New York–based chef Scott Conant, the man behind Scarpetta (as well as an infamous open letter to Toronto) will kick things off with a discussion of 1987’s Babette’s Feast. The Academy Award winner is based on a story by Isak Dinesen set in the late 19th century. The Babette in question is an enigmatic French refugee who cooks a dinner that changes the lives of her hosts. Feb. 7.

German romantic comedy Mostly Martha inspired the dreadful Catherine Zeta-Jones flick No Reservations, but we’ll try not to hold that against it. The original is a charming (if predictable) story of a work-obsessed chef who butts heads with a cute but exasperating new sous-chef. True to the rom-com formula, that exasperation soon morphs into an altogether different sentiment (guess which!). Pastry chef and Food Network Canada personality Anna Olson will be on hand for the discussion. Feb. 21.

It’s appropriate that avowed Francophile Laura Calder has been tapped to chat about Julie and Julia, which juxtaposes the story of Julia Child’s introduction of French cuisine to the American public with the trials and tribulations of a New York food blogger, played by Amy Adams, who cooks her way through Child’s Mastering the Art of French Cooking. Meryl Streep may have moved on to newer subjects, but her ability to mimic Child’s voice and mannerisms is downright uncanny. Mar. 20.

Once every four years, the best pastry chefs in France compete in a gruelling (and we mean gruelling) three-day competition to receive a coveted Meilleur Ouvrier de France (Best Craftsmen of France) designation. Kings of Pastry documents the 2008 finals, following the renowned Jacquy Pfeiffer in a quest that’s more suspenseful than you’d expect. (One reviewer noted, “I never saw so many strong men sobbing at once.”) Pfeiffer himself will lead the discussion. Apr. 10.

Chuck Hughes—Montreal chef, star of the Cooking Channel’s Chuck’s Week Off and foodie heartthrob—will talk about Roland Joffé’s biographical drama Vatel. François Vatel was a 17th-century culinary virtuoso who, according to some accounts, committed suicide when the seafood he was to cook for King Louis XIV didn’t show up. The film, which stars Gérard Depardieu and Uma Thurman, offers a different explanation. May 15.

Come 2014, these could be your new friends (Image: Grey Goose Soho House)

At last year’s film festival, the Grey Goose Soho House hosted the TIFF party to end all TIFF parties—you know, the one that was officially in honour of David Cronenberg’s A Dangerous Method, but also managed to bring in everyone from Bono and members of the Arcade Fire to Anna Faris, Ewan McGregor and George Clooney (to choose rather arbitrarily from a long list of a-listers). Now it looks like the international chain of members-only luxury clubs will be opening up a permanent home in Toronto sometime in the next two years. According to a story from the New York Times’ Dealbook blog, the so-called “Billionaire Party Boy” (and private equity magnate) Ronald Burkle recently purchased a majority stake in the London-based Soho House Group for a reported £250 million. Some of that cash infusion will go toward further expansion, with Mumbai, Chicago and Istanbul listed alongside our fair burg. If this turns out to be true, 2014 should be a blowout year for TIFF parties. Read the entire story [Dealbook] »

(Image: Everett Collection/Rex Features)

Royal watchers for whom rehashing Kate Middleton’s outfits online just isn’t cutting it anymore still have a few days to check out the Grace Kelly exhibit at the TIFF Bell Lightbox. TIFF has extended the hours of Grace Kelly: From Movie Star to Princess until the show closes on January 22, giving Torontonians one last opportunity to check out the replica of the wedding dress Kelly wore in her 1956 wedding to Prince Rainier III of Monaco, as well as many of her original dresses, her tiara and the original Kelly bag. The exhibition will now be open until 8 p.m. on Sundays and 9 p.m. Tuesday through Saturday. After that, it’s back to the old DVD collection (we can already feel a classic movie marathon coming on).

It’s not particularly polite to ask rich people what they earn. But tact is overrated, and we wanted to know, so we asked anyway. When they told us to get lost, we got sneaky. We dug up disclosure documents, annual reports and the tax filings of charitable organizations. When those trails went dry, we surveyed industry insiders who know what other people make—headhunters and consultants and analysts and colleagues—and asked for an educated guess. After hundreds of calls and emails and deep-throat meetings in dark alleys, we phoned the high earners back and told them what we found. Again, with feeling, they told us to piss off.

