The Penguin Lessons Is the Perfect Film Festival Chill-Down Movie

As a film enthusiast with years of festival-going under my belt, I must say that this year’s Toronto International Film Festival (TIFF) has been a rollercoaster ride, to put it mildly. After a two-year hiatus due to COVID, I was eager to dive back into the world of cinema and uncover hidden gems. However, my first foray back into TIFF’s hallowed halls left me with a case of (UB)FFCDM blunder that will surely live in infamy – “Allelujah,” a film about an elderly British hospital with a darker twist than I ever could have imagined. The film’s director, Richard Eyre, is known for his touching dramas like “Iris” and “Notes on a Scandal,” but this time around, he seemed to have taken a detour into the realm of the macabre.

In the early hours of yesterday, I flashed my Toronto International Film Festival accreditation to a cluster of volunteers. They enquired about the film I was attending. “The Penguin Lessons,” I answered distinctly. The individual I conversed with, along with two others nearby who had clipboards filled with today’s movie schedules, all chimed in almost simultaneously: “What’s that?

Given the chaotic atmosphere at TIFF that morning with multiple screenings for Babygirl, The Piano Lesson, Emilia Perez, Saturday Night, Piece by Piece, The Wild Robot, The Life of Chuck, and Nutcrackers all happening simultaneously, it’s understandable if one decided to watch The Penguin Lessons instead. This wasn’t a hasty or imprudent decision; rather, I would contend that making such a choice is crucial for preserving mental tranquility amid the tireless hubbub of a festival like TIFF.

Each year for approximately nine days, I have the remarkable opportunity as a film critic to travel north and immerse myself in the films that are expected to be the standouts of the year. During this time, my role is incredibly privileged. However, around mid-festival, I start feeling drained, like my body has turned into mush and my brain is overwhelmed by all the intense, artistic, daring, often exhilarating movies I’ve seen. It’s an amazing job, but after a week filled with two-hour plus films, subtitles, modern architecture, themes of queer longing, drug addiction, various movies featuring people transforming into animals, screenings, clubs, and no sleep… forgive me, what were we discussing again?

Every so often, the human mind requires a break, and that’s why I strongly advocate for selecting a relaxing, easy-going film during film festivals, like the Chill-Down Movie. This term essentially means scheduling at least one movie per festival that promises to be an effortless, enjoyable viewing experience. To clarify, this doesn’t mean choosing a movie you can fall asleep through. I didn’t come here to snooze; I came to watch movies. However, there are times when I prefer these films to have characters from England, Ireland, and, on rare occasions, America, involved in dramas with comedy elements that depict good people facing challenging situations but ultimately finding their way through in the end.

Over the past ten years at TIFF, this approach has proven beneficial for me. Frequently, I’ve unearthed hidden cinematic treasures or reconnected with filmmakers whose work had slipped my memory. I stumbled upon the (Typically British) Film Festival Chill-Down Movie strategy naturally, although it wasn’t without its initial stumbles. My first TIFF in 2014 saw me overlooking some excellent chill-down movies – such as Maggie Smith in “My Old Lady” and Patricia Clarkson in “Learning to Drive” – and instead making a string of poor choices based on the notion that I should be watching heavy, serious films. Consequently, I found myself watching Octavia Spencer and Kevin Costner battle for custody in “Black or White,” as well as enduring all 130 minutes of Jessica Chastain and Colin Farrell delivering subpar performances in Liv Ullman’s “Miss Julie.

2015 saw me taking the time to enjoy “The Meddler,” a film by Lorene Scafaria that, surprisingly, didn’t receive much recognition. It’s a modern adaptation of the (UB)FFCDM genre with Susan Sarandon portraying a widow who follows her screenwriter daughter (Rose Byrne) to Los Angeles. Afterward, she develops a habit of visiting The Grove daily, which I found quite relatable. In simpler words, I improved my skills at appreciating this undervalued movie.

In 2016, I found Lone Scherfig’s film “Their Finest” to be spot-on. This movie is an ideal pick for any fan of the genre (Understated British Film with Female Focus, Character Development, and Historical Drama – UBFFCDM). It’s easy to catch without battling crowds, and you’ll feel a sense of satisfaction if it turns out to be exceptional. The film stars Gemma Arterton, Sam Claflin, and Bill Nighy as a group of British filmmakers creating uplifting films during World War II. While there is a touch of sentimentality in these movies, the best ones steer clear of excessive saccharine elements. Scherfig masterfully balances the challenges of war without either overlooking or dwelling on them in “Their Finest”, presenting a portrait of decent individuals striving to make a difference in a complex world.

