Rotten Tomatoes’ Grae Drake is Ready for her Close-up!

She’s the Senior Editor of Rotten Tomatoes and the wildest dressed film critic on the junket. Grae Drake talks about her extraordinary style, the movie that made her hug a stranger and Samuel L. Jackson reading her wedding vows.

TorontoVerve: How would you describe your style? 

Grae Drake: My style is whatever feels right for me in the moment. It’s really something that I feel works because if I have to think about it too much then I don’t know what works. It’s really an intangible thing.

TV: How does fashion play a part in your job? 

GD: Because a lot of my job is about media, doing appearances and being on television, I have to think about how I look more often than I would prefer to, but when I do, the way that I make it more meaningful to me is to use it as an expression of what’s going on with me. One of the things that is super important in the way that I present myself is that when I’m walking into an interview, it tells someone who I am. Having pink hair to start with and adding things on top of it may tell people that my crazy level is maybe at the ceiling, but then when I begin talking, they realize that it’s just a couple of feet below that. It’s nice to lull people into a false sense of security. Generally, I think that my style gravitates towards being fun.

TV: What was the best celebrity reaction to your style? 

GD: Overall, people’s reaction toward my style is so positive. That tells me ultimately that I’m doing the right thing. One of the best reactions happened when I was doing Iron Man 3 interviews. I had an Iron Man shirt that lit up like his power source in the chest. It was just a t-shirt and I had a cute jacket over it with a skirt. I also had high top, laced-up black sequined Converse, which are my favourite go-to shoes. So I walked into Gwyneth Paltrow’s room and I had a pre-conceived notion of who she was and what she might be like. And the minute that I walked into the room, she was like “Oh, my God! What is happening with you? You are the coolest person that I’ve ever seen. Before we even start your interview time, I have to find out everything.” We sat there and we talked for about a minute — totally off the clock because she knew I only had only four minutes and it would take me a lot longer than that to describe what I wearing. She was so nice to me and supportive. In subsequent interviews, she remembered me and we’re always chatting about what’s going on and what we’re wearing. She’s so nice and funny and that surprised me. It was a good lesson because she responded to what was in my heart.

TV: Colour is a big part of your personality. 

GD: I think so. The hair evolution took a long time and it was something that I never thought I would have. I’ve had a lot of hair colours. I was blond when I visited my current hair dresser Tonia Jost many moons ago. I was going through a break-up and I told her that I was feeling emotionally vulnerable and I just wanted to be brown again. And very gently she said, “I don't think you’re a brunette.” I told her to do her thing. I trust her and she’s very empathetic. She does things for your inside as much as your outside and that’s how pink started. It’s funny — I think back to me in high school when I had very long brown hair and I want to tell that girl that she’s going to grow up to become a girl with a pink mohawk and that’s going to feel right. [Laughs]

TV: Who styles your outrageous costumes for your interviews? 

GD: In the past, I have done the majority of work for my interviews on my own. I do style myself, but now the Rotten Tomatoes team is growing and supporting me in new ways. One of the biggest style achievements that I’ve been able to attain is largely due to Quentin Owens who helped me make four of the most amazing costumes for the San Diego Comic Con. Working with Quentin was the first time that I was able to actually collaborate with someone who knew better than I did about how to achieve something that didn’t exist. He’s amazing.

TV: You’ve mentioned the special connection that you’ve had with Gwyneth Paltrow. You’ve built relationships with the people you’ve interviewed. One that comes to mind is Samuel L. Jackson. 

GD: Ooohhh, I love Sam.

TV: How did your friendship with Sam even start? Was it developed through social media? 

GD: The first time I talked to Sam was at Comic Con and I was dressed as Lady Riddler. The look on his face when he realized that he was going to be interviewed by Lady Riddler was priceless. I put my hand out and I said, “Hi, Mr. Jackson. My name is Grae” and he said, “No, no, no. We’re going to hug.” [Laughs] And I was like “Yay!” The vibe was so amazing. I don’t know where it came from, but I asked him if he wanted to hear some riddles and he was like, “Hell, yes. I want to hear some riddles.” After that we followed each other on Twitter and exchanged messages. I think one of the reasons that we’ve continued to get along is because I feel the most understood by him out of the majority of people that I’ve spoken to. He really understands that I love movies. I like creating a real moment in a very artificial environment of junket interviews. He really gets me. And he read my wedding vows to my husband. [Laughs] Because every time I started reading my vows, I started to cry so I thought maybe I could just play them for my husband. If I could pick someone who gets me and read them in the voice that makes sense, it would be Sam. So I played Sam’s recording of my vows. What’s great about my husband is he was surprised and delighted, and then he was not surprised at all: “Oh, yeah. Of course. Sam Jackson read your wedding vows.” Sam is just like the most gracious, professional and warmest person. What’s even funnier is when most people speak to him, they think he’s going to be like his movie roles. The thing that I’ve learned most about is that the meanest people in the movies are often the nicest people in real life. And Sam definitely likes to play with that and when he senses that someone is nervous and thinks that he’s going to be Jules from Pulp Fiction, he likes to mess with them, and I like to mess with people too. Maybe that’s why we get along so well.

