Eddie's last day in Toronto - Monday 14 September 2015

We spent the morning talking to #EddieRedmayne about #TheDanishGirl. We can't wait to see this one! #TIFF15 pic.twitter.com/4ZUBVtAKwi

— Ovation (@ovationtv) September 14, 2015

(x) (x) via

ameliasaid: Had a sweet chat with Eddie Redmayne & his wife Hannah, in TO showing The Danish Girl,

a story about the first gender reassignment surgery. Go see it when it comes out! (at Roots - Bloor St.)

redbatchedcumbermayned: Welcome to Toronto and #TIFF15 Eddie Redmayne! Thanks for dropping by! (x)

Eddie checking out Roots again, this time a lot less hangover than last year. ;)

redbatchedcumbermayned:: Eddie Redmayne at Toronto International airport yesterday (x)

Interesting article:

Vulture: Enough With the Queer and Trans Films That Are Actually About Straight People

The Danish Girl, Freeheld and About Ray make some surprising character choices...

That film has a knockout central character to mine in Lili Elbe, so why does The Danish Girl feel like it’s really Gerda’s story? Some credit must be given to Vikander’s unexpectedly forceful performance: The Ex Machina star is terrific in this movie, dominating every single scene she shares with the Oscar-winning Redmayne. “Alicia Vikander May Be the Real Winner From The Danish Girl,” one Variety headline posited after the film’s debut, and it’s hard to argue, given the Vikander-mania that seems to have swept Toronto. This is perhaps the most significant performance in the Swedish star’s terrific, prolific year, and she deserves all the laurels she’s about to get for it. But the film’s character imbalance can’t be laid at Vikander’s feet alone, because The Danish Girl is scripted from the start to both begin and end with Gerda; in fact, I’d wager that Vikander is granted more screen time than even the first-billed Redmayne. And while both Gerda and Lili have their own solo scenes and story lines, nearly all the screen time that they share together clearly favors Gerda’s perspective: Tellingly, there are several scenes that follow Gerda home as she is expecting to see Einar and finds Lili there instead, treating the film’s ostensible protagonist as a surprise to us and clearly grounding Gerda as the audience surrogate. (Another character even refers to Gerda, not Lili, as the film’s titular “Danish girl.”) In real life, Gerda eventually split from Lili and moved with her new husband to Morocco, where she was living when she learned of Lili’s death; the movie, however, keeps Gerda near Lili’s side until the very end. I’d like to think that was a historical revision meant to give The Danish Girl’s central coupling an emotional payoff in the third act; my cynical side, though, wonders if the filmmakers simply couldn’t bear losing the straight cisgender character...