by Gary M. Kramer, Staff Writer

From the hundreds of films at this year’s Toronto International Film Festival, here is a rundown of three exciting titles that had their World Premieres in this year’s program.

Shepherds
Directed by Sophie Deraspe

This lovely film, based on the book by screenwriter Mathyas Lefebure, leans into the Mathyas’ (Félix-Antoine Duval, from Saint-Narcisse) sudden desire to be a shepherd in the French Alps. A city boy who abandoned his life in Montreal and relocated to the French countryside, Mathyas has zero experience with farming, but is eager to learn. The local farmers regard him with caution, if not downright contempt, and while a few are kind enough to try to educate him, Mathyas’ early efforts suggest he may not be cut out for the “pastoral” life.

Canadian director Sophie Deraspe’s gentle film alternates between Mathyas’ experiences trying—and sometimes failing—to wrangle sheep, with his more introspective moments conveyed both in voiceover and scenes without dialogue, such as Mathyas lying in the grass as sheep pass him by. His letters to Élise (Solène Rigot), a bureaucrat he meets and fancies, inspire her to join him on his adventures, which start in earnest when a female rancher hires them to protect her flock and take them up into the Alps. Beautifully lensed—the mountain landscapes are magnificent—Shepherds touches on concerns about industrial and small farming as well as the impact of climate change. But this true story is meant to show how Mathyas (and Élise) struggle, thrive, and survive to realize their dream. Deraspe’ film contains few intense moments, but overall, this is an stirring drama about seeking freedom.  

The Party’s Over 
Directed by Elena Manrique

Elena Manrique’s timely directorial debut—she also wrote the screenplay—unfolds almost entirely in and around the luxurious Spanish house where Carmina (Sonia Barba) is surprised by Bilal (Edith Martínez Val), a Senegalese refugee who is hiding on her property. While Carmina agrees to protect Bilal from the police, she also warns this stranger that her housekeeper, Lupe (Beatriz Arjona), is married to a Civil Guard. Therefore, Bilal needs to remain out of sight—and Carmina locks Bilal in her toolshed for safety. As such, The Party’s Over considers how someone would react to encountering an undocumented immigrant—do you help them, or do you turn a blind eye, or do you turn them into the authorities? Manrique’s film explores the possibilities, and when Lupe discovers Bilal, a series of truths and lies are revealed. Is Carmina as benevolent as she seems, or is she a lonely woman of a certain age, happy to have Bilal as her plaything? Is Lupe friendly or fiendly? The film addresses issues of race and class as a power struggle between the two women and Bilal takes place, culminating in Carmina’s birthday party where Bilal’s situation comes to a head. The Party’s Over benefits from a trio of strong performances, with Sonia Barba making the most of her pivotal role—especially when she asks Bilal, “Aren’t you better here than in a detention center?” and it is actually unsettling. 

Seven Days
Directed by Ali Samadi Ahadi

This urgent Iranian import, written by exiled filmmaker Mohammad Rasoulof (The Seed of the Sacred Fig), unfolds in two parts as Maryam (Vishka Asayesh), a human rights activist, is granted a week’s release to see her family after serving six years in prison. She is told to “keep quiet” and remain apolitical, but Maryam is quite feisty. The first half of the film chronicles her efforts to leave Iran and reunite with her husband, Bahram (Majid Bakhtiari), and two children, Dena (Tanaz Molaei), and Alborz (Sam Vafa). The underground networks involve Maryam hiding in the trunk of a car—and encountering snipers trekking through mountains. She observes that “crossing is not the hard part; it is what you can’t carry with you,” referring to her fraught emotional situation. Her leave was granted because of a medical condition—she must avoid stress—but as time is of the essence, she also makes a heartbreaking decision to return to prison, rather than live in exile with her family. The second half of the filmdepicts her brief visit with her family, which involves bonding and fighting with her young son and teenage daughter whom she has not seen grow up. Seven Days features discussions of resistance and oppression, women’s rights (Maryam is treated differently than men), as well as fear and silence in the face of authority. At times it can feel preachy—the music is often heavy-handed—but much of this drama feels authentic thanks to Asayesh’s strong central performance.