The festival season is officially in motion as we get the first tastes of reactions emerging from this year’s Venice Film Festival. While many of the big heavy hitters for this coming awards season come from there and the previous Cannes Film Festival, festivals like Toronto, Telluride, and, more often now, New York, offer their own premieres that start conversations that last throughout the year. Toronto is maybe the most prolific of those three for premieres, and while not everything that launches there ends up in the broader conversation, it’s worth paying attention to the films that premiere to find any gems that could go unsung over the next year.
All That She Wants
What’s nice about Toronto, compared to the other fall festivals, is the kind of lighthearted film that can premiere there. The programming has a breezier, looser quality that lets what seems like more standard genre fare get a spotlight. That’s how a romantic comedy from relative newcomers like “All That She Wants” has a chance to make a splash. Co-director Andrew Rhymer had a solid hit a few years ago in the same wheelhouse with “Plus One”, but his other half, Scarlett Bermingham, is making her directorial debut with this film. As fans of “Schitt’s Creek,” “Girls,” and both “Shithouse” and “Cha Cha Real Smooth,” getting to see stars Annie Murphy, Cooper Raiff and Zosia Mamet in a new romantic comedy is as exciting as any awards contender.
Ancestors
Another directorial debut, “Ancestors,” this time from Irish filmmaker David Turpin, serves as much more of a question mark at this point than some of the other premieres. With the only real names attached being Rupert Everett and Christina Hendricks in likely smaller roles, one may write this film off when looking over the festival. Still, every year we see exciting new voices emerge at TIFF, and this could very well be one of those breakouts. The premise is rather vague, self-describing itself as a mystery intertwining dream and memory, so there’s plenty of opportunity for a bold and singular vision for this first film from Turpin. Whether he delivers or not, it’s exciting to find out ourselves and have it on our radar ahead of time.
The Assassin(s)
Hur Jin-ho is a rather unsung South Korean filmmaker; over his nearly thirty-year career, he has yet to fully break into the more pronounced discussions of international cinema, though his works have been widely admired. Whether his journalism-centered thriller “The Assassin(s),” which seems in line with the works of Alan J. Pakula, is the film that breaks him out is unclear; however, getting a platform for an audience to discover a filmmaker they may not be familiar with is one of the biggest treats of the festival season. This will be a lot of people’s first film of his; it would be my first, but on its own, it seems to play in the waters of storytelling that excites nearly everybody when they go to the movies.
Babies
One of the festival’s more high-profile premieres, Lauren Miller Rogen’s “Babies” seems to serve as classic TIFF programming. The relationship and family dramedy comes eight years after Rogen’s debut “Like Father,” but with the year her husband Seth is having and the cast she assembled here, it seems likely this will make much more of a dent. Roadside Attractions have already picked up the film for a wide release next year, and given how much it fits the festival’s vibe, it’ll probably generate a great first wave of buzz. Funnily enough, the animated Cannes holdover “Tangles” also plays at the festival, which both Rogen produced, and will probably help make it an exciting festival for not only the couple, but for fans of both of them.
Being Heumann
Another heavy hitter on this list, Sian Heder’s long-awaited follow-up to “CODA” makes its debut as the Opening Night film with “Being Heumann.” After the Cinderella story of her previous film’s Oscar run, it’s curious to see how far this film can go in this year’s much more competitive awards season. “CODA” was very TIFF-core in spirit, but in the COVID year of 2021 it released wide on Apple TV+ before the festival even began. Back with Apple, they’ve chosen a more traditional awards trajectory with this, and whether that pays off or not, it’ll be interesting to see how this film is perceived with the “baggage” of being a follow-up to a Best Picture winner. The story in and outside the film seem crowd-pleasing enough, with favorites like Mark Ruffalo and Dylan O’Brien in the cast, making it hard to imagine most people not falling for Heder’s work again if it truly delivers.
