Toronto International Film Festival 2016 Talking Movies


Toronto International Film Festival 2016

Talking Movies reports from Toronto and looks back at some of the highlights from the city's international film festival.


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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

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International Film Festival. In today's programme we look back

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at some of the highlights of this The government knows that we have

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these documents now! Movies based on real

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stories and real people - plenty of those at Toronto this

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year. As well as pictures touching on

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racism and the havoc it can reach. Plus a report on Nigerian cinema

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that is quite different And a personal documentary looking

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back at the eavesdropping days And an animation from Canada

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in which a young girl travels to Iran to uncover

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much about her father. Plus, the pictures coming out

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of Toronto that have the potential All that and more in this Toronto

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edition of Talking Movies. Nearly 400 films are shown

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at Toronto and the general view was that there were indeed some

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quite fine movies to be seen. But, alas, there wasn't active

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love for the festival's opening-night feature -

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a remake of the classic 1950 western We will let that picture kick

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off our overview of the festival. The Magnificent Seven premiere

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brought out the stars eager to promote their new film inspired

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by the 1950 John Sturgess to promote their new film inspired

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by the 1960 John Sturgess western of the same name,

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which was itself a remake Directed by Antoine Fuqua,

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the cast of the new film includes Denzel Washington, Ethan Hawke,

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Chris Pratt and Peter Saarsgaard - the villain in the story who plays

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a greedy industrialist, I actually see my character more

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as the idea of fear. How people will fall

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in line behind fear, how people will just

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abandon their own world beliefs The only reason he has got any kind

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of people following him Some critics liked The Magnificent

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Seven, others found it uninspired and questioned

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the need for a remake. A lot of factors govern

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the choice of any festival's It is not always to showcase

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fresh, innovative cinema. Often it is a picture that will just

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put stars on the red carpet I think you're looking for something

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that is going to appeal to a mass audience, something that is big,

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something that is going to fill the screen, something

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that is entertainment but also smart at the same time and I think that

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all of those qualities It has taken the original

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and twisted it a little way in terms of its casting,

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but at the end of the day, it is one of my favourite

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genres, the western. And I think it says a lot

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about America, that genre, and here is someone reworking it,

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an African-American Whether it was a film retelling

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the Deepwater Horizon oil spill disaster in the Gulf of Mexico,

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or a sympathetic portrayal of the former NSA intelligence

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leaker Edward Snowden, films based on real stories

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were in plentiful supply in Toronto. Snowdon was directed

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by Oliver Stone, who co-wrote the screenplay

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inspired by two books. Joseph Gorgon-Levitt gives an expert

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depiction of Snowdon. He maintains the film brings

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audiences an impression of Snowdon more complete

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than existing media accounts. One thing a lot of people don't know

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about Edward Snowden is that in 2004 He wanted to go fight

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in the Iraq war. To see a man change from that,

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"I want to go fight He broke both of his legs in basic

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training so he couldn't go fight so, he was always good computers,

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so he joined the CIA and the NSA and the things that he

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saw changed his mind. You say it is a drama,

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but is it a balanced drama? Because there are a lot of people

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who do view Edward Snowden as being a traitor, but not much

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weight is given to that viewpoint I am not sure there is a lot

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of weight to that point of view I actually have not really heard any

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specific ways in which something The government knows that we have

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these documents now. That is Joseph Gordon-Levitt's point

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of view, one no doubt endorsed He thinks this Toronto launch film

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could help his client I don't think the government's

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claims about harm to national So one of these days

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we are going to see Edward Snowden return home and be broadly accepted

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as the whistle-blower that he is. I do think that this film

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will help hasten that day. Snowdon had definite fans

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in Toronto, but many would agree it just didn't match any of Stone's

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more celebrated films like Platoon or Born On The Fourth

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Of July from years ago. I say to you quite tastelessly that

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more women died on the back-seat of Senator Edward Kennedy's car

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at Chappaquiddick than ever died Another Toronto film based

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on real events was Denial. It was inspired by the trial that

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emerged after author David Irving sued an American academic

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Deborah Lipstadt for libel on the grounds that she had referred

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to him as a Holocaust denier. A formidable portrait came

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from Britain's Timothy Spall, David Irving is an incredibly