In 2017, I selected Saoirse Ronan and Billy Howle for the film “On Chesil Beach“, rather than Helen Mirren and Donald Sutherland who were portraying characters traveling across America in an RV in “The Leisure Seeker“. To be fair, I hadn’t read the book at that time, but looking back, it seems that the American duo might have been a more compelling choice.

2018 seemed to lack much British relaxation media, so I chose Julianne Moore in the film “Gloria Bell“. While it wasn’t a typical relaxant movie, more like a source of positive feelings, it certainly did its job. Despite Julianne Moore being such a renowned actress that the film doesn’t feel like discovering a hidden gem, she and director Sebastián Lelio work diligently to make Gloria’s small triumphs seem significant.

2019’s film “Military Wives” was a modern story about a military wives choir, with the strict Kristin Scott Thomas and friendly Sharon Horgan playing leading roles (similar to the dynamic in “Sister Act”). The movie is endearing, but it seems that period pieces often have more impact. Nevertheless, Sharon Horgan and KST should collaborate on films like this at least once a year; they are exceptionally well-suited for such projects.

After a two-year COVID break, I returned to TIFF and faced my biggest (UB)FFCDM blunder to date: Allelujah, a small British movie about a geriatric hospital from director Richard Eyre (Iris; Notes on a Scandal). It seemed like a nice movie about old people forming bonds at the twilight of their lives, but instead it was actually about — and I am spoiling this, so you don’t get similarly fooled — Jennifer Saunders secretly euthanizing all the patients. Bad vibes. Awful vibes.

“The Penguin Lessons” was a significant return for me. It embodies the perfect blend of elements found in (UB)FFCDM stories. In this tale, Timothy Spall portrays Tom Michell, an English teacher who finds himself working at a boarding school in Buenos Aires during 1976. To escape the complications brought on by the Argentine military coup, he decides to take a vacation in Uruguay. During his stay, he encounters a penguin covered in oil on the beach. After overcoming a few challenges, he successfully brings the penguin back to Buenos Aires.

Peter Cattaneo, the director of the movie, is exceptionally skilled at crafting light-hearted comedies. Notably, he directed “Military Wives,” but prior to that, in 1997, he created what many consider the ultimate relaxation film, “The Full Monty.” Remarkably, this film didn’t make a significant appearance in any major film festival, yet it captivated Americans so profoundly that it received an unexpected nomination for Best Picture at the Oscars. In this movie, Cattaneo weaves his heartwarming tale about a disgruntled teacher rediscovering joy with the assistance of an endearing pet animal amidst the tumultuous backdrop of a South American coup – involving the abduction and indefinite detention of citizens suspected of being on the left side of politics. However, he manages to do so without the narrative ever seeming exploitative or discordant.

This movie is quite familiar in its plot, except for an unusual scene where Steve Coogan feeds sardines to a penguin. Jonathan Pryce takes on the role of a strict headmaster who tries to keep politics away from school. The students in Coogan’s class pick on the one kid whose parents are said to be socialists, but Coogan uses English verb tenses to teach them about tolerance as a lesson. Björn Gustafsson, known for being kicked around by Melissa McCarthy in “Spy,” portrays Coogan’s affectionate yet particular friend who is also a teacher. Vivian El Jaber plays the practical school cook. At some point, each character has a moment talking to the penguin.

It’s cute! It’s funny! One scene takes place at a Uruguayan disco. The plot is momentarily quite similar to Three Men and a Baby, except the baby is a penguin and the subplot about heroin is Argentine fascism. The fascists arrest a few people to land the movie some stakes, and Coogan’s character learns to stand up for what’s right instead of apathetically drifting through his life. The whole thing ends with an epilogue about the real-life Tom Michell and home-video footage of the real Juan Salvador (they named the penguin Juan Salvador).

This year’s TIFF lineup did not include the film “The Penguin Lessons” as a must-watch. Although it possesses the ability to stimulate thought through its effective portrayal of light drama, it is unlikely that you will hear about it during the remainder of awards season. However, I recommend keeping an eye out for it on a streaming service within a year or so. When you see it, you might think, “That’s an amusing title,” and decide to give it a chance. Both you and your weary brain will be content if you do.

2024-09-12 20:55

The Penguin Lessons Is the Perfect Film Festival Chill-Down Movie

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