I don’t think it’s a real surprise for everyone. Everybody around me knows how much I love him and how much I love his movies.
He’s my favorite director because his movies made me fall in love with the cinema. Two years ago, I was watching Sweeney Todd: The Demon Barber of Fleet Street with my family and this movie had such a big impact on me for no real good reason, but I just realized at this moment what I really loved in life: cinema.
Tim Burton has an unique style and an unique way to see things around him. He has such an interesting way to interpret his ideas and his drawings into movies. I would like to see what happens in his head sometimes.
His movies are pretty dark and strange, but that’s exactly why I love them. I find almost all his movies really good and I think it’s impossible for me to choose only one movie as my favorite Tim Burton’s movie.
I relate so much to a lot of his characters and it’s probably another reason why I love so much his movies.
I don’t think he’s the best director ever, really not, but his movies has a weird impact and effect on me, I can’t even explain why.
A movie that you know practically the whole script of?
Benny and Joon
I watched this movie at least 5 to 10 times, so I know this movie really well.
I don’t have a lot of things to say about it, but it always makes me happy. Sam is such a sweet character, you know, this kind of person I would like to have as friend or around me. I really need someone like him.
This year we’ve seen endless loops of online commentary and Hollywood hand-wringing about the enduring whiteness of American cinema and how structural challenges continue to restrict filmmakers of color. So it was not surprising that there was so much anticipation around the October release of first-time director Nate Parker’s film The Birth of a Nation. The story of Nat Turner’s slave rebellion and self-empowerment, as seen through the artistic vision of a young, black filmmaker, caused a bidding war at the Sundance Film Festival at the height of the #OscarsSoWhite campaign.
Fortunately, The Birth of a Nation was neither the only nor the most anticipated film about black life to screen in Toronto, which hosts the largest film festival in North America — one that sets the tone for the Oscars and tests the viability of serious American cinema. Festival artistic director Cameron Bailey told me that this year’s festival may have been its blackest edition ever. It pushes back against the idea that Hollywood can only absorb one black story at a time, and challenges the limited parameters of a “black film.”
This year’s festival shifted the conversation about diversity from a focus on the absence of black faces in movies to a feast of cinematic styles and stories as wide-ranging as the black experience itself.
Most importantly, the films opening at Toronto explored stories about justice, family and selfhood without didactic or conventional Hollywood bluster about race. From the struggle for interracial marriage rights in the restrained drama Loving to a young boy’s battle to reconcile his masculinity and sexuality in Barry Jenkins’ lyrical second film Moonlight, this year’s program introduced a new set of faces and performances for critics to savor and nominate.
This movie is just a beautiful movie. I’m not used to say that, but for this movie yes. This movie gave me so many good feelings, it’s always a pleasure to watch it.
I like this movie so much. The colors, the acting and just the story are wondeful. It’s a wonderful movie, I swear.
I don’t really have anything else to say about it because I need to rewatch it; the last time I saw it, it’s almost two years ago. But I can remember how I found this movie so beautiful and great. I still have this feeling inside.