TORONTO INTERNATIONAL FILM FESTIVAL 2022 has arrived! This year there is a little bit (or a lot) for everyone, from In Conversation With Taylor Swift and a screening of All Too Well: The Short Film on 35mm, Viola Davis in The Woman King, to the Midnight Madness world premiere of Weird: The Al Yankovic Story. TIFF never disappoints and this year, in its 47th edition, the stars come out to entertain the masses. With so many options, here are a few titles we’re keeping our eyes on.
CHARCOAL (PLATFORM SECTION–WORLD PREMIERE)
Brazil, 2022. In a remote area in São Paulo’s countryside, a rural family who lives beside a charcoal factory accepts a proposal to host a mysterious foreigner. The home soon becomes a hideout as the so-called guest happens to be a highly wanted drug lord. The mother, her husband and child will have to learn how to share the same roof with this stranger, while keeping up appearances of an unchanged peasant routine.
Writer-director Carolina Markowicz has had many of her short films play the festival. This will be her feature debut and I cannot wait to experience her storytelling in long form.
Unfolding over 100 years, BONES OF CROWS is a feature film told through the eyes of Cree Matriarch Aline Spears as she survives a childhood in Canada’s residential school system to continue her family’s generational fight in the face of systemic starvation, racism, and sexual abuse.
We’re all aware by now of the horror stories of the children forced to live in Canada’s residential schools. So much so that the Pope apologized for the abuse the children endured after innumerable graves were discovered on the former grounds. Bones of Crows is a vastly important story.
*This program contains scenes that may distress some viewers, especially those who have experienced harm, abuse, violence, and/or intergenerational trauma due to colonial practices.
Support is available 24 hours a day for anyone affected by their experience at residential schools and for those who may be triggered by content dealing with residential schools, child abuse, emotional trauma, and racism. The national Indian Residential Schools Crisis Line is available at 1-866-925-4419.
Propelled by the pulsing beats of Toronto’s early hip hop scene, BROTHER is the story of Francis (Aaron Pierre) and Michael (Lamar Johnson), sons of Caribbean immigrants maturing into young men. Director Clement Virgo expertly tackles themes of masculinity, identity and family as a mystery unfolds during the sweltering summer of 1991, and escalating tensions set off a series of events that change the course of the brothers’ lives forever.
Writer-director Clement Virgo brings TIFF audiences a tale more relevant today than ever. A study in grief, Brother is bound to impact viewers is a visceral manner.
Mary Harron’s DALÍLAND is both a coming of age story and a searing, funny and sympathetic portrait of crisis in the late life of one of the greatest artists of the 20th century. Experienced through the eyes of young gallery assistant James Linton (Christopher Briney) as he is invited into a glamorous new world, audiences will uncover the true Dalí (Sir Ben Kingsley) – the complex, flawed, and deeply human man behind the brilliant paintings, wild theatrics, and iconic mustache and explore his especially tempestuous relationship with Gala (Barbara Sukowa), his wife and muse.\
Sir Ben Kingsley releases Dali from an enigmatic caricature and humanizes the genius, his life, and his work.
After years numbing herself with irony and an inhalant called Smylex, an unfunny aspiring clown grapples with gender identity, first love, and old foes all while founding an illegal comedy theater in Gotham City. It’s a queer coming-of-age Joker Origin story. Completely unlicensed by DC and Warner Brothers. Starring and directed by Vera Drew (“Beef House,” “Who Is America”) and featuring the work of 200 independent artists on three separate continents, all made during a global pandemic!
A queer coming-of-age satire and multi-media extravaganza, this mashup of fandoms I never knew I needed.
MY SAILOR, MY LOVE is a heart-warming drama on timeless love and forgiveness. Howard (James Cosmo) is a retired sailor and widower, his daughter Grace (Catherine Walker) hires a caregiver Annie (Bríd Brennan). Reclusive and stubborn, Howard rejects Annie’s company, but eventually opens his heart and gives final love a chance.
A raw and compelling family drama, My Sailor, My Love is teeming with complexity and outstanding performances.
THE WOMAN KING (World Premiere — Gala Presentations)
Synopsis: The Woman King is the remarkable story of the Agojie, the all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s with skills and a fierceness unlike anything the world has ever seen. Inspired by true events, The Woman King follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. Some things are worth fighting for…
Listen, if you tell me that Viola Davis is starring in a film, my butt is in a seat. Based on a true story? Well, that’s solidly in Davis’ wheelhouse, but really what isn’t? This is one highly anticipated film already.
ALLELUJAH (SPECIAL PRESENTATIONS)
This glorious reunion of Oscar winner Judi Dench and director Richard Eyre (Notes on a Scandal) is a spirited homage to the idiosyncrasies of old age and the noble fortitude of health-care workers everywhere. Adapted by Heidi Thomas from Alan Bennett’s stage play, Allelujah assembles a stunning ensemble of veteran British actors, including Jennifer Saunders, David Bradley, and Derek Jacobi.
