Frontmezzjunkies reports on the Toronto International Film Festival – Part Two
By Ross
As I gear up for the second half of TIFF50, my anticipation only grows. I’ve shared the films I hope to see in the early days, but now I’m diving into the next chapters—where the festival’s true magic will unfold. With so many more screenings ahead, I’m holding my breath for surprises, bold stories, and unforgettable moments that will challenge and inspire. The adventure continues, and I can’t wait to reveal what I’ve discovered—stay tuned, because the best is yet to come.
At the 50th annual TIFF, the festival boasts a total of 291 films: 209 features, 6 classics, 10 primetime TV selections, and 66 shorts—an incredible feast of storytelling, innovation, and artistry. Beyond the six official Gala screenings I already highlighted in a previous post (click here), I aim to dive into around 15-20 films, mostly in the morning press screenings, eager to be transported, challenged, and inspired by the magic of cinema on a grand scale. Here’s my part two of this tale, and stay tuned in for all the highlights, surprises, and must-see moments from this spectacular festival. It promises to be an unforgettable celebration of film and storytelling. So here we go: TIFF Wanna See List, Part Two of Two.
Day Seven will be Wednesday, September 10th, and it will feel like the beginning of the second half of the Toronto International Film Festival. I’ll probably be overwhelmed and exhausted, juggling my day job and a pretty exciting film schedule (while writing ferociously every day). On this Wednesday, I hope to get myself down to the festival and see one or two of the three films that I’ve cast my eyes upon. The first is “Swiped“, or maybe “& Sons“, followed by “Fuze” midday. And then, the first of four Gala Openings in the evening. On this seventh night of TIFF, it will be “Two Pianos“.
Swiped
Rachel Lee Goldenberg
WORLD PREMIERE
United States of America | 2025 | 110m | English
Starring Lily James, this drama from director Rachel Lee Goldenberg (Unpregnant) is inspired by the real-life story of Bumble founder Whitney Wolfe Herd.
Featuring Lily James (2015’s Cinderella; TIFF ’24’s Relay) and Dan Stevens (TV’s Downton Abbey), the latest from director Rachel Lee Goldenberg (Unpregnant) tells the real-life story of Whitney Wolfe Herd, the remarkable woman who helped create two innovative blockbuster dating apps and, in doing so, became the world’s youngest female billionaire.
It is 2012. The tech industry remains a boy’s club. But 22-year-old Whitney (James) refuses to observe Silicon Valley’s glass ceiling. In the wake of a failed startup, Whitney joins the development team at MatchBox, a company she would rebrand as Tinder. As vice president of marketing, she cracks Tinder’s college campus market and sees its user base explode.
Whitney is on top of the world — until tensions between her and her male counterparts burgeon, and she finds herself subject to sexual harassment. It’s a devastating blow, but Whitney powers through, leaving that toxic workspace, filing a lawsuit, winning a settlement, moving to Texas, and going on to develop a new dating app that empowers women. In 2014, Bumble is born. And behind the scenes, Whitney finds a surprising match all her own.
In keeping with her heroine’s ingenuity, sensitivity, and grit, Goldenberg infuses Swiped with vulnerability and exhilaration. James is electric in the film, giving her Wolfe Herd depth and range as she pushes back against the patriarchy, ushers dating into the digital age, and gives women new tools to determine their own romantic destinies.
& Sons
Pablo Trapero
WORLD PREMIERE
United Kingdom, Canada | 2025 | 119m | English
This dramatic adaptation of David Gilbert’s 2013 novel, co-written by Oscar-winner Sarah Polley and directed by Pablo Trapero (TIFF ’15’s The Clan), stars Bill Nighy as a reclusive literary superstar who calls his sons home for an unbelievable announcement.
This dramatic adaptation of David Gilbert’s 2013 critically acclaimed novel, co-written by Toronto’s own Sarah Polley — who won an Oscar for her screenplay for TIFF ’22’s Women Talking — and helmed by veteran Argentine director Pablo Trapero (TIFF ’15’s The Clan), stars Oscar nominee Bill Nighy as an aging literary superstar about to make an announcement far stranger than anything dreamed up in his revered novels.
