The Toronto International Film Festival (TIFF) officially begins on September 4th and runs until September 14th. Several films are playing at the festival that had their world premieres at either Sundance, Berlin, Cannes, Telluride, or Venice. Still, we’re mostly looking forward to the TIFF-specific world premieres. Here is a list of world premieres the Next Best Picture team is looking forward to watching at this year’s Toronto International Film Festival (presented alphabetically).
& SONS
When Oscar winner Sarah Polley is attached to a project, you know you’re in for a treat. Argentine director Pablo Trapero teams up with Polley to bring what’s certainly going to be a highly dramatic and entertaining family reunion with “& Sons.” Starring the always impeccable Bill Nighy as an aging literary superstar on the verge of making a major announcement that will upend his sons’ lives (played by Johnny Flynn and George MacKay), the film could bring us levels of family drama seen in “August: Osage County” and then some. But it also seems poised to make us think about our loved ones, regrets, and the ways we want to do right by those who matter most. Given Polley’s expressive and thoughtful screenplays, this could emerge as a standout.
ADULTHOOD
If you only know Alex Winter as Keanu Reeves’s screen partner in the “Bill & Ted” films, then you only know half his career. Winter has been directing feature films since the early 1990s. In recent years, he’s focused more on documentaries, but the premise of “Adulthood,” written by Michael M.B. Galvin, feels pretty irresistibly in his comic wheelhouse: While clearing out their parents’ house after mom passes away, a pair of siblings, played by Josh Gad and Kaya Scodelario, discover a dead body hidden in the basement, sending them on what the TIFF programmers call a “bizarre, hilarious, twist-laden campaign to keep the past buried.” With supporting performances from notable oddballs Anthony Carrigan, Billie Lourd, and Winter himself, “Adulthood” promises to be one of the darkest, wildest comedies of the fest.
BAD APPLES
Zach Cregger’s “Weapons” and Jonatan Etzler’s “Bad Apples” might just make the ultimate double feature showing how communities turn on educators. In Etzler’s film, beloved actress Soairse Ronan stars as a primary school teacher who, after taking action against a violent student, sees how her community easily turns a blind eye in order to preserve peace and harmony. It may end up being one of the most relevant and poignant films of the festival, as schools and educators around the world are figuring out how to help children with troubling behaviors, as well as finding ways to get community members to help. In the case of this film, people are so quick to turn their backs on a “bad apple” rather than try to meet them where they’re at and try to understand the root of their behavior. Our educators don’t get enough credit for having to put up with so much, from poorly mannered children to even worse parents, so hopefully Etzler’s film can shed light on this situation that, one way or another, affects all of us.
CALIFORNIA SCHEMIN’
One of the things I love about attending the Toronto International Film Festival is the numerous directorial debuts from actors-turned-filmmakers. “California Schemin'” checks so many boxes of what makes for a great festival discovery. James McAvoy stepping behind the camera for his directorial debut is already an intriguing prospect, but pairing that with a true story as outrageous and compelling as the rise of Silibil N’ Brains makes it irresistible. The mix of comedy, music, and drama promises an energetic, crowd-pleasing ride, while also carrying some expected emotional weight. Add in strong performances, McAvoy’s sharp perspective on the absurdities of the music industry, and a soundtrack that will no doubt electrify a theater setting, and it feels like the exact kind of bold, conversation-starting film that thrives at TIFF.
CAROLINA CAROLINE
I’m really eager to see “Carolina Caroline” at TIFF because director Adam Carter Rehmeier already proved with “Dinner in America” that he has a knack for crafting aggressive yet tender love stories between unlikely characters, and here he reunites with Kyle Gallner while pairing him with the ever-radiant and immensely talented genre “it girl” Samara Weaving. Their Bonnie-and-Clyde dynamic promises to light up the big screen, both romantically and chaotically. Plus, the film’s mix of country-fried style, sharp writing, and infectious energy makes it feel like a modern outlaw tale with real heart. Add in Kyra Sedgwick and a pulsating soundtrack that keeps the story moving along to its own beat, and this has all the makings of a festival highlight that balances rebellion with romance in ways that will leave audiences buzzing.