Closing Night
Back in the sphere of directorial debuts, Cody Fern, best known as an actor in American Horror Story, takes his first seat in the director’s chair with “Closing Night.” Fern brings along another Ryan Murphy regular, with Sarah Paulson taking on what seems like an exciting leading role. The film follows Paulson as an actress on the night before an important performance, which is disrupted when an estranged family member visits. Between Paulson, Naomi Watts, Dianne Wiest, and Odessa A’Zion, the ensemble alone is enough to be exciting. Still, it’ll be interesting to see how, if at all, Fern plays off Murphy’s style given their shared history. Not necessarily a needle mover for predicting quality, but Devon Bostick as a co-writer adds another fun component that makes this worth looking forward to.
Dorothy
A glance at the previous works of Indian filmmaker Karthik Subbaraj would make anyone fascinated by what it’s like to watch one of his films. Thankfully, TIFF audiences have that opportunity with his new film, “Dorothy.” Subbaraj seems to make films over two and a half hours, and this is no different, but with the epic stories he tries to tell, that length usually feels justified. “Dorothy” seems no less epic, following two friends in a violent world as their lives change with the arrival of the titular Dorothy. While that can sound quaint and small-scale, the action and adventure genres attached to the film make it feel like something bigger than the premise suggests. How big or crazy does it get? Well, Toronto audiences will be the first to find out.
Drifter
For fans of the “Fast and Furious” franchise who also happen to go to TIFF, actor Sung Kang, who plays Han Lue in that series, makes his directorial debut with “Drifter.” Also in the racing world, the film follows Kang as a racetrack janitor finding a different found family than Dominic Toretto’s. It seems very much in the vein of the Fast series, which makes its festival appearance a little surprising, but perhaps there’s something special here below the surface. Even if it doesn’t surprise in that way and is just a silly, fun action movie, it will surely serve as a refresher for many festivalgoers, or maybe even bring fresh audiences into the theater, which may be part of why it’s even here. With Kang as a director, a wild card, we’ll stay optimistic and assume he’s bringing something special to a formula he knows well.
Edward Said: Between Worlds
To highlight an exciting documentary debuting at the festival, “Edward Said: Between Worlds” follows the titular, late Edward Said, a Palestinian-American academic and activist. Directed by Maiken Baird, the film features plenty of important footage from Said’s life, along with new footage that paints the clearest portrait of the man we’ve ever seen. It’s one of many documentaries on the subject, but with the hole his passing left since 2003, there’s plenty of meat left in his life and ideology to explore in a feature film. His writings and work can be traced all the way back to the establishment of Israel and the subsequent conflict that is incredibly relevant currently with the ongoing genocide happening in Palestine, making Said’s voice all the more crucial to put a spotlight on today.
Everybody Wants To F*ck Me
One of the more eye-catching, if not the most eye-catching, titles of the fest, “Everybody Wants to F*ck Me,” is the feature debut of Jonathan Schey. The dark comedy stars Taron Egerton, who feels like he’s been pretty absent this decade in the theatrical film space, so it would be very welcome for this film to hit and get him big in a buzzy theatrical release. He’s paired opposite Mia McKenna-Bruce, who should be on everyone’s radar after her incredible work in “How to Have Sex,” and hopefully gets room to shine here as well. The film follows Egerton, who believes he has crafted himself to be the perfect man, perhaps a less dangerous Patrick Bateman type. Whatever the case, it should be an opportunity for Egerton to show off the comedic and charismatic chops we know he has in spades and hopefully a splashy debut for Schey.
Evil Genius
For a directorial effort from a more well-known face, Courteney Cox’s newest film “Evil Genius” is making its debut at the festival. The crime thriller, with an ensemble including Patricia Arquette, David Harbour, and Tom McCarthy, serves as Cox’s third feature. Still, the premise seems a bit more attention-grabbing than her past work. People love the true-crime story this film follows, an investigation into the events behind a real-life murder. Whether it’s notable enough to reach outside of the audience who’s primed to like that kind of story, at the very least it will hopefully scratch the itch of the genre’s biggest fans.
