TIFF50
Three years of TIFF, since the 48th festival in 2023 I’ve been attending this marvellous Canadian film festival. I started out as a student badge holder and volunteering to experience the festival from two perspectives. Now, in my third year, I returned to TIFF as an accredited member of the press. It has been such a journey going from a student to a member of the press as I have developed my writing and my portfolio. I am so grateful to have experienced my third Toronto International Film Festival this year as press. With over 150 films in the selection, I managed to watch a total of 37 of them.
Pre-Festival
As a member of the press I had access to some screeners of different TIFF 2025 films and the first I watched was from Wonder Wong PR. Read my full review of Little Lorraine (Hines, 2025) here: W Spotlight Review
Day One: Thursday September 4, 2025
Day one of the 50th Toronto International Film Festival and what a day this was. I had just been in Venice for the film festival there and landed in Toronto at 2:15pm. By the time I got settled in and made it to TIFF Lightbox it was 5:00pm.
To my great surprise and delight, I quickly found out I was approved for the press line on the Sentimental Value (Trier, 2025) red carpet. As one may expect, the cast were required for the presenting of the film so much of the carpet was rushed, but thankfully Stellan Skarsgård took the time to answer a few questions for most of the members of the press.
After the carpet I rushed to my seat as I had a ticket for the film. Premiering for the first time ever at the Cannes Film Festival back in May 2025, Sentimental Value has had high reception and praise by critics everywhere.
Read my Letterboxd review here: Sentimental Value (Trier, 2025)
Day Two: Friday September 5, 2025
Four films were watched today, the second day of the 50th Toronto International Film Festival. These four films included a press and industry screening of The Little Sister (Herzi, 2025), the world premieres of Christy (Michôd, 2025) and Steve (Mielants, 2025), finishing it off with the screener of The Man in My Basement (Latif, 2025).
I had hear about The Little Sister when it premiered at the Cannes Film Festival back in May but sadly did not get the chance to see it there. Thankfully it came to TIFF and it was completely unlike what I expected it to be in the best way. Read my Letterboxd review for it here: The Little Sister (Herzi, 2025)
Before I went to the world premiere of Christy, I had attempted to watch Mile End Kicks (Levack, 2025) in a press and industry screening but due to unexpected pauses, had to leave early to make it to Christy. At the premiere was Sydney Sweeney, star of the film, along with Christy Martin herself. Read my Letterboxd review here: Christy (Michôd, 2025)
It was then time for one of my most anticipated films of the festival. After their previous collaboration on the 2024 film Small Things Like These, Tim Mielants and Cillian Murphy worked together again to create Steve. Just like its predecessor, Steve is based off a novel. This novel, Shy written by Max Porter, tells the story of a few hours in the life of a young teenage boy. Read my full review of Steve (Mielants, 2025) here: W Spotlight Review
Instead of watching one last film in the theatre, I called it a night due to jet-lag and returned to my place and watched a screener of The Man in My Basement (Latif, 2025). My full review can be read over on Filmotomy: The Man in My Basement (Latif, 2025)
Day Three: Saturday September 6, 2025
The first Saturday is always the best. You have festival street up and running, the full festival is in swing. Three press screenings today and they were Steal Away (Virgo, 2025), Carolina Caroline (Rehmeier, 2025), and Arco (Bienvenu, 2025). Then, I finished off with the world premiere of Sacrifice (Gavras, 2025).
Press and industry screenings overlapped today and I had to choose which film to prioritize and I laneded on Steal Away. Completely different than what you’d expect it is a twisted coming of age story. Read my Letterboxd review of the film here: Steal Away (Virgo, 2025).
Carolina Caroline is basically a new rendition of Bonnie & Clyde (Penn, 1967) and it is so fun. Samara Weaving is brilliant and her chemistry with Kyle Gallner evokes emotion and empathy in the audience. You can read my Letterboxd review of the film here: Carolina Caroline (Rehmeier, 2025).
