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those stories on the BBC sport website. We will have more for you | :00:00. | 3:59:59 | |
throughout the afternoon. Hello and welcome to the Toronto | :00:00. | :00:26. | |
International Film Festival. In today's programme we look back | :00:27. | :00:28. | |
at some of the highlights of this The government knows that we have | :00:29. | :00:32. | |
these documents now! Movies based on real | :00:33. | :00:38. | |
stories and real people - plenty of those at Toronto this | :00:39. | :00:41. | |
year. As well as pictures touching on | :00:42. | :00:44. | |
racism and the havoc it can reach. Plus a report on Nigerian cinema | :00:45. | :00:50. | |
that is quite different And a personal documentary looking | :00:51. | :00:53. | |
back at the eavesdropping days And an animation from Canada | :00:54. | :00:59. | |
in which a young girl travels to Iran to uncover | :01:00. | :01:06. | |
much about her father. Plus, the pictures coming out | :01:07. | :01:09. | |
of Toronto that have the potential All that and more in this Toronto | :01:10. | :01:12. | |
edition of Talking Movies. Nearly 400 films are shown | :01:13. | :01:30. | |
at Toronto and the general view was that there were indeed some | :01:31. | :01:33. | |
quite fine movies to be seen. But, alas, there wasn't active | :01:34. | :01:37. | |
love for the festival's opening-night feature - | :01:38. | :01:40. | |
a remake of the classic 1950 western We will let that picture kick | :01:41. | :01:42. | |
off our overview of the festival. The Magnificent Seven premiere | :01:43. | :01:52. | |
brought out the stars eager to promote their new film inspired | :01:53. | :01:55. | |
by the 1950 John Sturgess to promote their new film inspired | :01:56. | :02:03. | |
by the 1960 John Sturgess western of the same name, | :02:04. | :02:05. | |
which was itself a remake Directed by Antoine Fuqua, | :02:06. | :02:08. | |
the cast of the new film includes Denzel Washington, Ethan Hawke, | :02:09. | :02:15. | |
Chris Pratt and Peter Saarsgaard - the villain in the story who plays | :02:16. | :02:18. | |
a greedy industrialist, I actually see my character more | :02:19. | :02:20. | |
as the idea of fear. How people will fall | :02:21. | :02:27. | |
in line behind fear, how people will just | :02:28. | :02:31. | |
abandon their own world beliefs The only reason he has got any kind | :02:32. | :02:33. | |
of people following him Some critics liked The Magnificent | :02:34. | :02:39. | |
Seven, others found it uninspired and questioned | :02:40. | :02:48. | |
the need for a remake. A lot of factors govern | :02:49. | :02:50. | |
the choice of any festival's It is not always to showcase | :02:51. | :02:52. | |
fresh, innovative cinema. Often it is a picture that will just | :02:53. | :02:55. | |
put stars on the red carpet I think you're looking for something | :02:56. | :02:59. | |
that is going to appeal to a mass audience, something that is big, | :03:00. | :03:03. | |
something that is going to fill the screen, something | :03:04. | :03:06. | |
that is entertainment but also smart at the same time and I think that | :03:07. | :03:08. | |
all of those qualities It has taken the original | :03:09. | :03:11. | |
and twisted it a little way in terms of its casting, | :03:12. | :03:15. | |
but at the end of the day, it is one of my favourite | :03:16. | :03:18. | |
genres, the western. And I think it says a lot | :03:19. | :03:19. | |
about America, that genre, and here is someone reworking it, | :03:20. | :03:22. | |
an African-American Whether it was a film retelling | :03:23. | :03:24. | |
the Deepwater Horizon oil spill disaster in the Gulf of Mexico, | :03:25. | :03:31. | |
or a sympathetic portrayal of the former NSA intelligence | :03:32. | :03:34. | |
leaker Edward Snowden, films based on real stories | :03:35. | :03:35. | |
were in plentiful supply in Toronto. Snowdon was directed | :03:36. | :03:38. | |
