by Gary M. Kramer, Staff Writer

The Toronto International Film Festival premieres hundreds of features, documentaries, shorts, and series this month. Here is a rundown on a half dozen films from around the world that were available for preview that are screening in this year’s fest.

Humanist Vampire Seeking Consenting Suicidal Person
Directed by Ariane Louis-Seize

Who said all vampires have to be bloodthirsty killers? This Canadian horror comedy has Sasha (Sara Monpetit) resisting her vampiric ways because she expresses compassion, not hunger, when she sees images of humans dying. In fact, Sasha doesn’t want her fangs because she doesn’t want to use them. While she knows if she doesn’t kill, she dies, Sasha prefers slurping on bags of blood her parents stock in the fridge for her. But Sasha needs to commit her first kill, so she is sent to live with her cousin, Denise (Sophie Cadieux), who will train her in the ways of the undead. Alas, Sasha has her eyes fixed on “turning” Paul (Félix-Antoine Bénard), a teen whom she meets at a depressives/suicidal support group. (She’s been stalking him since she spotted him on a roof about to jump thinking he’d be an easy blood donor.) Sasha soon befriends and empowers Paul. One of the film’s amusing vignettes has him getting back at folks who wronged him in school as his “last wish” before he dies. The deadpan humor is ticklish, especially when Denise spies a bunch of drunken guys, and asks Sasha, “Don’t tell me you’re not tempted to kill at least one of them?” In addition to the dry comedy, Humanist Vampire Seeking Consenting Suicidal Person features an allegorical coming-of-age romance, which may be why director/cowriter Ariane Louis-Seize keeps the tone more sweet than scary.

Not a Word
Directed by Hanna Antonina Wojcik Slak

Not a Word is a taut German drama by writer/director Hanna Antonina Wojcik Slak where Nina (Maren Eggert), a conductor with the Berlin Philharmonic, tends to her son, Lars (Jona Levin Nicolai), who has fallen out of a window at school and suffered a concussion. Or did he jump? The moody Lars is not talking. Nor does he want to discuss a horrific incident that happened involving a classmate. What he does tell Nina is that he wants to go to an island retreat for the weekend—even though that puts her rehearsals and upcoming concert in jeopardy. Once they arrive, the chilly air mirrors the frostiness between them. And symbols, like a broken boat, as well Nina’s damaged cell phone, and Lars’ destroyed drone, are freighted with meaning. Not a Word is compelling as viewers piece together the truth from the ambiguities as Nina and Lars’ chamber drama plays out. Adding to the film’s impact, Slak creates a palpably sinister feeling as evidenced by the fabulous classical music score, and the jagged island terrain.

The Tundra Within Me
Directed by Sara Margrethe Oskal

The Norwegian import, The Tundra Within Me, by writer/director Sara Margrethe Oskal, has Lena (Risten Anine Kvernmo Gaup) returning to her hometown of Sámpe with her young son, Jonas Ántá (Elias Ánte Pilutaq Gaup Lennert). Lena is working on an art project about women herding managers and wants to “spark debate” about women’s issues from a Sami perspective. She soon falls for Mátthe (Nils Ailu Kemi), whose mother, Gáren (Berit Ánne O. Kemi) wants her son to be with Biret (Inga Marja Utsi), a herder. Lena is good at herding—she catches and releases a reindeer—but she regrets giving up her herd years ago. The scenes of herding are wondrous, and The Tundra Within Me is of most interest as an anthropological study of the Sami community, complete with a joik (spiritual singing) competition. While some of the Sami humor might not translate, the love triangle between Lena, Mátthe, and Biret feels familiar, as does the pressures parents put on their children to do what they think is best for the family. As Lena finds it difficult to feel at home in the Sami community, and contemplates returning to Oslo, she and Mátthe—who wants to stop herding—must decide if they will have a future together. Oskal makes viewers feel the cold as the characters eke out their lives in this harsh environment. At least the beauty of the landscape will transport viewers.