After its success premiering at the Cannes Film Festival in May this year, Arco found its way into my watchlist and the press and industry screening at TIFF allowed me to watch it. Though I was disappointed we received the English dubbed version, it was still a pleasurable watch. Letterboxd review here: Arco (Bienvenu, 2025).
Using one of the perks of the press pass, I managed to grab a ticket to Sacrifice’s world premiere at the Visa Screening Room at the Princess of Wales Theatre. The cast and crew came out to introduce the film and followed it as well with a Q&A for the audience. Both Chris Evans and Anya Taylor Joy discussed the film after the first ever audience witnessed it. My Letterboxd review can be read here: Sacrifice (Gavras, 2025).
Day Four: Sunday September 7, 2025
Some how I managed to see three world premieres in the Visa Screening Room at the Princess of Wales Theatre today and it was quite eventful. You never realize how hectic it can be running in and out of the same venue, with roughly an hour in between, until you do it. I got to watch Couture (Winocour, 2025), The Christophers (Soderbergh, 2025) and Hedda (DaCosta, 2025) today, but before them I watched the press and industry screening of Good Fortune (Ansari, 2025).
Sometimes you just need a good laugh and Aziz Ansari’s Good Fortune provides just the right amount. You can read my Letterboxd review of the film here: Good Fortune (Ansari, 2025).
Back to back world premieres in the Visa Screening Room were next, beginning with a highly anticipated Couture directed by Alice Winocour. Ever since it was announced that Angelina Jolie would take on a primarily French speaking role, this idea peaked my interest (along with many others). Though the talent of the actors was there, something was missing in Couture. My full review of the film can be read here: W Spotlight Review
Scoring a ticket to the world premiere of The Christopher was exciting. I was able to catch Presence (Soderbergh, 2024) at TIFF last year and was intrigued by the premise of his latest work. My Letterboxd review can be read here: The Christophers (Soderbergh, 2025).
Finally, it was time to sit down and watch Nia DaCosta’s Hedda. A film that has been discussed and one I have looked forward to for awhile. Though I’ve been keeping my expectations low in general for films, just to be safe, Hedda did not require that at all in the slightest. Many of the members of the cast came to present the film and to follow up with a Q&A. Among the cast included Tessa Thompson, Nina Hoss, Imogen Poots, and Tom Bateman; director Nia DaCosta was of course there as well. My review for Hedda can be read on Peliplat here: Hedda (DaCosta, 2025).
Day Five: Monday September 8, 2025
Two press and industry screenings and one Canadian premiere. Hamnet (Zhao, 2025) and Eternity (Freyne, 2025) were the press screenings, while Eleanor the Great (Johansson, 2025) premiered at Roy Thompson Hall this evening.
Hamnet has been highly anticipated ever since it was announced in 2023. The novel is absolutely beautiful and with Chloé Zhao at the heart of the project, one hoped it would live up to the emotional level of the book. It went above and beyond, and seeing all of the high praise Hamnet is receiving from other critics, let’s hope it makes it to the awards season race this year. My Letterboxd review can be read here: Hamnet (Zhao, 2025).
Eternity was my second pick of films that screened the 7th at 9:30pm, but Hedda won that so I watched it this morning at its press and industry screening. It was not what I expected, and though I found it dragged on ever so slightly, it was still extremely entertaining. My Letterboxd review can be read here: Eternity (Freyne, 2025).
My second red carpet of the festival and it was the one where I’d have the chance to ask Scarlett Johansson about her directorial debut. All of this was very exciting. That was until she ran out of time and had to skip the end of the press line, but what happens happens. After the carpet for Eleanor the Great, I went inside Roy Thompson Hall to watch the film. My review of Eleanor the Great can be read here: W Spotlight Review.
Day Six: Tuesday September 9, 2025
Another press and industry screening today, one public screening, and another red carpet and film premiere! Wake Up Dead Man (Johnson, 2025) was the first film at a bright and early 8:45am, followed by Good News (Byun, 2025), then the Canadian premiere of A Private Life (Zlotowski, 2025).
