TIFF 2023: A Retrospective (Featuring the Best of the Fest)
Another autumn has passed, and with that, so has another edition of the Toronto International Film Festival. This year’s event introduced a slew of anticipated titles, ranging from acclaimed past-festival favourites to international gems, home-grown Canadian spotlights, and debuts from many a multi-hyphenate industry darling. The Workshopping Humanity team was privileged to attend a couple dozen screenings, and are excited to break down some of their festival favourites, giving you a glimpse of what not to miss—and which titles might be better suited to save for streaming.
21). Mother, Couch, Dir. Niclas Larsson (Release TBD)
Mother, Couch is an enigma—to the point at which perhaps even the actors aren't quite sure what it is meant to be. Is it a drama? A tragedy? Perhaps even a satire? Ninety-six minutes in, and no semblance of message, theme, nor meaning is discernible. More a collection of frazzled ideas than a refined narrative, it is analogous to a jot-noted scrap of paper, or the fragments one can recall after waking from a nightmare. Half-finished sentences pepper the script; half-defined moments comprise each scene. It may only be 96 minutes long, though it certainly feels closer to 196, and the primary consensus is, well… your time would likely be better spent with any other festival feature.
• SCORE: 1.4/10 •
20). Evil Does Not Exist, Dir. Ryusuke Hamaguchi (Release TBD)
It's evident that Hamaguchi has much to say about the balance of nature, yet the way in which he goes about its presentation is unfocused, dragging the barely-100-minute runtime to a pace that seems practically twice as long. There’s beauty in the steadfast imagery of nature, that much is inarguable; still, there’s no semblance of meaning, impact, or emotivity, lending a languid, tedious, and, honestly, excruciating collection of unfocused monotony. Evil may or may not not exist in this filmatic setting; still, one certainly wonders what could've been done to construct a cinematic effort whose existence strikes the impact it deserves. Check out our full review of this title HERE!
• SCORE: 3.4/10 •
19). Days of Happiness, Dir. Chloé Robichaud (Release TBD)
The conductor focus, fraught relationship with a female cellist, and fall festival release aren't doing this film any favours: Sophie Desmarais is no Cate Blanchett, and Days of Happiness is certainly no TÁR. Unfortunately, the many similarities only serve to make one long for the latter's potential. Where are the stakes? Where is the grip? Desmarais' Emma is passive, meek, resulting in a painful watch as we, the audience, observe the abuse inflicted by everyone around her. There's not one sympathetic character, and little satisfaction emerges by the credits' roll. The saving graces are the expertly selected compositions; each conducting-performance sequence shines, glimmers in an otherwise-impassive runtime. Unfortunately, for those who adored last year’s Mahler-centric compositional entry, there’s no hope but for this to be blurred by reminders of what has been, what was, and what could have been.
• SCORE: 3.7/10 •
18). Woman of the Hour, Dir. Anna Kendrick (Release TBD, Netflix)
Woman of the Hour is certainly a startling directorial debut: it’s wickedly pointed, with a genuinely terrifying performance from Zovatto and a non-linear narrative that generates both fear and intrigue. What it also is, however, is unsettlingly realistic. Be it the grittiness, the hopelessness, or the shrieking violins that punctuate each beat, there's an atmosphere conveyed that chills you to the bone. It's an uncomfortable watch, and perhaps it's meant to be—but that doesn't make it any easier to sit through.
Check out our full review of this title HERE!
• SCORE: 3.9/10 •
17). Gonzo Girl, Dir. Patricia Arquette (Release TBD)
Despite the intrigue exalted through the electric logline, acclaimed actor-turned-director, and seasoned all-star cast, Gonzo Girl equates to little more than a drug-fuelled trip down bedlam boulevard, overstuffed with the dichotomy of Dafoe's hyper-intense extremity and Morrone's monotonic mumbles. Though there may be a lesson to be gleaned, an admonition against dynamics of power, it's obscured by so much grit and edge that it's dulled to the point of disregard. One can certainly appreciate the moral conversation surrounding Morrone's literary agency, but the vapid nature of the onscreen excess ultimately eclipses any semblance of lasting substance.
• SCORE: 4.1/10 •
16). Pain Hustlers, Dir. David Yates (On Netflix 10/27)
Hypnotizing at points, yet sanitized at others, Pain Hustlers is precisely what one might expect under the Netflix Original banner. Though the chronicled account is certainly investing, Yates’ star-studded divulgence struggles to deliver any indelible addendums to the plight’s continued unveiling. The saving grace is Emily Blunt, whose performance humanizes the narrative, providing a sympathetic figure upon whom viewers can latch. There may be moments of success, and it’s certainly an intriguing watch in the moment; still, despite its palatability in doses, it’s nowhere near formidable enough to keep you coming back for more.
Check out our full review of this title HERE!
