In Toronto, the Toronto International Film Festival is celebrating its 50th anniversary with a strong sense of national pride evident everywhere. Upon my arrival this morning, I glanced at a coffee shop menu and noticed a Canadian flag sticker covering my usual drink, an Americano.
Did you bring me a Canadiano?” I inquired from the barista, hoping I had guessed right. He acknowledged with a nod and processed my order. Upon taking the first sip, I found myself alert enough to verify the bill. It confirmed the drink as “Canadiano” as well.
On TIFF’s opening night, Prime Minister Mark Carney expressed concern that Canada’s unique identity and independence are at risk. At the Princess of Wales theatre, he introduced the premiere of “John Candy: I Like Me,” a documentary by Colin Hanks about the beloved Canadian comedian who attended high school nearby. Before achieving international fame in shows like “SCTV” and “Planes, Trains and Automobiles,” Candy excelled on both the football team and the drama club at his school.
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At the Toronto International Film Festival, ‘Poetic License’ directed by Maude Apatow makes its first appearance on the big screen, portraying the blossoming, real-life camaraderie between actors Cooper Hoffman and Andrew Barth Feldman.
In a warm and playful tribute, Carney highlighted the local hero by saying something amusing that made the crowd laugh, quoting “As Uncle Buck said,” with a touch of sarcastic seriousness. He also delivered politically charged remarks that prompted applause. Carney praised the movie moments displaying Candy’s “wit, warmth, and humility” while showcasing his characters’ softer side. However, he warned mischievously, “Be careful not to challenge a Canadian too much.
At this year’s film festival, there’s been quite an unusual trend emerging – it seems everyone’s going wild! The films I’ve watched so far, such as Pella Kågerman and Hugo Lilja’s “Egghead Republic,” have a common theme of macho mayhem. Tyler Labine delivers a questionable performance in “Egghead Republic,” portraying a CEO reminiscent of the characters from HBO’s “Vice” in an early 2000s setting, leading his mistreated minions on a bizarre quest to discover radioactive centaurs. (Yes, you read that right.)
Moreover, monstrous creatures – are they aliens? Devils? – terrorize the slums of ’90s Medellín in STILLZ’s “Barrio Triste,” a found footage period piece with a style akin to “Cloverfield.” However, instead of being filmed by a lone individual, this footage is controlled by a band of teenage miscreants who document their monotonous lives interspersed with occasional bursts of grotesque violence. Produced by Harmony Korine, it felt like watching one of his films. My theater had as many walkouts as it did fans. Quite an experience!

Good Boy” by Jan Komasa showcases an outstanding performance by Anson Boo as a rowdy character who is imprisoned in the cellar of a wealthy family until he reforms his behavior. This film pairs well with Nadia Latif’s “The Man in My Basement,” where power dynamics are reversed, with Willem Dafoe playing a cunning millionaire paying cash-strapped Corey Hawkins to confine him somewhere hidden. As Dafoe reveals his heinous crimes, it will leave your jaw agape; he’s terrifying even when Hawkins holds the keys. Latif explores themes of retribution and forgiveness extensively in her work, causing me to question whether the inclusion of ghosts was necessary. However, her impressive directorial debut is indeed wickedly entertaining.
Claire Denis, a filmmaker, has spent decades intrigued by masculine aggression. In 1999, she presented “Beau Travail,” a reinterpretation of “Billy Budd” set in a military training camp in Djibouti, and her most recent work, “The Fence,” once again explores this theme in Africa, this time on a construction site where a man’s life is roughly valued at $200. One stormy night, the foreman (Matt Dillon) and his rough apprentice (Tom Blyth) become enraged upon discovering a stranger (Isaach de Bankolé) outside the barbed wire who stubbornly refuses to depart until they deliver his brother’s remains. The symbolism is quite strong: Humanity decays within the fortified walls, while dignity thrives outside. Apart from Claire Denis enthusiasts (and there are many of them), viewers should watch mainly for Mia McKenna-Bruce’s portrayal as Dillon’s young bride, a British city girl whose innocent romanticism is evident in her wardrobe choice of stiletto sandals and red lace underwear for this harsh vacation. She’s like a delicate dessert, making one yearn to protect her from all the testosterone around her.