CHARLIE HARPER
“Charlie Harper” marks Mac Eldridge and Tom Dean’s feature directorial debut, and it looks like a promising start for their filmmaking careers. The film teams up “CODA” star Emilia Jones and “Love, Simon” breakout Nick Robinson in a nonlinear, multiyear love story that shows them at their highest highs and lowest lows. As Charlie (Robinson) and Harper (Jones) grow and change over the years, so too does their relationship and their goals in life. Based on the description alone, it sounds akin to the heartbreaking Hulu series “Normal People,” and if it’s at all close to the devastating levels in that series, then we’re in for an emotional rollercoaster ride. Both Robinson and Jones know how to tug at the heartstrings, so they seem like an ideal pairing to showcase a grand and layered love story.
THE CHORAL
Ralph Fiennes is on a roll. To be fair, he’s always been great, but his recent run of “The Menu”, Wes Anderson’s Roald Dahl shorts, “Conclave,” and “28 Years Later” is unmatched by any other actor in recent years (you can include his war-worn performance in Uberto Pasolini’s dreary “The Return,” as well, if you want). Fiennes looks to continue that run in Nicholas Hytner’s “The Choral,” which could be just another reservedly emotional British period drama, but the team behind it has potential. Oscar nominee Alan Bennett has written the screenplay, about a choral society director in Yorkshire (Fiennes) putting together a performance during WWI. With most of the men in town serving in the army, he must use teenage boys, whom he must teach not only music lessons but life lessons. Even if it’s just a nice, uplifting period drama, that may be exactly what we all need in these troubling times, and Fiennes’s presence suggests just that.
THE CHRISTOPHERS
Steven Soderbergh’s lightning speed work ethic is truly impressive. With fall festival season looming, he has already directed two of the best films of the year: “Presence” and “Black Bag.” He could continue his winning streak with “The Christophers,” a dark comedy about the kids of a once-famous artist who hires a forger to complete his works. It helps to have a trusty ensemble — including Michaela Coel, Jessica Gunning, and Ian McKellen — all of whom are first-time collaborators with Soderbergh. The film’s plot suggests notes of betrayal and shifting loyalties, two themes right up Soderbergh’s alley that he comfortably excels at. He’ll also be re-teaming with David Holmes, who composed the scores for the “Ocean’s” trilogy and most recently “Black Bag.” Soderbergh might not be operating at his peak so far this decade, but given the exciting dual heights he just reached, there’s added hope for him to deliver a third great film this year.
CHRISTY
“Christy” is a boxing biopic that has been highly anticipated since its announcement. Director David Michôd is one of the most exciting filmmakers working today, having given us gritty, raw films such as “Animal Kingdom” and “The King.” Here he turns his eye to the astonishing true story of Christy Martin, a trailblazing boxer who battled not just in the ring but against the abuse and adversity that nearly destroyed her. The ever-talked-about and talented Sydney Sweeney looks poised to deliver the most transformative performance of her career, embodying Christy’s resilience with ferocity and heart. At the same time, the film features a complex role from Ben Foster as Jim Martin, who exhibited toxic control over Christy. Will “Christy” be an Oscar vehicle for Sweeney? Or will it get knocked down for the count? Only one way to find out this week in Toronto.
COUTURE
After a stellar (and bafflingly overlooked) performance as opera singer Maria Callas in Pablo Larraín’s “Maria,” Angelina Jolie returns with another lead role in a Parisian setting. “Couture” follows Maxine Walker (Jolie), a filmmaker battling cancer who arrives at Paris Fashion Week for a new creative project. The film is written and directed by Alice Winocour, who co-wrote the Oscar-nominated 2015 French drama “Mustang.” The ambiguous premise of “Couture” — which also involves a journey of women and girls from Ukraine, France, and Sudan — leaves ample room for mystery regarding its storytelling structure. With Jolie back in her leading lady era and Winocour at the helm, “Couture” is certainly one to watch. It sounds like an intriguing combination of high fashion and female rebellion.
