Our humble festival correspondent on Uncut Gems, Honey Boy, The Laundromat, Waves, The Report, No. 7 Cherry Lane, and the second half of TIFF 2019.
JoinedMay 27, 2017
Charles Bramesco is a former staff writer for Rolling Stone and his writing has previously appeared in The New York Times, The Guardian, Vanity Fair, Newsweek, Forbes, The A.V. Club, Vulture, The Dissolve, and Pitchfork. He lives in Brooklyn, is a graduate of New Orleans’ Tulane University, and his favorite film is Boogie Nights.
I told the almost comically friendly customs agent that I’m in Canada for business and not pleasure, so in the interest of not getting apprehended by the mounties, my top priority remains the almighty cinema.
"While this critic’s average number of films taken in at the TIFF usually hovers around 30, the 2018 festival delivered the highest percentage yet of selections I could recommend in good faith."
Your loyal critic-on-the-scene returns this year older and wiser, having finally gotten the hang of this 10-day endurance test in his fourth go-round.
Our intrepid TIFF correspondent wraps up his festival coverage with a look at new films from Guillermo del Toro, James Franco, Agnes Varda, Armando Iannucci, Martin McDonagh, and Louis C.K.
Midway through the festival, our intrepid correspondent offers his thoughts and recommendations
Alice in Wonderland has some profoundly upsetting cognitive dissonances to it; I went in expecting a porno and was surprised to encounter a swirling torrent of psychosexual terror.
In Margaret, Lonergan assembles a titanic analogy between the pain of a nation and one girl’s post-traumatic chaos, arriving at the same gray-shaded ambiguity and uncertainty.
Charles Bramesco attends TIFF.
Superbad is a film that exists outside of place, unstuck in America, nowhere and everywhere.