The 9 best movies we saw at the Toronto International Film Festival

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TORONTO – Movie enthusiasts aware that it runs until Sunday, but for us, another TIFF (Toronto International Film Festival) has concluded: a week filled with sampling promising Oscar contenders, films from other screenings, late-night snacks (thanks for the delicious poutine, Toronto), and several unexpected delightful surprises. We depart with nine movies that left an indelible impact on us. Expect to hear more about these titles in the upcoming months.

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‘Cover-Up’

In real-life political tensions, it becomes challenging to simply focus on appreciating art. For me, the solution was found in “Cover-Up,” a film that offers a fierce and uncompromising portrayal of investigative journalist Seymour Hersh. Known for exposing the My Lai massacre in 1969, Hersh’s subsequent work included stories on Watergate, the CIA, and Abu Ghraib. In this documentary, directed by Oscar-winning filmmaker Laura Poitras along with Mark Obenhaus, they attempt to give center stage to Hersh’s relentless pace, using minimal words to capture his investigative techniques. Hersh boldly asserts his presence in the face of opposition, and it’s exhilarating to be reminded of an era where reporting truth was not restrained by caution. – Joshua Rothkopf

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‘Duse’

2019’s TIFF was astounded by the breathtaking surprise that Pietro Marcello brought with “Martin Eden,” an adaptation of Jack London’s novel that made many critics’ year-end lists, such as L.A. Times’ Justin Chang’s. Marcello is indeed a director to keep an eye on, and his unique style – marked by historical turning points, blended dance music, and archival footage – is evident in his latest film, centered around the legendary Italian theater diva Eleonora Duse (brilliantly portrayed by Valeria Bruni Tedeschi). To give you an idea of how extraordinary this film is: They even cast someone to play Benito Mussolini, but he turns out to be the most understated performer in the ensemble. The narrative often revolves around rival actor breakdowns, a fusion of “Topsy-Turvy” and Howard Hawks’ “Twentieth Century.” Family members simmer with anger, assistants tremble in fear, and competitors sharpen their teeth. This is definitely a good thing. – Joshua Rothkopf

Review

At Toronto, Oscar hopefuls enter the octagon, but bigger swings are found elsewhere

This year’s TIFF films offered a diverse range, extending from big-name productions like those featuring The Rock, all the way to less conventional ones such as a Thai movie centered around a ghostly vacuum cleaner.

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‘Fuze’

In David Mackenzie’s (“Hell or High Water”) tense thriller, not a single moment is wasted. A construction worker uncovers a vast World War II bomb in the heart of a bustling London district, setting events into motion. The film, “Fuze,” springs to life immediately, with the police chief (Gugu Mbatha-Raw) swiftly evacuating residents and an expert on munitions (Aaron Taylor-Johnson) rushing in to defuse the bomb. Some movies might dwell excessively on this setup. However, “Fuze” uses it merely as an appetizer. A gang of thieves, led by Theo James and Sam Worthington, lie in wait inside a vacant apartment building, ready to spring into action. “Fuze” is a flawlessly structured genre film with more betrayals than a string of Hail Marys. But what sets it apart is the unexpected emotion you develop for its characters, regardless of whether they are virtuous or villainous, or somewhere in between. – Amy Nicholson

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‘Good News’

In 1970, a passionate group of Japanese youth seeking to spark a communist uprising took control of a passenger plane and demanded it be flown to Pyongyang. This event is historically accurate, but Byun Sung-hyun’s sardonic account doesn’t expect you to take its version without question, and it would be unwise to rely on these career-driven officials for salvation. This sharp, absurd comedy portrays a world where everything is part of a political performance, with individuals acting solely in their self-interest. As these radicals and bureaucrats blur the lines between truth and deception, they also lose touch with whether they yearn for democracy or dictatorship. They seem most comfortable playing the blame game, flailing around like headless chickens. This biting satire aims to be a modern “Dr. Strangelove” and it nearly achieves that status. (Stanley Kubrick would have found amusement in the American soldier whose shallow advice is outshone by a rendition of “The Star-Spangled Banner.”) – Amy Nicholson

Movies

Following the premiere at TIFF, Aziz Ansari – the star of “Master of None” – shares insights into the complex journey leading to his first film role, where he acts alongside Keanu Reeves and Seth Rogen.

