Yesterday the official trailer for The Fabelmans, shortly after the corresponding poster (of a somewhat questionable design, everything is said) also arrived on the Internet. The reason for so much promotion came from the fact that said film was going to have its first showing at the Toronto Festival, which is being held these days, being, moreover, the only time that steven spielberg, its director, has come to this contest to present his work. A gesture that many interpret as an undisguised interest in The Fabelmans break into the awards circuit right now that would take him to the Oscars, and to a third statuette for Spielberg as Best Director.
The truth is that there are great chances of this happening, since beyond the homogeneous quality of Spielberg’s films, in this case The Fabelmans fits into that peculiar fashion of directors doing autofiction: going back to their memories to explore their family circumstances, and how cinema entered their lives. Kenneth Branagh, Alfonso Cuaron, Pedro Almodovar either Paolo Sorrentino they have done similar exercises (and the list only grows), and now it is the turn of the popular filmmaker. In the distribution of The Fabelmans we found Paul DanoMichelle Williams either seth rodenand first impressions at its Toronto screening couldn’t be better.
David Ehrlich (IndieWire): “It may be the monumental autobiography of modern cinema’s most famous director, but Spielberg has never seemed so human and life-sized (…) It’s not as good as the director’s best work, but it does dramatize the process of making amends with dreams in such a beautiful way that it almost doesn’t matter.
Leah Greenblatt (Entertainment Weekly): “It’s all beautifully and meticulously rendered, and a little sweetened, too: it’s an endlessly tender, sometimes nebulous ode to the people who raised him and the passion for filmmaking that shaped him.”
Tomris Laffly (The Playlist): “It is Spielberg’s most personal work, magnificently reliving memories of his childhood and youth with a sense of nostalgia and a touch of Hollywood fable.”
Ross Bonaime (Collider): “Spielberg has given us a lot of magic throughout our lives, and The Fabelmans is another of his masterpieces. Only this time he shows us how that magic came from his own life.”
Chris Evangelist (SlashFilm): “It’s not exactly the way Spielberg’s life unfolded: it’s the Hollywood version, of course.”
Christopher Schobert (The Film Stage): “Watching Spielberg reflect on his past is downright extraordinary (…) Spielberg avoids the excess of emotion that often plagues the final stages of his films.”
Benjamin Lee (Guardian): “Spielberg gives us too much of a prefabricated version of himself and his family, and lacks some nerve in the darkest moments”
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“Spielberg has never seemed so human”: First (and enthusiastic) reviews of ‘The Fabelmans’