The Toronto International Film Festival marks a transition into the fall movie season, despite the lingering days of summer. The festival offers a global showcase, creating buzz for many films likely to vie for awards. After watching 25 films, here are a few standouts you’re likely to see.
All That She Wants
In “All That She Wants,” Annie Murphy steps seamlessly into the role of a rom-com lead. She portrays Emma, a 30-something navigating singlehood, a career shift, and a desire to be a mother. Enter Luke, a charming grad student ten years younger who becomes more than a one-night stand. While it doesn’t redefine the genre, Murphy’s chemistry with Cooper Raiff offers warmth reminiscent of classics like “When Harry Met Sally.” Noteworthy is the inclusion of Christine Baranski, Bill Irwin, and Zosia Mamet as Emma’s family.
Babies
“Babies” stars Anna Kendrick and Seth Rogen as a couple facing the milestone question to parent or not. Surrounded by friends who have made their choices, and with societal pressures mounting as Annie ages, the couple’s dynamic is tested. Lauren Miller Rogen, who writes and directs, taps into comedic and heartfelt elements, reflecting the Rogens’ personal experience. Supporting roles by Issa Rae, Zach Cherry, Kate Berlant, and David Strathairn enrich the narrative with diverse perspectives. This film has secured distribution with a release set for 2027.
Clarissa
Twin directors Arie and Chuko Esiri have adapted Virginia Woolf’s “Mrs. Dalloway” to today’s Lagos, Nigeria, with “Clarissa.” Sophie Okonedo’s portrayal of the titular character, a socialite confronting her past, is compelling. India Amarteifio complements as her younger self. Flashbacks deepen the narrative, highlighting Lagos’s socio-economic layers, while characters like Peter and Sally, played by Toheeb Jimoh, David Oyelowo, Ayo Edebiri, and Nikki Amuka-Bird, add complexity.
The Debut
Jesse Eisenberg explores surreal comedy in “The Debut,” following “A Real Pain.” Julianne Moore, as Mona, deviates from suburbia into local theater, under Paul Giamatti’s direction as Jerry. The narrative weaves comedy with the peculiarities of amateur theater. Moore’s nuanced performance aligns with the film’s quirky undertone, entertaining those familiar with community theatrics.
Everytime
“Everytime” tackles grief in unique ways. Directed by Sandra Wollner, the story focuses on a family dealing with a teenager’s sudden death in an accident. The narrative, centered around Ella, Melli, and Lux — the deceased’s mother, sister, and boyfriend — portrays their shared journey through loss. The film, Germany’s submission for the Oscars international feature category, remains without a U.S. release date.
The Face of Horror
Anna Biller’s “The Face of Horror” blends horror with critiques of patriarchy, drawing from Yotsuya Kaidan. It captures the power dynamics through a colorful homage to classic films. Jonah Hauer-King and Kristine Frøseth lead, with echoes of blood and commentary throughout. Presented during TIFF’s Midnight Madness, the film exuded energy that evoked cheers from audiences. Distribution in the U.S. is pending.
Look Back
Hirokazu Kore-eda’s adaptation of Tatsuki Fujimoto’s manga results in “Look Back,” a poignant film about bonding through art. Schoolgirls Fujino and Kyomoto, adept in manga, foster a friendship that grows into professional acclaim. Actors Furi Nanase, Rokka Okada, Natsuki Deguchi, and Aju Makita embody these roles authentically, portraying the artistic process genuinely. Kore-eda ensures the narrative resonates emotionally with viewers.
Tender Loving Care
“Tender Loving Care” may be Mike Leigh’s final directorial work, marked by simplicity yet profound dialogue. Kate O’Flynn stars as Amy, a social worker moving in with Rosie after a breakup. The film excels in depicting ordinary yet touching family interactions, particularly with Amy’s parents, played by Paul Jesson and Marion Bailey. Whether or not it is his last film, Leigh’s storytelling leaves a lasting impression.
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