TV: Which movie you don’t want people to miss this year? 

GD: I feel that Kathryn Bigelow’s Detroit was a watershed moment in my movie viewing because the way that it hit me finally dislodged something in my brain that I didn’t even know was there. In the movie there are two white girls who are completely outraged at what’s going on in the Algiers motel and they’re being mistreated terribly [by the police officers]. I thought, “Oh, my God. They have no idea that other people are being mistreated like this every day and they are so outraged that it happened to them. Now they see it when it’s happening to them.” The thing that Detroit did was help me understand that there was a part of me that was like them. And even though I still don't fully have that experience, I understand that I don’t understand. That’s big.

TV: It’s so interesting that you’re saying that because black film critics are saying that Detroit wasn’t made for Blacks because we’re all too familiar with racism. It was made for white people so they can understand the horrors of anti-black racism. 

GD: I was so moved and horrified. It was so important for me to see it. I saw it in a mostly empty theatre and I felt bad for the guy sitting near me because he had to hear me sobbing through the whole movie. When the credits were rolling, I was trying to calm down. I knew the guy was still there and I was super embarrassed. Finally I looked up at him and he just opened his arms and I totally hugged a stranger after that movie. I wondered: What are we going to do about this? It really makes me sad that no one saw Detroit. It’s not the kind of movie that I can tell people that they’ll have fun watching. It’s not that kind of movie. It’s important. It’s been an emotional year for some Americans. People want to escape and I understand why people don’t necessarily want to spend their hard earned money on their date night to see that film, but I really want them to so we can all talk about it. And I’m hoping when it gets all these award nominations that it will spur people to go and see it — in spite of the difficult time that they’re going to have watching it.

TV: I’m going to close on a "Pop Culture Happy Hour" question: What's making Grae Drake happy these days? 

GD: I really like Fall movie season a lot and I really like kicking it off [at TIFF]. It just feels right for my Southern California self. I’m happy that it looks like we’re going to see some new stuff. We don’t have to sit through the same movies about the same people anymore. I’m really jazzed about that. And I’m also a huge pumpkin spice latte person. The Fall is the best. [Laughs]

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Follow Grae Drake on Twitter and Instagram.

TIFF Talk: Laurie, "Village Rockstars"

Name: Laurie from Toronto

The Film: Village Rockstars (India)

What's it about? 

It's a coming of age film about a young Indian girl who wants nothing more than to become a rock star. The only problem is her widowed mother can't afford to buy her a real guitar.

Did you like it?

I loved the film. It sort of played like a doc in so many ways. It has patient storytelling and you forgot that there was a film crew and a director directing actors because it felt so incredibly authentic. I don't want to give too much away, but this child learns the value of hanging onto a dream despite the fact that society around her believes it's not a girl's place to dream about being a rock star. She also gets berated for climbing trees with boys. It's a film that spoke to the little rebel and rock star in me. The story is reminiscent of my younger days running around wanting to do things that were traditionally male-oriented. I was especially moved by the mother/daughter relationship and how the mother supported her daughter's dreams.

Village Rockstars currently has no official release date.

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TIFF Talk 2017: Richelle, "Sammy Davis Jr.: I've Gotta Be Me"

Name: Richelle from Toronto

The Film: Sammy Davis Jr.: I've Gotta Be Me (USA)

What's it about? 

A documentary based on the life and times of performer Sammy Davis Jr.

Did you like it?

I loved it. There were lots of things that I didn't know about Sammy Davis Jr. and I, like many, made several assumptions about him. Maybe we should feel a little ashamed about that because he did open a lot of doors for People of Colour in the entertainment industry. I think that his legacy will definitely live on. The movie captured the essence of who he was.

I'll be honest. As a Black woman, I did have some of the same views that he was a "sell out". He was often the butt of the joke with his affiliation with the Brat Pack -- the uncle tom, etc. etc. Also his marriages to White women impacted how he was received in the Black community.

Overall, I'm pleasantly surprised. I'm glad that I came to the screening. It's really challenged my thinking of who he was. Audiences will love it. For those who don't know his story, they're going to be amazed and impressed. For those who already know Davis' history, they're also going to be amazed and impressed.

Sammy Davis Jr: I've Gotta Be Me will be released sometime next year.


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TIFF 2017: Director Matt Embry "Living Proof" Documentary

As the film title says, director Matt Embry is "living proof" that there are effective alternatives to fighting Multiple Sclerosis than conventional pharmaceuticals, but you won't hear his inspirational story from Big Pharma or research corporations like the Multiple Sclerosis Society of Canada.

