Cameron Bailey, TIFF's artistic director, is also quoted at Broadway World: "Platform's vision is championing aesthetic magnificence and De Palma, Zhang, and Haroun, have all either created or been a part of films that have inspired, revolutionized, and transformed the filmmaking industry. We are thrilled the jury members will be able to share their wealth of knowledge with this year's Platform filmmakers who are creating groundbreaking narrative forms. We can't wait for the jury to join us in Toronto and be a part of Platform's history."

Below is the list of 12 Platform films the jury will be viewing:

Daguerrotype (Le Secret de la chambre noire)
Kiyoshi Kurosawa, France/Japan/Belgium (world premiere)

Goldstone
Ivan Sen, Australia (international premiere)

Heal the Living (Réparer les vivants)
Katell Quillévéré, France/Belgium (North American premiere)

Hema Hema: Sing Me a Song While I Wait (he-mà he-mà)
Khyentse Norbu, Bhutan/Hong Kong (North American premiere)

Home
Fien Troch, Belgium (North American premiere)

Jackie
Pablo Larraín, United Kingdom (North American premiere)

Lady Macbeth
William Oldroyd, United Kingdom (world premiere)

Layla M.
Mijke de Jong, Netherlands/Belgium/Germany/Jordan (world premiere)

Maliglutit (Searchers)
Zacharias Kunuk, Canada (world premiere)

Moonlight
Barry Jenkins, USA (international premiere)

Nocturama
Bertrand Bonello, France/Germany/Belgium (international premiere)

Those Who Make Revolution Halfway Only Dig Their Own Graves
(Ceux qui font les révolutions à moitié n’ont fait que se creuser un tombeau)
Mathieu Denis and Simon Lavoie, Canada (world premiere)

Ed Gonzalez – Slant Magazine (US)

1. Mulholland Drive (David Lynch, 2001)
2. In the Mood for Love (Wong Kar-wai, 2000)
3. The New World (Terrence Malick, 2005)
4. Certified Copy (Abbas Kiarostami, 2010)
5. Femme Fatale (Brian De Palma, 2002)
6. Margaret (Kenneth Lonergan, 2011)
7. Under the Skin (Jonathan Glazer, 2013)
8. This Is Not a Film (Mojtaba Mirtahmasb and Jafar Panahi, 2011)
9. Two Lovers (James Gray, 2008)
10. Heart of a Dog (Laurie Anderson, 2015)

Michael Koresky – The Film Society of Lincoln Center (US)

1. Mulholland Drive (David Lynch, 2001)
2. AI: Artificial Intelligence (Steven Spielberg, 2001)
3. The Tree of Life (Terrence Malick, 2011)
4. Syndromes and a Century (Apichatpong Weerasethakul, 2006)
5. What Time Is It There? (Tsai Ming-liang, 2001)
6. The Intruder (Claire Denis, 2004)
7. The Son (Jean-Pierre and Luc Dardenne, 2002)
8. Before Sunset (Richard Linklater, 2004)
9. The Headless Woman (Lucrecia Martel, 2008)
10. Femme Fatale (Brian De Palma, 2002)

Adrian Martin – Lola Magazine (Australia)

1. Holy Motors (Leos Carax, 2012)
2. Lifeline (Víctor Erice, 2002)
3. Certified Copy (Abbas Kiarostami, 2010)
4. Kung Fu Hustle (Stephen Chow, 2004)
5. Instructions for a Light and Sound Machine (Peter Tscherkassky, 2005)
6. Un lac (Philippe Grandrieux, 2008)
7. Detention (Joseph Kahn, 2011)
8. A Vingança de Uma Mulher (Rita Azevedo Gomes, 2012)
9. Mia Madre (Nanni Moretti, 2015)
10. Femme Fatale (Brian De Palma, 2002)

Charles Taylor – The Yale Review (US)

1. Blue Is the Warmest Color (Abdellatif Kechiche, 2013)
2. Only Lovers Left Alive (Jim Jarmusch, 2013)
3. Mulholland Drive (David Lynch, 2001)
4. Somewhere (Sofia Coppola, 2010)
5. 25th Hour (Spike Lee, 2002)
6. Inglourious Basterds (Quentin Tarantino, 2009)
7. The Artist (Michel Hazanavicius, 2011)
8. Phoenix (Christian Petzold, 2014)
9. Femme Fatale (Brian De Palma, 2002)
10. Fantastic Mr Fox (Wes Anderson, 2009)

