TV Is Not the New Film, But It’s OK That Festivals Are Blurring the LinesPosted: August 26, 2015
With Toronto the latest sprocket opera to add episodic programming to its lineup, our critics revisit the old film-vs.-TV debate.
PETER DEBRUGE: Looks like Toronto is the latest film festival to add a television section to its lineup. These days, everywhere from Sundance to SXSW to the Canadian “festival of festivals,” smallscreen content is getting a big push, which is intriguing — and even ironic — for all sorts of reasons (ironic because the state of distribution being what it is, many of the films in Toronto will end up trickling down to VOD, rather than ever getting a commercial theatrical run). On one hand, the trend isn’t exactly new: Classy longform features like “Carlos” (which premiered at Cannes in 2010), “Top of the Lake” (Sundance 2013) and “Olive Kitteridge” (Venice 2014) made their bows at top-tier film fests before going on to air as miniseries on Canal Plus, BBC Two and HBO, respectively.
“There are many, after all, who have argued that the traditional line separating TV and cinema has ceased to exist for some time now, and that the ongoing creative renaissance in television largely puts all but the very best new movies to shame.”
But Toronto’s Primetime program — like SXSW’s Episodics, which launched last year — represents something different: Rather than expanding the definition of “film” to include projects that were “made for TV” (such as Steven Soderbergh’s Liberace biopic, “Behind the Candelabra”), festivals are carving out dedicated sidebars to celebrate this competing medium. Since its invention, television has been luring eyes away from the cinema. And now, at Toronto, audiences can go watch an episodic series pilot on the bigscreen, after which they’ll have to patiently wait until the series arrives on TV to see what happens next.
[Read the full story here, at Variety]
JUSTIN CHANG: As someone who makes too little time for television even outside the film-festival circuit, I confess that the addition of Toronto’s Primetime slate (which, full disclosure, was curated by our mutual friend Michael Lerman) will have little bearing on my schedule this September — or yours, Peter, given that our assignment in Toronto will be to see and review as much in the way of new cinema as we possibly can. Oh dear, I may have struck a nerve there. There are many, after all, who have argued that the traditional line separating TV and cinema has ceased to exist for some time now, and that the ongoing creative renaissance in television largely puts all but the very best new movies to shame. This is deemed especially true in the realm of serial drama, whose astonishing embarrassment of riches includes the magnificent quartet of “The Sopranos,” “The Wire,” “Mad Men” and “Breaking Bad,” and is still being carried aloft by the likes of “The Americans,” “Game of Thrones” and “Justified,” to name but a few.
As to the impossible question of which medium is superior, I submit that I would have to bone up on years of neglected TV watching before I could hazard a guess…(read more)
- The Knick, The Duff, The Town That Dreaded Sundown, Run All Night, Song One, Still the Water, Open Range – reviews (theguardian.com)
- Review: The Man From UNCLE is a star vehicle without the stars (computermagazine.com)
- Cinemax show ‘The Knick’ is coming to HBO for a limited time (mashable.com)
- How Steven Soderbergh Meticulously Crafts Knick Scenes (wired.com)
- Is Quentin Tarantino Going to Make a TV Show? (complex.com)
- Box Office: ‘Straight Outta Compton’ Debuts to Scorching $56.1 Million (variety.com)