At 18, Embry was diagnosed with MS. Shortly after, his father, Ashton Embry Ph.D, dedicated himself to finding answers in scientific literature. When he discovered a link between MS and nutrition, his son eventually began to show great progress in fending off the incurable disease. But when his father shared his promising medical treatment to the Multiple Sclerosis Society of Canada, the nation's largest MS research company, they didn't want to hear it. Strange -- especially when Matt Embry doesn't show any symptoms of the disease -- even to this day, twenty-two years later.

Living Proof is a heartfelt film that follows the director's journey of coming to terms with his looming infliction. It's also an engaging exposé that shines the spotlight on what appears to be corporate collusion to continue to profit on the sick (i.e. MS patients are kept in the dark about cheaper medical alternatives and encouraging experimental treatments are tied up in FDA bureaucracy).

In the Q&A, Matt Embry emphasized that he's not a doctor or researcher, he's just advocating for change. "I believe that the Multiple Sclerosis Society of Canada is important to have. They have programs that are supporting people. The question is: What can that change look like? That's what we're trying to get to."

Living Proof currently has no release date.

To learn more, visit Matt Embry's website MSHope.com. 

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TIFF Talk 2017: Rocio, "A Fantastic Woman"

Name: Rocio from Toronto

The Film: A Fantastic Woman (Chile)

What's it about?

[After her partner unexpectedly passes away, a transgender woman clashes with his disapproving family.]

Did you like it?

I really liked it. It's very moving. It's set in Santiago, Chile where Trans women are not seen as real women. The situation in Santiago is not the greatest for the trans community. Society there is very religious and highly Catholic -- so seeing a film for and by LGBT people from Latin America is very powerful.

Some audiences will find it shocking or intense. It has some violent scenes, but it's an eye-opener to the realities of many women in South America.

Daniela Vega, the lead actress, gave a wonderful performance and I hope that she reaps all the benefits of that. I feel that the art community in Santiago loves to tell stories like this one, but it hasn't fully embraced the LGBT lifestyle. Hopefully that will change in the near future.

A Fantastic Woman is in theatres beginning November 17th.

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TIFF Talk 2017: Carrie, "mother!"

Name: Carrie from Toronto

The Film: mother! (USA)

What's it about?

It's a story about mother, but it's not like somebody's mother, it's the nature of mom.

Did you like it?

I'm not really sure if I like it because I just finished watching it. I still have to organize my thoughts. However, if I compared it to Black Swan, I much prefer Black Swan. I found this movie difficult to understand, but I would still recommend it to my friends. It's really crazy and out there. It's an original. There's just really so much to take in. It's scary. I felt like I couldn't breath.

It'll definitely be polarizing. A lot of people around me loved it and I think a lot of people will dislike it too.

mother! is in theatres this Friday.

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Talking with Film Reporter Alicia Malone, Author of Backwards & In Heels

The only thing I love as much as watching movies is talking about movies and that’s why I was thrilled to talk to film reporter Alicia Malone. Malone is the host of the weekly show Indie Movie Guide on Fandango, and a host on Filmstruck, a movie streaming service by the Criterion Collection and Turner Classic Movies.

Malone was in Toronto to cover TIFF and promote her first book, Backwards & In Heels: The Past, Present And Future of Women Working In Film.

TorontoVerve: How did you become so passionate about film?

Alicia Malone: It started at an early age. My dad loved classic movies, so he used to drag me out of bed at night to watch the late night classic films. My mom also loved movies, and we would go to the video store every week and I would get 7 films for 7 days for 7 dollars. It wasn’t until I was a bit older at school that I realized that it was kind of a strange thing that not everyone loved classic movies as much as I did. But luckily, I now found the dream job where I get to see movies for a living.

TV: Do you recall the movie that really got you interested in film?

AM: I remember that Rear Window by Alfred Hitchcock was one of the first films that I saw that made me realize that someone was making it. That it was a director, that it was his vision, and that everything was there for a purpose. I thought that was really fascinating, so that led me to start reading film books and film history books to try to learn more about the art of cinema. I never went to university, so I studied on my own — trying to watch all the classics and figure out why they were so important.

TV: What got you the most frustrated and the most excited when doing research for your book?

AM: Most frustrated was how often this happens: how every time that there is a movie that’s successful that’s directed by a woman or starring women, how it seems to be a fresh surprise to Hollywood – and then they quickly forget about it. I noticed when I stepped back and started researching the whole history of American cinema how many peaks and troughs there were for women. That was frustrating because it seems like history repeats itself time and time again for gender and racial diversity. But the most exciting thing was when I was talking to people like Ava DuVernay, Geena Davis and JJ Abrams — people who are working inside of Hollywood to try and change things — they were so optimistic about the future that it made me excited for the future of Hollywood.

TV: Which female filmmaker's story resonated with you the most?