What follows is our shamelessly gawking, as-precise-as-possible examination of the highest-paid people in the city’s top industries. When the information was available, we included bonuses and perks and, in some cases, exercised stock options. Our findings verified that a high earner in finance is almost always on a different plane (a private jet, usually) than a high earner in, for example, the lowly arts. One major discovery: Heather Reisman took a pay cut. One truth reconfirmed: no matter how rich you are, there’s always someone who makes a helluva lot more.

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The serene highnesses, Prince Albert II and Princess Charlène of Monaco, flanked by Hermann Bühlbecker and Karl Lagerfeld (Image: Nadja Amireh)

Their Serene Highnesses, Prince Albert II and Princess Charlène of Monaco, are in Hogtown to celebrate the prince’s famous mother. “Grace Kelly: From Movie Star to Princess,” which we featured in our Best of Fall roundup, opens Friday at the TIFF Bell Lightbox. The exhibit contains all manner of Kelly paraphernalia, including letters from Alfred Hitchcock and her Oscar for The Country Girl (plus the gown she wore to receive it). The prince and princess will attend a grand opening reception today.

Canadian film honcho Wayne Clarkson with art house icon Atom Egoyan and Lynne St. David-Jewison

August 11, Malaparte.
By Fraser Abe | Photography by George Pimentel

An air-kissing who’s who of Canadian cinema gathered on the sixth floor of the Lightbox to kick off Justice for All, TIFF’s retrospective of the films of Norman Jewison. One of Hollywood’s most prolific directors, Jewison is the kind of success story this city loves to laud at every opportunity. Following the reception, everyone shuffled downstairs for a screening of Moonstruck, Jewison’s 1987 rom-com. The crowd was also treated to a Q&A with Olympia Dukakis and the screenwriter John Patrick Shanley (both snagged Oscars for the movie). But it was Jewison who got the loudest applause, for dropping a well-aimed F-bomb while recounting an on-set incident: Nicolas Cage demanded a moment to think over a line, and Jewison replied: “Don’t think, just say the fucking line.” Beats watching Moonstruck at home in your PJs for the umpteenth time.

The problem with this season is there’s simply too much to do. Too many tortured opera divas. Too many ballerinas with toe cramps. Too many new sitcoms set in psychiatric offices. Too many touring exhibits of curiosities once touched by now-dead silver screen stars. Too many washed-up TV actors with a surprise talent for stage comedy. It’s all too, too much.

Our coping strategy: pick 10. Here, recommendations for an absolutely satisfying, perfectly proportioned fall

	#1 MEZZO IDOL Susan Graham, the renowned mezzo-soprano, performs as an anguished princess in Iphigenia in Tauris, another major coup for the COC READ MORE
	#2 THE CHAMELEON Herbie Hancock’s jazz experiments—fusion, folk, hip hop, disco—earned him as many detractors as fans. Backed by an orchestra and performing standards, he’s no less a provocateur READ MORE
	#3 A TALENT FOR SCANDAL The rising director Brendan Healy makes Toronto theatre exciting again with Jean Genet’s psychosexual thriller The Maids READ MORE
	#4 HER SERENE HIGHNESS Grace Kelly gets the royal treatment with a TIFF Lightbox exhibit of her dresses and artifacts and a program of her greatest movies READ MORE
	#5 DAINTY DANCING How the National Ballet’s Elena Lobsanova is preparing for her big debut in Romeo and Juliet READ MORE
	#6 MAGICAL THINKING Thirty-two of Marc Chagall’s spell­binding artworks are the main draw of a Russian avante-garde show at the AGO READ MORE
	#7 EMOTIONAL RESCUE Johanna Skibsrud’s first book catapulted her into the CanLit canon. Her second, a collection of short stories, is packed with gunshots, ill-timed vacations and terror at the circus READ MORE
	#8 AN EARFUL Jonathan Crow, the TSO’s new concertmaster, makes his debut with a multi-million-dollar violin READ MORE
	#9 BETTER THAN SEX Kim Cattrall, proving she’s much more than Carrie Bradshaw’s sidekick, dazzles as the brittle Amanda in Noël Coward’s Private Lives READ MORE
	#10 LAUGH ADDICTS Don McKellar and Bob Martin’s new TV series, Michael: Tuesdays and Thursdays, finds the funny in depression READ MORE