The Face Of Horror
Anna Biller made a strong impression with her last film, “The Love Witch,” and despite the ten years since then, that goodwill has carried over into decent buzz for her new film, “The Face of Horror.” The gothic medieval romance seems to offer the same strong color palette that pops right off the screen, even from the few images that we can see online. The film follows a woman who, in the afterlife, tries to get revenge on her adulterous husband, and that combined with those strong colors of someone like Jacques Demy, makes this feel like a must-see for fans of Biller, or just those like me who get irrationally excited at a gothic romance and how it juxtaposes with a visual style like that.
Four Seasons In Java
Kamila Andini is another filmmaker who, despite having several well-regarded films, has yet to fully blow up in the international cinema discussion. Her latest, “Four Seasons in Java,” could be the one that launches her into it, or at the very least another building block toward deserved widespread recognition. The film follows a woman who returns to her hometown after prison; she starts to become fascinated with the abandoned things and people that make up the home she no longer recognizes. Whether this connects with people in a way her past hasn’t is yet to be seen, but that pitch is universal enough of a conceit to do such a trick, or at the very least make a great film that word of mouth gets people to check it out and her past works out.
Future Tense
Soon to be followed by a Fantastic Fest screening, Jenna Cato Bass’s “Future Tense” makes its world premiere at Toronto. It’s Bass’s third time at the festival, and his latest South African set thriller seems to be his most ambitious film yet. The climate-control time-travel adventure seems to be one of the biggest swings of this year’s fest period; that four-word description alone should prove it as such. At a short ninety minutes, it’ll be interesting to see how the film communicates and explores its ideas, but for festival-goers, that runtime is more of a plus than a drawback when planning a schedule.
Growth Of The Soil
Norwegian filmmaker Hans Petter Moland has a fascinating balancing act between more respected films from or near his home country, and more American Liam Neeson thrillers that don’t have the same respect for their name. His latest, “Growth of the Soil,” is a Neeson-less adaptation of Knut Hamsun’s classic novel that likely will lean more into the reception of the former option. The sweeping drama will premiere in Norway soon after the festival, but for those attending this year’s festival, it may be a while before they’re able to catch it again. For fans of the book, the filmmaker, or anyone just interested in the premise, it’ll be an interesting and hopefully standout entry in the fest.
The Housewife
Naomi Watts appears in her second film on this list with Ben Shirinian’s “The Housewife.” Quite different from the other film of hers, this film, she’s opposite Luke Evans, her husband, who is accused of being a Nazi in 1960s New York. Being Shirinian’s debut, the fact that he got these two, as well as Michael Imperioli, Tye Sheridan, and Norman Reedus, on board makes one wonder what he’s bringing to this first film. It could be the sort of historical drama that comes and goes at the fall festivals, but with the unknown factor of a debut film, one can be excited about the project’s potential ceiling.
I Play Rocky
One of the highest-profile debuts by default comes from another former Best Picture winner, in Peter Farrelly’s “I Play Rocky.” His third feature since the aforementioned “Green Book,” and maybe his most Academy-angled movie since. As the title suggests, the film follows the making of the classic sports drama “Rocky,” with Anthony Ippolito stepping into the Sylvester Stallone role, writing and hoping to act in the iconic film as he tries to get it made. It’s hard to imagine this film justifying its existence, with the real-life story of this film’s production feeling as told as the film itself. Perhaps diehard fans of Stallone and the film can enjoy seeing it in the film medium, and maybe those unaware of the behind-the-scenes story will be in awe of what it took Stallone to get this film made. However, the trailers make it seem like half behind-the-scenes story and half remake, and it’s wholly unclear what the film is trying to say. Hopefully it serves as something more interesting, but with Farrelly’s track record so far, expecting more than the surface level feels generous.
The Julia Set
Many films debuting at the festival feature either unknown talent or seasoned talent who tend to do lots of films each year. Very few of these feature rising stars like Niki Byrne’s “The Julia Set” does with Chase Infiniti in the lead role. After her incredible breakthrough in “One Battle After Another,” this is her first film role since then, which alone is enough to draw a lot of attention to Byrne’s film. She isn’t a solo act either; the film has seasoned actors as well, like Jason Isaacs, Nina Hoss, and Gillian Anderson, who, after “Teenage Sex and Death at Camp Miasma,” is more exciting than ever to see. A small-scale thriller in the world of academics is the type of film that can easily become a must-see with the right script and ensemble, and with the latter in great hands, it’ll be exciting to see what material Niki Byrne gives to this exciting cast.
