Justin and Will tackle the new films by Stephen Soderbergh and Jean-Luc Godard.
In the midst of a pro basketball lockout, sports agent Ray Burke (André Holland) finds himself caught in the face-off between the league and the players. His career is on the line, but Ray is playing for higher stakes. With only 72 hours to pull off a daring plan, he outmaneuvers all the power-players as he uncovers a loophole that could change the game forever. The outcome raises questions of who owns the game – and who ought to. Directed by Academy Award winner Steven Soderbergh (Traffic) from a script by Academy Award winner Tarell Alvin McCraney (Moonlight) HIGH FLYING BIRD features an acclaimed ensemble cast that includes Zazie Beetz, Melvin Gregg, Sonja Sohn, Zachary Quinto, Kyle MacLachlan and Bill Duke, plus appearances from NBA athletes Reggie Jackson, Karl-Anthony Towns and Donovan Mitchell.
The legendary Jean-Luc Godard adds to his influential, iconoclastic legacy with this provocative collage film essay, a vast ontological inquiry into the history of the moving image and a commentary on the contemporary world. Winner of the first Special Palme d’Or to be awarded in the history of the Cannes Film Festival, The Image Book is another extraordinary addition to the French master’s vast filmography. Displaying an encyclopedic grasp of cinema and its history, Godard pieces together fragments and clips them from some of the greatest films of the past, then digitally alters, bleaches, and washes them, all in the service of reflecting on what he sees in front of him and what he makes of the dissonance that surrounds him. He uses his own voice, reminiscent of those of Leonard Cohen or Bob Dylan in the twilights of their careers, to guide us through the fascinating labyrinth of his mind. In some cases, it is to reflect on the metaphysical properties of the world — time, and space, and where meaning is found — but more importantly it is the image, the thing that has obsessed Godard for his entire career, that anchors this film. His ontological enquiry into the image continues to be one of the most moving in history. But, as always with Godard, the key issues he raises have to do with the legacy of the last century and its horrors: the incomprehension of Hiroshima and Auschwitz, events that coincided with cinema but which have somehow eluded its gaze. And, movingly, The Image Book also reflects on orientalism and the Arab world, grounding the new film very much in the present. — Piers Handling, CEO/Director Toronto International Film Festival