Displaying great mastery of craft, this incredibly ambitious film excels in its direction, performances, sound, and picture, with every frame exhibiting love and intention. The jury is pleased to present the Short Cuts Award for Best Canadian Short Film to Motherland directed by Jasmin Mozaffari. The film left us with one word collectively: wow.
Read MoreWorld Premieres and female-led films dominate this year’s slate of exciting selections, including works by Mackenzie Davis, Malia Ann, Yann Demange, and Jasmin Mozaffari, with performances by Riz Ahmed, Kaniehtiio Horn, and more
Read MoreToronto-based Mozaffari, who made a splash with her debut feature Firecrackers at the 2018 Toronto International Film Festival, will be developing The Path Travels Me through the initiative. Mozaffari is the writer-director on the English-language film, which is described as "a portrait of a family of Iranian immigrants living, working and surviving in post-9/11 North America."
Read MoreThe clip was directed by Jasmin Mozzafari, who had this to say about the "Risk It" video:
I wanted to construct a narrative piece that takes place over the course of one night, focusing on a protagonist caught at the inevitable crossroads that exist when love falls apart. Ultimately, I saw 'Risk It' as a song about the fear of being vulnerable. At the beginning, the protagonist tries to do anything to evade this feeling; by the end, they are forced to face it.
The membership has chosen the three finalists for the Rogers Best Canadian Film Award: The Body Remembers When the World Broken Open co-directed by Kathleen Hepburn and Elle-Máijá Tailfeathers, Antigone by Sophie Deraspe and Firecrackers by Jasmin Mozaffari.
The winner will be named at the 23rd TFCA awards gala, to be held at The Omni King Edward Hotel in Toronto on January 9, 2020. The honour carries a record-setting $100,000 cash prize, the richest film award in the country. The runners-up will each receive $5,000.
Read MoreWhat Mozaffari does better than almost anyone I can think of is dramatize the illusory nature of control. Lou and Chantal have some but not a lot, and sometimes the ways in which they try to get it back (by, say, smashing stuff up or fighting) only tightens the vise. Fighting back feels good and sometimes works but sometimes doesn’t, because the real power isn’t with them. The real power is with the men who have guns they don’t even need to fire to do permanent damage.
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