DUST BUNNY
Dust Bunny” marks the feature directorial debut of Bryan Fuller, a visionary storyteller whose work in television has already inspired devoted fan bases with shows such as “Pushing Daisies” and “Hannibal.” Mads Mikkelsen leads opposite rising star Sophie Sloan, as a hit man hired by the young girl to kill the dust bunny monsters hiding under her bed. The film promises a macabre yet whimsical fairy tale that balances dark fantasy with soaring imagination from Fuller. The nearly wordless opening, playful nods to “Léon: The Professional,” and a visual style reminiscent of Jean-Pierre Jeunet all make it feel like something wholly unique within the horror genre. Add in the star power of Sigourney Weaver and David Dastmalchian, and “Dust Bunny” is one of the festival’s most exciting genre mashups. It’s the kind of film destined to become a cult favourite and could start that journey with its Midnight Madness world premiere screening.
ETERNITY
In a delightful twist on rom-com formula, David Freyne’s “Eternity” takes place long after the happy ending – in the afterlife. Joan and Larry die within a week of each other after decades of marriage, which would normally mean that their eternity together could start right away. The problem comes in the form of Joan’s first husband, Luke, who died in the Korean War and has been waiting for Joan for almost 70 years. There’s a lot of potential in this premise, and central cast members Elizabeth Olsen, Miles Teller, and Callum Turner (everyone in this afterlife appears to be the age they experienced their happiest moment) all have greatness inside of them. But will “Eternity” be a love triangle for the ages, or just a fun romp with John Early and Oscar-winner Da’Vine Joy Randolph along for the ride?
THE FURIOUS
There’s a world where Kenji Tanigaki’s “The Furious” might end up being the coolest title playing at this year’s Toronto International Film Festival. In a festival filled with new films from Guillermo Del Toro and Benny Safdie, who wouldn’t want to watch a high-stakes Hong Kong action flick following a father’s undying quest to kill the human traffickers who took his daughter? Is it a familiar premise, sure. Does Tanigaki’s directing this ensure that the fight choreography at the very least satisfies every single fiber in one’s body? Yes, very much so. Also, with Flying Lotus lending his musical talents to the film, it undoubtedly makes this a must-watch at the festival.
FUZE
“Fuze” on paper sounds like a perfect use of David McKenzie’s energy as a filmmaker. What appears on the surface to be a heist film in a small town amidst chaos due to a discovered World War II bomb is actually the setup for a taut thriller executed with efficiency. A specialty of McKenzie, who’s already following up “Relay” with an endeavor that sounds far grander in scale. This also may be the buzziest ensembles McKenzie has worked with at this point in his career so far, as Aaron Taylor-Johnson, Theo James, Gugu Mbatha-Raw, and Sam Worthington all are aboard what should be a more than thrilling outing.
GOOD FORTUNE
It’s been years since Aziz Ansari’s celebrated series “Master of None” came to an unofficial end, and many have been waiting to see what the award-winning comedian would be up to next. After his last project, “Being Mortal,” fell through due to allegations surrounding the set, Ansari finally set his sights on his directorial debut, “Good Fortune.” The comedy, which features Ansari’s Arj in the midst of the lowest financial moment of his life, is graced by the presence of a generous yet inept Gabriel Angel, played by Keanu Reeves, in the hopes of turning his life for the better. What transpires is a comedy exploring how measures truly impact one’s life and the struggles we endure. It’s refreshing to see that Reeves, who has spent the past decades killing assassins across the globe in the “John Wick” films, is getting to let loose in a raunchy studio comedy. Throw in a hilarious ensemble featuring the likes of Seth Rogen and Keke Palmer, and “Good Fortune” could be a nice studio comedy that will get audiences to think as much as they could laugh.
GOOD NEWS
I love me a good South Korean thriller, and other than “No Other Choice,” “Good News” appears to be satisfying that craving this year. It seems to be the kind of wild, unpredictable thrill ride that only South Korean cinema seems capable of delivering at the moment. Byun Sung-hyun, fresh off “Kill Boksoon,” appears to be leaning into pure chaos here, blending geopolitical satire with hijacking suspense and a playful arsenal of stylistic tricks. A hijacked plane in 1970 may sound like a familiar setup, but with competing governments, botched interventions, and a mysterious fixer known only as “Nobody,” the film promises dizzying twists and a biting commentary on international absurdities. With its combination of dark humor and audacious filmmaking, “Good News” feels like the kind of high-wire festival experience that could bring good news to those who happen to catch it.
