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Toronto International Film Festival 2008

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rachelgettingmarried-444.jpg

The Toronto International Film Festival, which wrapped up its 10-day run this past weekend, is arguably the most important film festival in North America. But to the average moviegoer it's not as well known as Sundance, in part because TIFF samples the most promising new film from around the world while Sundance emphasizes home-grown movies, for better or worse. But TIFF showcases its share of English-language films, too -- often with star-studded red-carpet premieres -- and this year some of the festival's best movies were among them:

Rachel Getting Married
I'll have to admit that the new film from Jonathan Demme (Silence of the Lambs) wasn't on my must-see list. He's a respected filmmaker, but his latest film, the story of a woman getting married, gathering with her extended family, and clashing with her sister, sounded a little too much like Noah Baumbach's Margot at the Wedding. But I stepped into the screening on a lark and was stunned not only by Demme's patient and unadorned approach but also by Anne Hathaway's razor sharp, painful, quivering performance as the bride's sister. Demme injects melodrama into the story at regular intervals, but he observes the results like a documentarian huddling in the corner with a small, handheld camera. The rehearsal dinner plays out in near real time, complete with speeches from moms, dads, cousins, crazy uncles, and poetic troublemakers, and the gathering feels so honest that I was cringing along with the guests when the sweet, emotional moment threatened to collapse, and I felt their sigh of relief when it mostly didn't. The rehearsal dinner is one set piece; the other is the wedding itself, a jubilant, eclectic affair in which Robyn Hitchcock and Fab 5 Freddy show up to perform. In between those tent poles is a harrowing roller-coaster that may vaguely resemble the films of Noah Baumbach but has significantly more heart and soul.

Festivus

Darren Aronofsky's The Wrestler picks up a distributor

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It only had its premiere a few weeks ago, but Darren Aronofsky’s The Wrestler has already become one of the hottest properties to emerge from the fall-festival circuit. The story of a once-famed wrestler (Mickey Rourke) who reemerges after 20 years to reclaim his folk heroism doesn’t exactly sound like a rare commodity, but the movie took the top prize at Venice last weekend and has been touted as a major comeback for Rourke and Aronofsky, who could both use one.

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