Venice/Telluride/TIFF)
Spencer (Dir. Pablo Larrain) – Many people completely wrote off Kristen Stewart after her wooden and unenthusiastic performance in the Twilight franchise. That being said, she has since proven to be a very talented actress, delivering fascinating performances in various art-house films. Stewart faces her greatest challenge yet, as she is portraying the beloved Princess Diana in Pablo Larrain’s latest abstract-biopic “Spencer”. Larrain turned many heads with his foray into English language films, “Jackie”, which boasted a spectacular performance from Natalie Portman. Spencer seems to be another step in the right direction and could earn Kristen Stewart her first Oscar nomination. (Venice/Telluride/TIFF)
The Tragedy of Macbeth (Dir. Joel Coen) – Joel Coen, one half of the legendary “Coen Brothers”, will be flying solo for the very first time in his career. Ethan Coen has supposedly taken some time off from filmmaking, so Joel has been working on a passion project; a black and white retelling of Shakespeare’s infamous “Macbeth”. The Coen Brothers are primarily associated with two things: gritty westerns and dark comedies. A Shakespearean tale doesn’t tick either box, so it’s going to be interesting to see Joel’s individual style and the way in which he chooses to tell this classic story. It’s rumored that the film was shot entirely on a rotating sound stage and fits right in with A24’s more experimental fare. One things for sure: Denzel Washington and Frances McDormand will be delivering gargantuan performances that will land both actors back into the Oscar conversation. (NYFF/LFF)
Despite the fact that the pandemic is not quite over yet, based on the sheer-amount of high profile premieres on the festival circuit this year, it seems that at least the film industry is getting back into the swing of things. Make sure to stay tuned for our coverage of the Toronto Film Festival, where we will provide reviews including those of the films listed above!
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