by Oliver Stone, who co-wrote the screenplay | :03:39. | :03:40. | |
inspired by two books. Joseph Gorgon-Levitt gives an expert | :03:41. | :03:49. | |
depiction of Snowdon. He maintains the film brings | :03:50. | :03:50. | |
audiences an impression of Snowdon more complete | :03:51. | :03:52. | |
than existing media accounts. One thing a lot of people don't know | :03:53. | :03:55. | |
about Edward Snowden is that in 2004 He wanted to go fight | :03:56. | :03:58. | |
in the Iraq war. To see a man change from that, | :03:59. | :04:03. | |
"I want to go fight He broke both of his legs in basic | :04:04. | :04:07. | |
training so he couldn't go fight so, he was always good computers, | :04:08. | :04:13. | |
so he joined the CIA and the NSA and the things that he | :04:14. | :04:16. | |
saw changed his mind. You say it is a drama, | :04:17. | :04:19. | |
but is it a balanced drama? Because there are a lot of people | :04:20. | :04:24. | |
who do view Edward Snowden as being a traitor, but not much | :04:25. | :04:27. | |
weight is given to that viewpoint I am not sure there is a lot | :04:28. | :04:30. | |
of weight to that point of view I actually have not really heard any | :04:31. | :04:37. | |
specific ways in which something The government knows that we have | :04:38. | :04:43. | |
these documents now. That is Joseph Gordon-Levitt's point | :04:44. | :04:53. | |
of view, one no doubt endorsed He thinks this Toronto launch film | :04:54. | :04:56. | |
could help his client I don't think the government's | :04:57. | :04:59. | |
claims about harm to national So one of these days | :05:00. | :05:03. | |
we are going to see Edward Snowden return home and be broadly accepted | :05:04. | :05:09. | |
as the whistle-blower that he is. I do think that this film | :05:10. | :05:13. | |
will help hasten that day. Snowdon had definite fans | :05:14. | :05:20. | |
in Toronto, but many would agree it just didn't match any of Stone's | :05:21. | :05:22. | |
more celebrated films like Platoon or Born On The Fourth | :05:23. | :05:26. | |
Of July from years ago. I say to you quite tastelessly that | :05:27. | :05:31. | |
more women died on the back-seat of Senator Edward Kennedy's car | :05:32. | :05:34. | |
at Chappaquiddick than ever died Another Toronto film based | :05:35. | :05:37. | |
on real events was Denial. It was inspired by the trial that | :05:38. | :05:43. | |
emerged after author David Irving sued an American academic | :05:44. | :05:46. | |
Deborah Lipstadt for libel on the grounds that she had referred | :05:47. | :05:49. | |
to him as a Holocaust denier. A formidable portrait came | :05:50. | :05:53. | |
from Britain's Timothy Spall, David Irving is an incredibly | :05:54. | :05:56. | |
polarising figure and I wonder to what extent you having your own | :05:57. | :06:02. | |
views about him affected your No, in the end, your job when you're | :06:03. | :06:06. | |
playing someone is not to play the consequences of their actions | :06:07. | :06:16. | |
or take your objective view of it. Your job is just to jettison | :06:17. | :06:19. | |
all that and try and That is your job as an actor, | :06:20. | :06:21. | |
for good or bad, whatever I have got $1000 to give anyone | :06:22. | :06:26. | |
who can show me a document that Do you think the film does touch | :06:27. | :06:31. | |
on something that is quite prevalent in the culture, | :06:32. | :06:36. | |
that these people making assertions We made it because it is a fully | :06:37. | :06:39. | |
democratic idea to say that everybody's opinion | :06:40. | :06:46. | |
is equally valid. Obviously, that is | :06:47. | :06:50. | |
the internet's idea. But not everybody's opinion | :06:51. | :06:54. | |
is equally valid. You have the right to say anything | :06:55. | :06:57. | |
but you have to produce facts We have come to thank | :06:58. | :07:01. | |
you for your word and your will. Another Toronto film | :07:02. | :07:05. | |
rooted in the real world was the Birth Of A Nation, | :07:06. | :07:13. | |