HEDDA
Following her powerful feature debut “Little Woods,” Nia DaCosta has become one of the most versatile filmmakers working today. While her bold swing with the “Candyman” sequel and MCU entry, “The Marvels,” didn’t resonate as strongly as her first film, both showed promise for promising genre storytelling. DaCosta has “28 Years Later: The Bone Temple” coming next year, but before that, a highly anticipated reimagining of a nineteenth-century Henrik Ibsen play. Seven years after “Little Woods,” “Hedda” reunites DaCosta with Tessa Thompson for a showcase role in an elaborate story. The film follows an upper-class woman trapped in a loveless marriage and a house that she does not want. Based on the first-look photos and trailer, the film appears stunning, featuring cinematography by Sean Bobbitt (“Widows“; “12 Years A Slave“; “Judas And The Black Messiah“). Also starring Imogen Poots, Nina Hoss, and Tom Bateman, “Hedda” is one of the buzziest films of the year.
THE LOST BUS
Paul Greengrass returns to the big screen with a heart-pounding docudrama inspired by the deadliest fire in California history. The film follows school bus driver Kevin McCay, played by Matthew McConaughey, as he races against the spreading inferno of the 2018 Camp Fire to rescue 23 children stranded at Ponderosa Elementary School. Greengrass, known for his masterful work on “United 93” and the “Jason Bourne” franchise, looks to be bringing his signature kinetic style to the true story, combining restless pacing, immersive handheld camerawork, and meticulous attention to detail to recreate the chaos and terror of a rapidly escalating wildfire with state-of-the-art CGI and practical effects. Academy Award nominee America Ferrera plays the teacher of the students who accompany Kevin in a race against time for survival. While wildfires have become all too familiar in recent years, “The Lost Bus” promises a uniquely immersive experience that will likely emotionally resonate with audiences who catch it on the big screen (it will be made available to stream later on Apple TV+).
MADDIE’S SECRET
John Early has been one of the most uniquely funny comedians around for years now, so it was only a matter of time until he wrote and directed a film for himself. In that film, the opener of this year’s always-exciting Discovery program, Early plays Maddie Ralph, a foodie hiding a history of eating disorders from everyone in her Instagram-perfect life. With his finger always on the pulse of pop culture, his dead-on skewering of millennial hipsterism on the series “Search Party” proved his skill as a satirist, but this marks the first time he’s serving as the driving creative force behind his character. If anyone can give influencer culture the good satirical drubbing it deserves, it’s him, but as he proved in last year’s COVID lockdown-era film “Stress Positions,” he also has the capacity to make an insightful character study. “Maddie’s Secret” promises quite the ride, especially with comic madwomen Vanessa Bayer, Kate Berlant, and Kristen Johnston in supporting roles.
MILE END KICKS
“I Like Movies” writer-director Chandler Levack returns to the arts world with “Mile End Kicks,” a romantic comedy set in Montreal’s indie music scene. Barbie Ferreira plays Grace Pine, a music critic who moves to Montreal and devotes her time to writing a book on Alanis Morissette’s iconic 1995 album, “Jagged Little Pill.” While in her new setting, Grace falls for members of a rock band called Bone Patrol. There’s plenty to look forward to about Levack’s sophomore feature, from the influence of Morissette’s music to a story centred on a female protagonist in a male-dominated world to a cast full of rising stars. Among the ensemble are Stanley Simons (who played Mike Von Erich in Sean Durkin’s wrestling biopic “The Iron Claw“) and Juliette Gariépy (who starred in Pascal Plante’s psychological thriller “Red Rooms“).
NUREMBERG
Even though there have been films about the Nuremberg Trials, James Vanderbilt surely isn’t trying to replicate the magic of something like “Judgment at Nuremberg.”He’s bringing his own spin to it, enlisting the help of Academy Award winners Russell Crowe and Rami Malek, Vanderbilt uses one of history’s most important trials to set the stage for a thrilling court drama bound by a psychological battle of wills. With Michael Shannon, Leo Woodall, Richard E. Grant, John Slattery, and Colin Hanks rounding out what is a powerhouse ensemble, it’s hard not to be intrigued by Vanderbilt’s latest, which is sure to appeal to any history buff out there.