It’s been 20 years since Andrew Dyer (Nighy) has written a word — or left the house. In those two decades, he fathered a child outside his marriage, lost his long-suffering wife (Oscar nominee Imelda Staunton), and has been mostly estranged from his other sons. Following the death of an old friend, Andrew’s sense of his own mortality surges — exacerbated by his alcoholism — so he decides to bring together all his offspring for the first, and likely last time. Elder brothers Richard (Johnny Flynn) and Jamie (George MacKay) reluctantly return home despite old resentments, believing their father wants to soothe his conscience by making amends. Instead, their father reveals a secret regarding their half-brother Andy Jr. (Noah Jupe) that rewrites their family history in the most surprising way.
& Sons explores artistic aspirations and mortality in this very original and entertaining drama, ultimately playing with universal themes: reunited family members reckoning with old grievances, misunderstandings, and regrets. At the centre of the whirlwind is a brilliant performance from Nighy, pivoting between inebriated repose and dervish-like fits of anxiety, positioning himself as a tragic patriarch who might just hold the key to making things right. – ANITA LEE
Fuze
David Mackenzie
WORLD PREMIERE
United Kingdom | 2025 | 98m | English
Veteran director David Mackenzie returns to TIFF with Fuze, a propulsive heist movie packed with twists and turns. Starring Aaron Taylor-Johnson, Theo James, Sam Worthington, and Gugu Mbatha-Raw.
Veteran director David Mackenzie (Outlaw King, TIFF ’18) returns to the Festival with Fuze, a wildly entertaining and gripping heist movie packed with twists, turns, and surprises galore.
When a World War II-era bomb is found in a construction site in a busy area of London, the authorities quickly spring into action, determined to save the throngs of innocent bystanders in the vicinity. Scripted by Ben Hopkins (the mind-bending The Nine Lives of Tomas Katz, TIFF ’00), Fuze moves at a breakneck pace. As the tension mounts and time threatens to run out, it soon becomes clear that no one can truly be trusted.
Fuze boasts a stellar cast including Aaron Taylor-Johnson (A Million Little Pieces, TIFF ’18; 28 Years Later), Sam Worthington (Avatar; Relay, TIFF ’24), Gugu Mbatha-Raw (Belle, TIFF ’13; Loki), and Theo James (The White Lotus, The Monkey), who delivers a standout performance.
In the tradition of gritty thrillers that fuse whodunnits with the time-sensitive conventions of heist and action movies, Fuze is a truly wild ride.
Day Eight: I might be able to swing myself down for one or maybe two films on this Thursday, although work may keep me from the first one, namely “The Captive“, but I’m pretty sure I’ll be able to make it to “Saipan“. The second Gala Opening will be on the evening of the 8th day, “Adulthood,” which looks to be pretty devilish. – UPDATE: I’ve been Press Vouchered and confirmed for “The Captive” on Sept 7th in the late afternoon and “Saipan” on Sept 5th in the evening, so that’s cool. Always good to be confirmed and in for sure.
The Captive
El Cautivo
Alejandro Amenábar
WORLD PREMIERE
Spain, Italy | 2025 | 134m | Spanish, Arabic, Italian
In 1575 Algiers, a young soldier named Miguel de Cervantes is held for ransom — unaware he’s on the path to becoming one of history’s greatest storytellers. This bold, visually stunning film is a reimagining of the true story behind Cervantes’ transformation.
The setting is Algiers in the year 1575. The protagonist is one of the most important storytellers of all time. While his literary work reshaped the Spanish language, bringing it into the modern era, little is known about the life of Miguel de Cervantes. The icon, interpreted in this instance by Julio Peña Fernández, is held for ransom as a young ex-soldier, and the narrative astutely presents him on the verge of discovering his true calling and abilities.