AM: I love the story of Lois Weber who was one of the earliest female filmmakers of the world. In 1916, she had the highest grossing movie and it was a film about abortion. She was someone who was focused on social issues and paired that with incredible visual images. I love her story because she also helped a lot of women get into the business. She was a great mentor. She was very strong with her vision and paved the way for so many women in the future.

TV: I really appreciate the diversity in your book and how you shared stories about People of Colour like Hattie McDaniel, Anna May Wong, Dorothy Dandridge and Pam Grier, to name a few.

AM: I try to be inclusive as possible. I’m a white girl from Australia, so I don’t know these stories. I don’t know what it feels like to be a person of colour in America. I tried to consult as many diversity experts as I could and do interviews, and then come at it from like a fact-based thing. But I wanted to tell their stories. It’s hard enough being a white woman, let alone a woman of colour in this industry.

TV: Geena Davis told you after Thelma & Louise and A League of Their Own that she thought "everything would be different" for women in film. And it wasn't. Now that Patty Jenkins has broken all records and expectations with the success of Wonder Woman, how hopeful are you that "everything will be different”?

AM: I’m cautiously optimistic. I’ve seen some articles now about Wonder Woman saying, “Everything is different now. Everything is getting better because Wonder Woman is successful.” But we don’t have another female-led superhero film until 2019 with Captain Marvel. And if you look at the statistics of today’s Hollywood, nothing has really changed. However, I remain hopeful because of the level of conversation, and that’s brought about with social media which we didn’t have back in those days. I think that there’s a real awareness now that there’s an issue, and I don’t think that people are as willing to let the studios get away with it as they used to, and we saw that recently with Ed Skrein and the whitewashing issue with Hell Boy. He stepped down from that because people — rightly so — took to social media and there was an uproar about it. So, I think that with the level of conversation, it’s virtually impossible for studios to get away with it now. They’re not going to change by themselves, but they will change because we will push them to change [Update: As of yesterday, Hawaii Five-O's Daniel Dae Kim will be playing the role vacated by Skrein].

TV: It’s concerning that Warner Bros. hasn’t signed Patty Jenkins yet to direct the Wonder Woman sequel [Update: As of two days ago, Warner Bros. has rehired Patty Jenkins to direct the sequel].

AM: It is. Yeah, it’s really concerning. I’m hoping that she gets signed to the sequel and gets a good decent amount of pay. Again, it was frustrating to see people say, “Wow! We didn’t know that this woman could direct a superhero film, and it’s been successful.” For Jenkins, she directed Charlize Theron in Monster, and it was 14 years between her two feature films, and that’s ridiculous.

TV: There would be a huge outcry if Warner Bros. didn’t rehire her.

AM: Exactly. They’re going to be under pressure, and that’s a good thing.

TV: What are your thoughts about this trend of all-female versions of male dominated films: Ghostbusters, Ocean’s Eight, and now the newly announced Lord of the Flies?

AM: I know. [Laughs] I’m dubious about Lord of the Flies because it seems like it’s the anti-version of Wonder Woman. Wonder Woman showed a utopia filled with women, and I think these days we don’t need to see women tearing down other women because we get that narrative so often in reality TV shows and tabloid magazines. But I do think in terms of Ghostbusters, etc., it’s a start. It’s a simple way to get more women on screen. The same with Ocean’s Eight because they know that the franchise will work. It’s a safer bet than an original film. Obviously, what I want is original stories made for women, made by women, telling stories about women. That’s when there’s real change, but it’s a step in the right direction.

TV: Made by women. Yes, because Lord of the Flies will be written by two men.

AM: Yes, written by two men and probably directed by a man, and I think it will lose some of the nuance. Lady Bird, which is playing here at TIFF, is a great female-driven film because director Greta Gerwig put her personal story into it. It’s a coming-of-age story about a girl going off to college. The mother/daughter relationship rings so true, and Saoirse Ronan’s character is so realistic. You can really tell the difference.

TV: With Colin Trevorrow exiting Star Wars, a lot of people on social media are calling for a woman to direct a Star Wars movie. JJ Abrams would love to see Ava DuVernay direct one [Update: As of today, JJ Abrams will be writing and directing Episode IX]. Why do you think Disney should consider a female director?

AM: I think they should to show that it can be done. One thing that I’m concerned about – which is why all the directors are leaving – is because the franchise is so important. The brand to the studio is more important than the people in it. They want to protect their brand at all cost, which means there’s less ability to make an original story and have original voices like directors Phil Lord and Chris Miller who have a unique sense of style. What they wanted for the franchise clashed with the studio, so they got rid of them. I would love to see someone like Ava DuVernay, who has proven herself as a director, get a chance at something like Star Wars just to show that women can direct a big action movie like we saw with Wonder Woman, but only if they get their own opportunity to have their voice, and not have to just paint-by-numbers to fill in a franchise.