PALESTINE 36
Period epics are a dime a dozen, but Palestinian filmmaker Annemarie Jacir is trying to rejuvenate the formula with a spectacle set against the backdrop of 1936 during the British Mandate for Palestine. A perspective like this is rarely rewarded with the opportunity to make a film of this scale in this genre. With “Palestine 36,” Jacir is balancing a slew of storylines and characters at the forefront of the ever-evolving conflict, all of which is fueled by performances by established veterans such as Jeremy Irons and Hiram Abass that guide an ensemble filled with newcomers. Grand battle sequences implemented with rare archival footage could lead to a splendid outing by Jacir, whose work here is needed more than ever right now.
POETIC LICENSE
Without looking at the director of “Poetic License,” you’d be excited for it. Rising stars Cooper Hoffman (“Licorice Pizza“) and Andrew Barth Feldman (“No Hard Feelings“) play longtime friends with very different personalities, now in college, who fall for the married mother auditing their poetry class, played by Leslie Mann (“This is 40”). The charm on this ensemble is out of this world, and the college-age coming-of-age vibes could capture something about this generation in the same way Cooper Raiff’s films have done, but in an even more mainstream context. And as for the director, Maude Apatow? Who better than Lexi from “Euphoria” to tackle a story of dating and mating in modern times?
RENTAL FAMILY
In what’s sure to be a major contender for TIFF’s People’s Choice Awards, Hikari returns with a story about belonging, connection, and finding purpose in “Rental Family.” Academy Award winner Brendan Fraser feels right for a film such as this – he has kind eyes and a thoughtful spirit – which lend themselves to his role as a struggling actor who gets a gig at a Japanese “rental family” agency. As his life intertwines with a number of families, it’ll be hard not to get attached to their stories and the bonds that they share. With Hikari’s knack for emotional character studies, as well as Fraser’s loveable self, there’s no doubt that “Rental Family” will be a buzzy title out of Toronto.
ROOFMAN
Derek Cianfrance’s work is often synonymous with heartache. From films “Blue Valentine” and “The Place Beyond the Pines” to the HBO series “I Know This Much Is True,” Cianfrance gravitates towards melancholy like moths to a flame. So when the trailer for his latest film, “Roofman,” was released, the upbeat energy was a delightful surprise. Based on the true story of an escaped convict who evaded police by hiding in a Toys R Us, the material looks entertaining to watch unfold and raises intrigue as to a more dramatic through line than meets the eye. This seems to be an exciting showcase for Channing Tatum, who has shown compelling potential over the years in films such as “Magic Mike” and “Foxcatcher.” Tatum is also surrounded by a star-studded cast, including Ben Mendelsohn, LaKeith Stanfield, Peter Dinklage, and movie-watching queen Kirsten Dunst.
SACRIFICE
Romain Gavras’s “Athena” was a rousing, politically charged thriller that flexed his exceptionally grandiose direction, which was nothing short of absorbing. Now his follow-up, “Sacrifice,” is switching gears, still keeping Gavras’s sense of heavy-hitting commentary but this time basked in an all-star satire, hoping to make audiences laugh as much as it does rivet them. Garvaras’ full-tilt energy gathers washed-up actors, billionaires, and a doomsday cult all coming to a head in the hopes of making a change to the inevitable destruction of our planet due to climate change. Whether it has the same bite that “Athena” has remains to be seen, but when you have Anya Taylor-Joy and red-hot Chris Evans, it’s hard not to build up some type of anticipation for it.
STEVE
“Steve” brings us another collaboration between director Tim Mielants and Oscar winner Cillian Murphy (“Small Things Like These” and “Peaky Blinders”) which looks to be an emotional piece of work for both creatives. Murphy stars as the titular character, the head of a crumbling “last chance” reform school for teenage boys who has to navigate a tumultuous day made all the more stressful with the arrival of a documentary news crew. The Oscar winner is no stranger to emotional performances, especially with characters who internalize their feelings until they reach a breaking point. “Steve” looks to be that type of meaty role, with Murphy playing a man who can’t give up on these students, no matter how dire the situation may be. With Mielants at the helm, who delivered a gut-punch as he explored grief in “Small Things Like These,” there’s no question in my mind that “Steve” will deliver similar results.