Far from being a canonical depiction of the few facts that have transcended history, in the hands of visionary writer-director Alejandro Amenábar (The Others; The Sea Inside, TIFF ’04; While at War, TIFF ’19), the drama unfolds as a complete, bold retelling of plausible events. Peña Fernández’s Cervantes is fully embodied and complex, forced to discover humanity in the seemingly alien world of his captors. Despite the dire situation he finds himself in, Cervantes makes use of his talents and captures the attention of Hasan, the Bajá of Algiers (Italian star Alessandro Borghi), with whom he develops a shifting connection that alters his fate.
The production is exquisitely designed, with a rich and textured quality captured by cinematographer Alex Catalán. Its careful use of light and attentive direction bolsters finely tuned performances by Peña Fernández and Borghi, taking audiences on a journey to a fraught place and time, offering a window into the mind of the resourceful author of the foundational masterpiece Don Quixote. – DIANA CADAVID
Saipan
Lisa Barros D’Sa, Glenn Leyburn
WORLD PREMIERE
Ireland, United Kingdom | 2025 | 91m | English
The real-life drama behind star player Roy Keane’s rift with manager Mick McCarthy on the eve of the 2002 World Cup, Saipan is a story of ego, loyalty, and identity that resonates beyond the world of sports.
It was one of the most seismic events in Irish sporting history: the infamous fallout between the Republic of Ireland’s team captain, Roy Keane, and coach Mick McCarthy on the eve of the 2002 FIFA World Cup in Japan and South Korea. Keane, then captain of Manchester United and one of the most formidable midfielders in the world, was the pride of Irish football, a player defined by grit, drive, and unrelenting standards. McCarthy, a former Irish captain himself and a seasoned manager, was the steady hand trusted to lead the national team onto its biggest stage in years.
What began as a dispute over professionalism and pre-tournament training conditions on the remote Pacific Island of Saipan escalated into a national reckoning, dividing a country where football can be sacred. It was a moment that transcended sport, sparking pub debates, tabloid frenzy, political commentary, and even parliamentary mentions.
In this taut, character-driven drama, Steve Coogan delivers a riveting turn as McCarthy, opposite a formidable performance from Éanna Hardwicke as Keane. Rather than rehashing familiar headlines, directors Glenn Leyburn and Lisa Barros D’Sa bring audiences into the back rooms, offering intimate portrayals of two proud men with clashing leadership styles, deep loyalty to their team, and differing visions of Ireland’s sporting identity.
Coming as Toronto gears up for the FIFA World Cup in 2026, Saipan is a must-see for football fans, but just as gripping for anyone drawn to high-stakes power struggles and national mythmaking. – JASON RYLE
Day Nine is offering up two films that I’m going to try to get to: “Three Goodbyes” and “Little Lorraine“, followed by my third Gala Opening film, “Driver’s Ed“. – UPDATE: I’ve been Press Vouchered and confirmed for “Three Goodbyes” on Sept 8th in the evening, so that’s cool. The load has been lightened.
Three Goodbyes
Tre Ciotole
Isabel Coixet
WORLD PREMIERE
Italy, Spain | 2025 | 120m | Italian
Based on the bestselling novel by Michela Murgia, the latest from Isabel Coixet is a heartfelt love letter to life — precious and fleeting — starring Alba Rohrwacher and Elio Germano.
Marta (Alba Rohrwacher), a high-school teacher, and her partner, Antonio (Elio Germano), a chef, live in Rome. While Antonio’s star is rising, Marta seems to lack passion and, moreover, an interest in Antonio’s recipes. One day, after many years together, the pair split after a seemingly trivial argument. Marta withdraws into herself while Antonio jumps into his new endeavour, a restaurant of his own creation. Soon after, everything changes in Marta’s world when she discovers that her loss of appetite has more to do with her health than the pains of separation. Now, with time running out, Marta must learn who she is and what she lives for.
Penned alongside Enrico Audenino and shot by Guido Michelotti, the latest from prolific Catalan filmmaker Isabel Coixet (Un Amor; My Life Without Me, TIFF ’03) is based on the bestselling semi-autobiographical novel Tre ciotole by author Michela Murgia, a campaigner for LGBTQ+ rights who died of kidney cancer in 2023. Flanked by memorable supporting performances by Sarita Choudhury, who plays Marta’s doctor, and Francesco Carril, who plays her closest friend, Rohrwacher and Germano bring true life to the screen.
