The Circuit

Toronto's opening night proved a study in contrasts, none greater than the one between "Fugitive Pieces" and "Mother of Tears."

Read a certain way, both could be titles of horror movies, but in fact "Fugitive" (cast and crew pictured above) is Jeremy Podeswa's Holocaust-themed drama and "Mother" is the latest horror fantasy from Dario Argento.

As an exercise in cognitive dissonance, I shuttled between the "Fugitive" gala and the "Mother" party preceding its midnight screening.

The Roy Thomson Hall gala opening went by the numbers with a long, drawn-out intro by producer Robert Lantos and Podeswa. They introduced everyone but the key grip. Festival brass talked about the festival. Then they congratulated the filmmakers. Then the filmmakers congratulated them. Hugs and kisses were exchanged. And on it went, until an 8 p.m. start had become almost 9. And the film, an earnestly plodding affair, didn't exactly touch off Godard-ian riots in the seats. The after-party at the Gardiner Museum, a smartly designed home for modern art, radiated class, with a Greek buffet to match the film's Greek elements, free-flowing wine and genial conversation amid the tastefully designed wood interiors.

Cut to the "Mother of Tears" bash at the Toula Ristorante on the 38th-floor, circular penthouse of the Westin Harbour Castle Hotel, essentially Toronto's equivalent to L.A.'s Bonaventure (the downtown hotel known for "L.A. Law" and the rotating rooftop bar). Multicolored disco lights flashed and a throbbing beat made conversation a challenge. Views of Lake Superior and the city were spectacular. Lining the cash bar about six deep was an assortment of Argento cultists, a blend of hipsters, geeks and Euros. There were a lot of thick-framed glasses, facial hair and tattoos. (Overheard: "How did you guys get the blood spatters to look so real?") Kirk D'Amico of Myriad Pictures, which is selling the pic (who sported none of the aforementioned affectations, it should be noted), called it "the most accessible film Dario has ever made." Three offers came in when the pic was first presented in Cannes, he added, but Myriad opted to wait until Toronto before making a deal.

Argento and his daughter, Asia (the film's star) made the rounds and photographers relished the chance to shoot someone on opening night who wasn't going to bend their ear about the Bell Lightbox (don't ask) or the transcendent joys of Canadian cinema.

On the elevator down from the 38th floor, fellow horrormeister George Romero, looking un peu fatigue in his trademark ponytail. Speaking for many already-harried festgoers, he said he was not intending to make it to the midnight screening. "I'd really like to see it, but I'm whipped." - Dade Hayes