Not surprisingly, films at Toronto played differently before and after September 11, a date that fell directly mid-festival. It was astonishing how quickly the hippest buzz dissolved once the events of the world intruded and, conversely, how much excess meaning accrued to those films with the "luck" to consider life-and-death issues, now utterly amplified. Indeed, after the 11th, Toronto was not the same event. The first half wound down as the press corps, in high spirits, emerged from a screening of Mira Nair's deliriously joyous film, Monsoon Wedding (which had been named the Venice festival's grand prize winner the day before), to enter a lobby filled with weeping colleagues staring at a giant monitor above the concession stand carrying the now-familiar scenes of unimaginable destruction. In the aftermath, all parties were canceled, industry presence was diminished and lines of Torontonians wound around the block, eager for the diversion and transport that movies deliver so well.
Suddenly it seemed that the festival was spilling over with films about loss, sudden death, fatal accident and families rent by grief. There were so many I tired of counting (The Safety of Objects, by the way, is one). Three are such exceptional films that they would have been singled out at any time; now they resonate, trembling like a tuning fork with the nervous hum of recent weeks. From Italy, there's The Son's Room; from Taiwan, What Time Is It There?; from France, L'Emploi du Temps (Time Out).
Laurent Cantet's Time Out is an unemployment thriller, detailing the desperate denial and increasingly psychotic behavior of a middle-management family man who loses his job, and with it his identity, sense of safety and all bearings. He never tells anyone what has happened. He cuts off all contact with his old colleagues and concocts one strategy after another--from pyramid investment schemes to outright smuggling--in order to maintain his face-saving fiction. As the screws of his deception tighten, a Hitchcockian shadow of slowly and excruciatingly built tension begins to shadow the film's events. Surely this will end violently? But Cantet is a latter-day Marxist whose last film, Human Resources, looked at a father-son struggle based on a factory floor. Here, he seems to tell us, nothing can compare with the violence experienced by any human caught up in mindless white-collar management, whether working or laid off. In that sense, the lie told by Cantet's protagonist--claiming that he's got a new job with a Swiss NGO doing business in Africa--is merely one more irony in his doomed flight from capitalism.
Tsai Ming-liang appeared in these pages earlier this year when his film The River had a delayed US release. Now he's back, with a wonderfully mature film, What Time Is It There? A comedy of sorts, it considers, among other things, how a son and mother cope with Dad's sudden death. The mother weeps and tries valiantly to communicate with her husband on the other side, utilizing variously a cockroach, a carp and a Buddhist priest. The irreligious son, played as always by Lee Kang-sheng--star of all of Tsai's films since his 1992 hit Rebels of the Neon God-- is shaken, too. He works as a street vendor. When an attractive customer insists on buying the watch on his wrist instead of the one he's selling--arguing that the dual-time dial is essential for her trip to Paris the next day--she sets the film's structure in motion. As her geographic absence begins to stand in for his father's passing, the son performs his mourning by changing every clock in Taipei to Paris time, seven hours ahead.
It's a hilarious conceit, which Tsai carries through with smart cinematic wit. One scene explicitly evokes Harold Lloyd's silent-film antics. In another, our hero purchases a video--Truffaut's 400 Blows--and watches the scene of Jean-Pierre Léaud stealing a bottle of milk and gulping it down. Constant cross-cutting to the watch-bearer, now a lonely Parisian, reveals her chance encounter with the now-aged Léaud himself in a Paris graveyard. The themes of love and loss, nurturance and abandonment, couldn't be clearer; for added resonance, consider that actor Lee is often compared to James Dean, who so famously drank milk from the bottle in Rebel Without a Cause.
Nanni Moretti has made a career's worth of film grounded in humor, but here he has turned serious. The Son's Room, which won the Palme d'Or at Cannes this spring, is a portrait of a family, first in happiness and then in grief, its moods bifurcated by the accidental death of an adored son. Conveniently, Moretti's script supplies the father (played by the director's favorite star, himself) with a profession uniquely suited to its needs and ours: He's a psychoanalyst. Prior to his personal tragedy, the doctor is able to handle his patients with ease, even though each one seems to have a problem that echoes his own issue in some way. But after the terrible twist of fate--how cruel film scripts, and life, can be-- he is less and less able. The marriage, too, enters difficult territory. All seems to be lost. And then a letter arrives out of the blue from an unknown girl, and everyone gets a second chance.
The experience of watching The Son's Room two days after the WTC tragedy has forever marked my sense of it. In return, it makes me confident of this film's ability to crack open the heart and heal its wounds again. Totally different from one another, each of these three films takes up loss (of child, parent, job) and looks for a remedy. All three appeared in the New York Film Festival as well and will, one hopes, open across the country quickly. We need them. The movie theater needn't be the place, as the late Pauline Kael once wrote, to "send our minds away." It can be the place where we find them again. And with our minds, our hearts.