Told with grace and tenderness, Three Goodbyes is an admonition that, even in the process of bidding the world farewell, there is space for joy. Coixet has crafted a cinematic reminder to stop and appreciate our one precious chance on Earth — a gift that could be taken away at any moment. – DOROTA LECH
Little Lorraine
Andy Hines
WORLD PREMIERE
Canada | 2025 | 115m | English
A small town in Cape Breton becomes home to an international drug smuggling ring, featuring Stephen Amell, Stephen McHattie, Sean Astin, and Colombian musician J Balvin.
A 1986 mining explosion that left 10 men dead in Cape Breton, Nova Scotia, launches this thrilling drama, inspired by a true story, that merges coastal fishing with an international cocaine smuggling ring.
With the closing of the mine, Jimmy (Stephen Amell, television’s Arrow) is suddenly out of work, just as his untrustworthy great uncle Huey (prolific Nova Scotian actor Stephen McHattie) saunters in with a business proposal: join him on his lobster fishing boat.
Believing it’ll be a way to safely support his family, Jimmy also convinces his friends Tommy (Joshua Close) and Jake (Steve Lund) to join him, and very quickly, the three are rolling in the cash.
Life for all of them is great, until the real purpose of Huey’s scheme — which involves a big ship, bundles of cocaine, and a funeral director and his caskets — is revealed. The men are in too deep, and the situation becomes much worse when an Interpol agent focused on cracking the drug ring arrives (played by hugely popular Colombian musician J Balvin in his first live-action feature).
Boasting a supporting cast including Rhys Darby, Sean Astin, Matt Walsh, and Auden Thornton, Little Lorraine is the feature directorial debut of Andy Hines. A Grammy-nominated music video director, who has worked with Anderson Paak, Missy Elliott, and Alicia Keys, Hines navigates this thrill ride toward an ending you truly can’t predict. – KELLY BOUTSALIS
Day ten looks to be a full-on day at TIFF, with an afternoon of seeing two Canadian films: “Lovely Day” and “Cost of Heaven“, followed by my last Gala Opening of the festival, the Canadian film, “Peak Everything“.
Lovely Day
Mille secrets mille dangers
Philippe Falardeau
WORLD PREMIERE
Canada | 2025 | 119m | French, English, Arabic
Philippe Falardeau returns with a playful yet poignant deconstruction of the wedding movie.
The build-up toward saying, “I do,” in a room full of friends and family is stressful for just about everybody. Even so, the anxiety levels for the hero of Lovely Day — an energetic, perceptive, and often very funny new feature by Quebec’s Philippe Falardeau — are completely off the charts.
Though his bride-to-be, Virginie (Rose-Marie Perreault), is a steadying influence, Alain (Neil Elias) has no lack of sources for his overwhelming state of consternation. Among the culprits are his unreliable best friend and best man, Édouard (Hassan Mahbouba), and his long-divorced parents, Yolande (Hiam Abou Chedid) and Elias (Georges Khabbaz). Yet as the day unfolds — which, thanks to the film’s unconventional structure, happens more than once, the timeline becomes as jumbled as the thoughts in poor Alain’s head — deeper reasons surface and each casts a new light on his actions and reactions.
Delightful and poignant in equal measure, the result playfully deconstructs the wedding movie while still providing all the richness and relatability that such stories provide. Adapted by Falardeau and Montreal writer Alain Farah from Farah’s autobiographical novel Mille secrets mille dangers, Lovely Day also boasts the same abundance of wit, warmth, and generosity of spirit that fill so many of Falardeau’s films. As agonizing as they may be to Alain, his travails yield a highly worthy addition to the director’s much-cherished body of work. – JASON ANDERSON
The Cost of Heaven
Gagne ton ciel
Mathieu Denis
WORLD PREMIERE
Canada | 2025 | 116m | French, English, Arabic
Stymied by socio-economic insecurities and determined to get a taste of the good life, a family man resorts to increasingly dark and desperate measures in Mathieu Denis’ enthralling drama.