There is every chance this will be an absolute crowd pleaser. The premise alone has me making up scenarios in my head of pure shenanigans. With a hell of a cast, Allelujah cannot go wrong.
FIXATION (Contemporary World Cinema)
Maddie Hasson (Malignant) plays a young woman committed to an unorthodox institution by a pair of enigmatic doctors (Genesis Rodriguez and Stephen McHattie).
Another feature debut from a female filmmaker, Mercedes Bryce Morgan brings to life an ambitious physiological thriller that will mesmerize with wild production design. I don’t think any of us are ready for such treatment. (pun intended)
LIVING (CONTEMPORARY WORLD CINEMA)
In this exquisitely realized remake of Akira Kurosawa’s 1952 film Ikiru, director Oliver Hermanus teams with Nobel- and Booker Prize–winning author Kazuo Ishiguro to renew a classic. LIVING is the story of an ordinary man, reduced by years of oppressive office routine to a shadow existence, who at the eleventh hour makes a supreme effort to turn his dull life into something wonderful – into one he can say has been lived to the full
The magnificent Bill Nighy helms this film about humanity and mortality. With Mothering Sunday vets, cinematographer Jamie Ramsay and production designer Helen Scott, Living will undoubtedly be a feast for the eyes.
THE LOST KING (SPECIAL PRESENTATIONS)
Synopsis: In the archaeological find of a century, the remains of King Richard III — presumed scattered over 500 years ago — were discovered beneath a parking lot in Leicester in 2012. The search had been conceived and motivated by an amateur historian, Philippa Langley, whose passion and unrelenting research were met with skepticism. THE LOST KING is the inspiring true story of a woman who refused to be ignored and who took on Britain’s most eminent historians, forcing them to rethink the legacy of one of the most controversial kings in England’s history. A tale of discovery, obsession, and stolen glory (both then and now), THE LOST KING is a magical adventure illuminated by one woman’s growing sense of purpose.
My husband and I are history nerds. We’ve seen the documentary of this very story and it was nothing short of fascinating. For those who may not know the vile things said about King Richard III, it’s rather shocking. Sally Hawkins is the perfect choice to capture Philippa Langley‘s determined journey to uncover the truth.
MOVING ON (GALA PRESENTATIONS)
Synopsis: Jane Fonda and Lily Tomlin star in this fusion of audacious comedy and bracing drama about estranged pals who are reunited when a beloved mutual friend dies, leaving her widower the target of a revenge plan.
Perhaps some of the most notable chemistry we’ve seen between two women in years bounds off the screen when Lily Tomlin and Jane Fonda work together. These two powerhouse ladies bring heart and humor to a story much more complex than at first sight. TIFF audiences are bound to cheer for Moving On.
ARISTOTLE AND DANTE DISCOVER THE SECRETS OF THE UNIVERSE (Discovery)
Based on the book by Benjamin Alire Sáenz, two teenage Mexican-American loners in 1987 El Paso explore a new, unusual friendship and the difficult road to self-discovery.
Another female director’s feature debut (in case anyone is counting and cheering along with me), Aristotle and Dante Discover the Secrets of the Universe is more than a queer coming-of-age story. You’d never guess Max Pelayo and Reese Gonzales were first-time leads. Lin-Manuel Miranda joins a powerhouse team of producers after narrating Sáenz‘s audiobook in 2013 and then reading writer-director Aitch Alberto’s screenplay. He knows a little something about quality writing, so his seal of approval is huge.
TIFF 2022 runs from September 8th to the 18th.
For more information on the fest, visit tiff.net
In private, there is an uncomplicated intimacy between Maria and Sascha, but judgment bubbles to the surface once in mixed company. Self-loathing and regret are deep-seated, a deadly combination for sabotage. The script slowly but slickly reveals Sascha’s inner demons, putting Maria and the audience in an uncomfortable position. The second half of Bliss deals with the ripple of her emotional instability. It’s tricky but familiar. Performances from Katharina Behrens and Eva Collé are spectacular, fearless, and raw. It’s stylistically similar to a docu-drama, and I dug the energy of the entire film. Writer-director Henrika Kull gives audiences a gem.
Director Abi Damaris Corbin brings to life the true story of Brian Brown-Easley. John Boyega plays the real-life ex-Marine who, in a last-ditch effort to get the money the VA owes him, threatens to blow up a Wells Fargo with two female managers inside with him. Breaking is an intense thriller that keeps your heart in your throat from beginning to end. It is one of the most extraordinary stories of principle I’ve ever seen. 
John Boyega presents the audience with a masterclass of human desperation. Each beat screams off the screen, even in his silence. This man has clear signs of PTSD, but his sincerity and circumstance have you rooting for him. The emotional nuance blew me away as Boyega is simultaneously patient and commanding. This performance deserves every award possible. You cannot ignore it.
