Nate Parker’s “The Birth of a Nation” opened last night with two screenings at the Toronto Film Festival. It’s a powerful, unforgettable film that can’t be ignored box office wise or for awards attention. It’s all the more interesting because this is Parker’s first film as a director, and he’s pulled it off skillfully.

Regardless of the controversy surrounding it, “Birth” is a huge accomplishment. Parker gives a mesmerizing performance, but there’s also exceptional work from Armie Hammer, Penelope Ann Miller, Aja Naomi King, Colman Domingo, Gabrielle Union, et al. So yeah, in any other situation, “Birth of a Nation” would be a slam dunk.

But then what to do? As with Mel Gibson (who is bizarrely included on a list of thank yous in the end credits), how do we separate the art from the artist? Everyone knows by now the tragic situation: Parker was acquitted in 20o1 of a vicious campus rape at Penn State.

To make matters worse, the accuser killed herself in 2012. Parker’s “Birth” co-screenwriter Jean Celestin, also participated in the college attack. He was convicted, but that was overturned on appeal. And no one, not even Fox Searchlight– which paid a record $17 million at Sundance to release the film, knew all this until it came spilling out a couple of weeks ago.

This is all a huge headache for the studio, and for everyone. It’s very hard not to think about Parker’s saga (and the details are much worse if you search them out) while “Birth” unspools. That’s because rape is a central theme in the movie, and the story overall is obviously very violent. Racism is bad enough, but the American history of slavery is the worst blot on our 240 year history. Parker is unsparing in depicting it all, too. We’ve seen it before in “Roots” or “12 Years a Slave,” but this is yet another chapter. Slavery was the American Holocaust, and it overshadows all the heroism and patriotic flag waving we so embrace. How in the world could this have existed?

This pivotal moment in American history shouldn’t have been ignored for so long. It was really only in the culture because of William Styron’s novel, “The Confessions of Nat Turner,” written by a white Southerner. The novel has become the target of critics since its publication. So now we have a young black man telling the story of another young black man– how could this film not resonate far and wide in 2016?

Last night at the Q&A following the second screening, there was no mention of Parker’s history. The audience was way too polite and tired to raise a ruckus. There was a standing ovation, but it was restrained. The real test will come tomorrow– Sunday — morning at the press conference. That will be the first indication of what Parker and Fox Searchlight face as they try to bring this important film to audiences.

The word from L.A. is that there two more people in “The House” with Will Ferrell and Amy Poehler.

I’m told that re-shoots in the last couple of weeks were extensive. And brought in for comic relief: Mariah Carey and Jeremy Renner.

Isn’t that odd?

Word from the set was that “Mariah was a nightmare.” Well, of course she was. But Mariah’s a good actress, as we’ve seen in “Precious.”

Renner as comic relief? Well, Will Ferrell and producer Adam McKay know how to make a funny movie. “The House” is directed by Andrew J. Cohen, the young writer of “Mike and Dave Need Wedding Dates” and “Neighbors.”

I don’t know why, but I thought a movie about Captain Sullenberger landing his plane on the Hudson would be boring. I mean, we all know the story right? And it was over fast.

Or so we thought. On every level.

Clint Eastwood’s taut 90 minute thriller, “Sully,” is a gem, as turns out. The 86 year old Hollywood icon has gone from a big opera with “American Sniper” to a tone poem with Tom Hanks in the lead. Co-star Aaron Eckhart (as Sullenberger’s copilot) is no slouch, either, and Laura Linney is a stand out as Sullenberger’s wife.

We did not know much about the Sullenberger story. We didn’t know that as the New York press and cabbies, etc considered him a hero for landing a jetliner on the Hudson River– and saving all his passengers and crew– the NTSB was going after him. So Eastwood cuts back and forth between the two pilots doing their jobs and then being questioned about it with skill and ease. Eastwood sees they are American heroes, and that it takes time for us to appreciate that. With a clean script by Todd Komarnicki, Eastwood delivers an American hymn.

What adds to the drama is that Eastwood makes you feel as if you’re inside the US Airways plane, whether it’s the crew or the passengers. Kudos to Blu Murray, his editor, and cinematographer, Tom Stern. Also, the special effects department is unparalleled here. One of the producers told me at last night premiere at Alice Tully Hall and Tavern on the Green that they only finished the film six weeks ago– there was that much detail work. It shows.

Hanks gives such a restrained performance, so elegant and courtly, it’s hard to think he started with “Bosom Buddies.” Each time out, he’s astonishing. But when you think of his characters from movies like “Catch Me If You Can” or “Bridge of Spies” or “Captain Phillips”– he has a trademark of the Good Man, the honest guy who’s going to unabashedly get the job done and not ask for glory or fame. Sullenberger is perfect for Hanks. He’s landed a plane on the Hudson, and he’s surprised to find he’ll be on David Letterman.

So kids, you have something nice to look forward to this Friday. “Sully” makes film great again. It’s a gift. And really, I saw Eastwood last night. He looks great and is already planning another film. He’s on a roll, once again. “Sully” is like the work of a man of 40. Goddam it.