TV: Did it surprise you when Kathleen Kennedy first came out and said that a woman can’t direct a Star Wars movie?

AM: Yeah, it surprised me when she said that nobody has asked her and they should just pick up the phone. I think that’s a very hard thing to do. I don’t think that she’s that easily accessible, and there is this misnomer that people say to me all the time on Twitter, “Maybe women just don’t want to direct Star Wars.” No, Star Wars is universal. Everybody loves Star Wars. There’s so many fans of different genders and backgrounds. I think that Star Wars is for everyone. It shouldn’t be a surprise that women can or want to direct Star Wars. So, I was hoping for her to be more of an ally for women. Now is her chance.

TV: You mentioned Patty Jenkins and her 14-year gap between Monster and Wonder Woman. It frustrates me when I see white males, like Colin Trevorrow, get their big shot at a major franchise after a few indie films. 

AM: Yeah, it’s so true. Colin made a small film (Safety Not Guaranteed), which was great and very well-received at Sundance. But then he went to Jurassic World — such a big jump for him. That’s what I discovered in writing the book that the pipeline is not the same. That women can make these small interesting films at Sundance and Toronto and other festivals. They can be successful and win awards – but once they have to move up the system and ask for more money from studios or financiers, that’s where they get blocked; because it’s still seen as a risk to give money to female directors rather than male directors. Whereas Colin Trevorrow, he got the job on Jurassic World because [Director] Brad Bird said, “I know a guy who reminds me of me.” And it’s that kind of thing of like they just feel safer if it’s a white guy. It’s just so unfair that it doesn’t work the same way — that pipeline or that jump up for women.

TV: I guess things could change if more women with power in Hollywood speak up — like Jessica Chastain did at Cannes recently. 

AM: Yes, and she’s someone who has made an active difference – not only speaking up at Cannes – but also vowing to work with female filmmakers, and she’s got a movie at TIFF (Woman Walks Ahead) directed by a woman. She’s really someone who practices what she preaches, and we need more of that in the industry.

TV: Your dream is to run your own one-screen theatre. What would your first double feature be, and why? 

AM: [Laughs] Oh, that’s such a good question. If I were to do a double feature of a great female filmmaker, it would have to be Dorothy Arzner. She was the only female filmmaker working during the 1930s. She was a feminist. She was outspoken. She made these great movies. So, I would program Christopher Strong (1933) which starred Katharine Hepburn as a female aviator, and follow it with Dance, Girl, Dance (1940) which is a very scathing look about women in entertainment. That would be my Dorothy Arzner double feature. It would be awesome. One day, I will have my theatre. One day.

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Alicia Malone’s book Backwards & In Heels: The Past, Present And Future of Women Working In Film is available on Amazon and in book stores everywhere. 

Check out Alicia’s playlist of some of her favourite dynamic leading lady performances on Fandango Now. 

Follow Alicia on Twitter.

TIFF Talk 2017: Dryden Rainbow, "I, Tonya"

Name: Dryden Rainbow from Toronto

The Film: I, Tonya (USA)

What's it about?

The film follows 1990's figure skater Tonya Harding (Margot Robbie) who was involved in a huge scandal with her skating rival, Nancy Kerrigan, around the 1994 Olympics. It's about her and her husband (Sebastian Stan) in kind of in a faux documentary.

Did you like it?

I really liked it. I knew nothing about the scandal. It happened when I was very young so I did not follow it at the time. The movie reminded me a lot of The Big Short in terms of being a serious biopic, but also being funny. I, Tonya has a lot of comedy in it.

I saw the film mostly because Allison Janney is in it. She's one of most favourite actresses. She plays Tonya Harding's mother and she's the worst mother who has good intentions, but poor execution.

The film made me feel sympathetic towards Tonya Harding. I watch the Olympics every year and the film reminded me of the controversy with U.S. gymnast Gabby Douglas.  Four years ago, everyone was supporting Gabby and this year she didn't hold her hand on her chest during the national anthem and everyone vilified her. It's weird how we vilify young women who just want to compete for their country. Obviously, this crazy pattern has been happening for a long time.


I, Tonya will be released sometime next year.

TIFF Talk 2017: Andrew, "Call Me By Your Name"

Name: Andrew from Toronto

The Film: Call Me By Your Name (Italy/France)

What's it about?

It's a coming of age story about a young man who's trying to come to terms with his [sexual] identity.

Did you like it?

I really love the film. As a queer male myself I thought it captured a lot of things that I went through in my youth. I would say that it's a great representation of the young male experience coming to terms. It's beautifully shot. The music was perfectly paired. The script is beautiful, but that's because the source material is beautiful.

I think audiences will receive it really well. I think it requires people to really sink into it and allow themselves to become lost in it -- otherwise you might find its two hours and 10 minutes running time too long.