Kick On
Australian horror wasn’t really defined enough in the worldwide mainstream to get a spotlight. Still, after the Philippou brothers burst onto the scene with “Talk to Me,” it seems other Australian filmmakers hoping to work in horror have a clearer space to break into. Nick Kozakis surely hopes to with his gruesome-seeming thriller, “Kick On.” After four young friends get involved with a mob, things quickly go wrong and spiral into a ride of extremity that may be a little too much for some festival-goers, but also right up others’ alley. Unsurprisingly, it is part of the Midnight Madness section, which has showcased some of the gnarliest films in horror and otherwise in the last decade. Surely, Kozakis, like most filmmakers in the genre, would die to be a part of.
Krux
Set in the final days of the Second World War, Tony Vahl’s “Krux” seems to be one of the bleaker films to be birthed out of this year’s festival. The German film follows a village that fell victim to the final wave of horror in this tragic time in history. While nothing of Vahl’s style is known yet, cinematographer Piotr Sobociński Jr. worked on “Corpus Christi,” a film celebrated for its look, which is encouraging for this film’s visual language. Especially for a film as dark as this in subject matter, the look can really make or break how the film sticks with you, and those with an understandable weak stomach for this subject matter can rest easy knowing it isn’t much longer than ninety minutes in length.
Ladies And Gentleman, Brian Mulroney
It feels like “Universal Language” got nowhere near the buzz it deserved back in 2024; despite that, director Matthew Rankin is already back with an exciting follow-up. “Ladies and Gentleman, Brian Mulroney,” a similarly political Canadian film, this time more overtly political and Canadian, as it documents the titular eighteenth prime minister of the country. This is Rankin’s first feature documentary, so it’ll be interesting to see how his bold style translates to this medium, but whether it lives up to this narrative work or not, it’ll be an exciting new step for the rising Canadian filmmaker.
The Last Photograph
Despite being one of the most talked-about filmmakers of the last ten years, if not longer, it’s still shocking to see a Zack Snyder film playing at one of the major film festivals. However, this is probably the most interesting subject matter he’s ever tackled. “The Last Photograph” isn’t a superhero film or a traditional action or genre affair, but a revenge mystery of sorts set in South America. Whether this film falls into the visual and writing traps of his weaker blockbuster work is yet to be seen; however, it’s the most promising one of his films on paper in years.
Magazine
Back in 2022, a small film, “Palm Trees and Power Lines,” didn’t make much of a splash itself; its lead actress, Lily McInerny, on the other hand, made quite a strong impression. Still, she’s had only a few roles since, including this year’s “Magazine,” which hopefully offers her a similarly meaty lead role to show off her talents. The debut feature from Alexandra Pechman seems to tread similar ground to Kitty Green’s “The Assistant,” with this film tackling the power dynamics affecting a New York-based magazine intern. With her work being unknown, it may be unfair to expect it to be as strong as Green’s debut was. Still, it may be just as exciting a launch for Pechman’s career, with at the very least another captivating lead performance from McInerny.
Misty Green
Another heavy-hitter premiere, or at least one that hopes to be, Chris Rock and A24’s indie dramedy “Misty Green” makes its debut here. The buzz has been pretty strong since the trailer dropped a month ago, and it’s only grown since it was announced to show here and, more surprisingly, at the New York Film Festival. Chris Rock has sat in the director’s chair before, most recently with “Top Five,” a solid industry set dramedy in a similar register. With actors like Adam Driver and the long-awaited return of Daniel Kaluuya starring here, it’ll be interesting to see what Rock delivers. Whether it’s a starry dramedy that peaks here, or something that lasts throughout the year and maybe even awards season, it’ll be interesting to find out very soon.
