Toronto 2013


Here’s an index of the Toronto 2013 films that will be covered on CRU, but I have to confess: you’re probably better off following David Hudson’s expert coverage of the coverage at Keyframe. Inputting everything into a database slows me down A LOT, which means I just can’t cover film festivals with as much depth as David does. His roundups give a much fuller picture than mine do.

However, I’d like to think the site’s festival coverage will get better as film journals get around to posting reports on them. These pages will be more useful weeks and months after the festivals end. (I’ve fallen almost hopelessly behind on aggregating film journals, except I miraculously added the March issues of Film Comment and Senses of Cinema this week, which was difficult since Venice and TIFF are making things busier.)

So here it is, in case you’d like to use it: CRU’s index of TIFF 2013.


John Wells’ August: Osage County
Bill Condon’s The Fifth Estate
Ron Howard’s Rush

Special Presentations

Steve McQueen’s 12 Years a Slave
Johnnie To’s Blind Detective
Abdellatif Kechiche’s Blue Is the Warmest Color
James Franco’s Child of God
Jean-Marc Vallée’s Dallas Buyers Club
Atom Egoyan’s Devil’s Knot
Joseph Gordon-Levitt’s Don Jon
Richard Ayoade’s The Double
Denis Villeneuve’s Enemy
John Turturro’s Fading Gigolo
Sebastián Lelio’s Gloria
Alfonso Cuarón’s Gravity
Paolo Sorrentino’s The Great Beauty
Pawel Pawlikowski’s Ida
Ralph Fiennes’ The Invisible Woman
David Gordon Green’s Joe
Jason Reitman’s Labor Day
Hirokazu Kore-eda’s Like Father, Like Son
Kelly Reichardt’s Night Moves
Hany Abu-Assad’s Omar
Jim Jarmusch’s Only Lovers Left Alive
Asghar Farhadi’s The Past
Stephen Frears’ Philomena
Denis Villeneuve’s Prisoners
Bertrand Tavernier’s The French Minister
Kiyoshi Kurosawa’s REAL
Sean Durkin’s Southcliffe
Xavier Dolan’s Tom at the Farm
Jonathan Glazer’s Under the Skin
Lukas Moodysson’s We Are the Best!
Michael Dowse’s What If
Hayao Miyazaki’s The Wind Rises
Matthew Weiner’s Are You Here
François Ozon’s Young & Beautiful



Marcel Ophüls’ Ain’t Misbehavin’
Frederick Wiseman’s At Berkeley
Frank Pavich’s Jodorowsky’s Dune
Claude Lanzmann’s The Last of the Unjust
Errol Morris’ The Unknown Known

Midnight Madness

Sion Sono’s Why Don’t You Play in Hell?


Alex van Warmerdam’s Borgman
Alexey Fedorchenko’s Celestial Wives of the Meadow Mari
Ti West’s The Sacrament
Brillante Mendoza’s Sapi
Hélène Cattet and Bruno Forzani’s The Strange Color of Your Body’s Tears

Contemporary World Cinema

Călin Peter Netzer’s Child’s Pose
Götz Spielmann’s October November
Ulrich Seidl’s Paradise: Hope
Clio Barnard’s The Selfish Giant
Alain Guiraudie’s Stranger by the Lake
Corneliu Porumboiu’s When Evening Falls on Bucharest or Metabolism



Catherine Breillat’s Abuse of Weakness
Claire Denis’ Bastards
Jafar Panahi and Kambozia Partovi’s Closed Curtain
Kim Ki-duk’s Moebius
Lav Diaz’s Norte, the End of History
Hong Sang-soo’s Our Sunhi
Jia Zhangke’s A Touch of Sin


Flora Lau’s Bends
Anthony Chen’s Ilo Ilo
Chloe Robichaud’s Sarah Prefers to Run



Kenneth Anger’s Airships
Jean-Marie Straub’s Un conte de Michel de Montaigne
Ben Wheatley’s A Field in England
João Pedro Rodrigues’ The King’s Body
Stephanie Spray and Pacho Velez’s Manakamana
Rithy Panh’s The Missing Picture
Shambhavi Kaul’s Mount Song
Stephen Broomer’s Pepper’s Ghost
Miguel Gomes’ Redemption
Nathaniel Dorsky’s Song and Spring
Ben Rivers and Ben Russell’s A Spell to Ward Off the Darkness
Albert Serra’s Story of My Death
Ramon Zürcher’s The Strange Little Cat
Tsai Ming-liang’s Stray Dogs
Wang Bing’s ‘Til Madness Do Us Part
Raya Martin and Mark Peranson’s La última película
David Rimmer’s Variations on a Cellophane Wrapper