philip seymour hoffman

He was simultaneously what we wanted to be and what we were, and so good at both that we barely even registered his face

Paul Thomas Anderson’s epic wins four prizes, while ‘Bestiare,’ ‘Goon’ and ‘Stories We Tell’ vie for the $100,000 Rogers Best Canadian Film Award

Paul Thomas Anderson’s opus is powered by the white-hot combustion of two actors at the top of their game

As we take stock, ‘The Master’ looms large, along with some groundbreaking docs

Recovered memories from a lost weekend at the festival

At TIFF2011, Jessica Allen learned the ins and outs of celebrity hunting. Now she’s back …

If George Clooney and Ryan Gosling are good at anything, it’s attracting a crowd — as they demonstrated at TIFF2011

Gabourey Sidibe isn’t exactly on the road to becoming an “American Cinderella”

What’s Hoffman doing in this sentimental farce—that strips 60s music of its context and significance?

Dark matter in ‘I’ve Loved You So Long’ and ‘Synecdoche, New York’

For two weeks each May, a quaint town on the French Riviera becomes a Hollywood fantasy in the flesh. Throughout the 2008 Cannes Film Festival, I blogged video clips. In the aftermath, I’ve edited a montage of highlights, an impressionist trip through the beauty, vulgarity, hysteria and chaos that is Cannes.

At the press conference after the Cannes premiere of Synecdoche, New York, Charlie Kaufman’s feature directing debut, the screenwriter who hatched Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind looked understandably nervous. From the first question, asking why on earth he put a word in his title that most American won’t be able to pronounce, never mind understand, he was on the defensive. Synecdoche, in case you slept through that English class, is a figure of speech in which a part stands for a whole. It rhymes with the New York town of Schenectady—hence play on words in the title.