• SCORE: 5.7/10 •
15). Lil Nas X: Long Live Montero, Dir. Zac Manuel and Carlos López Estrada (Release TBD)
Lil Nas X: Long Live Montero is equal parts documentary and concert film—perhaps 60/40, even—which works both to its benefit and detriment. Lil Nas X is unbelievably charismatic, with an invaluably mature perspective and incomparable musical talent; it's when he's speaking of his past, his dreams, that the film truly shines. Yet the project seldom selves deeper than surface level, constantly intercutting with full-track tour clips. There's no question that Lil Nas X is quite the star—one only wishes we'd been gifted a greater glimpse into the man behind the moniker.
• SCORE: 6.1/10 •
14). The Critic, Dir. Anand Tucker (Release TBD)
There’s something entirely enthralling about an art form critiquing those of its own. Tucker’s latest, a lavish sphere of angst, art, and sheer captivation, may, at times, dip into exaggerated melodrama; yet the emphatic nature of it all, combined with the stellar moodiness of the atmosphere, results in a product that must cultivate, if not true excellence, at least some semblance of respect. Gemma Arterton shines, and Ben Barnes is always a delight. An exhilaration for anyone who considers themselves a critic.
Check out our full review of this title HERE!
• SCORE: 6.2/10 •
13). Fingernails, Dir. Christos Nikou (On AppleTV+ 11/3)
Any attempt to demystify the pursuit, and adjudication, of a concept as abstract as 'love' is bound to fascinate the human psyche. It is, after all, experienced by most, and striven for by many—the allure is only natural. Christos Nikou's latest reaches soaring heights in both concept and intrigue, constructing a world as calculated, yet demanding as the neoteric device residing within. Buckley and Ahmed's chemistry is palpable, keeping the narrative afloat in a way that might not have been otherwise possible. The final moments veer on the side of open-ended; still, the central performances, elevated by the hypnotic chemistry of Ahmed and Buckley, provide much to latch on to, and for an exploration of a concept of such fascination, there’s certainly still much to love.
Check out our full review of this title HERE!
• SCORE: 6.8/10 •
12). American Fiction, Dir. Cord Jefferson (In Theatres 12/15)
A brilliant examination of modern racism and disingenuous inclusivity, intertwined with some slightly baffling family moments and a final framing device that, though clever, leaves just one too many questions unanswered. Still, the script is wickedly sharp, and powerhouse performances from Jeffrey Wright and Sterling K. Brown—alongside the unquestionably vital, and perfectly executed, message at its core—firmly secure the film as one of the festival’s must-sees.
• SCORE: 6.8/10 •
11). One Life, Dir. James Hawes (Release TBD)
Nicholas Winton is a true hero, and the way in which One Life not only chronicles his courage, but his regret in not saving more lives, is a stark reminder that there's still light in this bleak world. As much as films like these are deemed 'derivative' or 'formulaic' in their structure, they're bringing the stories of these heroes to light, illuminating histories that might otherwise be forgotten—and that, alone, should never be discounted. Heart-wrenching, emotionally affective, with an evocative finale that moved the entire audience to tears, One Life is a remarkable story, befitting of a genuinely remarkable man.
• SCORE. 7.1/10 •
10). COPA 71, Dir. James Erskine and Rachel Ramsay (Release TBD)
COPA 71 continues the women’s football craze in the follow-up to this summer’s Women’s World Cup, depicting the story of the first-ever FIFA Women’s World Cup teams—and its subsequent, decades-long burial, just weeks following the event’s conclusion. Equal parts inspiring and infuriating, in the very best way, this documentary couldn’t be more timely, and sheds light on a handful of athletes, of women, who deserve every beam of radiance, recognition. A solid addition to the TIFF sports documentary canon—and a must-watch for anyone who considers themselves a sports fan.
• SCORE: 7.3/10 •
9). Next Goal Wins, Dir. Taika Waititi (In Theatres 11/17)
Taika Waititi has returned with another successful shot in the net! Next Goal Wins carries enough charm, heart, and quirky joy that it’s impossible to not leave the theatre smiling. This is precisely the kind of movie the world needs right now: light, fun, optimistic, with equal parts wit, hope, and heart. It may not be winning any cinematic World Cups, but it’s certainly a title that should not be missed—for when it comes to ‘feel-good,’ Waititi has, once again, inexplicably scored.
Check out our full review of this title HERE!
• SCORE: 7.6/10 •
8). Rustin, Dir. George C. Wolfe (On Netflix 11/17)
An enthralling snapshot of a captivating figure, Rustin flawlessly navigates the balance between ‘informational’ and ‘electric’. Anchored by the unparalleled charisma of Colman Domingo, it’s one of the strongest entries into the streaming-original canon, and certainly illuminates, invigorates, and impresses throughout its perfectly-paced runtime. A true must-watch: prepare to leave feeling inspired.
