As a gamer who has been around for quite some time, I’ve seen my fair share of cinematic adventures and real-life escapades that could easily be mistaken for scripts written by the most daring screenwriters. From the chaos of the Toronto International Film Festival in 2006, where Sacha Baron Cohen’s antics on a horse for Borat premiered, to my recent encounter with Mohammad Rasoulof at another fall festival, I can’t help but draw parallels between these two seemingly disparate figures.
In 2006, I experienced my initial Toronto International Film Festival. During a late-night showing at the campus that was Ryerson University back then, Sacha Baron Cohen made an appearance on a horse for the debut of Borat. Just twenty minutes into the movie, the projector failed. Michael Moore jumped over seats in an attempt to repair it. I recall thinking, “What on earth is going on here?” Suddenly, Cohen stood up and performed 45 minutes of stand-up comedy, staying in character. The projector was never fixed. Yet, no one seemed to mind.
My initial encounter with awards season was back then, and while the formal attire, the champagne toasts, and the heated discussions about who portrayed royal dramas most authentically were indeed elements of it, what truly left an impression on me was a unique moment from Borat. This film festival memory remains vivid because it showcases a director with a bold vision, adaptable when circumstances didn’t go as planned.
Several weeks ago, I interacted with a different filmmaker at another fall festival.
The Iranian filmmaker Mohammad Rasoulof created a film titled “The Seed of the Sacred Fig.” Notably, Rasoulof spent considerable time in prison in Iran due to his movie criticizing the government, unlike Sacha Baron Cohen who portrayed a foreign dictator in his acting roles. There’s no mistaking that Rasoulof and Cohen are two very different individuals; while Cohen enacted a dictator on screen, Rasoulof has lived under one in real life.
Despite the threat of a possible eight-year imprisonment, Rasoulof continued to create films. Just this year, he secretly brought together actors at hidden spots in Tehran to film his new script. Later, he skillfully blended real-life footage from the Women Life Freedom protests in 2022 to enhance its authenticity. When Rasoulof found out about the impending legal issues after production, he concluded that it was too risky to remain in his homeland.
While interacting with dissidents he encountered during imprisonment, he devised a plan for escape. He managed to enter an unspecified neighboring country and subsequently applied for asylum in Germany. Throughout his journey, he continued editing his film. (You’ll learn more about Rasoulof’s story in a future issue.)
Despite Rasoulof not being a subtly vulgar British comedian like one might find casually discussing an exhilarating escape from the IRGC over dinner near the New York Film Festival, I found myself recalling my own peculiar encounter with a filmmaker – reminiscent of Borat – during TIFF years ago. Once more, we have a creative mind bent on making movies, adapting to unforeseen circumstances when the weather wasn’t favorable for his original plans.
Essentially, isn’t every aspect of Hollywood and, indeed, all professions, characterized by this pursuit? Each one of us has an idea that we must persevere with, regardless of any hurdle, be it large or minor, that comes our way.
I’d like to think that concept animates the awards coverage you’ll read in these pages over the next three months — stories about really bold ideas, trying to hatch into a world doing its best to push them back in the egg. In this issue, for example, you’ll hear about the inspired lunatics who built prosthetics for Demi Moore in her artsploitation instant classic The Substance.
You’ll discover how one contemporary filmmaker known for his versatility, Sean Baker, brought his vision to life in the gritty world of escorts and gangsters situated in Brighton Beach, Brooklyn, through the movie Anora. This film features a remarkable 28-minute scene that transitions from humor to violence so abruptly, it’s as if someone sneaked into the cinema and spiked your drink.
Discover the journey of Cory Michael Smith, once a theater enthusiast from Columbus, Ohio, who now graces the silver screen portraying 1970s Chevy Chase. Learn about his daring path ahead!
If you find it a bit awkward, don’t fret! We’ll certainly inject some enjoyment as well. For instance, the applause at international film festivals that seems to be meticulously recorded, much like tracking your A1C levels – does this really convey any significance?
Additionally, I’m curious if an event like the Conclave is possible. Our trusted Vatican specialists will enlighten us on this topic, as part of our recurring feature we affectionately call “The Watchers.
This season, we’ll be featuring a recurring segment called “An Unforgettable Snub” (located in the sidebar), where popular figures from the entertainment industry share stories about an Oscar snub that continues to bother them. Everyone has one. (For me, it’s Hoop Dreams. Despite virtually creating a new art form, it was shockingly overlooked for a nomination.)
In this edition, you’ll additionally get insights from some television personalities. Colin Farrell, from “The Penguin,” shares his unique perspective on the Batman Universe. Kristen Bell discusses her preparation for dating a rabbi in Netflix’s hit series “Nobody Wants This“. Hannah Einbinder delves into the intricate humor of stand-up comedy found in “Everything Must Go” special.
It’s quite common to find oneself skeptical about awards ceremonies. After all, they can seem excessive with their constant self-praising, their monopoly on our weekend evenings, and the intense debate over which entertainment qualifies according to some predefined standards that sometimes feel like deciding the future of a nation. Compared to a presidential election, awards appear trivial or insignificant.
Undoubtedly, there must be some significance as to why so many of us pay such close attention; perhaps it holds importance in some manner. I believe it might stem from my TIFF and NYFF encounters. The awards season is essentially an endeavor to capture that eccentric, slightly unconventional essence – reminiscent of Borat or Rasoulof – which seems preposterous to many, and encapsulate it for global consumption.
Gathering numerous individuals within a single space isn’t merely for a group of self-assured individuals to congratulate one another on their accomplishments. Instead, it serves as a testament that the human spirit, which drives us to overcome adversities, remains strong and vibrant.
Because watching these stories onscreen is fun. Hearing how they got there? That’s very nice.
This tale was initially published in a solo issue of The Hollywood Reporter magazine, which came out in November. If you’d like to get the magazine, you can subscribe by clicking here.
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2024-11-12 00:25