Toronto International film Festival 2023: IRENA’S VOW, DAYS OF HAPPINESS & HOLIDAY

The Toronto Film Festival is back and as captivating and diverse as ever. In my first report, I’m able to travel through various points in history with a compelling true story to a composer’s battle with their own potential, and finally; a holiday that isn’t quite as you’d expect.

Stick with me as I dive into three female-fronted tales.

Irena’s Vow (Louise Archambault)

The Holocaust stands as one of the most grotesque displays of human behavior in history, with millions of harrowing stories that have yet to be fully told on screen. However, Irena’s Vow offers a unique perspective, focusing on the untold tale of courage and compassion amidst the darkness.

At the heart of this emotionally charged film is Irena Gut, a Polish nurse brilliantly portrayed by Sophie Nélisse. Thrust into unimaginable circumstances, Gut is faced with the daunting task of navigating a world filled with terror and atrocity. Witnessing a particularly disturbing event, she realizes that the situation is bound to deteriorate even further.

As Gut’s roles change from factory worker to kitchen staff and eventually to the manager of Major Rugemer’s household, portrayed with captivating intensity by Dougray Scott, she finds herself making a daring decision. In an act of immense bravery, Gut decides to hide 12 Jewish prisoners in the basement of the villa, risking her own life to save theirs.

The tension in Irena’s Vow is palpable from start to finish. Every moment is filled with nail-biting anticipation, leaving the audience on the edge of their seats, holding their breath in anticipation of what might come next. The film expertly portrays the constant danger and the ever-present possibility of the plan unraveling.

Sophie Nélisse‘s portrayal of Irena Gut is nothing short of remarkable. With her soft, yet determined eyes, she captures the strength and resilience of a woman who faces unimaginable challenges. Nélisse‘s performance showcases her talent and solidifies her status as a rising star to watch out for.

Although the film occasionally struggles to maintain a consistent tone, resulting in moments where the intended emotional impact may feel contrived, it remains captivating and ultimately delivers an important and poignant narrative. The exceptional costume design and meticulous attention to detail in the sets greatly contribute to the authenticity of the story. The supporting cast delivers compelling performances, particularly Dougray Scott, who shines with his dynamic portrayal of Major Rugemer.

Irena’s Vow sheds light on the untold stories of courage and compassion during the Holocaust. It serves as a poignant reminder of the indomitable human spirit and the potential for heroism, even in the darkest of times. This film is a powerful testament to the resilience of the human spirit and the enduring power of hope in the face of adversity.

Irena’s Vow had its premiere at The Toronto International Film Festival on September 10th.

Days of Happiness (Chloé Robichaud)

Days of Happiness, an excellent feature debut from Chloé Robichaud  focuses on Emma (Sophie Desmarais), a young, talented composer.

Undoubtedly, some may draw comparisons to Tar for narrative reasons, but while Blanchett‘s character is cunning, the lead in Days of Happiness is a kind-hearted and relatable protagonist. This intense and captivating film, filled with beautiful music, was one of the delightful surprises of the festival.

The film explores a complex familial dynamic, as the lead’s agent happens to be her father Patrick (Sylvain Marcel). He constantly pushes her to be the best, but their relationship comes at a cost. Overcoming self-doubt is a journey many embark on, but not everyone succeeds and is stuck under her father’s thumb, she has been doing what he’s wanted for most of her life.

While her talent is undeniable, there is something missing. Everyone has advice on how she can achieve greatness, but ultimately, the power lies within herself.

There’s also a lovely romance in the film that works to encourage positive change in her life. Single mother Naëlle (Nour Belkhiria) begins to show her that there are different kinds of families out there.

The film intelligently uses water as a metaphor for vulnerability and fear. In the opening and closing scenes, we see her floating unexpectedly too far out on a raft, terrified because she can’t swim. This fear of self and the need to fill a void of success permeates her character. Despite the pressure to tap into a darker side, she remains kind-hearted and gentle, never garnering sympathy through questionable means.

The relationship between the lead and her father is fraught with tension. Abuse is insinuated, and their conversations often highlight his condescension and manipulation. It becomes a struggle for her to break free from the limitations imposed by his overbearing paternal nature and embark on a journey of self-discovery.

The orchestral music in the film is enveloping, not only during performance scenes, which are expertly executed and magnificent but also throughout her daily life. It becomes a soundtrack that immerses the audience in the story. Chloé Robichaud writes and directs the film with a creative and compelling voice. 

Days of Happiness may not have a grand scope, but it looms large with its clever script and riveting lead performance. What stands out most is the authenticity of the main character; she never feels forced, but rather, remains true to herself.

Overall, Days of Happiness is a rich character study with intelligent writing, stunning composition, and a captivating lead performance that should not be overlooked. It is a film that leaves a lasting impression.

Days of Happiness had its premiere at the Toronto International Film Festival on September 9th. 

Holiday (Edoardo Gabbriellini)

One of the toughest challenges a critic can face is when indifference sets in while trying to articulate their thoughts about a film. Holiday had a premise that seemed ripe for a thrilling picture, but unfortunately, it falls short.

The film introduces us to Veronica (Margherita Corradi), who has just been released from prison after being suspected of a double murder. The question of her guilt or innocence is central to the plot, with the desire to unlock that secret a driving force of the alluring story. 

Holiday attempts to be both a courtroom drama and an exploration of the after-effects of imprisonment. Veronica has her best friend Giada (Giorgia Frank) and her father (Alessandro Tedeschi) in her corner, but others in her social circle ignore and ridicule her.

The film takes place in a stunning Italian seaside location, and the sound design and production values are high, showcasing the confidence of a first-time feature filmmaker. Where the film begins to unravel is in its execution. The timeline shifts back and forth, which can be exciting, but in this case, feels clunky and disjointed.

Despite its flaws, Margherita Corradi delivers a mesmerizing performance, and the bond between her character and Giada is one of the film’s highlights, bringing warmth and charm to the screen. While Holiday has its moments, excelling in certain areas, but fails to fully capitalize on its premise.

In essence, Holiday is a film that grapples with securing its niche, marred by a convoluted narrative and untapped potential. Despite its ambitious endeavor, it sadly falls shy of achieving its full potential. However, the compelling performances and Edoardo Gabbriellini‘s potent direction inject just enough intrigue to sustain viewer interest throughout the film.

Holiday had its premiere at Toronto International Film Festival on September 9th. 

This wraps up my first report, but there’s more to come!