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‘Hamnet’

As a film enthusiast, I must admit that comparing movies to awards is somewhat vulgar, but there’s no denying that Chloé Zhao’s adaptation of Maggie O’Farrell’s novel “Hamnet” has been generating quite the buzz following the recent film festivals. This movie delves into the intimate bond between William Shakespeare (Paul Mescal) and his wife, Agnes (Jessie Buckley), and offers a compelling theory about how the death of their son might have served as the catalyst for the timeless tragedy “Hamlet.”

Zhao’s film masterfully invites us to reexamine one of English literature’s most studied works, encouraging viewers to approach it with renewed curiosity. It may seem like a risky move to structure the emotional climax around a staging of “Hamlet,” but Zhao’s genius lies in making this narrative choice feel not only authentic but heart-wrenchingly powerful, thanks to the intense passion of Mescal and Buckley’s performances and the raw energy of the filmmaking itself.

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‘Hedda’

In simpler terms, Joshua Rothkopf praises Tessa Thompson’s captivating portrayal in Nia DaCosta’s adaptation of “Hedda Gabler,” noting her commanding presence that shapes the entire movie. He also acknowledges Nina Hoss’ outstanding performances in both “Tár” and “Do Not Expect Too Much From the End of the World.” In this production, Hoss brilliantly plays a gender-swapped Lövborg, delivering intense monologues and outbursts of anger. Her character provides a compelling counterpoint to Thompson’s Hedda, making their scenes together standout highlights of the festival.

Entertainment & Arts

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‘Maddie’s Secret’

John Early’s directorial debut, “Maddie’s Secret,” stands out due to its elusive nature, making it challenging to categorize. It can be seen as a playful parody of traditional TV movies from the past that tackled weekly issues. At the same time, it is an earnest story about a young woman (played by Early) struggling with eating disorders. Additionally, it serves as a critique of current influencer culture. With friends and collaborators like Kate Berlant, Vanessa Bayer, Conner O’Malley, and others, Early has created a unique blend of seriousness and silliness. Early embodies the classic ingenue role with heartfelt enthusiasm, making the film feel like a collaboration among friends. Yet, it also delivers a profound message on how to revamp melodrama for today’s era. The various elements seamlessly come together, working on multiple levels and offering an entertaining, thought-provoking, and most importantly, enjoyable experience. (Mark Olsen)

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‘Nirvanna the Band the Show the Movie’

The funniest Canadian film at the festival deserves the top honor, and that’s this goofy comedy about two musicians eager for their first gig (and Neon believes it will be a huge hit in your local cinema). Matt Johnson (“BlackBerry”) and Jay McCarrol started portraying their aspiring characters more than a decade and a half ago in a web series that eventually became a Vice TV show. Now, they’ve creatively integrated their old footage with the present – they’re so resourceful that when they heard about a shooting at Drake’s mansion, they rushed to film a joke within the police barrier. This innovative blend of hidden camera improvisation and sharp scriptwriting received such an overwhelmingly positive response at TIFF that when a man in the audience shouted he was the real-life hardware store employee who helped the duo skydive off Toronto’s CN Tower, he was invited onstage for a bow. – Amy Nicholson

Review

Canadian pride booms, dual Hamlets duel and Rian Johnson’s knives are out (again) at a 50th TIFF

The initial days of TIFF featured a bustling schedule, showcasing potential Oscar contenders and genre thrillers such as “Wake Up Dead Man” by Rian Johnson, “Hamnet” by Chloé Zhao, and “Motor City” by Potsy Ponciroli.

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‘The Testament of Ann Lee’

In their third collaboration, directors Mona Fastvold and Brady Corbet, known for their work in historical fiction, present “The Testament of Ann Lee,” a film that earned an Oscar nomination for co-writing “The Brutalist.” This time, the story centers around the founder of the Shakers. In a powerful performance by Amanda Seyfried, we follow Ann Lee’s journey from Manchester, England to pre-Revolutionary America in search of religious, civil, and spiritual freedom. Fastvold skillfully portrays Ann Lee as a pioneering feminist, a woman who refused to be confined by anything but her own resolve. The movie’s musical interludes, featuring songs based on Shaker hymns adapted by Daniel Blumberg, serve as its structural foundation, making it somewhat of a musical without being one entirely. This film offers a daring and invigorating exploration of an under-discussed aspect of early American history, as penned by Mark Olsen.

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2025-09-12 23:31