Alexander Payne’s “The Holdovers” screened on Sunday at the Scotiabank Theatre in Toronto, with, as The Wrap reports, one attendee left feeling that he had seen the best movie playing at the festival, even though it wasn’t an official selection of TIFF.
Not many people knew the screening was happening. Just 24 hours after that screening, Focus Features bought “The Holdovers” for a whopping $30 million. It was by far the biggest deal at TIFF, possibly ever for the festival.
According to The Wrap, there was interest from “multiple parties” before Focus won out in the auction.
The good news is that early reactions to “The Holdovers” are very strong. The film is not 100% finished. The version that screened for buyers in Toronto still needs to smooth out the editing, music and visual effects work, but what we have here is the first majorly buzzed 2023 film.
Last month, I reported some surprising, but VERY welcome news. Alexander Payne’s “The Holdovers” was test-screened to enthusiastic reactions in Los Angeles. As someone had told me, it was a total return to form for Payne in what was being described as a smaller-scaled film.
A Cannes 2023 world premiere has got to be the focus.
His reasoning is simple: Cregger sees himself first and foremost as a writer, and he has little interest in shaping stories around the predetermined “data points” that come with established IP.