

AP Film Writer



"A situation like this forces you to assess what is fundamental," says Dennis Lim, director of programming for the New York Film Festival. "What do you really need for a festival to happen? You need films and you need audiences. It's our job to select the films and put them in front of audiences in a meaningful way. If we can't do that in a cinema, what can we do?"

The answers, for the programmers of the New York Film Festival and the Toronto International Film Festival, will begin unspooling later this week. TIFF opens on Thursday with the premiere of Spike Lee's David Byrne documentary "American Utopia." New York follows Sept. 17 with Steve McQueen's "Lovers Rock." Venice, the world's oldest festival, has been running since last week.


But not all of it. Jury head Cate Blanchett said it was kind of "miraculous" that the festival was happening at all. Pedro Almodovar compared months of lockdown to a prison. "The antidote to all this is the cinema," he said.



Both New York and TIFF have, with the same provider, launched digital platforms to host virtual screenings. A limited number of tickets will be available, but the festivals' reaches will actually expand. Anyone in Canada will be able to buy tickets to TIFF screenings, and New York Film Festival films will be briefly available nationwide.

Still, the major studios aren't sending any films, nor is Netflix. The postponement of the Academy Awards to late April hasn't helped. The normal calculus of Oscar season, in which buzz is often built first at the festivals, is on a different timetable this year.

Tom Bernard, co-president of Sony Pictures Classics, believes the race may have changed but the importance of festivals in it remains. The specialty label has several films heading to the festivals including the hit Sundance documentary "The Truffle Hunters" and "The Father," with Anthony Hopkins and Olivia Colman.

"We've got movies that we're certainty trying to put into the Oscar race. The festivals certainly do that because that's been the brand of the festivals for a long time. That hasn't changed," said Bernard. "It gives our movies the distinction that rises them above anything that's streaming and positions them for the theatrical experience, which will be coming back in the future."


"We feel that even though there's a very harsh reality right now, stories are more important than ever," said Joana Vicente, executive director and co-head of TIFF. "We also need to think about all of the artists who have been affected who need festivals to really give them a platform. This will ensure that the culture stays alive."


"There was a reason they wanted to get this film out now," said Lim who heads NYFF with festival director Eugene Hernandez. "He had dedicated the films to George Floyd and he wanted us to take a look."

Tommy Oliver's "40 Years a Prisoner," about the face-off between Philadelphia police and the Black liberation group MOVE that led to a violent raid in 1978, had been planned for release next year but will instead debut at TIFF ahead of airing on HBO in December. Through Michael Africa Jr., the grown son of two incarcerated MOVE members, the film captures the long scars left on families and communities by police abuse. Helping audiences understand the history of today's tragedies, Oliver feels, is vital.

"The thing that was the hardest was that Mike and his family wouldn't get the experience of having an audience watch it at a festival. I've had it before and it's an incredible thing," says Oliver. "But Toronto is an incredible platform. Most of the time, we don't get to do things exactly as we envision them. It's about figuring out how to adapt and move with whatever comes up. Is this ideal? No. Will it work? Yes."



"The funny thing is, we feel like the festival started last week or the week before," said Vincente. "We're prerecording so much."


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