Lemonade
Despite booking big roles as Ringo Starr and the Joker, it’s nice to see Barry Keoghan not abandoning his indie roots and using his newfound stardom to lift newer filmmakers’ work. He’s an actor people keep an eye on, and his name alone will get people to check out Kim Bartley’s drama “Lemonade.” In the film, Keoghan plays a social worker reconnecting with a young man as his eighteenth birthday approaches. The coming-of-age film feels like a classic feel-good Toronto offering, and with Keoghan in an assumedly kinder register than we usually see him, that alone makes it worth keeping an eye on, as well as the young, rising talent that rounds out and leads the film’s cast.
Love Of Your Life
Another young star anchoring a premiere is Margaret Qualley in the lead role of the romantic drama “Love of Your Life.” Opposite Patrick Schwarzenegger, the film follows the two meeting by chance, causing Qualley’s character to reassess what she wants in life and relationships. The film’s director Rachel Morrison previously worked with Barry Jenkins on her debut “The Fire Inside,” which got strong notices at this very festival a few years back. It’ll be interesting to see how she does without Jenkins on board; “NYAD” screenwriter Julia Cox takes over as scribe. Another interesting tidbit on the crew side is Ryan Gosling being a producer on this, his first time doing so without being involved elsewhere. It’ll be interesting to see if this is a sign of projects he will want to be involved with going forward or just a one-off, but no matter what, there’s plenty to be curious about with the talent for this premiere.
Phoolan
There’s something about a contained time period that makes for a particularly thrilling theatrical experience. Richie Mehta’s “Phoolan” aims to be a perfect example of this: a tense Indian thriller spanning forty-eight hours. Based on the autobiography of the titular Phoolan Devi, the film follows a small Indian village under siege. The film seems to balance a window into the siege with the traumas Phoolan faced as the target of an army of thousands. Whether the film works more as a thriller, a historical biography of Phoolan, or succeeds at both, it at the very least seems like a story that should be told, and hopefully will be made in a way that deserves to be seen. The film will be a Prime Video original, so those unable to catch it at TIFF will hopefully not have to wait too long to see it.
Prima Facie
Hot off the “Wicked” duology, Cynthia Erivo returns to a more grounded drama with Susanna White’s adaptation of “Prima Facie.” Based on Suzie Miller’s one-woman play, Erivo takes over the role of Tessa, originated by Jodie Comer, a barrister who defends men accused of sexual crimes whose perspective on her job is changed when she herself is the victim of such a crime. It’s dense and layered material, a show and performance that received intense acclaim, and it’ll be exciting to see how Erivo and White adapt the work into film. Miller returns to pen the screenplay, and how she adjusts her own work will be fascinating for both those familiar with the play and the many people who will be introduced to the story through this film.
River
Going back into Midnight Madness, Joshua Giuliano makes his feature debut with the slasher “River.” The film follows three siblings adrift in the ocean, which, as a slasher setup, is already incredibly unnerving. If it delivers on the claustrophobia of a slasher at sea, this could be one of the biggest armrest grippers of not just the festival but the entire year. Is that just a fear of the ocean talking? Perhaps a little, but the fear of the vast unknown is such a common, universal anxiety that it feels primed to build a successful horror film off of. Hopefully, Giuliano can deliver on that prospect.
Run Terry Run
The only film on this list that technically has screened before, Sean Menard’s “Run Terry Run” had an advance screening nearly a year ago at Roy Thomson Hall. The documentary follows Terry Fox and his run during the 1980 Marathon of Hope. Much of the footage in the film is previously unseen, uncovered by Fox’s foundation only in recent years. Whether the film has changed at all since last year’s screening is unclear, but whether it’s the same or mildly different, it’ll be a joy for major audiences to get access to this story and how Menard tells it.
Salvation
English filmmaker Tom Nicoll makes his debut with a dark comedy/thriller “Salvation.” The film follows an aspiring life coach who uses the profession to explore how masculinity is perceived today, especially by more troubled men. It may play into a Safdie Brothers-type unlikable lead who gets involved in things they shouldn’t, but that’s pure conjecture based on the premise. Nicoll has made short films before, but for many, this will be the first time his style and voice really take shape. The premise here sounds like a perfect tonal exercise for a first-time feature.