The performances were great. The young man played by Timothée Chalamet was exceptional. I've never seen him in anything before so I was really taken by him. I think Armie Hammer was incredible, but I think he's always incredible. I think he's really bold for taking on the role. Traditionally he's your archetypal male lead so for him to take on this role that challenges him in this way and to conquer it the way that he did, I thought was amazing.

I had a hard time buying into their relationship at first, but as the two of them sort of allowed themselves to buy into it, I was totally sold by the end.

I love everything about it.


Call Me By Your Name will be in theatres on November 24th. 

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TIFF 2017: Grace Jones: Bloodlight and Bami

Grace Jones scared me as a kid and not in a bad way. Her brute strength and larger then life persona overwhelmed my senses. In fact, I thought her fierce image and wild album covers were unworldly. Grace Jones was more powerful than anybody I knew -- man or woman. James Bond didn't have a more formidable foe. That's what I felt as a little boy growing up in Montreal and that's how I still feel as a man in my 40's -- especially after catching the World Premiere of her new documentary, Bloodlight and Bami, at the opening of TIFF last night.

Directed by Sophie Fiennes (The Pervert’s Guide to Ideology), the film follows the 69 year old singer on tour and captures charming moments of her family reunion in Jamaica. We see much of the Grace that we know and love on stage, but offstage, we're treated to a stripped down version of the iconic performer. Gone are the flamboyant hats, androgynous costumes and dynamic make-up. In Bloodlight and Bami, we not only see Jones in her civilian-wear, we also get to see her as a loving daughter and sister. Interestingly, when she communicates with her family, she drops her English/American accent and code switches to Jamaican patois. We get a strong sense that these are genuine family moments and that Jones is not performing for the camera. But when she does perform, it's hysterical. After having trouble opening an oyster, she casually says, "This is a tight muscle. I wish my p#ssy was this tight." Another funny moment happens when she shares her disgust for a tacky stage where she has to perform with all-female dancers. "I feel like a lesbian madame in a whore house!"

Jones attended the premiere and acknowledged that she's always been in control of her image, but put her trust in Fiennes with displaying her less than flattering side. "At times I felt that my tummy was a bit fat," Jones told the audience. "Ahh, I told myself, let your vanity go for once. It was freedom. It made me a stronger person." Who thought Grace Jones needed to be stronger?

Bloodlight and Bami has no scheduled release date.


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TIFF Talk 2017: Stacey McKenzie, "Grace Jones: Bloodlight and Bami"

Name: Model Stacey McKenzie

The Film: Grace Jones: Bloodlight and Bami (UK)

What's it about?

Documentary based on the life of singer/model Grace Jones.

Did you like it?

I thought it was amazing. It was so raw and real. She didn't hold back. She said in the Q&A that she's usually in control of her image because she's vain, but in the film she just let loose. I really liked that about her. I liked seeing Grace's vulnerable side and not just the persona that we usually see on stage and in pictures.

Grace Jones always meant the world to me because growing up in Kingston, Jamaica and not looking and sounding like the typical black chick, she was the one that I was able to relate to. For me, seeing her pursue her dreams and make it despite [all the odds] inspired me to reach my dreams and goals.

[During the Q&A], when I went on stage to meet her, she recognized me. 10 years ago in Vienna, I actually walked with her for a show and got to hang out with her for the day. We haven't seen each other since. Seeing her again tonight and to be able to tell her how much she's changed my life and the lives for many black girls and people in general was great. It might have been tacky, but I had to go for it. This was my one chance. I knew it was a sign when the interviewer asked, "Are there any Jamaicans here?" It was the perfect opportunity.


I previously captured Stacey's cool street style 7 years ago.

TIFF Talk 2016: Ariel, "Window Horses"

Name: Ariel from Toronto

The Film: Window Horses (Canada)

What's it about?

It's an animated story about Rosie (voiced by Sandra Oh) who is half Chinese and half Persian. She lives in BC with her grandparents ever since her mother died and her father abandoned her. She's a poet and gets this anonymous invitation to a poetry contest in Shiraz, Iran. She goes knowing that's where her father lives and she progressively learns more about her past, her father and the history of the Persian Empire. It's a coming of age story that involves a culture that is currently under a great deal of scrutiny and Canadian director/animator Ann Marie Fleming sheds a more just light on it.

Did you like it?

It's a beautiful film. More so than I expected. It's really moving and very compassionate. It's incredibly fluid in its depiction of an artistic culture. The film embraces those notions of self doubt that many artists have about creating their art and reveals many international concepts on the nature of expression and creativity.

The great thing about the film being animated is that it can appeal to children. It's not specifically a kid's film, but I think 10 to 15-year olds will get it and that's important because there's more to life than what we know.

The animation is incredibly simple considering Rosie is essentially a stick figure. I find it very indicative of how bare and raw she is. She's still learning about life and with her being simplistically drawn, you get the impression that she's not fully formed yet. She's still growing. I loved it.

