In the dystopian Korean thriller “Concrete Utopia,” directed by Um Tae-hwa, an earthquake destroys everything in Seoul - except for one high-rise apartment complex. Um, who made the film - a hit in South Korea - amid skyrocketing housing prices, follows the increasingly grim and fearful decision-making of the building's leadership, led by its elected delegate . Surrounded by ruins and desperate survivors, the building's “residents only” policy is carried out to dark extremes.
A new mayor with a tenuous grasp of his constituents' lives becomes set upon demolishing the building. His rash plans draw the protests of a young woman who finds housing for immigrants and who, herself, lives in Batiment 5. The building, under amped-up pressure from the police, becomes a concrete front in its residents' stifled struggle to build a life in France.Such stories perhaps resonate especially at TIFF.
Toronto, an omnibus of fall films, awards contenders and international highlights, was diminished from its usual frenzy this year due to the dual strike by the actors and screenwriters guilds. Few stars attended and the buzz was notably lesser around the festival's string of theaters on King Street. There were still undoubtably many high points, among them Cord Jefferson's thrillingly sardonic comedy “American Fiction,” with Jeffrey Wright as a bitter author; Hayao Miyazaki's poignant maybe-swan-song-maybe-not “The Boy and the Heron,” as boundlessly imaginative as anything Miyazaki made as a younger man; and Alexander Payne's “The Holdovers,” a richly humanist '70s-set tale about three disparate people with essentially no home to go to over Christmas break at a New England...
After generations of ownership of land purchased in the post-slavery Reconstruction era, the Reels find themselves under siege from developers through thorny legal processes, ultimately leading to the jailing of two family members - the brothers Melvin and Licurtis Reels - for trespassing on the land they grew up on.
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