• SCORE: 7.7/10 •
7). Lee, Dir. Ellen Kuras (Release TBD)
Indistinct opening moments don't have any impact upon the quality of Lee, which soars into the cinematic canon with a transfixing reflection of one of history's most remarkable—and forgotten—figures. Each scene presents genuinely harrowing imagery, sequences bound to burrow into the corners of the mind. These shots are unsurprising, given the affecting quality of Lee Miller's wartime photography; still, it's incredible how Kuras has managed to capture such evocative homogeny in such a distinct medium. Perhaps a greater delve into Miller's pre-war past might have deepened connection to the figure; still, the fascination of Lee's story, and the film's fervent final moments, firmly secure this biopic as one of the festival's finest.
Check out our full review of this title HERE!
• SCORE: 7.7/10 •
6). Flora and Son, Dir. John Carney (On AppleTV+ 9/29)
John Carney’s films always feel like the warmest hugs, and Flora and Son is no exception. Familiar, yet heartwarming; brash, yet breathtaking; it’s a feel-good film through-and-through, and will undoubtedly become a comfort film for many. Eve Hewson is an absolute delight. There’s genuinely nothing better than seeing the world through Carney’s rose-tinted, lyrical perspective, and for anyone who needs an autumn pick-me-up, this title couldn’t come more highly recommended.
Check out our full review of this title HERE!
• SCORE: 7.8/10 •
5). The Royal Hotel, Dir. Kitty Green (Released 10/3, Now On VOD)
Kitty Green returns to the festival circuit with another slick condemnation of female mistreatment, continuing her streak of razor-sharp critical hits with an outback tale so chillingly authentic, it cements her voice as one of the genre’s finest. As much a ‘cautionary tale’ as it is ‘a reminder of the dangers of womanhood,’ Green’s veristic direction and airtight script, combined with hypnotic performances from Julia Garner and Jessica Henwick, craft a venture so efficacious and powerful, it demands to be seen, to be heard. The Royal Hotel is unquestionably of the most important films to come out of this year’s festival: this is definitely a title that’s not to be missed.
Check out our full review of this title HERE!
• SCORE: 7.9/10 •
4). Hit Man, Dir. Richard Linklater (Release TBD, Netflix)
Hit Man is a genre-bending romp unlike any film one’s ever seen: it’s a rom-com in a trench coat, a comedy of no errors, and one of the slickest scripts of the decade. It’s long been known that Linklater's a master of his craft, but this solidifies Powell as a genuine force in the industry. One particular third-act sequence is so electrifying, it belongs in a cinematic hall of fame. This is what one would deem a masterpiece. This is precisely what the movies are made for.
Check out our full review of this title HERE!
• SCORE: 8.4/10 •
3). Swan Song, Dir. Chelsea McMullan (On CBC Gem 11/22)
Much like the art form at its centre, Swan Song is a graceful, polished showcase of one of Canada's national treasures. The way in which it pulls back the velvet curtain, delving into the psychological toll of dance—and the National Ballet's pursuit against decades of racial prejudice—is both eye-opening and beyond admirable. McMullan has delivered another beautifully complex piece of art, one unafraid to jeté between brutal honesty and sheer elegance. It's beautiful, it's poignant, and, much like the eponymous ballet, it's unequivocally a masterpiece.
Check out our full review of this title HERE!
• SCORE: 8.8/10 •
2). The Holdovers, Dir. Alexander Payne (In Theatres 11/10)
Seldom has there ever been a film that’s felt so cozy. Soothing of the soul, yet tender on the heartstrings, The Holdovers is a masterclass in empathy, serving as a reminder of what it means to be human. Payne evokes a wistful air, imparting a nostalgia for a time in which much of today’s audiences have never lived: a truly remarkable, and almost mystical, feat, which lends the film an impeccably lasting impression. Dominic Sessa shines, easily holding his own against a never-better Giamatti. The film is magnificence personified, life's ups and downs on full display, tinged with the warmth of a cup of cocoa: truly, a holiday classic in the making. One of the best films of the year, hands-down. Check out our full review of this title HERE!
• SCORE: 9.7/10 •
1). Origin, Dir. Ava DuVernay (In Theatres 1/19)
Emotive, affecting, heartbreaking, stunning: this is the kind of film that won’t leave your mind for a long, long time. DuVernay has transformed a non-fiction memoir into a monumental tale of tragedy, hope, oppression, and the strength of what it means to fight, to love, to overcome. Humanist and soulful, perfectly capturing the titular ‘origins’ of caste and systemic oppression, this is an absolute must-see, and is one of the most vitally-important films of not just the year, but the decade, or perhaps the century. This is one of history’s most moving films, with one of the most vital central cores; it is determined to evoke change, and has such powerful intent that such a change is possible. Origin has the potential to change the world, to educate and inspire, to heal—it is transcendent, a true marvel, and it is the greatest honour to be able to call this, without question, both DuVernay and TIFF’s forever opus.
• SCORE: 10/10 •