Day: September 20, 2024

Mike Flanagan’s The Life of Chuck took home the prestigious People’s Choice Award at the 2024 Toronto International Film Festival (TIFF). The film, based on a Stephen King novella, features an impressive cast including Tom Hiddleston, Mark Hamill, Karen Gillan, and Chiwetel Ejiofor. It made its world premiere at the festival and is a genre-blending story about finding hope amidst tragedy. Flanagan expressed his gratitude, stating, “I’m absolutely overwhelmed. We’re so grateful that The Life of Chuck connected with audiences in such a powerful way, but never expected this.”

“The TIFF People’s Choice Award is often seen as a predictor of future success during awards season with past winners like Room, La La Land, 12 Years a Slave, and Nomadland going on to claim Oscars,” said James Pratt, Head of Film Production at Mogul Productions 

In the documentary category, the People’s Choice Award went to The Tragically Hip: No Dress Rehearsal, directed by Mike Downie, and produced by Prime Video and MGM Amazon Studios. The runners-up included Will & Harper, a road trip comedy starring Will Ferrell and Harper Steele, which debuted at Sundance and is set for Netflix, as well as Your Tomorrow, a film by Ali Weinstein about Toronto’s Ontario Place.

In the Midnight Madness category, The Substance, directed by Coralie Fargeat, won the audience award. The film, which premiered in Cannes, stars Demi Moore as a fading actress clashing with a younger version of herself, portrayed by Margaret Qualley. The runners-up were Dead Talents Society by John Hsu, and Andrew DeYoung’s Friendship, both of which premiered at TIFF.

TIFF attendees vote for the People’s Choice Awards, and this year’s festival, which mixed potential Oscar contenders with arthouse films, saw a return of Hollywood stars after a subdued 2023. However, compared to other festivals like Venice and Cannes, the glamour was dialed back, with no official press conferences for films in the running for major awards like the Oscars and Golden Globes. 

Other notable awards included the Platform Prize, which went to They Will Be Dust by Spanish filmmaker Carlos Marques-Marcet, a thought-provoking drama about euthanasia. Marques-Marcet used his acceptance speech to thank right-to-die activists and promote open dialogue about the controversial topic.

The FIPRESCI prize was awarded to Mother Mother by Somali-Canadian director K’naan Warsame, while The Last of the Sea Women, a documentary produced by Malala Yousafzai and directed by Sue Kim, won the NETPAC award for best Asian film from a first or second time director.

“TIFF is always seen as one of the elite film markets each year for Hollywood, so anytime someone wins here it’s a major achievement,” said Mogul Productions Head of Development Randy Charach.

 

The 2024 Venice Film Festival has concluded, showcasing a compelling mix of cinematic innovations and industry shifts. As the festival wraps up, Mogul Productions Head of Development, Randy Charach, Head of Film Production James Pratt, and CEO Matt Gigault share their insights from this year’s La Biennale.

1. Almodóvar’s Landmark Victory

Pedro Almodóvar has achieved a career milestone with his film The Room Next Door, which won the Golden Lion. The film, featuring Tilda Swinton as a dying war photographer who chooses euthanasia, received mixed reviews but has generated significant buzz in awards circuits. With Sony Pictures Classics on board, the film is now a serious Oscar contender.

2. TV’s Growing Influence at Film Festivals
The lines between television and cinema continue to blur. Alfonso Cuarón’s Disclaimer, a limited series starring Cate Blanchett and Kevin Kline, was treated with the same importance as a major film premiere.

Mogul Head of Development, Randy Charach, noted, “The quality of TV keeps getting better. Ten years ago, TV actors were considered less appealing due to lower budgets. Today, we see film actors actively seeking TV roles, reflecting the medium’s rising prestige.”

3. Venice’s Self-Referential Trend

This year’s festival highlighted a curious trend: several films referenced Venice within their narratives. From Angelina Jolie’s character in Maria reminiscing about the city to The Brutalist incorporating local scenery, Venice itself became a thematic element. This self-referential approach underscores the city’s unique position in the cinematic world.

4. Changes in Festival Press and Promotion
The traditional press junket model was less prominent this year, with major films like The Brutalist and The Order receiving minimal media exposure. Instead, the festival focused on high-profile premieres and international media coverage.

James Pratt Head of Film Production at Mogul Productions observed, “We saw this shift at other major festivals earlier this year as well. As international film audiences grow, promotion is increasingly geared
toward a broader audience rather than just one region.”

5. Awards Buzz and Oscar Contenders

Venice set the stage for the awards season, though its impact on the Oscars remains nuanced. The festival highlighted several Best Actress contenders, such as Angelina Jolie and Nicole Kidman, but did not produce clear Best Picture frontrunners. The unexpected acclaim for The Brutalist suggests it could become a serious Oscar contender, despite its lengthy runtime.

6. The Return of Explicit Content

Venice reintroduced explicit content to the big screen with films like Luca Guadagnino’s Queer and Halina Reijn’s Babygirl. These films featured provocative scenes, igniting discussions about the role of sexuality in cinema.

“The R-rated audience has always been there as it’s one of the most lucrative audiences, however of recent studios have been reluctant to take too much riss due to the cancel culture push and political climate, Gigault remarked. “However, with successes like Deadpool and Wolverine smashing box office records in 2024, we’re seeing a surge in explicit content both in action and more provocative films.”

7. The Lengthy Film Trend

Long runtimes were notable at Venice, with several films, including Brady Corbet’s The Brutalist, extending beyond two hours. This trend raises questions about audience tolerance for extended cinematic experiences and reflects an ongoing debate about balancing artistic ambition with viewer engagement.

8. Shifts in Distribution Practices

The distribution landscape has evolved, with major deals for films like Maria and Queer secured before the festival began. High-profile acquisitions now occur more strategically, reflecting a shift away from the traditional festival frenzy for instant deals. This change indicates a more measured approach to film distribution and promotion in today’s market.