By Kamal Al-Solaylee | Illustration by Joel Kimmel

As the crowd settled in for an early June performance of Édouard Lock’s Untitled at the Bluma Appel Theatre, Matthew Jocelyn, the artistic and general director of Canadian Stage, stood under the spotlight, urging his audience to renew their subscriptions. Some serious name-dropping ensued. The company will be staging Red, about the life of the painter Mark Rothko, which won a Tony last year, as well as Clybourne Park, a Pulitzer Prize–winning play inspired by A Raisin in the Sun. And Atom Egoyan—who was in the audience that day—will be directing his wife, Arsinée Khanjian, in the war-themed British play Cruel and Tender.

Awards, celebrities, allusions to well-known works: there was an unmistakable whiff of desperation in Jocelyn’s populist appeal. Last year, he came to CanStage to make it a hub for, as he puts it, “the great theatre and choreographic artists who work in this country.” But his radical, rapid revamping of the ultra-safe company has alienated audiences. He opened his first season with Fernando Krapp Wrote Me This Letter, an obscure German play, and continued into movement-based and experimental works. By the end of the 2010–11 season, the company had experienced a six per cent drop in subscription rates, and the house capacity numbers were even bleaker. A few short-run plays came close to filling the Bluma for six to 12 performances, but some long-run shows ranged from 45 to 60 per cent capacity, and that factors in tickets sold through heavily discounted specials and other promotions. After two successful decades in Asia and Europe, Jocelyn’s return to his native Toronto has been met with more jeers than cheers.

The attempt to revive Canadian Stage is long overdue. Toronto’s big theatres have lagged in architectural and artistic excitement, left behind by film (Lightbox), opera and ballet (Four Seasons Centre for the Performing Arts) and art (renovation and rejuvenation of both the ROM and the AGO). Once upon a time, a regional Canadian playwright or director couldn’t be said to have “arrived” until he or she worked in Toronto, but Vancouver, Calgary and Edmonton have usurped our natural place as the nerve centre of theatrical innovation. As a company, CanStage has been in artistic decline for years. Martin Bragg, Jocelyn’s predecessor, ended his 12-year tenure in 2010, stepping down at the end of his contract. His penultimate, and representative, season featured such crowd-pleasers as Shirley Valentine—the kind of heartwarming one-woman show that Jocelyn wouldn’t cross the street, let alone the Atlantic, to program.

During Jocelyn’s decade as the head of the Atelier du Rhin in Alsace, he transformed that company into the only organization in France to produce opera, theatre and contemporary dance under one roof. He also brought in corporate sponsorships and oversaw a glitzy renovation. When he was hired at CanStage, the hope was that he would couple his international connections with a nationalist agenda to create a vibrant, culturally relevant performing arts centre producing original work.

Unfortunately, the execution of last season’s productions rarely matched the intellectual ambition it took to program them. Director Peter Hinton’s take on Michel Tremblay’s already-dated story of Québécois identity, Saint Carmen of the Main, looked great but was soulless and poorly acted. At the smaller Berkeley Street Theatre, The Middle Place, based on the lives of Toronto’s homeless youth, came off like a clichéd after-school special. Even the stronger plays, like David Greig’s The Cosmonaut’s Last Message, received plodding productions: I saw a Friday night performance at which a big chunk of the scant audience bolted for the exit doors during intermission. Jocelyn dreams of attracting new, younger audiences, the same crowd that frequents Queen Street art galleries or lines up for TIFF. Last year, he hired an audience development manager specifically to focus on C-Stage, a program designed to seduce the under-30 set with free memberships and $12.50 tickets. For the opening night of Fernando Krapp, he planted mock protesters outside the Bluma with placards reading “Live Theatre Is Krapp,” meant to appeal to a youthful taste for irony. So far, these tactics haven’t translated into ticket sales. Meanwhile, to CanStage’s conservative subscriber base, the changes intended as a breath of fresh air felt more like an unexpected winter blast.