which was greeted with a standing It was inspired by a slave uprising | :07:14. | :07:16. | |
in 1831 lead by a man Nate Parker, the film maker | :07:17. | :07:20. | |
who co-wrote and did an stars in the picture about the find | :07:21. | :07:24. | |
the story personally This thing, this snap Turner journey | :07:25. | :07:35. | |
is so important. Just seeing the separation, I think this country is | :07:36. | :07:41. | |
more segregated than it has been in moments in the past. To see a film | :07:42. | :07:46. | |
speaking to that and progressing the conversation, it is inspiring and | :07:47. | :07:47. | |
encouraging. Hey, the owner, how used your life. | :07:48. | :07:57. | |
Then there were pictures trying to portray real African stories without | :07:58. | :08:06. | |
resorting to stereotypes. Queen of Katwe was one of these. Do you see | :08:07. | :08:12. | |
the film representing progress in the sense that it is American backed | :08:13. | :08:17. | |
but it was made in Africa without white but agonists and relying on | :08:18. | :08:22. | |
African people? Absolutely. There is such a paucity. You never see the | :08:23. | :08:27. | |
Africa that I live in, the everyday dignity and power and joy of life in | :08:28. | :08:32. | |
act come Palace Street, or any street, forget about the Hollywood | :08:33. | :08:38. | |
screen. I immediately loved making Queen of Katwe because it is not | :08:39. | :08:42. | |
about a White saviour coming in and teaching us how to build a well or | :08:43. | :08:47. | |
have water in our taps. It is about real people who have real issues. | :08:48. | :08:56. | |
Toronto was much more than reality -based mass audience cinema. Part of | :08:57. | :08:59. | |
the festival was far from the mainstream. Our flourishing section | :09:00. | :09:04. | |
of the programme is wavelengths, focusing on experimental cinema with | :09:05. | :09:08. | |
a broad range of offerings. We have four short grams and a selection of | :09:09. | :09:13. | |
feature films, including documentaries. Those documentaries | :09:14. | :09:18. | |
that really push boundaries, are very as a stick. We are looking for | :09:19. | :09:22. | |
films with personal subjectivity, that take risks, narratively, that | :09:23. | :09:32. | |
challenge, are provocative. Toronto was full of films that held great | :09:33. | :09:36. | |
promise for the forthcoming Oscars race. The festival has long been | :09:37. | :09:40. | |
seen as a starting point in the mad scramble. The leader of the pack was | :09:41. | :09:47. | |
Lala land, starring Ryan Gosling and Emma Stone. It is seen as a tribute | :09:48. | :09:51. | |
to the golden age of the US physical, set in present-day Los | :09:52. | :10:02. | |
Angeles. Moonlight, a coming-of-age tale of a young African-American | :10:03. | :10:08. | |
from Miami, has a story that smashed stereotypes and demonstrated the | :10:09. | :10:10. | |
importance of intimacy in people's lives. Then there was a rifle, an | :10:11. | :10:17. | |
alien invasion movie starring Amy Adams -- Amy Adams, which many | :10:18. | :10:22. | |
thought and masterpiece and a strong awards contender, especially with | :10:23. | :10:27. | |
the performance of Amy Adams. What happens now? They arrive. | :10:28. | :10:38. | |
This year, Toronto but the focus on one of the world's most prolific | :10:39. | :10:46. | |
movie hubs, temp one in Nigeria. Lagos was a subject of the | :10:47. | :10:54. | |
festival's city programme. If you are looking for hidden gems | :10:55. | :10:58. | |
at the Toronto International film Festival, one of the best ways is to | :10:59. | :11:03. | |
bind them is in the city to city programme. Every year the festival | :11:04. | :11:05. | |
highlights a different global city with a thriving film industry. This | :11:06. | :11:11. | |
year it focuses on Lagos, Nigeria. We need to make a movie. Green white | :11:12. | :11:16. | |
green tells a funny high-energy story about a group of young artists | :11:17. | :11:20. | |
