TIFF 2023 has come to a close, and it was another eventful year for festivalgoers. This year’s festival may have lacked the abundance of A-list talent of past years, but TIFF’s slate of films still delivered. Eleven days isn’t nearly enough time to take in all the must-see screenings the festival offers.
Several titles floored me, setting a high bar for every 2023 film that follows. Ava DuVernay’s Origin hit me like a wrecking ball, obliterating my composure and leaving me a weeping mess. In a just world, Origin’s compassionate examination of race and class would spark much-needed conversations. But this film is destined to inspire outrage rather than nuanced discussions. Hopefully, the inevitable controversies won’t deter people from engaging with the film. It features stunning acts of filmmaking which boldly declare DuVernay is at the top of her game. Origin isn’t just DuVernay’s best film; it’s her magnum opus.
Another potentially controversial film about the Black experience was the talk of TIFF. Cord Jefferson’s American Fiction took home the highly prized People’s Choice Award. Past winners include The Fabelmans, Nomadland, and Green Book. Staring a sensational Jeffrey Wright, American fiction is a satirical look at an artist who decides to use his Blackness to pander to publishers. We’re going to have to wait a little while to catch this one, as it’s scheduled to drop in November.
Other buzzworthy titles I missed include the Canadian premieres of Justine Triet’s Palme d’Or winner Anatomy of a Fall, and Jonathan Glazer’s Cannes Grand Prix winner The Zone of Interest.
I’m disappointed the stars never aligned to catch Bertrand Bonello’s insane-sounding sci-fi flick The Beast. And I regret missing out on Harmony Korine’s critically panned Aggro Dr1ft, which was entirely shot in infrared. I didn’t hear a single positive remark from anyone who caught the film, yet I’m still curious. Korine has always been interested in subverting filmmaking conventions, and I’m intrigued by why he thinks infrared is the way to go.
Alright, TIFF is so unwieldy that I could go on all day about the films I didn’t catch. Here are a few of the many movies I enjoyed.
Standout Moment Recap
Evil Does Not Exist – Ryusuke Hamaguchi
My last film of the festival was Academy Award-winning director Ryusuke Hamaguchi’s (mostly) serene slow burner Evil Does Not Exist, and it sent me home on a high. Evil Does Not Exist won’t be everyone’s cup of tea. When the credits hit, the folks sitting around looked at each other and asked, “What just happened?” It’s light on plot (it began life as a 30-minute short without dialogue), but it takes you on a staggering emotional journey through its bucolic cinematography, layered performances, and dreamy score.
Fallen Leaves – Aki Kaurismäki
Aki Kaurismäki’s Fallen Leaves is another unconventional that film broadcasts on a narrow wavelength. I couldn’t recommend this slow, deadpan Finnish romantic drama to most of the moviegoers in my life. But if you adore international cinema and appreciate deadpan performances, Fallen Leaves is the gift that keeps on giving. It’s hilarious, charming, and flagrantly political. There’s a reason it snagged a number of honours, including the Fipresci Grand Prix.
KILL – Nikhil Nagesh Bhat
While discussing films for specific audiences, I must include Nikhil Nagesh Bhat’s wild Midnight Madness movie, KILL. The movie is an over-the-top ridiculous action flick that bills itself as The Raid on a train. It makes last years gory Nazi-hunting thriller Sisu look like Paw Patrol. I’ve lost count of the number of press screenings I’ve attended over the years, and I’ve never experienced anything close to what happened at KILL.
The film’s vicious combat, self-aware humour, and cartoonish degree of blood and gore turned my humble Press and Industry screening into an all-out midnight madness event. The film had people shouting, leaping out of their seats and cheering for the characters.
If you love hyper-violent kung fu flicks, do yourself a favour and catch KILL in a packed theatre with fellow action movie connoisseurs.
Fair Play – Chloe Domont
Chloe Domont’s Fair Play may lack KILL’s violent thrills but it’s no less intense. The anxiety-inducing thriller stars Phoebe Dynevor and Alden Ehrenreich as co-workers hiding their relationship from their employer. Things get “complicated” after one of the lovers accepts a promotion. The less you hear from there the better. Fair Play is a taut thriller that will that will keep you on the edge of your seat until the credits roll.