SWIPED
Dating in the digital age is an absolute nightmare. It’s also a billion-dollar industry, where profit is deemed superior to mental health, safety, and gender parity. Rachel Lee Goldenberg’s latest film, “Swiped,” follows Bumble founder Whitney Wolfe Herd (played by Lily James), who became the world’s youngest female billionaire in 2021. Herd, previously the co-founder of Tinder, created Bumble in 2014 as a platform where women make the first move. With Goldenberg’s involvement, “Swiped” could resonate as a more nuanced illustration of women’s independence and the dangers of online dating. In her previous film, “Unpregnant,” Goldenberg approached the subject of abortion from a road trip comedy lens with an insightful screenplay. “Swiped” features a promising story and a terrific cast, including Lily James, Dan Stevens, Myha’la, Dermot Mulroney, and Clea DuVall.
TWO PIANOS
Arnaud Desplechin will have my undying devotion for his brilliant family drama “A Christmas Tale.” While he hasn’t matched those highs since, the premise of his latest (co-written with Kamen Velkovsky) is the most intriguing one he’s come up with in a while: Virtuoso pianist Mathias returns home to Lyon after an extended stay in Asia to find a young boy who seems to be his doppelgänger. From there, his already fragile psyche becomes even more unstable as a former lover re-enters his life. Desplechin has a sharp ear for the intricacies of strained human relationships, and François Civil has steadily built a strong resumé over the past few years with back-to-back César nominations for Best Supporting Actor in 2022 and 2023. Charlotte Rampling is a perfect fit for Desplechin’s style, so her presence here as Mathias’s childhood mentor would be enough to fill me with anticipation, but Desplechin taking on a story of doubles, memory, and music still feels like the big draw.
THE UGLY
I’ve long admired Yeon Sang-ho, best known for visceral, high-concept films like “The King of Pigs,” “Train to Busan,” and “Psychokinesis.” With his latest, “The Ugly,” Yeon strips things down, adapting his debut graphic novel, “Face,” into a low-budget indie film shot in just three weeks with a skeleton crew. The result is an intimate and humanistic story that quietly examines morality, social resentment, and the meaning of beauty. The film follows Dong-hwan (Park Jeong-min) as he digs into the mysteries of his mother’s past, intercut with flashbacks to his father Yeong-gyu, a blind stamp carver obsessed with a beauty he can never see. What makes this especially exciting to me is the chance to see Yeon embrace a more restrained, intimate realism without losing his knack for thought-provoking social commentary. “The Ugly” looks poised to both surprise longtime fans and reaffirm his talent with an uncompromising vision, making it one of the most intriguing premieres of the festival.
WAKE UP DEAD MAN
A new “Knives Out” movie is always an event, and Rian Johnson’s latest entry, “Wake Up Dead Man,” looks to give us even more twists and turns to chew on. Like the previous two films, this one comes with a star-studded cast. Fearless leader Daniel Craig is back again to deal with another band of misfits, including Josh O’Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny and Daryl McCormack. Even more exciting than the ensemble itself is the mystery that Johnson crafts for viewers, and the director/writer riffs on the dark, gothic elements of Edgar Allan Poe’s “The Murders in the Rue Morgue” for this story. “Knives Out” was tightly constructed and made the murder guessing game all that more fun. “Glass Onion” had quite the convoluted mystery to solve, on top of too many “gotcha” moments, so following along wasn’t always the easiest task. Hopefully “Wake Up Dead Man” can find a happy medium between the two.
What are you most looking forward to at this year’s Toronto International Film Festival? Anything you’d specifically like to hear our take on when we attend? Please let us know in the comments section below or on our X account.
You can follow Matt, Dan, Ema, Nadia & Giovanni and hear more of their thoughts on the Oscars & Film on Twitter at @NextBestPicture,@dancindanonfilm, @ema_sasic, @nadreviews & @TheGiovanniLago
