The 8 best movies (and one TV show) we saw at the Toronto International Film Festival

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‘The Brutalist’

In recent film festival events, “The Brutalist” by Brady Corbet could arguably be crowned as the standout. This film, which won the directing award at Venice and was snapped up by distributor A24, features Adrien Brody brilliantly portraying László Toth, a Hungarian architect who immigrates to America post-WWII and becomes influenced by a wealthy businessman (Guy Pearce), who commissions him for a grand project. Despite its 3½-hour length that includes an overture and intermission, the film doesn’t falter due to its size. The movie is as it ought to be, reflecting the immense scale, grandeur, and ambitious nature of “The Brutalist.” Majestic and epic in scope, the movie is propelled by the aspiration to create a remarkable and thought-provoking work that explores the personal toll of such vision. — Mark Olsen

‘Eden’

It’s quite unexpected that Ron Howard’s film “Eden” would turn out to be as dark and twisted as it appears, given its initial presentation at the festival as a survival story based on real events about Europeans trying to colonize an uninhabited Galapagos island in the 1930s. The main cast, including Jude Law, Vanessa Kirby, Ana de Armas, Daniel Bruhl, and Sydney Sweeney, all deliver intense performances, seemingly destroying the landscape as they plot and manipulate each other to gain control of their scarce resources. Known for his compassionate humanism, it’s surprising to see Howard create a work that portrays such bleak pessimism about human nature, suggesting that we are all inherently selfish and capable of great evil. This might be the most shocking twist of all. — M.O.

‘The Fire Inside’

In her first venture as a feature film director, Rachel Morrison introduces “The Fire Inside,” a compelling narrative about Claressa Shields, a boxer from Flint, Michigan who won a gold medal at the 2012 London Olympics at just 17. This film follows Claressa’s journey, starting in 2006 when she convinces local coach Jason Crutchfield to let her train at his gym despite being a girl. The sport becomes a sanctuary for Claressa as she endures a turbulent family life and struggles with food scarcity.

‘Hard Truths’

Mike Leigh’s latest film, a return to modern-day Britain after over a decade, features a reunion with Marianne Jean-Baptiste since “Secrets & Lies” (1996). This collaboration showcases that both artist’s talents are as potent as ever. As Pansy, a woman grappling with her mother’s death, marital dissatisfaction, and concerns about her adult son, Jean-Baptiste displays remarkable emotional intensity, delivering scathing tirades against those around her, while also showcasing sharp wit and humor that inject levity into the film. Pansy, a complex character who clashes with her shy husband, Curtley (David Webber), and vivacious sister, Chantelle (Michele Austin), is one of Leigh’s most memorable creations. Her inner cries echo the title’s harsh realities more than they communicate them: Swallow down your discontent for too long, and you might choke on it. — Matt Brennan

‘I’m Still Here’

The latest film by “Central Station” and “Motorcycle Diaries” director Walter Salles follows the Paiva family, set in 1970s Rio de Janeiro under a military dictatorship. Initially, the story revolves around the everyday pleasures and minor tribulations of an upper-middle-class life: new pets, rebellious boyfriends, Mom’s soufflé, Dad’s love for samba. However, when Rubens Paiva (Selton Mello), a former Brazilian congressman, vanishes at the hands of the government, it shatters the family’s illusion of security and becomes Eunice’s (Fernanda Torres) defining struggle. Inspired by Marcelo Paiva’s 1983 memoir, the film offers a poignant account of the 25-year fight for justice regarding Rubens’ murder, while also serving as a chilling allegory of growing authoritarianism that spans beyond national boundaries. As Brennan puts it, tyranny may begin as a distant helicopter sound, but if left unchecked, it can seep through your defenses and take you captive.

‘The Last Showgirl’

In “The Last Showgirl”, Pamela Anderson delivers a career-defining portrayal as Shelly, a middle-aged dancer, who finds herself at a juncture following the closure of her long-running Vegas show “Le Razzle Dazzle”. Struggling with estrangement from her daughter and limited job opportunities, Shelly contemplates the bittersweet reality that the sacrifices she made for what she perceives as art might not have been justified. Directed by Gia Coppola and penned by Kate Gersten, this film offers a humorous, evocative exploration of aging, motherhood, and the magnetic appeal of the limelight. It serves as an apt and intimate role for Anderson, who exudes compassion and vulnerability in every scene, marking the zenith of her career resurgence, which started with her popular memoir and Netflix documentary. (As Anderson shared with The Times in Toronto, “I don’t think I could have played this role if I didn’t have the experiences to draw from.”) However, the ensemble cast, particularly Dave Bautista as stage manager Eddie and Jamie Lee Curtis as Annette, an aging cocktail waitress, also delivers outstanding performances. Coppola has a knack for capturing Vegas’ sleazy glamour, especially in the fast-paced scenes depicting the showgirls backstage during costume changes, where we witness the desperation that fuels the dazzle. — Blake

‘The Listeners’

In a peaceful suburban area of Britain, the life of a beloved school teacher, Claire Kutty (Rebecca Hall), takes an unexpected turn when she establishes an unusual connection with one of her students, Kyle Francis (Ollie West). This captivating BBC series, based on Jordan Tannahill’s 2021 novel and directed by Janicza Bravo (“Zola”), offers a fresh take on familiar themes.

‘Nightbitch’

In Toronto, there was much anticipation surrounding Marielle Heller’s film “Nightbitch.” Some believed it would provide Amy Adams with the long-awaited Oscar after six unsuccessful nominations. Others thought it might be a confusing, discordant mess worthy of countless dog-themed puns. The movie thrives due to Adams’ versatile and brave portrayal of an artist transitioning into a stay-at-home mom, who puts her career aspirations on hold for her lively toddler. (Her character, unnamed in the story, is credited as “Mother.”) Her understanding yet oblivious husband, played by Scoot McNair, often goes away on business trips, leaving her alone at home to cope and prepare countless pots of macaroni and cheese. Feeling tired and bitter, she starts observing unusual physical alterations – a heightened sense of smell, a patch of fur emerging on her back. “Nightbitch” is a thought-provoking, realistic film that explores the joys and torment of motherhood and the disquieting ways parenthood can reshape women’s minds, bodies, emotions, and identity. It may not appeal to everyone, but neither does the experience of being a parent. – Blake

‘The Order’

Following a succession of films delving into Australia’s troubled past, director Justin Kurzel shifts his intense, unsettling style to the United States with “The Order.” This gripping tale focuses on a tight-knit group of neo-Nazis in the Pacific Northwest during the early ’80s who were behind a series of bank robberies and the brutal murder of a Denver talk-radio host, Alan Berg. The film is propelled by two powerhouse performances – Nicholas Hoult as the captivatingly sinister leader of the group and Jude Law as the tormented FBI agent intent on stopping him. As they inexorably draw nearer to each other, the narrative builds momentum, creating a riveting crime drama with pulse-pounding action scenes. However, it also doesn’t shy away from exploring the factors driving people towards such abhorrent beliefs and offers a stark reminder of how these ideologies persist in our society today. — Olsen

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2024-09-12 13:31