2024
On this TIFF report, Kristy Strouse reviews The Mother and the Bear and Shepherds – two unforgettable films on a path to self discovery.
Matt and Mara is the kind of film where, on the surface, it might seem that nothing is happening, but even the smallest moments can impact.
Both The Substance and The Last Showgirl evaluate mortality by leaning on their respective stars’ relationship with celebrity in real life.
While Subservience knows how to deploy its star, it still can’t fully live up to the promise of this meta-premise or her talents as a performer.
Girls Will Be Girls is a powerful examination of how the patriarchy continues to punish girls/women for pushing back against the narrow roles prescribed.
Conclave and We Live in Time are prime examples of solid filmmaking, that will likely be successful regardless of what accolades they end up garnering.
An unexpected and comical disclosure of one couple’s path, Paying For it leaves a lingering impression.
The Way We Speak is a formidable and ambitious drama that shows the power of words.
Wala has crafted a fine story, and impresses in his feature film debut with the TIFF film: Shook.
For his first report from Toronto International Film Festival, Wilson Kwong looks at two films based on true events.
Look Into My Eyes, the new documentary, looks at another way many people seek connection: appointments with psychic mediums.
The Melbourne International Film Festival is in its 72nd year with a program of global features, shorts, documentaries, VR experiences, and classic movies.
The “time loop” is a sci-fi cliché as old as the genre itself, but “Omni Loop” tries to put a new spin on the genre.
Nostalgia aside, Álvarez also has a knack for elaborate production design in addition to building intense action sequences and engaging characters.
The Becomers politely reminds us that being a human is fundamentally weird–– and yes, being a human in 2020 was especially weird.