Arthur&Diana
Directed by Sara Summa

Arthur&Diana invites viewers to hang out with the titular siblings played by writer/director Sara Summa and her real-life brother, Robin Summa. Taking a “holiday,” the pair, with Diana’s two-year old son, travel through Europe having adventures. Audiences are practically trapped in the car with them as Summa films much of the action—eating, driving, and talking—in extreme closeup. Their leisurely road trip has Arthur asking Zora (Livia Antonelli) to join them for a leg of their journey. The siblings also have an encounter with a policewoman, and in one interesting scene, Diana discovers a gun in the trunk. There are some lovely moments, such as Diana singing in the car, or a discussion Arthur and Diana have about their memories set to a series of street scenes. There are also fights and a flat tire. Arthur&Diana unfolds as a series of connected episodes and scenes featuring the sibling’s mother, (Lupo Piero Summa) or a party sequence where Diana reconnects with someone from her past, add texture to the characters’ lives. It is all very slight and unassuming. Summa described her film as an “auto-fiction,” and viewers who accompany her and her brother on this journey are likely to be charmed—or annoyed—probably both. But isn’t that the case with any road trip?

A Ravaging Wind
Directed by Paula Hernández

A Ravaging Wind, a modest, engrossing drama by director/cowriter Paula Hernández, has 18-year-old Leni (Almudena González) traveling around the Argentinian countryside assisting her evangelical pastor father, John Pearson (Alfredo Castro). Leni is quiet and observant, where her father is a showman, who seeks her approval, above all. It is unclear how much either of them believes in religion; he must, for his livelihood, but Leni is starting to rebel in small ways. Much of the film’s tension comes from what goes unsaid between father and daughter. And that gets complicated when their car breaks down in the middle of nowhere. They are saved by a tow truck driver who takes John and Leni to a junkyard run by Gringo (Sergi López) and his son Chango (Joaquín Acebo). Danger hangs in the air, as when Chango catches Leni just looking for the bathroom. John soon sets his sights on wanting to save and baptize Chango, but Gringo resists such proselytization. As the men engage in a battle of wills, Leni silently considers her options. A Ravaging Wind benefits from Hernández scrutinizing González’s face throughout the film, allowing viewers to feel her every unspoken thought and emotion. Castro is equally fascinating to watch, as he gives a very committed performance that is seductive and creepy. A Ravaging Wind may feel slight, even underwhelming, because not much happens, but this story about saving souls, is subtle, and extremely well told.

The Umbrella Men 2: Escape from Robben Island
Directed by John Barker

The Umbrella Men 2: Escape from Robben Island opens with the Umbrella Men chorus recapping the first film which had Jerome (Jaques De Silva) stealing 1 million rand to keep ownership of his late father’s jazz club. However, the money was counterfeit and Tariq (Abduragman Adams), the head of the Umbrella Men’s rivals, the Maulers, has been sprung from jail and is out for payback. Not only does he still want the Umbrella Men’s Goema club for a gentrification project, he wants to find Loukmann (Dann-Jacques Mouton) and deliver revenge. When the police arrest Jerome, Mortimer (Kenan Arrison), and Tiger (Joey Rasdien), are taken to Robben Island to await trial. In response, Jerome’s girlfriend, Keisha (Shamilla Miller) hatches a plan to help them escape (hence the title). She organizes everything which provides an excuse to bring back several characters, including, Mila (Brontee Snell), Aunty Val (June van Merch), Tendeka (Kagiso Ledigo), Cope (Rob van Vuuren), all of who get brief moments to shine—Ledigo, especially. However, the film’s brief musical interludes by the Umbrella Men chorus have more energy than the daring escape sequence or the various plot lines that play out in the last act—which include an auction for ownership of the Goema club. It is certainly nice to revisit with these ingratiating characters but director/cowriter John Barker juggles too many characters and storylines without making any of them, well, sing. A possibly damaging letter from the apartheid era that Tariq hopes to use as leverage, as well as Loukman’s search for buried treasure fail to generate much emotion. And the introduction of Goobie (Siv Ngesi), and Birdman (Soli Philander), two new characters/coconspirators add little. Even a romantic sequence between Jerome and Keisha feels perfunctory. The Umbrella Men 2 is passable and not unpleasant, but it also feels unnecessary.