Hit Man – Richard Linklater
Richard Linklater’s delightful comedy-thriller Hit Man is one of TIFF 2023’s breakout hits. I didn’t encounter a single moviegoer who didn’t describe the film as a pure pleasure. Glen Powell dazzles as a hapless dweeb who tries on different personalities as he figures out his sad and lonely life.
The Movie Emperor – Ning Hao
Ning Hao’s The Movie Emperor focuses on another type of human chameleon: actors. The film stars screen legend Andy Lau as an A-list movie star who switches up his image by taking a role in a small film as a pig farmer. And, of course, his A-list ego gets in the way. The Movie Emperor is a hilarious sendup of acting, celebrity life, and the entertainment industry.
Speaking of Hollywood stars, it feels like Colman Domingo is about to ascend to another level. He delivers not one but two powerhouse performances that halve people talking. First, you can catch him in director Greg Kwedar’s Sing Sing, the story of a group of actors in a Sing Sing Correctional Facility theatre workshop. In filmmaker George C. Wolfe’s Rustin, Domingo plays Bayard Rustin, a gay civil rights activist who organized the 1963 march on Washington. That marks two heavy-duty roles for a heavy-duty talent. I hope this is finally his moment to shine.
TIFF 2023 REVIEW EXCERPTS
Mr. Dressup: The Magic of Make-Believe — Robert McCallum
Documentaries like Won’t You Be My Neighbor? and Street Gang: How We Got to Sesame Street can turn any world-weary Oscar the Grouch into a bleeding-hearted Elmo. So, when you sit down to watch Mr. Dressup: The Magic of Make-Believe, prepare to experience “all the feels.” Director Robert McCallum’s documentary spotlights the life and career of the man behind the magic, Ernie Coombs, aka Mr. Dressup. This touching, comprehensive, and always entertaining film delights whether or not you grew up a Mr. Dressup fan.
Read the full review here.
Knox Goes Away — Michael Keaton
The film sees an ageing contract killer coming to terms with reaching the end of his career. With its high-concept premise, intriguing theme, and a standout cast, Knox Goes Away looks like a can’t-miss. However, a few glaring issues prevent the film from reaching its potential.
Read the full review here.
Boy Kills World —Moritz Mohr
Imagine a filmmaker went on a meth-fuelled bender and shot a film that mixes Kill Bill, The Hunger Games, and Street Fighter II. You would have something as insane and stylish, but probably more coherent, than Boy Kills World. This film is as brutal and twisted as any genre flick you’ll likely see this year. It’s a movie where a man slaughters a roomful of armed goons with a cheese grater. What else do you really need to know?
Read the full review here.
Monster — Hirokazu Kore-eda
Watching Hirokazu Kore-eda movies is to experience graceful cinematic dances between hope and despair. His filmography consists of masterfully crafted emotional epics where joy and sadness ebb and flow like the evening tide. Kore-eda’s latest offering, Monster, is no easy ride. It’s messier, with a harsher edge than his most recent work (Broker, The Truth, and Shoplifters).
Read the full review here.
100 Yards — Xu & Junfeng Xu
Badassery has a new name, and it’s Jacky Heung. While some martial artists strive to take the art form to new heights, in 100 Yards, Heung is gunning for new dimensions. He delivers an electrifying performance that’s must-see viewing for action movie fans.
Read the full review here.
Flora and Son — John Carney
If Flora and Son is your first John Carney movie, you’re in for a treat. And if you’re a fan of his other films, know that like a fine wine, the writer-director keeps improving with age. Carney is in top form here with a delightful and entertaining musical dramedy made to soothe your soul.
Read the full review here.
When Evil Lurks — Demián Rugna
Rugna gives no f**ks about viewers’ mental well-being because he drags them to some dark places. When the violence erupts, it does so with a degree of brutality that would make Ari Aster say, “That’s messed up.” When Evil Lurks is as twisted as any horror flick you’ll see in 2023. Consider that a warning.
Read the full review here.
Uproar — Hamish Bennett & Paul Middleditch
Co-directors Hamish Bennett and Paul Middleditch’s delightful coming-of-age story Uproar is about a teenager figuring out who he is and how he fits into the world. It reminds me of another of this year’s festival favourites, Flora and Son. Both films are endearing tales about people whose lives change drastically once they discover their passion.
Read the full review here.
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