2024
As in all his work, McQueen coaxes strong performances, with particular props to first-timers (at very different ages) Heffernan and Weller.
King’s books are often made into films,and they can be hit or miss depending on who made them. The new Salem’s Lot is the latter.
We spoke with Johnny Ma whose film The Mother and the Bear is a vibrant and unique film that points toward the evolving versatility of Canadian filmmakers.
Through its rich mix of dark comedic elements and deeper psychological questioning, something fascinating is evoked in A Different Man.
While Apartment 7A far exceeds the 1978 sequel and the 2014 remake of Rosemary’s Baby, it neither lives up to the suspense or the politics of the original.
Azrael has buckets of blood, some fun traps, and plenty of intrigue for those willing to overlook these gestures towards deeper meanings more fully.
If you somehow need more proof that artificial intelligence cannot rival the humanity needed to create great art, all you need to do is watch Anora.
Despite a trepidatious takeoff and a bit of a rocky landing, where Charlie Tango really shines is at its cruising altitude.
Film Inquiry soke with director Sook-Yin Lee really for the TIFF film Paying For it.
Yorgos Lanthimos’ Kinds of Kindness is smart and funny, uncomfortable, moving, and confusing. It is also beautiful.
The Toronto International Film Festival brought quite the number of horror films this year. Kevin L. Lee reviews Heretic, Presence and Hold Your Breath.
Samir Oliveros spoke to Film Inquiry about his latest film The Luckiest Man in America.
Film Inquiry spoke with Edward Berger, director of Conclave, for the Toronto International Film Festival.
The Crow struggles to connect with audiences due to its lack of compelling character development and chemistry.
Both The Assessment and Emilia Pérez demonstrate the versatility of a festival like TIFF, which is always inclusive of all genres and subgenres of cinema.