FESTIVAL SPOTLIGHT – Karyn Kusama’s “Destroyer”

Representation in Hollywood is an ongoing discussion of great importance, with popular media functioning as  contemporary culture’s mythology.   Films serve as the window to our collective soul; individual time capsules containing our identities, our truths, our dreams.   The wider and more diverse range of voices given the spotlight, the more society as a whole humanizes and canonizes their experiences.

In this vein, the Toronto International Film Festival is striving to cast its net wider than previous years, in terms of both press and film-maker invitees.    Although its full lineup has not yet been revealed, TIFF 2018’s Gala and Special Presentations can already boast an encouraging statistic: 28% women directors (Mélanie Laurent, Claire Denis, Sara Colangelo, Nicole Holofcener, Elizabeth Chomko, Marielle Heller, Nadine Labaki, Eva Husson, Nandita Das, Mia Hansen-Love, Patricia Rozema, Stella Meghie, Amma Asante).    Comparatively, the Venice International Film Festival has managed only a single female director (Jennifer Kent) out of its 21 competition titles.

Toronto’s next wave of announcements (including the much-anticipated Platform section, which was home to 2017’s Best Picture winner – Moonlight) is set for August 7th.   Among those potential titles are films by Josie Rourke (Mary Queen of Scots) and Karyn Kusama (Destroyer).   More mystery surrounds Kusama’s film, of which there is currently not even an official still image nor release date.

What we do know is this: those who have read the script describe it as a gritty, existential police drama.  Nicole Kidman stars as Erin Bell, an undercover cop who survives unspeakable circumstances which irrevocably change her.  Bell’s journey is grueling, thankless, and transformative; all qualities that are typically inherent to male leads.   A promotional reel of Destroyer was screened at Cannes to select studios.  It resulted in an all-night bidding war from which Annapurna Pictures emerged victorious, acquiring the film’s distribution rights for a reported mid-seven figures.

The question that remains: is the finished product accessible to a wide audience (perhaps possessing a tone similar to other popular crime dramas such as Heat), or is it more “artsy” and esoteric, thus requiring film festival exposure in order to build critical buzz for awards season?   If Destroyer skips TIFF, Telluride, and NYFF, that would suggest Annapurna sees it as a more commercial play than a Oscar hopeful, in which case, it might find 2019 placement.   Or, perhaps the film is the rarest of breeds: a widely accessible fare that also carries awards potential (i.e. The Departed).   In such an event, Annapurna could opt to skip the festivals entirely and release the film at the very end of the year, which would assure both its eligibility for AMPAS consideration and position it for a Christmas marketing push in a wide release.

Realistically, that is an unlikely scenario.  Kusama’s name isn’t a brand in and of itself (like Scorsese or Mann), and there is – unfortunately – still a limited marketing opportunity for a dark, female-lead character study.   Rumors originating from a source involved in the film have indicated a September/October debut, which is highly suggestive of a film festival appearance(s).   As of now, only vague informational morsels exist, with the single exception of a dormant twitter account.   Post-production began in late February; there’s little reason to believe that Kusama and her editor (Plummy Tucker) are still tinkering.   For all intents and purposes, Destroyer should be ready.  If tomorrow passes us by without an announcement for Toronto’s Platform section, the already numerous questions surrounding this film will only multiply.

Ideally, its hefty bidding war price tag is suggestive of – at the very least – a Best Actress vehicle for Kidman.  Less likely, though satisfying to consider, is nomination potential for Kusama herself in Best Director, or perhaps a play for Best Original Screenplay, Best Picture, or Best Supporting Actor (Sebastian Stan reportedly has the second-largest role behind Kidman’s dominating lead; interestingly, Stan has worked with multiple women directors in recent years, including Stacie Passon and Michelle Schumacher, and is fresh off a well-received performance in I, Tonya).

Destroyer has a great deal of potential, yet little pundit discussion currently surrounds it.   How exciting that a story about a downtrodden female lead seeking redemption, as told by a director who is an Asian woman, could garner both awards attention and box office success.   I will be watching its trajectory with intense interest.