TORONTO (AP) — The 51st Toronto International Film Festival is underway, with steady parades of premieres running like traffic jams through downtown Toronto. Here are glimpses of what's happening on the ground, and what festivalgoers are talking about.
A running question through film festivals this year has been: Where are the major movie studio movies?
The first pang of unease came when Warner Bros. last September skipped all the fall festivals and
instead launched Paul Thomas Anderson's “One Battle After Another” right into theaters — even premiering it while TIFF was going on. You could hardly question a strategy that paid off with a best-picture win at the Oscars.
The major studios generally don't produce the kinds of movies that launch at fall festivals anymore. And for the few adult-driven, non-franchise studio movies that get made, the downside of a festival — unpredictable critic response; an inconvenient release date — has sometimes meant festivals aren't worth the risk. Just ask the producers of “Joker: Folie à Deux,” which was immediately slammed at its Venice Film Festival launch in 2024.
“I hope the studios will come back,” Cannes Film Festival director Thierry Frémaux said on the eve of a Cannes that lacked any major Hollywood film.
This fall, Warner Bros.' anticipated “Digger,” directed by Alejandro G. Iñárritu and starring Tom Cruise, is bypassing festivals. But it's not the only big title to do so. Also missing in action are Sony's “The Social Reckoning,” Aaron Sorkin's Facebook follow-up to “The Social Network,” and Netflix's “The Further Mis-Adventures of Cliff Booth,” from David Fincher and Brad Pitt.
At the same time, the potential attention-grabbing showcase of a festival has rarely had more obvious upside. A small, surprise screening at the Telluride Film Festival of A24's “You Can See Everything,” Nathan Fielder and Lance Oppenheim's documentary on Theranos founder Elizabeth Holmes, was enough to make it one of the most buzzed-about movies of the year.
TIFF has traditionally been home to the kind of populist, midbudget movie that Hollywood now seldom produces. To make up for that absence, the festival has increasingly programmed movies up for sale, in the hopes of luring studios to acquire something that pops with Toronto audiences. This year, the festival officially launched a movie market.
Companies like Netflix, Apple, Amazon MGM, Neon, A24 and Mubi tend to be the dominant players at festivals — so it can depend where you're looking and how you define “major studio.” On Thursday night, the top brass of Warner Bros. was at TIFF, too. Mike De Luca and Pam Abdy, co-chairs and chief executives of the Warner Bros. Motion Picture Group, attended. They were on hand to trumpet the studio's new specialty label, Clockwork.
Clockwork's first release will be “Ti Amo!” from Sean Baker. Few filmmakers can better attest to the power of film festivals than Baker. Last year, his “Anora” went from Palme d'Or winner at Cannes to best-picture winner at the Academy Awards.
Opening night at TIFF belonged to Siân Heder's “Being Heumann,” a true-story drama about the disability rights pioneer Judy Heumann and the 1977 sit-in that sparked the movement leading to the Americans with Disabilities Act.
Like Heder's last film, the best picture-winning “CODA,” Heder made “Being Heumann” with an ensemble you don't usually see on screen. Actors with disabilities play many of the major roles, including Ruth Madeley, who stars as Heumann.
The film, which Apple will release in November, makes a powerful case not just for a seminal moment in disability rights history but for casts that authentically reflect underrepresented communities.
As the saying goes, the best way to start a film festival is with a taxidermy musical.
One of the first premieres this year was “Stuffed,” and it's sure to remain one of the most peculiar, macabre and oddly sweet entries of the festival. Theo Rhys’ debut feature, the opener of TIFF's Discovery section, stars Jodie Comer as Araminta, a reclusive taxidermist. Her long-held dream of stuffing a human is answered when a lonely man named Bernie (Harry Melling), who works in a sandwich factory, steps forward to volunteer. Araminta, a little like the inverse of Dr. Frankenstein, promises death but a strange kind of frozen-in-time immortality.
It's a tribute to this quirkily gothic tale and its extraordinary leads that it's also quite a tender romance. “Stuffed” would pair remarkably well with Harry Lighton’s not-so-different “Pillion,” from earlier this year, also starring Melling as a timid soul looking for obliteration, or love. Melling remains a singular screen presence, and it continues to be fascinating to see what kind of situations he gets himself into.
