TIFF ’26: What to See at This Year’s Fest, Sept. 19 & 20
By Liz Braun, Thom Ernst, Karen Gordon, Kim Hughes, John Kirk, Chris Knight, Liam Lacey, Bonnie Laufer, Alice Shih and Jim Slotek
And so… the conclusion of the 51st annual Toronto International Film Festival arrives. What a whirlwind. We hope you enjoyed reading our capsule review of some 100-plus films with a half-dozen more below. Many of the films may never screen here again. Many others will open or stream in the coming months. With luck, we have offered some guidance on good stuff to check out. On Monday, we present a Festival post-mortem of sorts. Keep an eye out for it and thanks again for reading.
A scene from Below.
Below (Primetime)
Sat, Sept. 19, 1 pm, TIFF Lightbox 3.
From Canadian screenwriter, The Umbrella Academy’s Jesse McKeown comes this supernatural shocker set in Snooks Bay, Newfoundland. Iceberg harvester Calvin Penney (Josh Hartnett) wrestles with either abandoning the depressed town he calls home or sticking it out, a common Newfoundland theme. Meanwhile, tourists go missing, a strange smell emanates from the ice Calvin harvests, and the discoveries of friend and marine biologist Fonda Howander (Mackenzie Davis) become harbingers of unease. Yes, something strange is happening in the small community’s local waters. Notes of Lovecraftian horror and well-crafted suspense make this Netflix series worth your attention. JK
BenI’mana (Centrepiece)
Sat, Sept. 19, 3:30 pm, Scotiabank 9.
Director Marie-Clémentine Dusabejambo’s clear-sighted drama, which won the Camera d’Or for best first film at Cannes, confronts the overwhelming subject of Rwandans’ struggle to move forward from the 1994 genocide. Set in a mountain village in 2012 against the backdrop of the “Rwanditude” program of community reconciliation, the film opens with middle-aged community leader Vénéranda impassively telling an outdoor court that she forgives a neighbour, convicted of sexual assaults and murders of her family members. But her ailing sister Suzanne stands up to declare that Vénéranda has “no right to forgive on behalf of my family.” The tight script, based on real women’s testimonies, focuses on the sisters’ opposing viewpoints, a family, secret and Vénéranda’s troubled relationship with her pregnant teenaged daughter Tina, who carries a new life inside her. LL
A scene from Diary of a Mad Old Man.
Diary of a Mad Old Man (Gala Presentations)
Sun, Sept. 20, 11:50 am, Scotiabank 13.
Director Wayne Wang adapts Japanese novelist Jun’ichirō Tanizaki’s book about aging. A recovering stroke patient (Lily Franky), whose family cares more about his money than his interests, needs mobility assistance. The only person he trusts is his daughter-in-law (Fan Bingbing), who is unhappy with her husband’s infidelity. They find erotic comfort in each other while respecting boundaries. Other family members are appalled, accusing her of extortion and tearing the family apart. With her marital state in crisis, she takes off, driving the old man into despair and madness. This film is not everyone’s cup of tea, with its depiction of sexual desire close to absurdity. AS
Everybody Wants to F*ck Me (Special Presentations)
Sat, Sept. 19, 8:30 pm Royal Alexandra Theatre.
It doesn’t take long for Everybody Wants to F*ck Me to turn dark. The laughs promised by its attention-grabbing title arrive early, before disappearing into schemes, conspiracies, and something much nastier. Writer-director Jonathan Schey initially draws on the offbeat sexual comedies of the ’70s before veering into Lindsay Anderson-style oddness. The shifting tone forces us to continually recalibrate what we’re watching and how we’re meant to feel about it. Adam (Taron Egert) devours books, podcasts, and documentaries to pass himself off as enlightened, mostly to get women into bed. It works until someone calls him out and a bit of voodoo makes him literally irresistible. Suddenly women aren’t merely attracted to Adam; they pursue him violently and without invitation. His greatest fantasy becomes something considerably closer to a nightmare. F*ck me, indeed. TE
Faith (Special Presentations)
Sat, Sept. 19, 12:25 pm, Scotiabank 3.
Faith is that rare “Christian” film that is not didactic, doesn’t quote Scripture, and offers no Rapture. Thank heavens! Single mom Gina (Erin Doherty) meets the mysterious Michael (note that name) at a pub quiz and, while he is charming and interesting, he doesn’t seem to be into her in a romantic way. Then, as she’s puzzling through that, tragedy strikes and things get a bit weird. Not terrifying, just… eerie. James McAvoy excels as the kindly stranger, and Doherty gives a rugged, ragged portrayal of keening grief that makes this not an easy film to watch, but ultimately a meaningful one. CK
Neil Peart: No One's Disciple (Special Presentations)
Sat, Sept. 19, 9 pm, TIFF Lightbox 1.
How fitting that this tribute to the late Neil Peart — Rush drummer extraordinaire, beloved and revered by fans and musicians around the world — premieres at TIFF. Deeply moving, Neil Peart: No One's Disciple celebrates the joy, discipline, and sheer awe Peart brought to progressive rock. Directed by Rush: Beyond the Lighted Stage helmers Sam Dunn and Scot McFadyen, the film captures the precision of Peart’s craftsmanship and the quiet, introspective man behind the kit. The live performance segments with heavy-hitting guest drummers act as an exhilarating showcase of his legacy, but the documentary’s emotional core stays rooted in the enduring bond between his lifelong friends and bandmates Geddy Lee and Alex Lifeson, and their missing "soul brother." An essential watch for Rush devotees and music lovers alike. BL
Run Terry Run (Gala Presentations)
Sat, Sept 19, 4:15 pm, Roy Thomson Hall; Sun, Sept. 20, 10 am, Scotiabank 1.
Sean Menard’s documentary about Terry Fox is as understated and true-blue as the man himself. It is a profoundly affecting film. Witnessing Fox’s humility and determination as he runs his Marathon of Hope across this vast country is both inspiring and heartbreaking; hitherto unseen footage adds emotional and historical depth to a snapshot of a Canada that no longer really exists. One assumes this documentary will be shown in schools coast to coast to coast. LB