by Billie Anderson, Staff Writer

Another September, another Toronto International Film Festival. This year feels particularly special, like there’s something in the pre-festival air. Perhaps it’s because of the stellar lineup, with other festival heavy hitters coming to TIFF, like Sean Baker’s Anora, Cannes’ Palme D’Or winner, or other long awaited features, like Reitman’s Saturday Night, Coppola’s Megalopolis, and Guadagnino’s Queer. Perhaps it’s that this feels like the first time since pre-pandemic that the festival is pulling all the stops, giving the TIFF audience what they want. Or perhaps it’s because Canadian telecommunication company Bell is no longer the lead sponsor of TIFF after almost a three-decade partnership, and there’s some anticipation to see how that will impact the festival and the future of Canadian cinema. Either way, I’m thrilled to be attending TIFF as press and industry for the first time with such an exciting lineup of films coming its way.

Last year, I saw nine films in collaboration with Western University and TIFF’s International Programmer for Africa and Arab West Asia, along with five additionally I was able to snag tickets for on my own. This year, I’ve got a fully packed schedule–it’s funny, as an academic, a slave to the September-May calendar year, TIFF always forces me to take the first week “back to work” off and enjoy some new movies, and for that I’m eternally grateful. I’ve got plans to see some highly anticipated films, and also fun, more surprising features that I didn’t hear about until the full schedule was released. Here are some flicks I’m excited to see!

The Shrouds
Written and Directed by David Cronenberg
North American Premiere September 11

Late last year, while attempting to introduce my friends to one of my favorite cocktail bars in Toronto, we unexpectedly stumbled upon the set of The Shrouds. As a fervent fan of films set in Toronto—there's something exciting about seeing your own city depicted on screen, regardless of how frequently it's used as a filming location—I was thrilled. This excitement is even more pronounced when the film in question is a semi-autobiographical sci-fi project set in the city where its creator has spent much of his life.

It’s no surprise that someone who has dedicated their entire PhD to studying David Cronenberg would be especially eager for the premiere of his latest film. The Shrouds has been described as Cronenberg’s “most personal film” and “the saddest movie [he] has ever made.” The film centers on a grieving tech entrepreneur who develops groundbreaking technology that allows people to observe the decomposition of their deceased loved ones. This premise is no surprise with Cronenberg’s knack for exploring the intersection of technology and human experience, making it a highly anticipated addition to his body of work. I’m enticed to see how his frequent exploration of the human body is reflected in and through his own experience of loss. This is my top pick of the festival.

Friendship
Written and Directed by Andrew DeYoung
World Premiere September 8

Friendship explores a quirky bromance between two suburban dads, played by Tim Robinson and Paul Rudd, that spirals into obsessive territory. While many films and TV shows delve into the complexities of maternal obsession, it’s rare to see a narrative that focuses on the friendships among dads. Spending time with my own father and his friends–my father is in his 70s and so much of what he says is nonsense to me–I can see how Robinson's unique comedic style is a perfect fit for bringing this story to life in my experience of suburban dads.

The film is poised to showcase Robinson’s signature brand of cringe comedy, enhanced by the sharp direction of Andrew DeYoung, known for his work on PEN15 and The Other Two. Pairing Robinson with Rudd’s effortlessly charming presence will provide a delightful counterpoint to his eccentric and awkward characterizations. Together, they promise to deliver a hilarious and insightful look into the dynamics of male friendship and obsession. I'm anticipating Friendship will be a must-watch for fans of offbeat humor and social satire.

Cloud
Written and Directed by Kiyoshi Kurosawa
North American Premiere September 5

Kurosawa is a master of mood and atmosphere, crafting sensations of dread even when nothing overtly frightening is happening on screen. His ability to evoke unease rivals that of David Lynch, though Kurosawa’s approach is rooted more in philosophical themes than in surrealism. While he often employs frameworks typical of horror or detective films, frequently incorporating supernatural elements, he reinterprets these genres in a way reminiscent of Lynch’s subversion of film noir tropes.

Both directors share a keen sensitivity to cinematography and sound design. Lynch’s use of sound is crucial in establishing that distinctive dread that coined the term “Lynchian,” and I believe that Kurosawa uses sound in a very similar way to create an unsettling atmosphere that few other directors achieve so effectively. His films have a way of crawling under your skin, leaving a lingering sense of discomfort. You don’t forget your first time watching a Kurosawa movie.

Internet horror is notoriously difficult to get right due to the rapidly evolving nature of online threats and trends. Kurosawa’s latest feature, Cloud, promises to explore the dark undercurrents of our digital age, where anonymity can lead to real-world malevolence. Given Kurosawa’s skill in evoking dread, I’m eager to see how he captures the palpable fears of the online world.