The effects of such a grim reception are showing on Jocelyn’s face. In the promo shots released when his appointment was announced in February 2009, the then-51-year-old exuded an air of European sophistication mixed with the nerdiness of a glee club teacher. That’s been replaced by the housebroken demeanour of someone forced to accept the realities of selling theatre in Toronto in 2011. Part of the problem may be that Jocelyn made his name in Europe, where public funding allows for artistic risk taking without much worry about commercial appeal. He shares a philosophy with the mid-century French theatre director Jean Vilar, who believed in bringing high art to mainstream audiences. “Who doesn’t deserve to eat caviar? Who doesn’t deserve to drink champagne?” Jocelyn says.

Without a doubt, Jocelyn must improve the quality of his productions; his programming choices have been undeniably arrogant. But artistic transitions have bumpy starts. CanStage needed a rude awakening. Risk-averse programming has turned off curious audiences and divorced the city from exciting theatrical experiments. Knee-jerking back to a Martin Bragg–like season would be a mistake—the thought of returning to a slate of middle-brow comedies and dated musicals is much too sad for me to contemplate.

Among his more popular selections for the 2011–12 season, Jocelyn has managed to squeeze in Dark Matters, an exploration of physics and human emotion from the Frankfurt-based Canadian choreographer Crystal Pite, and Beckett: Feck It, a words-and-music tribute to the Irish master. We’ll see how they go over. Two years after his return to Toronto, Jocelyn has yet to buy a home; he says his ideal living space is a loft. This time next year, he might be making a down payment. Or he might be buying a one-way ticket out of here.

For the regular folk in Toronto, TIFF is primarily a time for star spotting, catching films that might not be seen otherwise and soaking up a kind of glitz and glamour that is otherwise rarely seen in Hogtown. But for the film industry, TIFF is big business—it’s where movies get big distribution deals and money (lots of it) exchanges hands. Over 30 titles were picked up from this year’s film festival, and more deals are surely on the way. We picked seven that we think are likely to be good investments, after the jump.

1. Shame
Fox Searchlight, an arm of 20^th Century Fox, decided that fortune favours the bold, making the graphic tale of a depressed sex addict the first film picked up at TIFF. It was a shrewd buy: Michael Fassbender’s performance has been getting great reviews just about everywhere.

2. Wuthering Heights
Oscilloscope Laboratories has acquired rights to bring the updated version of Emile Brontë’s novel to the silver screen in North America. Sure, there will be groans from English students everywhere, but this latest, raw adaptation has been well received, winning the cinematography award at the Venice Film Festival. The company envisions a 2012 theatrical release.

3. God Bless America
The black comedy sees a middle-aged man and a teenage girl become serial killers, purging the land of morons and vapid pop-culture icons. We’re told that creator Bobcat Goldthwait was extremely daring with the current cut, but that didn’t stop Magnolia Pictures from grabbing worldwide rights. A 2012 theatrical release is in the works through its video-on-demand program.

4. The Hunter
This man-versus-nature story follows a mercenary as he tries to hunt down the last Tasmanian tiger. He’s supposed to soften as a character along the way, but given that the film stars Willem Dafoe, we’re not buying it. While critics have been applauding his performance, the lush environment and thoughtful cinematography are getting most of the praise. Magnolia Pictures owns U.S. rights, and plans to release the film next year through its video-on-demand program. EOne Films is handling the Canadian release.

5. The Oranges
Like several other TIFF films, The Oranges centres on an unorthodox romance that destroys the lives of everyone within its range of influence—thank goodness this one’s a comedy, with a widely lauded cast. ATO Pictures has picked up North American rights.

6. Trishna
This tragic and complicated love story, starring Slumdog Millionaire’s Freida Pino, is an Indian retelling of the Victorian novel Tess of the D’Ubervilles. Unlike, say, Thriller, we’re told Trishna transitions east extremely well. Sundance Selects (a sister division to IFC Films) picked up North American rights, with Bankside Films handling international distribution.

7. The Deep Blue Sea
This English post-war flick focuses on an alienated and neurotic woman as she makes increasingly desperate gambles for love. Critics are calling it tense and immersive, but we’re distraught by the lack of Samuel L. Jackson and mutant sharks. Music Box beat out at least three other bidders for U.S. rights.

