Toronto Arthouse Film Festival Crowns ‘Marry, Fuck, Kill’ Best Narrative Feature

In what might be this year’s most talked-about festival surprise, Ian Berry’s gut-punch of a debut “Marry, Fuck, Kill” walked away with the Best Narrative Feature Film award at the 2024 Toronto Arthouse Film Festival. The film’s lead, Brian Adrian Koch, also snagged Best Acting honors for his raw portrayal of Ivan – a performance that left many audience members squirming in their seats.

Berry’s 81-minute feature isn’t exactly comfortable viewing. It dives headfirst into the mess of modern masculinity, following its protagonist through a downward spiral that feels almost too real at times. The story tracks Ivan’s increasingly erratic behavior, from his obsessive routines to an awkward workplace crush that threatens to derail what’s left of his sanity.

While some festival entries play it safe, Berry’s film practically dares you to look away. Several critics have drawn parallels to early Gus van Sant, though Berry’s pitch-black sense of humor sets him apart. There’s something distinctly fresh about his approach that had the festival jury leaning forward in their seats.

The production team didn’t exactly make things easy on themselves. Producers Jason Rouse and Brian Mazzola assembled a fearless ensemble cast including Isabella Buckner, La’ Tevin Alexander, Katie Watkins, and Robynn Hayek. Daniel Klockenkemper’s intimate cinematography gets uncomfortably close to Ivan’s psychological unraveling – you can practically feel the character’s anxiety seeping through the screen.

Festival Manager Maarten Cornelis struggled to find the right words for the audience response: “People were laughing out loud, shocked, and moved – sometimes all at once.”

Released on October 17, 2024, “Marry, Fuck, Kill” seems poised for a festival run that could turn heads. Toronto Arthouse has a knack for spotting emerging voices, and if the buzz is anything to go by, they’ve struck gold again.

Behind the scenes, executive producers Diana Milock and Kris De Meester took a considerable risk backing such uncompromising material. It’s the kind of bold choice that doesn’t always pay off, but in this case, their faith in Berry’s vision appears well-placed. The result is a film that gets under your skin and stays there, marking Berry as a director who isn’t afraid to make his audience uncomfortable – in all the right ways.