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Ariel Fisher is a film reviewer and co-hosts the new film podcast, A Frame Apart.


Window Horses Trailer

TIFF Talk 2016: Nikki & Alexandra, "Below Her Mouth"

Name: Nikki (Left) & Alexandra (Right) from Toronto

The Film: Below Her Mouth (Canada)

What's it about?

[Two very different women, Dallas (Erika Linder) and Jasmine (Natalie Krill), fall in love with each other and completely turn their lives upside down.]

Alexandra: It was a story about love. The characters discovered new things within themselves because they found each other.

Nikki: It was also about courage. Learning to be true to yourself and not being afraid to show the world who you really are.

Did you like it?

Alexandra: I loved it so much. I went through a lot of emotions from start to finish in terms of their journey. Everything from the cinematography, the direction and the writing was great. In the Q&A, I was surprise to learn that it was filmed chronologically and I think that really helped in building the actresses' emotional connection.

Nikki: The film hits you right in your heart. I really felt for the characters because they were real and their emotions were raw. Both of them were very different people and they were following very different paths. Seeing them interact and trying to figure things out was neat.

Alexandra: I don't think that the infidelity in the film matters (Jasmine cheats on her fiancé Rile to be with her girlfriend Dallas). Are you being unfaithful when you're being unfaithful to yourself [by being in a loveless relationship]? Infidelity is inexcusable, but it's real life. People go through shit, they do shit and then they regret shit. Eventually, they figure it out and move on.

Nikki: Sometimes people do things that they're not proud of in order to find their way in becoming the person that they're meant to be.

Alexandra: Another reason that we wanted to see this film is because the filmmakers are all women.

Nikki: I'm proud of that. I think it's an incredible time for female artists and I hope that this film helps break that glass ceiling in the film industry.

Below Her Mouth will be released in theatres in February 2017.

Below Her Mouth trailer

TIFF Talk 2016: Topher, "Christine"

Name: Topher from Toronto

The Film: Christine (USA)

What's it about?

[It's the true story about Christine Chubbuck (Rebecca Hall) -- a troubled Florida news reporter who committed suicide on live TV in 1974.] 

Did you like it?

It was really well done. I actually work in the news industry so I thought it was very interesting. [Christine suffered from depression and shot herself in the head during a live broadcast. She deplored sensationalism.] There's a line in the movie: "If it bleeds, it leads." As a photographer, it kind of sucks because I know that's partly the truth. Sometimes you want to report good things in the news, but most viewers just want to click on gruesome stuff. If more people wanted happy stories, we'd give them happy stories.

Like Christine, I don't think the news should be sensationalized and I believe a lot of people in the industry feel the same.

 Follow Topher on Instagram.

Christine trailer 

TIFF Talk 2016: Pauline, "The Bad Batch"

Name: Pauline from Toronto

The Film: The Bad Batch (USA)

What's it about?

It's a post-apocalyptic movie about criminals (aka Bad Batch) trying to survive a group of cannibals in the desert.

Did you like it?

I loved it. I sat right at the front so I couldn't escape the mayhem. The director, Ana Lily Amirpour (A Girl Walks Home Alone at Night), introduces us to this gruesome cannibalistic world; which is so raw and jarring. It was so disturbing to watch the girl (Suki Waterhouse) get her arm and leg sawed off to be eaten.

The film got a positive response from the TIFF crowd so I think audiences will generally like it, but it's not for everybody. All I can say is if you go see it, have an open mind.

Follow Pauline on Instagram.

Clip from The Bad Batch

TIFF Talk 2016: Kyisha, "I Am Not Your Negro"

Name: Kyisha from Toronto

The Film: I Am Not Your Negro (USA, France, Belgium, Switzerland)

What's it about?

It's a documentary about the life of novelist James Baldwin and his impact and continued impact on the anti-Black racism conversation in North America and the world.

Did you like it?

I really liked the film. I was impressed that you can do a documentary without talking heads. It was very poetic and experimental; which I think matched the essence of James Baldwin. I thought it was interesting how much Europe supported [his social and political views] when he was alive, and then to learn in the Q&A that the film was mostly financed by European investors (France, Belgium and Switzerland). Unfortunately, the US didn't support his ideas much back then nor did they support this film much now. Although there was also anti-Black racism where Baldwin lived in Europe, he was supported more as a person there than in the states.

Not very much has changed when it comes to race relations in North America. There are a lot of clear parallels that we can draw from what was happening back then and what is happening now. You hope that things will change and films about anti-Black racism will stop being relevant, but unfortunately, it's still very very relevant.

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TIFF Talk 2016: Matthew, "Lady Macbeth"

Name: Matthew from Toronto

The Film: Lady Macbeth (United Kingdom)

What's it about?