trying to make a film about the country's obligated culture and this | :11:21. | :11:24. | |
post-modern approach to cinema is a big step forward for a film culture | :11:25. | :11:29. | |
that is only a few decades old. We are at the beginning of RM assaults | :11:30. | :11:37. | |
right now. Production quality is getting better. Style of | :11:38. | :11:44. | |
storytelling is not your typical. 90% of Nollywood films are usually | :11:45. | :11:49. | |
drama but here I am making satire. Yes, there is kind of a revolution | :11:50. | :11:54. | |
going on right now. It is a small percentage, but definitely we are | :11:55. | :11:59. | |
here at the Toronto film Festival, so it signify something big to come. | :12:00. | :12:03. | |
Abbott have of the films produced in Nollywood never get a theatrical | :12:04. | :12:08. | |
release. Instead they go straight to DVD. They have lower budget and your | :12:09. | :12:12. | |
ambitions than most of the film screening here in Toronto. As the | :12:13. | :12:16. | |
industry grows, so does the artistry and will only be a matter of time | :12:17. | :12:20. | |
before a film-maker from Lagos five success of the global stage. | :12:21. | :12:28. | |
Adventures, or the matrix? And intriguing aspect of Nigerian film | :12:29. | :12:32. | |
culture is how deeply it is influenced by American movies. The | :12:33. | :12:35. | |
characters in green white green name check the avengers and the matrix | :12:36. | :12:39. | |
and were they don't yet have the skills of the budgets to match the | :12:40. | :12:42. | |
achievements of those films, the fascination with Hollywood culture | :12:43. | :12:45. | |
adds another ingredient to the already complex Nigerian character. | :12:46. | :12:50. | |
No, I will try to convince him and show that I can do something. The | :12:51. | :12:55. | |
film-makers that emits an Lagos, they travelled, they are completely | :12:56. | :12:59. | |
fluent in the culture and the pop culture especially of the UK and | :13:00. | :13:03. | |
North America and in some cases Asia as well. They are watching Bollywood | :13:04. | :13:09. | |
movies, Nollywood movies, European arthouse films. That is a part of | :13:10. | :13:12. | |
what they bring to making Nigerian films. That mixes really what we're | :13:13. | :13:17. | |
showing in the city to city Spotlight. If the Toronto | :13:18. | :13:22. | |
International film Festival prompt an interest in Nigerian films | :13:23. | :13:26. | |
worldwide, it would be a boon for the country's film industry and the | :13:27. | :13:30. | |
economy as a whole and movies like we might green, which paint a unique | :13:31. | :13:34. | |
portrait of its country's culture could help viewers understand | :13:35. | :13:36. | |
today's Nigeria a little better. Toronto had many engaging | :13:37. | :13:58. | |
documentaries, one of them was a rather story of a woman | :13:59. | :14:01. | |
investigating whether or not her father was a member of the Stasi, | :14:02. | :14:05. | |
the Ministry for State Security in the former East Germany. The Stasi | :14:06. | :14:14. | |
is everywhere, hidden in the crowd. The cameras trained on enemies and | :14:15. | :14:24. | |
agitators. The documentary: city shows that 27 years after the fall | :14:25. | :14:28. | |
of the Berlin Wall, many of those who were then living in east Germany | :14:29. | :14:31. | |
still find it hard to grapple with what life was like under communism. | :14:32. | :14:37. | |
The Stasi, the secret police of the Soviet aligned government, | :14:38. | :14:39. | |
orchestrated the most comprehensive surveillance state in history. After | :14:40. | :14:47. | |
the Edward Snowden revelations, the film-maker, who grew up in East | :14:48. | :14:50. | |
Germany, felt compelled to investigate what the Stasi had done. | :14:51. | :14:55. | |
The NSA operates in a democratic society where I can walk on the | :14:56. | :14:59. | |