Wake Up Dead Man is the newest of Rian Johnson’s brilliant Knives Out franchise and of course as you’d expect the line for the press and industry screening was insane. Thankfully I managed to get into the screening at the TIFF Lightbox and woke up to another murder mystery with Benoit Blanc. Read my Letterboxd review here: Wake Up Dead Man (Johnson, 2025).
I had heard a few things about Good News and couldn’t decide what to see next so I thought why not. For the most part it was enjoyable, there were just a few moments that I could have gone without. My Letterboxd review can be read here: Good News (Byun, 2025).
Another red carpet press line at Roy Thompson Hall today and it was for A Private Life starring Jodie Foster. She is an actor I really looked forward to speaking to in regards to the film, but also just in general. Her words are so formal and knowledgeable, it’s something else. Listen to her answer from the carpet here: W Spotlight Reel - Jodie Foster. Director Rebecca Zlotowski even stopped by as well, watch her interview here: W Spotlight Reel - Rebecca Zlotowski. After the red carpet press line, I went into Roy Thompson Hall where I received a ticket to the film from Hook Publicity. Read my Letterboxd review here: A Private Life (Zlotowski, 2025).
Day Seven: Wednesday September 10, 2025
One week into the 50th Toronto International Film Festival and I made it to five films in a day. Two press and industry screenings, two public screenings, and one world premiere. Poetic License (Apatow, 2025) and Bad Apples (Etzler, 2025) were the two press and industry screenings. Ballad of a Small Player (Berger, 2025) was a public screening at the Visa Screening Room. The world premiere of The Fence (Denis, 2025) was held at the Royal Alexandra Theatre, and then Nouvelle Vague (Linklater, 2025) public screening was at the comfortable TIFF Lightbox.
Poetic License honestly surprised me, I did not expect this directorial debut to be so good. My Letterboxd review can be read here: Poetic License (Apatow, 2025).
On the other hand, Bad Apples had its charms but took a turn I did not expect. Though, I suppose this is how you keep audiences surprised instead of going for what is to be expected. My Letterboxd review of the film can be read here: Bad Apples (Etzler, 2025).
Sometimes it can be bad seeing other people’s reviews of a film before you go watch it because it can drop your expectations immensely or add thoughts to your head. In the case of Ballad of a Small Player, though the first reviews were quite low, they did not change or influence how I felt about the film after my screening. I had expected something good after the success and brilliance that was 2024’s Conclave, but there were elements missing in Ballad of a Small Player that brought it down from the level of Conclave. Read my Letterboxd review here: Ballad of a Small Player (Berger, 2025).
After studying auteurs in University and learning about Claire Denis and her style of filmmaking, I knew I had to see her latest film as it premiered at TIFF this year. My review for the film can be read on Letterboxd here: The Fence (Denis, 2025).
To end the night I of course had to see Nouvelle Vague to see if it lived up to its praise from the Cannes Film Festival. It was definitely a film dedicated to the idea of the French New Wave. My Letterboxd review can be read here: Nouvelle Vague (Linklater, 2025).
Day Eight: Thursday September 11, 2025
Today consisted of two press and industry screenings, one world premiere and one screener. The press and industry screenings were Glenrothan (Cox, 2025) and Degrassi: Whatever It Takes (Rideout, 2025), the world premiere was Easy’s Waltz (Pizzolatto, 2025) and the screener was of Blood Lines (Maurice, 2025).
For Brian Cox’s directorial debut, Glenrothan is quaint and feels just like a Hallmark Christmas movie, except this time it’s Scottish. Read my Letterboxd review here: Glenrothan (Cox, 2025).
Without having watched Degrassi when I was younger, I was completely unaware of the impact it had on Canadian teenagers of each generation and those around the world as well. The Degrassi: Whatever It Takes documentary was very informative and for those who grew up with the show it would have been nostalgic as well. Read my Letterboxd review here: Degrassi: Whatever It Takes (Rideout, 2025).
I could not tell you what compelled me to watch Easy’s Waltz, but perhaps it was Cobie Smulders being on the cast list. Sadly, the film was underwhelming even if the rest of the audience were enjoying themselves. At least Vince Vaughn had fun in the audience before the screening began. My Letterboxd review can be read here: Easy’s Waltz (Pizzolatto, 2025).