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polarising figure and I wonder to what extent you having your own

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views about him affected your No, in the end, your job when you're

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playing someone is not to play the consequences of their actions

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or take your objective view of it. Your job is just to jettison

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all that and try and That is your job as an actor,

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for good or bad, whatever I have got $1000 to give anyone

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who can show me a document that Do you think the film does touch

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on something that is quite prevalent in the culture,

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that these people making assertions We made it because it is a fully

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democratic idea to say that everybody's opinion

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is equally valid. Obviously, that is

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the internet's idea. But not everybody's opinion

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is equally valid. You have the right to say anything

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but you have to produce facts We have come to thank

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you for your word and your will. Another Toronto film

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rooted in the real world was the Birth Of A Nation,

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which was greeted with a standing It was inspired by a slave uprising

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in 1831 lead by a man Nate Parker, the film maker

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who co-wrote and did an stars in the picture about the find

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the story personally This thing, this snap Turner journey

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is so important. Just seeing the separation, I think this country is

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more segregated than it has been in moments in the past. To see a film

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speaking to that and progressing the conversation, it is inspiring and

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encouraging. Hey, the owner, how used your life.

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Then there were pictures trying to portray real African stories without

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resorting to stereotypes. Queen of Katwe was one of these. Do you see

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the film representing progress in the sense that it is American backed

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but it was made in Africa without white but agonists and relying on

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African people? Absolutely. There is such a paucity. You never see the

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Africa that I live in, the everyday dignity and power and joy of life in

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act come Palace Street, or any street, forget about the Hollywood

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screen. I immediately loved making Queen of Katwe because it is not

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about a White saviour coming in and teaching us how to build a well or

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have water in our taps. It is about real people who have real issues.

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Toronto was much more than reality -based mass audience cinema. Part of

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the festival was far from the mainstream. Our flourishing section

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of the programme is wavelengths, focusing on experimental cinema with

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a broad range of offerings. We have four short grams and a selection of

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feature films, including documentaries. Those documentaries

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that really push boundaries, are very as a stick. We are looking for

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films with personal subjectivity, that take risks, narratively, that

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challenge, are provocative. Toronto was full of films that held great

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promise for the forthcoming Oscars race. The festival has long been

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seen as a starting point in the mad scramble. The leader of the pack was

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Lala land, starring Ryan Gosling and Emma Stone. It is seen as a tribute

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to the golden age of the US physical, set in present-day Los

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Angeles. Moonlight, a coming-of-age tale of a young African-American

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from Miami, has a story that smashed stereotypes and demonstrated the

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importance of intimacy in people's lives. Then there was a rifle, an

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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.

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This year, Toronto but the focus on one of the world's most prolific

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movie hubs, temp one in Nigeria. Lagos was a subject of the

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festival's city programme. If you are looking for hidden gems

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at the Toronto International film Festival, one of the best ways is to

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bind them is in the city to city programme. Every year the festival

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highlights a different global city with a thriving film industry. This

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year it focuses on Lagos, Nigeria. We need to make a movie. Green white

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green tells a funny high-energy story about a group of young artists

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trying to make a film about the country's obligated culture and this

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post-modern approach to cinema is a big step forward for a film culture

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that is only a few decades old. We are at the beginning of RM assaults

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right now. Production quality is getting better. Style of

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storytelling is not your typical. 90% of Nollywood films are usually

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drama but here I am making satire. Yes, there is kind of a revolution

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going on right now. It is a small percentage, but definitely we are

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here at the Toronto film Festival, so it signify something big to come.

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Abbott have of the films produced in Nollywood never get a theatrical

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release. Instead they go straight to DVD. They have lower budget and your

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ambitions than most of the film screening here in Toronto. As the

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industry grows, so does the artistry and will only be a matter of time

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before a film-maker from Lagos five success of the global stage.

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Adventures, or the matrix? And intriguing aspect of Nigerian film

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culture is how deeply it is influenced by American movies. The

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characters in green white green name check the avengers and the matrix

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and were they don't yet have the skills of the budgets to match the

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achievements of those films, the fascination with Hollywood culture

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adds another ingredient to the already complex Nigerian character.

