This was the first year—more than any other year I've attended the Toronto International—that its signature as a programmers festival seemed especially pronounced, which drew my attention to how the festival lineup has been selected, shaped and promoted largely through curatorial taste and whether, indeed, it could be accomplished any other way? As Mark Peranson has asserted in his introduction to the current issue of Cinema Scope, the preoccupation by "a certain bored segment of the film world today" with "the relationship between programming and film criticism" enforces his general instinct
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