Cannes

NEON

2017 was, all in all, a good year for movies. The quest for the perfect too often drives out the arrival of the merely wonderful and good in parts. We’ve been hectored by the self-esteem tyrants that we are sublime creatures who deserve only the very best every second of the 24-hour day — in food, clothes, cars, beds, books (whatever they were), TV, and seats at spectacles, music, and movies. The demand for perfect self-offerings prevents us from appreciating what is merely wonderful and good in parts. We short change ourselves that way, particularly when it comes to film.

TIFF
Harlan Jacobson for WBGO

The 42nd Toronto International Film Festival concludes this weekend.

Toronto has been the home of big titles for the past two decades, ramping up from a local festival at its inception to becoming the dominant film festival in North America—the other key festival in North America being Sundance -- and one of the three or four key debut festivals in the world. Think American Beauty some 18 years ago and Moonlight last year. That achievement reflects how the business model has changed over the last two or three decades, with the word festival something of a misnomer.