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No, I will try to convince him and show that I can do something. The

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film-makers that emits an Lagos, they travelled, they are completely

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fluent in the culture and the pop culture especially of the UK and

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North America and in some cases Asia as well. They are watching Bollywood

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movies, Nollywood movies, European arthouse films. That is a part of

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what they bring to making Nigerian films. That mixes really what we're

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showing in the city to city Spotlight. If the Toronto

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International film Festival prompt an interest in Nigerian films

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worldwide, it would be a boon for the country's film industry and the

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economy as a whole and movies like we might green, which paint a unique

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portrait of its country's culture could help viewers understand

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today's Nigeria a little better. Toronto had many engaging

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documentaries, one of them was a rather story of a woman

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investigating whether or not her father was a member of the Stasi,

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the Ministry for State Security in the former East Germany. The Stasi

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is everywhere, hidden in the crowd. The cameras trained on enemies and

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agitators. The documentary: city shows that 27 years after the fall

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of the Berlin Wall, many of those who were then living in east Germany

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still find it hard to grapple with what life was like under communism.

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The Stasi, the secret police of the Soviet aligned government,

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orchestrated the most comprehensive surveillance state in history. After

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the Edward Snowden revelations, the film-maker, who grew up in East

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Germany, felt compelled to investigate what the Stasi had done.

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The NSA operates in a democratic society where I can walk on the

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street and I am not going to be arrested because I criticise them,

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but the Stasi was a tool in an oppressive system were bad things

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would have happened to me if I would have said anything against them. The

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film: city, named after her East German hometown, now restored to its

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original name, seeks to reconstruct what life was like under the threat

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of constant surveillance. But it is not just political, it is personal

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for her because she always have the suspicion that her father, who

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committed suicide in 1999, may have been a Stasi informant himself.

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Through her documentary, she hoped to find a definitive answer. If I

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would have known that he had tried to commit suicide, I mean, surely I

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would have asked some questions. One thing that is clear about it is at

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this past has been very much arrears, it has gone and her

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father's labels also like that. He made a real effort to destroy

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everything in his life, to banish it and I think to see the past, to see

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the world we have to really reduce it to its bare elements, just like

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the architecture. One inside that emerges from: city is that the act

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of observing also inevitably involves a search for meaning. If

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you watch someone closely enough you will find yourself speculating on

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their motivations. Motivation to its often can come across as sinister.

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That is actually the creepy thing about surveillance, pre-emptive

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surveillance, you can find anything about someone. You can make stuff

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up. You just collect all of this material and you can go back later

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and interpreted in so many ways so anybody can become the enemy

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instantaneously. The one thing that most of the documentaries at the

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Toronto International film Festival have in common, contemporary

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relevance. Commerce City is no exception, because of the

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proliferation of social media. I am amazed how easily people are willing

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to give up their privacy without even having to do so. We were

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thinking about what would the Stasi do if they would have had this book?

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It were just all be available and it wouldn't even have to go wide and

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collective, which is amazing. Of course, they could use basically all

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information against you in any context. Many from former East

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Germany would rather move on and forget about their lives under

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surveillance, but: city suggest that not only are we doomed to repeat

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history if we forget it, we have the tools that at our disposal to repeat

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that history of surveillance and much more easily.

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One animation that made of an impact at Toronto this year came from a

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film-maker who has been to the festival before. Essentially it is a

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coming-of-age story involving a young Canadian girl who travels to

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Iran. Anne-Marie Fleming is a veteran Canadian animator within

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youth film at Toronto this year that follows the adventures of a young

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poet. I have been invited to a poetry Festival in Iran. In around?

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She is invited to her poetry Festival in Iran but she finds out

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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

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poetry Festival? Rosie is a young poet, she doesn't know much about

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anything, not about poetry, history, herself. She is surrounded by people

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who are immersed in poetry and history and culture and they all

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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

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these messages through poetry. My father abandoned me when I was

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seven. But you are looking for his story, yes? So you will find that

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everywhere. Rosie meets many people who know her father and variable to

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filling the gaps in her knowledge of family history and introduced her to

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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

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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

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needed to have the seal of approval of all of the Iranian people

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involved in the film. That is a very important audience for me. Not only

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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

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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.

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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.

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