street and I am not going to be arrested because I criticise them, | :15:00. | :15:04. | |
but the Stasi was a tool in an oppressive system were bad things | :15:05. | :15:07. | |
would have happened to me if I would have said anything against them. The | :15:08. | :15:14. | |
film: city, named after her East German hometown, now restored to its | :15:15. | :15:18. | |
original name, seeks to reconstruct what life was like under the threat | :15:19. | :15:22. | |
of constant surveillance. But it is not just political, it is personal | :15:23. | :15:27. | |
for her because she always have the suspicion that her father, who | :15:28. | :15:32. | |
committed suicide in 1999, may have been a Stasi informant himself. | :15:33. | :15:35. | |
Through her documentary, she hoped to find a definitive answer. If I | :15:36. | :15:41. | |
would have known that he had tried to commit suicide, I mean, surely I | :15:42. | :15:45. | |
would have asked some questions. One thing that is clear about it is at | :15:46. | :15:49. | |
this past has been very much arrears, it has gone and her | :15:50. | :15:53. | |
father's labels also like that. He made a real effort to destroy | :15:54. | :15:58. | |
everything in his life, to banish it and I think to see the past, to see | :15:59. | :16:06. | |
the world we have to really reduce it to its bare elements, just like | :16:07. | :16:13. | |
the architecture. One inside that emerges from: city is that the act | :16:14. | :16:18. | |
of observing also inevitably involves a search for meaning. If | :16:19. | :16:22. | |
you watch someone closely enough you will find yourself speculating on | :16:23. | :16:26. | |
their motivations. Motivation to its often can come across as sinister. | :16:27. | :16:31. | |
That is actually the creepy thing about surveillance, pre-emptive | :16:32. | :16:35. | |
surveillance, you can find anything about someone. You can make stuff | :16:36. | :16:38. | |
up. You just collect all of this material and you can go back later | :16:39. | :16:43. | |
and interpreted in so many ways so anybody can become the enemy | :16:44. | :16:47. | |
instantaneously. The one thing that most of the documentaries at the | :16:48. | :16:51. | |
Toronto International film Festival have in common, contemporary | :16:52. | :16:59. | |
relevance. Commerce City is no exception, because of the | :17:00. | :17:02. | |
proliferation of social media. I am amazed how easily people are willing | :17:03. | :17:06. | |
to give up their privacy without even having to do so. We were | :17:07. | :17:11. | |
thinking about what would the Stasi do if they would have had this book? | :17:12. | :17:16. | |
It were just all be available and it wouldn't even have to go wide and | :17:17. | :17:20. | |
collective, which is amazing. Of course, they could use basically all | :17:21. | :17:23. | |
information against you in any context. Many from former East | :17:24. | :17:31. | |
Germany would rather move on and forget about their lives under | :17:32. | :17:35. | |
surveillance, but: city suggest that not only are we doomed to repeat | :17:36. | :17:38. | |
history if we forget it, we have the tools that at our disposal to repeat | :17:39. | :17:43. | |
that history of surveillance and much more easily. | :17:44. | :17:55. | |
One animation that made of an impact at Toronto this year came from a | :17:56. | :18:02. | |
film-maker who has been to the festival before. Essentially it is a | :18:03. | :18:06. | |
coming-of-age story involving a young Canadian girl who travels to | :18:07. | :18:14. | |
Iran. Anne-Marie Fleming is a veteran Canadian animator within | :18:15. | :18:19. | |
youth film at Toronto this year that follows the adventures of a young | :18:20. | :18:23. | |
poet. I have been invited to a poetry Festival in Iran. In around? | :18:24. | :18:32. | |
She is invited to her poetry Festival in Iran but she finds out | :18:33. | :18:36. | |
the many stories about the father who she thought the band and her | :18:37. | :18:39. | |