Stephanie Zacharek – Time Magazine (US)

1. Mulholland Drive (David Lynch, 2001)
2. Kings and Queen (Arnaud Desplechin, 2004)
3. Yi Yi: A One and a Two (Edward Yang, 2000)
4. Oldboy (Park Chan-wook, 2003)
5. Antichrist (Lars von Trier, 2009)
6. Children of Men (Alfonso Cuarón, 2006)
7. Lost in Translation (Sofia Coppola, 2003)
8. Femme Fatale (Brian De Palma, 2002)
9. Casino Royale (Martin Campbell, 2006)
10. Blue Is the Warmest Color (Abdellatif Kechiche, 2013)

Very few directors have been as polarizing as Brian De Palma is, you either end up hating him totally, or adoring him. It does not help that his output has been truly inconsistent, great movies, followed by equally dud movies. Maybe this is the reason, why among the movie brats of the 70s he is not as highly regarded as a Scorsese or Copolla, nor has been as popular as a Spielberg. But personally, he remains among my favorite directors. He is one of the best when it comes to shooting action sequences, be it the Odessa steps one in The Untouchables, the pool room shootout in Carlito’s Way or the ending of Scarface.

One thing for sure, subtlety is never the strong point of Brian De Palma, his movies are right in your face, often over the top, absolutely gory. But they crackle with a sort of raw energy and intensity, that keeps you hooked. And this is one director, who has made great movies across all genres, horror( Carrie), gangster( Untouchables, Carlito’s Way, Scarface), war ( Casualties of War), thriller( Blow Out). So after a long time, doing a blogathon in tribute to Brian De Palma. It would start from September 11( his birthday) to September 21st. You could contribute to the blogathon, with posts on his movies, or his directorial style, anything related to him.

(Thanks to Bill!)

Edgar Wright's Verdict: "Brian De Palma’s only rock-and-roll horror opera! Does that not grab you? For my money it’s better than The Rocky Horror Picture Show, with a satirical script, eye-popping visuals, and iconic cult performances by Paul Williams, Gerritt Graham, Jessica Harper and William Finley. Obsessed over by Guillermo Del Toro, Daft Punk and myself, this will become your new favourite cult movie."

The series page states, "Mr Wright will try and introduce them all in person, but as he is a very busy man look out for confirmation via social media as the dates approach!" The other films chosen by Wright are: Michael Cimino's Thunderbolt And Lightfoot, John Landis' The Blues Brothers, Joel and Ethan Coen's Raising Arizona, Walter Hill's The Driver, and Russ Meyer's Beyond The Valley Of The Dolls.

Donaggio's theme here enters into its sparse piano portion (the part that Tarantino used for a tender texting moment in Death Proof), as the episode's opening credits also begin. An older woman is walking by, and Joanna smiles at her, but the woman turns out to be one of the many angry members of society walking around the city in the wake the E Corp hack. Targeting Joanna (and while we as viewer are still focused on the fact that she is wearing the expensive earring gift), the woman suddenly throws a bucket of what appears to be red paint onto Joanna, while shouting, "Capitalist pig!" The use of the word pig, a bucket, and the color red (whether actual pig's blood or red paint) mark the moment as an overt homage to De Palma's Carrie, as does the way Joanna then begins to scream out at the world while splattered in red, yet we can't hear her screams, only the quiet piano of Donaggio's theme from Blow Out, as the title "Mr. Robot" starkly appears overlayed upon Joanna's rage.

As Donaggio's theme trails off to its poignant final notes, the scene shifts once again into present day, as Joanna is now gazing upon a new gift set on top of her kitchen counter: a framed ultrasound sonogram of the baby she and Tyrell created. Joanna has been receiving gifts that seemingly come from Tyrell, who may be dead, and as the camera looks up from the countertop to Joanna sipping on a glass of wine as she looks down at the gift, we hear Elliot's voice ("I see you"), and for a moment, juxtaposed against Joanna's face, we sense that Elliot has been sending the gifts, and perhaps watching Joanna, until we realize Elliot is addressing us, his "friend," the viewer. Or is he...?

In any case, it is a brilliantly-conceived opening sequence by Sam Esmail. Looking forward to seeing how it all fits in once we know the truth about everything that is actually going on.

Previously:
Scarface Poster A Key Part of Trainwreck Joke