The Last Showgirl
Written by Kate Gersten
Directed by Gia Coppola
World Premiere September 6

One of my favorite shows right now is Hacks. Beyond the compelling relationship between the two leads, it has been very fun to see a different side of Las Vegas represented on screen. I think that approach is another reason why the book The Goldfinch (also takes place in Vegas) worked so well for me. There’s something captivating about seeing a well-known location from an unexpected angle that sets up a compelling narrative.

The Last Showgirl promises to continue this trend of offering a fresh perspective on Vegas. Moving away from the usual high-glamor narratives of The Strip, the film explores the more poignant reality behind the scenes. Centered on Shelley, played by Pamela Anderson, the story explores her life as a long-time showgirl in Las Vegas. After her show comes to an abrupt end, Shelley is thrust into the challenge of reinventing her future.

Gia Coppola, the director behind The Last Showgirl, has a knack for portraying complex, intimate narratives against unconventional backdrops. Coppola’s talent for exploring the human condition–always a fan of a character piece–is precisely why I’m excited about this film. Her adeptness at blending deep emotional exploration with fresh, compelling settings makes The Last Showgirl a highly anticipated addition to her impressive filmography.

Presence
Written by David Koepp
Directed by Stephen Soderbergh
International Premiere September 13

In 2022, I scored tickets to a secret surprise screening at the Lightbox for a Steven Soderbergh film. The screening turned out to be a re-edit of his 1991 movie Kafka, where he had stripped away all the dialogue and replaced it with a musical score. Having never seen the original, this was a wholly unique first encounter for me. I won’t sugarcoat it—it was strange (you might even call it Kafkaesque). But more than just strange, it was unsettlingly eerie (again, Kafkaesque...). I was genuinely impressed by Soderbergh’s ability to craft a chilling atmosphere, despite the film not being intended as a horror piece.

Now, with Presence, Soderbergh delves directly into the horror genre. The film follows a family moving into a new home, setting the stage for a classic haunted house narrative. However, much like Chris Nash’s In a Violent Nature, it promises a fresh twist: the perspective of the spirit doing the haunting. Personally, I believe that horror is often more effective when the [insert: monster/alien/ghost/killer] remains unseen, and In a Violent Nature didn’t quite change my mind. I’m eager to see if Soderbergh can rise to the challenge and deliver a genuinely original take on the genre.

Else
Written by Alice Butaud, Thibault Emin and Emma Sandona
Directed by Thibault Emin
World Premiere September 9

So much body horror at TIFF this year! Else promises a Too Hot To Handle style body horror–what if you fell in love, but you couldn’t touch? Thibault Emin’s debut feature is set to captivate audiences (me, specifically) with its original take on the body-horror genre, blending romance and existential dread in an unsettlingly intimate way–nothing is more romantic than two souls becoming one, or in this case, two bodies becoming one? The film follows a couple who, after a one-night stand, are met with a surreal epidemic that challenges their newfound relationship. The mutation claims to cause people to “melt into one another.” As the disease causes the infected to merge with their surroundings, the couple find themselves trapped in a claustrophobic apartment, their relationship increasingly threatened by the encroaching, amorphous threat.

What excites me about Else is not just its innovative approach to body horror but its seemingly deeper philosophical underpinnings. I’m intrigued with how Emin will portray such a ridiculous premise, and I’m intrigued to see how the romance fits into all of this. Navigating two very different genres without allowing either to swallow the other. Any new approach to body horror is an instant watch for me.

Can I Get A Witness?
Written and Directed by Ann Marie Fleming
World Premiere September 6

My father turned 50 right after my 6th birthday. I often talk about how I had such great parenting because my parents lived a full life before they had me at 36 and 44. Having the opportunity to watch my father age would not be possible in Fleming’s next feature Can I Get a Witness? A live-action and animated feature set in the near future where technology and travel are almost completely banned, and nobody is allowed to live past age 50.

There are so many things about Can I Get A Witness? that I am excited to see: the merge between live action and animation, the introduction of alternate realities (sci-fi is my favorite genre for this reason–seeing what fun worlds filmmakers come up with is always thrilling), and a mother-daughter relationship including Sandro Oh. All things by themselves that would have me seek out a film are merged together to create Fleming’s next feature.

I’ve got a packed schedule that includes these films and more and can’t wait to share them with you. Throughout September. Stay tuned!

The Toronto International Film Festival begins September 5 until September 15, tickets are available here. MovieJawn will be on location at this year’s fest! Find our latest dispatches here.