(Images: Christopher Drost)

Well, it’s a wrap. Some might suggest that there are no winners and losers at TIFF, and that the festival is a harmonious celebration of filmmaking and the artistic spirit. For our part, we say these people are wrong. Life is a competition, and we’ve got the goods on the stars, the parties, the neighbourhoods, the red carpet galas and the films that came out on top—and on the bottom—this year, after the jump.

1. Celebrity stars
WINNER: Ryan Gosling
Good looks, red carpet charm, quality performances in Drive and The Ides of March and more good looks have made the Gos the new man about town. We’d like to say the torch has been passed from George Clooney to Gosling, but we’re scared Clooney might beat us to death with it.

LOSER: Madonna
After spitting venom at some poor hydrangeas at the Venice Film Festival, Madge failed to redeem herself here, allegedly having eight TIFF volunteers turn and face a wall to avoid gazing upon her countenance. Plus, we hear her movie sucks.

2. Splashy A-list party
WINNER: David Cronenberg’s A Dangerous Method after-party
Let’s not kid ourselves—what makes or breaks a TIFF party are the stars, and the party for A Dangerous Method had them by the Cadillac-load: George Clooney, Kiera Knightley, Jon Hamm, Jonah Hill, Jimmy Kimmel, Ewan McGregor, and the list goes on.

LOSER: The CAA Burroughes party
What else makes or breaks a party? Being able to get inside. Sadly, the elevator in the Burroughes building moves slower than Francis Ford Coppola, and the six flights of stairs were packed solid for the Creative Artists Agency’s shindig—stars first, plebeians in the rear.

3. Red carpet gala
WINNER: The Ides of March
Really, Ryan Gosling is the only star we need—but at this red carpet gala presentation we certainly weren’t starved for choice: George Clooney, Marisa Tomei, Evan Rachel Wood and, of course, the ever-present Dave Matthews were there, among others.

LOSER: Twixt
The Twixt red carpet presentation had possibly the least glitz, glam and gushing of them all, with only Francis Ford Coppola (a legendary director but not much of a looker) and Val Kilmer (long past his Top Gun glory days) gracing the gala with their presence.

4. Neighbourhood
WINNER: Theatre District
The TIFF Bell Lightbox has officially become a black hole, crushing anything of relevance at TIFF into an extremely fashionable singularity. Oh, and the Ritz-Carlton didn’t hurt matters on that account either (apparently, stars like to stay there).

LOSER: Yorkville
Yorkville has long been the go-to destination for celebrity sightings, but this year saw it tumble into irrelevance (excluding a very dashing Jon Hamm going for a stroll). At least it’ll always have that big rock thing.

5. Film Title
WINNER: This is not a Film
The title succinctly evokes the story of a filmmaker banned from his craft, working in captivity on a project that may never be. No, it’s not a film—it’s a work of art. Honorable mentions: Machine Gun Preacher, Whore’s Glory, We Ate the Children Last and Sorry, Rabbi.

LOSER: Salmon Fishing in the Yemen
This title somehow makes the biggest buy of the festival ($5 million) sound like a dry VHS documentary forgotten in some dusty bin in the back of a dilapidated library in Timmins. But maybe that’s what they were going for. Dishonorable mentions: Slow Action, Azhagarsamy’s Horse, Doubles With Slight Pepper and A Film Portrait on Reconstructing 12 Possibilities that Preceded the Disappearance of Zoe Dean Drum.

Jon Hamm at the George Stroumboulopoulos Hazel Hotel Takevoer party (Image: JJ Thompson)

One of the many A-list celebrities to grace Toronto’s streets last week for TIFF 2011 was none other than Jon Hamm himself—or as he’s perhaps better known, Don Draper, the enigmatic ad executive he plays on the television show Mad Men. Hamm was a class act throughout TIFF: he took in Toronto sights, went to all the right parties and, of course, looked devastatingly handsome while doing it. Based on Hamm’s short but sweet stay in the Big Smoke, we’ve distilled four rules on how to be a gentlemen—Mad Men style—whilst in Toronto, after the jump.

Rule 1: Make the ladies swoon in everyday life
No doubt, Don Draper is a ladies man; and apparently, Hamm is no different. When he went for a stroll through Yorkville heads turned (gossip queen Lainey’s sure did, anyway).

