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12:30   2:30   4:40   7:00   9:10

Wednesday, February 27 – Tuesday, March 12      

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Reimagine Robert Redford’s adventure in ALL IS LOST with a young woman sailor, a M.D. who intends to fulfill her dream by setting sail alone to a remote island in the Atlantic. She – and her well-equipped, state-of-the-art sailboat – seem ready for anything. But following a violent storm, she finds herself approaching an endangered vessel, overloaded with refugees. Maritime law (report the emergency; then split) conflicts with her Hippocratic oath and her every instinct to help save a boatload of desperate people. “Filmmaking as crisp and slicing as a sea breeze…(an adventure film) with a spinning moral compass and a topical dimension that proves even more gripping than its brilliantly achieved visceral action.” – Jessica Kiang, Variety



“Watching this one-woman-show of intense physical prowess is so absorbing that it’s a double shock when she happens upon an overloaded refugee boat and the film’s sails are suddenly fat with intractable dilemma. This is ALL IS LOST with a spinning moral compass and a topical dimension that proves even more gripping than its brilliantly achieved visceral action... In only his second feature, Fischer, abetted by a rivetingly capable performance from [Susanne] Wolff, evokes these classical allusions in a scintillatingly modern, provocative way, pulling his clever narrative taut through the cleats, and ratcheting the human stakes high as the implacable blue sky.”
– Jessica Kiang, Variety

“A stark, impressively pared-back parable that leaves most of the big questions off-screen as it focuses on one woman’s impossible position between following the orders of the frustratingly invisible coastguard — who tell her to stay completely out of the matter beyond reporting it — and her sense of empathy and duty toward up to 100 human beings who might not survive if no one intervenes in time… Carrying practically the entire film, Wolff is never less than remarkable in a demanding role that’s 80 percent silence and 20 percent English-language dialogue.”
– Boyd van Hoeij, The Hollywood Reporter

“One of the best films I’ve seen at Toronto this year, impresses with its clean, purposeful direction even in its elliptical opening scenes, before the plot narrows to a laser focus… Fischer’s tools are the simplest and most effective: the judicious use of peaceful long shots to regulate tone; sharp cuts between actions or scenes that shift mood while preserving the world’s integrity; compositions that bring out the geometry and vectors of the action. He uses the configuration of the boats to manage our physical and emotional distance from the suffering, and the contrast between the cool, controlled visuals and the horror of the subject matter is riveting.”
– Dan Sallitt, MUBI / Notebook