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In a hushed tone, I’m finding myself drawn to the euphoric and startling cinematic creation by Oliver Laxe, which unfolds at the edge of our world. Critics and viewers seem to be equally captivated, making it a beacon of hope for thought-provoking films.
At this year’s TIFF, a highlight is the presence of two competing interpretations of Hamlet: “Hamlet” by Aneil Karia, set in contemporary England with Riz Ahmed as the brooding protagonist, and Chloé Zhao’s “Hamnet,” which explores the life of William Shakespeare (Paul Mescal) and his wife (Jessie Buckley) and attempts to delve into the personal turmoil that may have influenced the writing of his famous tragedy. While I wouldn’t necessarily recommend either, for me, both productions fell short. The former felt overly cold and struggled to adapt Morfydd Clark’s Ophelia to a modern setting; the latter began well but became monotonous with its excessive portrayal of weeping and anguish. As Hamlet himself might say, “it leaves us unaffected.
Considering the impressive background of “Hamnet”, it seems poised to last throughout awards season. Zhao captured the Roy Thompson Theater audience with her guided breathing exercise, a technique she employed at Telluride last week. She invited the listeners to feel the earth beneath their feet and the city of Toronto providing them safety. I found her quirky earnestness endearing, as well as the standout supporting role by 12-year-old Jacobi Jupe portraying Shakespeare’s fictional son. Among other notable moments, the most powerful is when Zhao envisions herself witnessing the play’s premiere at the Globe Theatre with a mesmerizing lead and an enthralled audience. Hats off to Joe Alwyn for successfully landing roles in both films as Laertes in Karia’s “Hamlet” and Shakespeare’s brother-in-law in “Hamnet.

In this film titled “Fuze” by David Mackenzie (“Hell or High Water”), we follow a nail-biting tale of a skilled British bomb disposal officer, portrayed by Aaron Taylor-Johnson, who’s faced with the challenge of defusing an unearthed World War II bomb in a densely populated London neighborhood. As the area is evacuated by the police chief (Gugu Mbatha-Raw), a cunning gang led by Theo James and Sam Worthington sees this as the perfect moment to pull off a bank heist. The story quickly escalates, filled with one unexpected betrayal after another, leaving you on the edge of your seat.
Similarly, I’m hesitant to reveal much about the intricate plot twists in “Wake Up Dead Man: A Knives Out Mystery,” the third (and arguably best) installment of Rian Johnson and Daniel Craig’s Benoit Blanc series. However, I can hint at one aspect – Josh O’Connor from “Challengers” brings a depth to the story that I hadn’t anticipated, adding an element of soul to this clever franchise. Expect some bloodshed and maybe even a poignant moment or two.
Motor City” – A Gritty, Dialogue-Light Film Set in 1970s Detroit
The unique premise of Potsy Ponciroli’s “Motor City” lies in its extreme portrayal of stoic masculinity, with the film featuring minimal dialogue. Familiar plots abound as you might have seen a hundred times before – a menacing antagonist (Ben Foster), a wronged heroine trying to redeem herself (Shailene Woodley), and a vengeful protagonist (Alan Ritchson from “Reacher”) make their appearances. These characters are timeless archetypes dating back even before D.W. Griffith.
Detroit native Jack White of the White Stripes adds an entertaining touch with his cameo, while the soundtrack, comprising selections from Bill Withers, Fleetwood Mac, and Donna Summer, carries the film’s emotional weight. Despite its thin narrative structure, excessive slow-motion scenes, and somewhat far-fetched conclusion, it’s challenging to look away from the captivating screen.

Movies
During the Toronto International Film Festival’s premiere weekend, stars and filmmakers drop by the L.A. Times Studio. Keep checking in for updates.
On King Street, known for hosting many of TIFF’s screenings, a promoter in a complete moose costume was marketing National Canadian Film Day. This day, held annually in April, sees cinemas offering free screenings of movies made within Canada. This year’s selection featured “Universal Language,” a surreal comedy set in Manitoba by Matthew Rankin, which earned the Best Canadian Discovery award at the previous TIFF event. I strongly support this film, and so does the film enthusiast I saw inside the Lightbox theater, who had altered their souvenir T-shirt from “Toronto” to “Winnipeg.
As a die-hard fan of grungy, DIY charm, I couldn’t help but feel a surge of excitement at the boisterous midnight premiere of Matt Johnson (“BlackBerry”) and Jay McCarrol’s ruggedly charming “Nirvanna the Band the Show the Movie.” This movie stars these longtime collaborators as aspiring rockers who have been chasing their dream to perform at Toronto’s Rivoli theater for close to 18 years. Johnson and McCarrol have kept this joke going since they started their “Nirvanna the Band” web series back in 2007. Time has passed, but these guys are still as youthful and unwise as ever – here’s to hoping that never changes!
Johnson enthusiastically shared that the film you’re about to watch received its funding primarily from the Canadian government, and he mentioned that German viewers were taken aback by the frequent jaywalking observed in the city.
The mayor of Toronto, Olivia Chow, was sitting a few rows in front of me, looking stylish in a one-shouldered dress. As I watched, she observed Johnson and McCarrol attempting to grab the Rivoli’s attention by jumping off the nearby CN Tower (once the world’s tallest building until it was surpassed by the Burj Khalifa in Dubai). To be honest, I was so caught up in gasping that I couldn’t discern her thoughts. However, after the movie ended, Johnson publicly apologized to her on stage.
He inquired, “Is there some sort of problem here?” The boisterous audience drowned out the mayor’s reply. Fortunately, I managed to catch it. Chow put her hand over her mouth and yelled, “We adore you!
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2025-09-08 19:01