Three Highlights from Toronto Int’l Film Festival
by Lauren Atkins
The thing that most surprised me while watching Gia Coppola’s The Last Showgirl (pictured above) was how it affected me emotionally. I found myself so invested in these women, their lives, their loneliness, their family dynamics and their commitment to each other throughout it all. This hardly sounds like a set up for a movie about an aging showgirl draped in the gaudy excess of the Las Vegas strip, but the stellar performances lead from Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Billie Lourde, Brenda Song and Kiernan Shipka transcend the glittery premise revealing the fragile bonds of family, the passing of time, and the isolation that comes with dedicating your life to show business.
After reading Kate Gersten’s screenplay, Anderson — who said it was the first time she’d ever read a good script, declared “I’m the only one who could do this.” She plays Shelley, a veteran performer in the Razzle Dazzle, an outdated “girlie” show with topless women in sequins, and has to deal with the abrupt news that the stage lights are going out for good. During the post-film discussion, when Jamie Lee Curtis and much of the cast broke into tears, the profound impact of this story was clear. I have read some scathing criticism, calling the film vapid and shallow, but I disagree. It resonated with me and many others in the audience, capturing the complexities of life on and off the stage with emotional intelligence.
Hard Truths
Marianne Jean-Baptiste shines as Pansy, a grief-stricken and bitter matriarch whose relentless criticism of those around her-especially her husband Curtley and their son Moses-both alienates and amuses. Leigh excels at drawing out nuanced performances, and here he taps into the complexities of family life, where love and frustration coexist. Though Pansy’s humorlessness is central to her character, Jean-Baptiste’s sharp delivery often had the audience laughing, particularly in a city like Toronto, with its large Caribbean community that easily picked up on the cultural beats of the film.
What stands out in Hard Truths is its ability to evoke both empathy and discomfort. Pansy’s refusal to engage with the warmth of her sister Chantal (Michelle Austin) or the attempts at connection from her family kept the audience captivated, wondering if a breaking point would ever come. Leigh’s attention to the smallest behavioral shifts-Curtley’s quiet but telling facial expressions, Moses’ isolation-deepens the emotional impact, leaving us invested in each character’s journey. The film is heartwarming, painful, and achingly relatable, a testament to Leigh’s mastery in exploring the complexities of family dynamics.
The Piano Lesson
Packed with brilliant performances by Samuel L Jackson, Danielle Deadwyler, Michale Potts, and Ray Fisher alongside John David Washington, The Piano Lesson is a stunning piece of cinema that manages to balance its theater roots beautifully. Set in 1936, Washington plays Boy Willie, who comes to Pittsburgh to convince his sister Bernice (Deadwyler) to sell a family heirloom — a piano built by an enslaved ancestor with their family tree carved into it. What ensues is story rife with ghosts, laughter, sweeping cinematography, terrifying music and spectacular finish. All of this while paying homage to a Broadway show that kept most of the cast, while not belittling the painful history of slavery.
The Piano Lesson will begin streaming on Netflix on November 22nd with a limited theatrical release beginning on November 8th. Go see this film in a theater if you can. You won’t regret it.
Originally published at http://behindtherabbitproductions.wordpress.com on September 17, 2024.