At least I got to end my day with a beautiful Canadian queer story, Blood Lines. My review of the film can be read on Letterboxd: Blood Lines (Maurice, 2025).
Day Nine: Friday September 12, 2025
Towards the end of the festival there are always little to no press and industry screenings, but at least there are a small few. I finally got to watch/finish Mile End Kicks (Chandler, 2025) at its press and industry screening. Then I went to a public screening of Rental Family (Hikari, 2025) and finished my day with the Canadian premiere of If I Had Legs I’d Kick You (Bronstein, 2025).
I’m not sure if I’m happy about the fact that I finished Mile End Kicks as I feel it would have been better when I’d first began watching it earlier in the festival. Having to rewatch the beginning and then feel a bit let down by the end wasn’t the best. My Letterboxd “review” can be seen here: Mile End Kicks (Levack, 2025).
By the end of the festival I also needed some comedy and something relaxing, Rental Family provided just that. It’s sweet, kind and touching. It allows you to sit and relax without having to put so much effort into following the plot that you’re able to enjoy yourself in the cinema. Read about the film here on Letterboxd: Rental Family (Hikari, 2025).
Before the Canadian premiere of If I Had Legs I’d Kick You began, myself and Andie were part of the press line for the red carpet. We had the opportunity to ask Ivy Wolk a question about the film and we watched as Rose Byrne walked past to make it into the film on time. Then, once inside, thanks to an incredible ticket from VVS Films, Rose Byrne presented the film to the audience. She stuck around after the screening for a Q&A as well which brought so much light to the premise behind the film. My review for If I Had Legs I’d Kick You can be read here: WatchedByHailey Review
Day Ten: Saturday September 13, 2025
Wining down to the last of the festival, my father came to pick me up and before we left Toronto, I got him into a screening of John Candy: I Like Me (Hanks, 2025) while I sat and did some work. I saw two film festival releases today and then the 50th anniversary screening of Jaws (Spielberg, 1975) on 35mm.
In the afternoon, I went to a screening of Little Amélie or the Character of Rain (Vallade & Kuang, 2025) and oh my goodness I am beyond happy that I did. I recommend this to anyone and everyone, it is so moving and impeccably animated. Read my review on Letterboxd here: Little Amélie or the Character of Rain (Vallade & Kuang, 2025).
In honour of its 50th anniversary, TIFF had three screenings of Steven Spielberg’s Jaws on 35mm and I was able to secure tickets to take my father with me. It was amazing seeing this cinema changing film on the big screen the way it was originally screened back on 1975. Read my Letterboxd review here: Jaws (Spielberg, 2025).
Then, to end the festival, my dad somehow scored us tickets to the IMAX screening of Baz Luhrmann’s EPiC: Elvis Presley in Concert. Compared to his 2022 film Elvis, this concert documentary is simply entertaining without the other drama from Elvis’ life. My Letterboxd review can be read here: EPiC: Elvis Presley in Concert (Luhrmann, 2025).
Day Eleven: Sunday September 14, 2025
Today was the final day of the festival but after seeing 35 films in 10 days, I decided to skip out on seeing anything else. With an invite to the TIFF Awards, I went and listened to the winners. Following the awards was a nice reception on the rooftop. Then a good old five hour drive home.
Post-Festival
With a few screeners left, I decided I’d finish them up.
I first watched Whitetail (Leopold, 2025) a independent Irish film. Then I also watched Three Goodbye (Coixet, 2025) an Italian film starring Alba Rohrwacher. My review for Whitetail can be read on Letterboxd here and Three Goodbyes here.
As always, the Toronto International Film Festival always has its high and low points. I am forever grateful for the memories I make at this festival however. 35 films in ten days (and two screeners after the festival) is a lot but it is truly barely scratching the surface of what TIFF can offer. I cannot wait to continue coming back another year and experiencing it once more.
My TIFF50 Ranked Letterboxd List can be seen here
