- Share this article on Facebook
- Share this article on Twitter
- Share this article on Email
- Show additional share options
- Share this article on Print
- Share this article on Comment
- Share this article on Whatsapp
- Share this article on Linkedin
- Share this article on Reddit
- Share this article on Pinit
- Share this article on Tumblr
The Hollywood Reporter has released its third Toronto International Film Festival daily issue, which features a look at which films have emerged as serious awards contenders so far, a Q&A with Guillermo del Toro on casting his film The Shape of Water (which took home the Golden Lion at the Venice Film Festival), and THR‘s review of Mike White’s Ben Stiller starrer Brad’s Status.
Early Frontrunners Emerge
The awards prospects of Guillermo del Toro’s The Shape of Water just got a big boost, and Aaron Sorkin’s Molly’s Game and Craig Gillespie’s I, Tonya both staked out claims for serious consideration as the Venice Film Festival ended Sept. 9 and the Toronto Film Festival revved up. Rather than narrow the field, the successive festivals appear to be opening up the field to prospective contenders as THR assesses the awards landscape.
Guillermo del Toro Talks Shape of Water
With his latest, The Shape of Water, the Mexican director finally brings to life the amphibian creature that he’s always imagined as a leading man. The film stars Sally Hawkins as a mute cleaning lady who falls in love with a water creature being held captive in a government facility. After a rapturous premiere at the Venice Film Festival, where it won the Golden Lion, del Toro brings Shape of Water to TIFF before the film hits theaters via Fox Searchlight on Dec. 8. He spoke to THR about creating his latest creature, writing the role for Hawkins and how the Trump administration affects him as an artist.
Ben Stiller in Brad’s Status
Starring Stiller as a Sacramento suburbanite on a New England college tour with his high-achieving 17-year-old, the movie is less idiosyncratic than director Mike White’s previous efforts, from its ingratiating tone and broadly relatable father-son storyline to its A-list lead. But this isn’t a case of an artist selling out — the film is sly and perceptive, overcoming a slightly underpowered middle section to sneak up on you in the final stretch. Minor as it may be, Brad’s Status feels like further confirmation of White’s singularity in the drab landscape of big-screen American comedy. Read more from THR‘s review.
Sign up for THR news straight to your inbox every day