Rule 2: Dress as a gentleman should (which involves a pocket square)
Classic cut suits, slicked back hair, fedoras—Don Draper is nothing if not stylish. His couture sensibilities seemed to have rubbed off on Hamm, who dressed to impress at all the TIFF events he attended. At George Stroumboulopoulos’ Hazelton Hotel Takeover party he sported a gingham shirt and a perfectly paired pocket square. He also offered Strombo a strong two-handed handshake. Take note, gents.

Rule 3: Hobnob with the rich and (equally) famous
While Mad Men deals with a variety of themes and issues, it certainly presents a rather glamorous image of the advertising world in the 1960s, one characterized by dashing, hard-drinking, chain-smoking executive-types like Draper. Hamm may not share Draper’s vices or character flaws, but he’s certainly got the glamour thing down pat. Hamm cavorted with other A-listers (there were a lot of them) at David Cronenberg’s A Dangerous Method after-party at Grey Goose SoHo House. Apparently, he chatted with Justin Long and Scott Porter while hanging with girlfriend Jennifer Westfeldt. Also in attendance? Bono, George Clooney, Keira Knightley, Ryan Gosling, Evan Rachel Wood, Ewan McGregor and Kirsten Dunst, just to name a few.

Rule 4: Sip your cocktail at a real life speakeasy
It’s almost too fitting that Hamm attended the private after-party for The Oranges with Westfeldt at Goodnight during TIFF. The back-alley, reservations only, speakeasy offers classic old-fashioned cocktails for sipping in its wood-paneled, windowless room. We imagine other attendees did a double take as Hamm slipped past them at the party. “Was that just Don Draper?”

Madonna walks the red carpet at TIFF 2011 (Image: Christopher Drost)

The rumour mill has been constantly churning regarding the Material Girl’s behavior at TIFF, ever since a rogue fan somehow broke into her press conference last week and asked for her John Hancock (not to mention that whole mess around Madge telling a group of TIFF volunteers to turn their backs to the wall as she passed by). We have the real story (hint: the autograph seeker wasn’t the orange-clad volunteer she pretended to be) after the jump.

Here’s the prevailing (albeit disputed) narrative: a young woman in an orange volunteer T-shirt approached Madonna at the end of her Q&A at the press conference for W.E. and asked for an autograph, claiming it was “for a volunteer.” For her part, Madge reluctantly complied. Now, we received an inside scoop that the rogue autograph-seeker wasn’t a volunteer or even a fawning Madonna fan—she hunts star signatures in hopes of turning them into a tidy little profit. Apparently, she got her hands on a volunteer T-shirt and then brazenly strolled into the press conference (which had heavy security). She waited for Madonna to wrap up, made her move and then made a break for it. As she exited, security grabbed her, demanding to see her volunteer pass and identification. She had neither and said so. But when security let her out of its grip for a moment, she made a dash for it, running six flights down a concrete stairwell and out of the TIFF Bell Lightbox.

Items signed by Madonna regularly fetch hundreds, even thousands, of dollars, and the value increases if there is a photograph of the autograph being signed. Considering this incident was all over the news—and in so ways contributed to Madonna’s TIFF PR nightmare—we’re betting it will fetch a pretty penny.

(Image: Christopher Drost)

And that’s a wrap.

The official closing ceremony for the 36^th annual Toronto International Film Festival took place at the Four Seasons Hotel yesterday. TIFF 2011 co-directors Cameron Bailey and Piers Handling hosted the affair, and the attendees sipped mimosas and munched on egg souffle, spinach-and-flower petal salad, roast potatoes and crème brûlée (note: festival food is yum). Where Do We Go Now?, a dramatic comedy set in war-torn Lebanon that follows the lives of several women trying to keep their husbands out of the conflict, received the Cadillac People’s Choice Award, which in past years has been a sign of Oscar-y things to come (but we’re not so sure about this one). The Cadillac People’s Choice Documentary Award went to Jon Shenk’s political documentary The Island President and Gareth Evans took home the Cadillac People’s Choice Midnight Madness Award for The Raid.

Full list of winners here.

• 6 p.m. People’s Choice free screening at Ryerson Theatre

•  9:15 a.m. The Story of Film: An Odyssey free screening at TIFF Bell Lightbox

• 6 p.m. Page Eight gala presentation at Roy Thomson Hall

• 11:59 p.m. Kill List midnight madness at Ryerson Theatre