Still Night Burning House
A deeply personal documentary, Carol Nguyen’s “Still Night Burning House” follows Nguyen’s own family as they reunite after the mysterious death of her uncle. The film unpacks the generations of trauma that make up the history of their family, while also seeing if there’s anything left to uncover in the death that still haunts them. Documentaries that follow filmmakers exploring their own history and experience are always the most fascinating; seeing their discoveries and closures happen in real time on camera is incredibly cathartic to watch. What comes of this film and how personal and intimate it gets is to be seen, but the premise alone is not only fascinating to see, but incredibly inspiring to see bravery like this from a new filmmaker.
The Surgeon
Between directing “A Nice Indian Boy” and “7 Days,” as well as scribing “Call Jane,” Harvard graduate Roshan Sethi has made a solid name for himself as a filmmaker this decade. The former especially made quite a splash at its 2025 launch, and hopefully will build enough goodwill to draw eyes to his latest film, “The Surgeon,” as it makes its first bow at the festival. If his past work isn’t enough to do it, the star power certainly will, with stars Michelle Yeoh and Martin Freeman having led both blockbuster and smaller projects to get fans all over interested in seeing their work here. It seems these two are among the only actors in the film, perhaps a two-hander akin to “Sanctuary,” with Yeoh playing a surgeon kidnapped by Freeman. The film draws on Sethi’s own experience in the medical field, and on the thrillers of the 2000s that we don’t see in the same quantity this decade, but perhaps this will help bring them back.
A Talent For Murder
Dutch filmmaker Anton Corbijn has worked with some of the greatest movie stars of our time, including Philip Seymour Hoffman, Robert Pattinson, and George Clooney. His latest film, premiering in Toronto, “A Talent For Murder,” is no different, with not only an icon like Helen Mirren, but also rising stars Olivia Cooke and Alden Ehrenreich. The film follows Ehrenreich as he travels to Switzerland to convince Mirren’s character, Patricia Highsmith, to write one more of her Tom Ripley novels. For a character like Ripley that’s been adapted so many times, and so famously in cinema, to see a different sort of story involving the character is a rather interesting prospect. Especially with a cast like this and a solid director at the helm, it could certainly make for a breakout, at least for fans of the author and actors involved in bringing her to the screen.
Trash Mountain
For fans of Caleb Hearon, or even just those vaguely familiar with him, it feels like the comedian has been on the verge of a breakout for a while now, maybe getting closest with his small role in “The Devil Wears Prada 2.” With him writing and acting in Kris Rey’s new film “Trash Mountain,” it may be his time to fully explode as a star comedian. The film follows Hearon as he returns home after his father passes to sort through all he has hoarded. It will be exciting to see how well the dramatic-sounding premise balances with the film’s clear lighter side, but these comedy vehicles, once spearheaded by Judd Apatow in the 2000s, are still nice to see made on any scale.
Vintage Violence
Only so many filmmakers can properly tap into what it feels like to be online. That said, between “Spree” and “The Code,” Eugene Kotlyarenko is clearly among this class of tapped-in artists. Even the fact that someone like Cole Sprouse leads this film may support that, especially in his role as a live streamer. The film follows his character as he travels to Japan to sell a pair of jeans to one of his subscribers, and how he explores this through the film’s self-described “mixed media” approach will be one of the most curious reveals of this year’s lineup. He’s certainly not a filmmaker for everybody, and not all of his films work. Still, the way he captures constantly shifting online culture is fascinating to watch evolve as his career progresses.
Your Mother Your Mother Your Mother
Perhaps this is circumstantial to individual film spaces, but the final film on this list, “Your Mother Your Mother Your Mother,” may have had the buzziest trailer of anything listed here. The Bassam Tariq film stars Mahershala Ali, an actor everyone is excited to see after his troubled “Blade” production, which Tariq was going to direct, kept him offline for so long. With a film that looks as good as this trailer does, and an ensemble that includes John Cho and Tramell Tillman, it’s become not only one of the most exciting premieres of the festival but one of the most exciting films, period.
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.