On the surface, the protagonist of Mathieu Denis’ fourth feature appears to have it pretty good. But, for Nacer (Samir Guesmi), his warm and loving relationships with his wife Farrah (Meriem Medjkane) and their children, and his strong community ties do little to ameliorate his sense that he’s been cheated of the life he deserves. Indeed, the earthly nirvana Nacer glimpses in a sun-dappled Lexus dealership in the opening scene — one of many examples of Sara Mishara’s extraordinary cinematography for the film — is clearly what he most desires. But how far will he go to achieve it?
That question lies at the heart of The Cost of Heaven, which was inspired by a shocking true-life crime in Montreal in 2012. A cautionary parable about a good person who’s poisoned by pernicious ideas about ambition, wealth, and status, Denis’ film plays out like a gripping combination of morality play and horror thriller about late-stage capitalism.
As such, it boasts the same darkly hued intensity that distinguished the director’s two previous features to premiere at the Festival: Corbo (TIFF ’14), a stunning portrait of a teenager’s radicalization in 1960s Quebec; and Those Who Make Revolution Halfway Dig Their Own Graves (TIFF ’16), a cinematic Molotov cocktail that won Best Canadian Feature honours for Denis and co-director Simon Lavoie.
And even though Denis’ latest introduces a cooler kind of elegance to his filmmaking thanks to Guesmi’s deft lead performance and Mishara’s superb compositions, it’s impossible not to feel the turmoil simmering just below the surface, ready to explode. – JASON ANDERSON
And on the final day, the eleventh of TIFF, it will be a simple one-film press screening day of “Lilith Fair: Building a Mystery“, followed, in the midday, by the People’s Choice Award-winning film. The name will have to come later, as who knows which film will win this award? Last year, it was “The Life of Chuck“. And this year….time will tell. Which film do you think will win?
Lilith Fair: Building a Mystery
Ally Pankiw
WORLD PREMIERE
Canada | 2025 | 99m | English
This galvanizing documentary from director Ally Pankiw (I Used To Be Funny) takes us behind the scenes of Sarah McLachlan’s legendary all-women music festival and features interviews with performers including Bonnie Raitt, Erykah Badu, Olivia Rodrigo, and Emmylou Harris.
Lilith Fair changed everything. Upon its emergence in 1997, this revolutionary travelling music festival, helmed by superstar Canadian singer-songwriter Sarah McLachlan and featuring exclusively women or women-led acts, exploded the notion that popular music could only support a token quota of women’s voices. This galvanizing documentary from director Ally Pankiw (I Used To Be Funny) chronicles Lilith Fair’s triumphant three-year run and features new interviews with key performers such as Jewel, Bonnie Raitt, Erykah Badu, and Emmylou Harris.
Back in the ’90s, conventional “wisdom” suggested that commercial radio couldn’t play two women in a row. Frustrated by this, McLachlan went on tour with Paula Cole to offer audiences an entire night of women’s artistry. That tour went so well that the next summer, McLachlan debuted Lilith Fair, named after the Lilith of Jewish lore: Adam’s renegade first wife. It became the year’s top-grossing festival simply because the artists were so good. Besides the luminaries noted above, the Fair’s eventual roster included Fiona Apple, Tracy Chapman, Sheryl Crow, Suzanne Vega, Indigo Girls, and Pat Benatar.
With beautifully integrated performances, backstage footage, and media coverage, Pankiw explores the logistics and challenges in making these events happen. She also highlights the festival’s significance to younger up-and-coming artists through interviews with Brandi Carlile and Olivia Rodrigo. There’s also testimony from actor-filmmaker Dan Levy, a producer of the film, who caught his first Fair as a boy and was forever affected. The legacy of Lilith Fair lives on, and this inspiring film tells us why.
So there ya have it. Those are the selected films on my press screening radar. We shall see what happens as the days unfold. It should be, regardless of how many I actually get to (damn that day job!), an exemplary and exciting eleven days in Toronto at TIIFF. And I’ll be sharing reviews and commentary as the days unfold. Stay Tuned.