when she was a small child. Why choose to set the story during a | :18:40. | :18:43. | |
poetry Festival? Rosie is a young poet, she doesn't know much about | :18:44. | :18:48. | |
anything, not about poetry, history, herself. She is surrounded by people | :18:49. | :18:52. | |
who are immersed in poetry and history and culture and they all | :18:53. | :18:57. | |
want teacher something. Our heroine goes on a journey and she meets all | :18:58. | :19:00. | |
of these people and the all have a little message for her and a lot of | :19:01. | :19:05. | |
these messages through poetry. My father abandoned me when I was | :19:06. | :19:09. | |
seven. But you are looking for his story, yes? So you will find that | :19:10. | :19:14. | |
everywhere. Rosie meets many people who know her father and variable to | :19:15. | :19:18. | |
filling the gaps in her knowledge of family history and introduced her to | :19:19. | :19:22. | |
Iranian culture, which it is not familiar with even though it is part | :19:23. | :19:27. | |
of our heritage. Cultural authenticity was heavily on the | :19:28. | :19:31. | |
film-maker's mind. I do a lot of research. I have consultants on | :19:32. | :19:39. | |
this. I wrote it, I showed it to people, I got everybody's input | :19:40. | :19:44. | |
because I am not aware of the nuances of things and they just | :19:45. | :19:49. | |
needed to have the seal of approval of all of the Iranian people | :19:50. | :19:54. | |
involved in the film. That is a very important audience for me. Not only | :19:55. | :19:59. | |
am I not Iranian, I have never been to Iran. The audience learns about | :20:00. | :20:08. | |
Iran through the eyes of Rosie. Her imagination is Sean and animations | :20:09. | :20:13. | |
created by several different artists that the director collaborated with. | :20:14. | :20:19. | |
In one scene Rosie learns about an ancient Iranian port that you can | :20:20. | :20:23. | |
emphasise with because like her, he also lost a parent at a fragile | :20:24. | :20:27. | |
moment in his life. Anne-Marie was especially excited when she | :20:28. | :20:30. | |
collaborated with an animator who was also connected to the story. I | :20:31. | :20:43. | |
approached this Iranian film-maker now based in Vancouver. He knows | :20:44. | :20:51. | |
this story so intimately. We had some many discussions about what | :20:52. | :20:56. | |
could be sure, what shouldn't be sure, and he was able to take this | :20:57. | :21:02. | |
paper cuts out technique that he had experimented with is a visual artist | :21:03. | :21:06. | |
and bring it into the world of animation. You had some very | :21:07. | :21:13. | |
traditional Persian artistic stylings in a form that you would | :21:14. | :21:19. | |
not expect, which is both paper and animation. Iran is often demonised | :21:20. | :21:23. | |
in the media. This your from paint a different picture? I think my film | :21:24. | :21:30. | |
paints a picture of around as a rich culture where poetry is important, | :21:31. | :21:35. | |
were family is important. I wanted to go right into that and make a | :21:36. | :21:38. | |
film that was completely not political and just talk about that | :21:39. | :21:43. | |
incredible rich culture and talk about people. | :21:44. | :21:50. | |
Well, that brings this special edition of the programme to a close. | :21:51. | :21:56. | |
We hope you have enjoyed the programme. Please remember he can | :21:57. | :22:02. | |
always reach us online and you can find us on Facebook, too. From the, | :22:03. | :22:07. | |
Tom Brook and the rest of the production team here in Toronto, it | :22:08. | :22:12. | |
is goodbye and we leave you with a clip from Lala land, a film that was | :22:13. | :22:14. | |
a big hit here in Toronto. Good afternoon. We have lost those | :22:15. | :23:13. | |
severe storms that brought a deluge for some yesterday and replaced it | :23:14. | :23:19. | |
with some sunshine. The best of the sunshine today in | :23:20. | :23:20. |