Nostalgia is something that we can all relate too, especially in today’s world where everything seems to be going into shambles. The Way I See It banks on this idea of nostalgia. Following Pete Souza and revisiting his eight years as the photographer for President Obama and his response following President Trump’s election and today’s world. Composing itself mostly of images and stock footage intertwined with interviews, The Way I See It tries to make you yearn for past times and fear our future with the current President of the United States at its head.
Going into this, I was not expecting it to be one of the most chaotic and stressful films to have come my way this year. The sheer messiness of this film was almost too much at times, and I say this as someone who absolutely loved every second of it.
For Emma Seligman’s (Shiva Baby, Void) feature directorial debut, we follow Danielle; a young student who runs into her sugar daddy at a Jewish funeral service with her parents. The chaos that radiates from that short description alone is nothing compared to the events thrown our way throughout the experience.
Noah Baumbach has created some amazing films, films that have cemented him as one of the great directors of his generation. I remember watching Frances Ha and thinking that this was his best film and that it would take a while for him to do better. Well, Marriage Story did that for me. It’s Baumbach at his best, his strongest. His steady hand is felt throughout and he never falters, navigating the film expertly and creating a devastating look at divorce and how it breaks everyone, even those with the best intention. Baumbach’s craft has never been this tight and it showcases how much he has grown as a filmmaker since his debut. Marriage Story is, in my opinion, his best work to date.
The film opens in a room straight out of the 1950s and it’s filled with colour, as we watch a small tv that begins its black and white broadcast. It’s a program that has opening narration akin to The Twilight Zone, or Outer Limits or any science fiction based anthology show from the same time period. The program was called Paradox Theatre, and tonight’s episode was The Vast of Night. Using this as a framing device set up the film perfectly and told me exactly what type of film I was about to watch, but it didn’t tell me it would become my favourite movie of the festival.
I didn’t grow up watching Mr. Rogers, he wasn’t someone we watched in Quebec. So I didn’t know anything about it, or barely anything until I sat down last year to watch the incredible documentary Won’t You Be My Neighbour? By the end, I left the theatre in tears and nothing but love for a man that I didn’t grow up watching. And then, Marielle Heller, who directed the great Can You Ever Forgive Me? from last year, was announced to be directing a film about Mr. Rogers with Tom Hanks attached and I was in. Well, let me tell you something, A Beautiful Day in the Neighborhood is a beautiful love letter to the man himself. In Heller’s hands, the film becomes so much more then it could.