With a title like Get Away if You Can, I sat down expecting a 90-minute sea-set thriller with the potential for a high body count. Instead, I was treated to a thoughtful meditation on love, purpose, and gender.
The filming locations are stunning – the filmmakers deftly navigate the cramped interiors and deck of the sailing yacht, giving a sense of scale and place at all times. The island drawing Domi’s (Dominique Braun) attention might be part of the “islands of despair”, but it is truly gorgeous. As in, I can understand having a fight with your spouse over an island like this. If despair looks like this, sign me up. Scenes away from the boat and island are purposeful, and further our associations with the two leads. Through flashbacks and phone calls, Domi’s world is shown to be lush, green, and free. TJ’s flashbacks, on the other hand, are grounded in steel, machinery, and work. The settings smartly reinforce the opposing dynamics pulling at the two lovers.
Since much of the film’s plot finds TJ and Domi in conflict, we don’t get to see much direct chemistry between the two leads. Braun’s Domi has a heavy load to carry, and we feel her appetites and frustrations. Martin’s TJ is given less to work with, expressing his frustrations by guzzling red wine and gorging himself on saltines. Ed Harris gives a compelling supporting turn as Alan, the father of Martin’s character. Alan is a stern man from a military background. But, more than this, he seems to embody toxic masculinity itself. Harris’ restrained physical performance speaks volumes – this is a man who can make chewing a piece of steak simultaneously hilarious, intimidating, and hostile. Harris’ energy lurks even in scenes where is physically absent.
I found the film’s climax to be brave and thoughtful. You may not agree with the choices the characters make, but you can understand the journey that has brought them to that moment. Despite some choppy waves, there’s ultimately a lot to like about this boat trip.
What would you do to survive all alone in the woods? Do you have enough common knowledge to rescue yourself? A visceral watch, Distress Signals takes Popcorn Frights 2022 audiences on an undoubtedly intriguing journey. The title alone plays double duty in this surprisingly nuanced film focused on survival. Distress Signals is a complete genre shift from Terence Krey and Christine Nyland‘s previous film festival hit, now streaming in Shudder, 
Daniel Fox‘s cinematography (particularly the nighttime scenes) combined with a triumphant score by Shaun Hettinger is something to behold. Filmmakers used the elements to their storytelling advantage. The light, the terrain, the flora, and the weather become characters in the plot. Don’t get too comfortable. The final act will flip the script into one intensely harrowing narrative.
Both leads deliver strong performances. Hirsch’s Mike is an artist. While he wants the prize money, his easygoing demeanor hints at a more privileged background. Hirsch gives a grounded performance – his career has taken some strange turns since his bravura turn in 2007’s Into the Wild. Here he again proves he will excel when given roles where he can use physicality to convey emotion. Bosworth’s Kate is more guarded and driven – she recites mantras to herself every morning in the bathroom mirror. I loved the versatility of Bosworth’s performance – keep an eye on the techniques Kate employs to motivate and keep Mike focused on the prize throughout the film.
Kota Eberhardt, as Desi, holds her own against Krige. Her presence is equally as fierce as her costar. Something about her performance demands your attention. Eberhardt could easily carry a film on her own. Alice Krige is the epitome of genius as Veronica Ghent. The nuance she radiates is breathtaking.
The film possesses a mesmerizing score from Clint Mansell. Something Argento would approve. Jaime Ramsay‘s camera work is dizzying and invasive. The juxtaposition of striking visuals and memory fragments represents unresolved trauma, new and ancient. She Will feels like a victory cry for the #MeToo movement. Slick editing heightens the film’s themes of nature, instinct, suppression of power, and interconnected female experience. Charlotte Colbert‘s debut with co-writer Kitty Percy is a rage-shedding catharsis. She Will is the witchy stuff of dreams.
The two diverging stories give us perspectives on each end of the spectrum of war. One glamorized for the media. The other portrays the suffering and survival tactics of everyday existence in the kibbutz. 
The film overflows with fearless female characters, each unique and bold. 
Amir Khoury
The look of the film is beautiful. The attention to detail, lighting, costumes, and cinematic framing, right down to the closing credits, all scream period era, sweeping drama. The script has everything from war scenes to relationships in which you’re bound to feel invested. A lingering dread looms over the narrative, keeping the audience on their toes. But, the genuine portrayal of humanity at its most desperate keeps you in awe. Isreal’s most expensive production fits perfectly into Netflix’s awards season slate. 
It’s no secret that all the best genre films come through Fantasia Film Festival. 2022’s fest comes just in time to distract us from all the actual horrible things happening in the world.
Six films we’ve seen at previous festivals and their reviews can be found below. Highly recommend each of them for a myriad of reasons.
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