The film is called Lady Macbeth, but it's not a literal depiction of Shakespeare's Macbeth. It's sort of a spiritual cousin to that. It's set in Scotland in the 1800's and it's about this woman who is essentially purchased into this wealthy land-owning Scottish family. She's made the wife to the heir of the estate just for sexual purposes and to give him an heir. The film asks, "What do you do when all of society is against you and you're in a situation where you have no power?" What she does is she turns to these acts of violence.

Did you like it?

It's beautifully photographed. The acting is tremendous. It's all shot meticulously well. The Scottish countryside is gorgeous. The lines that she's willing to cross to achieve agency and to be her own person are incredible and it's thrilling to watch. It's my absolute favourite film at TIFF so far.

To me, the film spoke a lot to now. Look at how society is stacked against People of Colour and women. It speaks to the idea of being pushed and pushed into a corner and not allowing the world to steamroll over you. 


Matthew Price is the co-presenter & programmer of Musicale - a new monthly film series that showcases musicals from the 50's to present at the Royal Cinema. They recently screened Prince's Sign 'O' the Times, Victor/Victoria and Car Wash.

Follow Matthew on Twitter.

TIFF Talk 2016: Camille, "Loving"

Name: Camille from Kansas City

The Film: Loving (USA)

What's it about?

It's the true story of Mildred Loving, a black woman, and Richard Loving, a white man, who were sentenced to a year in prison in the state of Virginia for marrying each other in 1958. Their marriage led to the Supreme Court's civil rights decision to invalidate laws forbidding interracial marriage. 

Did you like it?

I loved the film. I don't think either of them knew the significance of the decision that they were making when they chose to get married. They just loved each other and wanted to do what was natural; which was to pair, get married, raise a family and mind their own business. I kept asking myself during the movie, "My goodness. Don't they realize that this is going to be a big deal?" But they really didn't.

I love the performances [by Joel Edgerton and Ruth Negga]. They did a great job. I really fell right into the story. They moved me. I think if audiences come with an open mind and open heart, they're also going to be very moved. Hopefully, they can take the next step to understand all of the other questions that are being asked in the United States at this time. Marriage is marriage and love is love. It's all good.

Also, my daughter is getting married next year. Her fiancé is Caucasian and they live in Washington, DC -- so the film is a little personal to me too.

Loving will be released in theatres on November 4th.

Loving Trailer

TIFF Talk 2016: Laurie, "Moonlight"

Name: Laurie from Toronto

The Film: Moonlight (USA)

What's it about?

It's a coming of age film -- but that description doesn't do it justice -- about a young boy growing up in Miami who is discovering his same sex attraction. He's trying to really carve out a place for himself in this landscape that is plague by a variety definitions of masculinity that don't really reflect who he is. He doesn't do that alone. He has a mentor in the form of a man who befriends him. Interestingly, that character is only in the movie in the first act, but it really lays the groundwork for helping the boy understand that no one else can define you. Life is about finding your way and defining yourself.

Did you like it?

The film is beautifully done. Each chapter is divided according to names that other people have given him: Little, Chiron and Black. Throughout each act, director Barry Jenkins (Medicine for Melancholy) has managed to put a spotlight on a real pivotal moment in each stage of the character's life. Together with the music, score and cinematography, it came together like an exquisite piece of art.

[You don't often see black characters like this in film]. They're vulnerable and real. I hope that audiences respond to it with compassion. The fact that Jenkins uses silence to communicate what's going on in the interior life of the character, I think speaks volumes and speaks directly to the heart of the audience.

***

Laurie is a writer and director. Check out her video blog, Human Frequency Docs, to see her short vignettes. "I call them street documentaries," she describes. "I talk to people about whatever they want to talk to me about, and then I link their stories to underscore that we're all kind of having one conversation."

Follow Laurie on Instagram.

TIFF 2016: "Barry" Film Review

It isn't often when a sitting president is the subject of a biopic -- especially one that exclusively focuses on his romantic life. Now, President Barack Obama has that special distinction twice in the same year. The first being Southside With You -- an enchanting film that follows the Obamas' first date, and the second being Barry; which, recently had its world premiere at the Toronto International Film Festival.

Australia native, Devon Terrell (pictured above), plays the would-be President in his Columbia University years. To fit in more, he's given the nickname, Barry, but the irony is, he doesn't quite fit in anywhere -- not in his White or Black circles.

In the film, Barry prefers spending much of his free time partying, playing basketball and meeting girls. There's nothing ostensibly special about this young man, and that is what makes Barry a special film. Barry is just like any other young person trying to discover their own identity. He's far from perfect. He makes mistakes, disappoints people and has insecurities. The fact that we know that he inevitably goes on to be the 47th President of the United States makes his story all the more compelling.

Despite its uneven pacing, Barry is a great examination of Obama's early years, and although, Terrell does not look like the real Barack, his performance is solid, and wisely stays away from parody.

Indeed, Southside with You and Barry would make an interesting double feature at the White House for the First Family, but words of advice to the President: end the evening with Southside with You.