Writing has proven to be quite tricky this year. For multiple reasons, I burned myself out and found myself incapable of focusing on writing. A lot has happened over the last few years for me, and while it is true that I still love reviewing and doing this, I have learned that there is more to life than this and so when I realized I was not able to write, I made the decision to stop until I felt like I could continue simply.

And then TIFF happened. It is my favourite time of the year, and it is. But this year, I had this trepidation inside as I knew it was also me trying to return to sitting and reviewing films. 

And while my coverage might have been on a different level than in past years, I am quite happy that I got to write and see. But also glad I could balance my real life and mental health.

But enough about all of this, it is time to finish my coverage for this year’s festival and like always, we have to do so with a round-up of some of the films that I wanted to talk about but could not find the time or words to do a full review of entirely.

Like always, this is in no particular order.

Sing Sing (Directed by Greg Kwedar)

I added Sing Sing to my schedule to kill time during the day. While I love Colman Domingo, nothing about the premise excited me; I never thought I would walk away in awe and tears.

And yet, that is precisely what happened. I watched the best film of the festival and even the year. Inspired by a true story, Sing Sing recounts the story of a theatre troupe who finds an escape from the realities of incarceration through the creativity of putting on a play.

Based on a real-life rehabilitation programme featuring a cast that includes formerly incarcerated actors, Sing Sing is subtle but punches you in your emotions with some performances that leave you in awe. We all knew that Colman Domingo could act; after all, he has graced our screens for years and delivered incredible performance after performance. However, it was the first time actors portrayed themselves that brought everything together.

There is so much to say about why this film is incredible. Still, the reality is that everyone should experience it knowing almost nothing because it is so satisfying to sit there in awe and discover the magic that is theatre and cinema portrayed in such a healing manner.

Bought by A24, it is one to watch for when it comes out in theatres and hopefully during award season.

Origin (Directed by Ava DuVernay)

Bring tissues. That is the one thing you should do when seeing this one. I made the mistake of not doing so and found myself sniffling and crying until the friendly stranger beside me offered me one.

Anyone who knows me knows my love for anything Ava DuVernay puts out. She is one of those directors. I want to see everything she does because she has such a clear point of view that it is obvious what type of filmmaker she is.

And Origin is further proof of that. Many reviews have pointed out that this subject may have been better as a documentary; I disagree entirely simply because of how masterfully DuVernay navigates the adaptation of Isabel Wilkerson’s life. 

Focusing on when Wilkerson started to dig into the nuance of discrimination and started writing what would become her New York Times bestselling book, Caste: The Origins of Our Discontents, Origin is unlike any other film I have seen. Going more with a vignette approach and ending with a monologue of what is essentially the premise of Wilkerson’s book, it is anchored by the formidable Aunjanue Ellis-Taylor, who shines as bright as she as ever in this one.

The Boy & The Heron (Directed by Hayao Miyazaki)

I don’t need to say much about this; it is Miyazaki’s return, as masterful as always. Studio Ghibli always delivers, which continues the trend of incredible visuals paired with a story that captivates you and brings you into the world of Miyazaki. 

Go see it. Run to it. It is worth everything. I promise.

Dream Scenario (Directed by Kristoffer Borgli)

The Nicholas Cage Renaissance has been a thing to witness, and Dream Scenario is the epiphany of it all. 

An unfortunate family man (Cage) finds his life turned upside down when millions of strangers suddenly start seeing him in their dreams. When his nighttime appearances take a nightmarish turn, Paul is forced to navigate his newfound stardom.

With an excellent commentary on cancel culture, Dream Scenario is weird but also so great. The film blends its genre in such a brilliant way, navigating the comedy and horror of the situation in a fascinating way. Cage is at his best, and as Paul unravels and the film advances, he proves he is one of the best working actors when given suitable material.

How To Have Sex (Directed by Molly Manning Walker)

How To Have Sex hit me like a brick wall; the film gave me the sense of knowing what would happen and pulled the rug from under my feet. So much of the film puts you into this false sense of comfort, and so when things start to go wrong, that sense of comfort entirely disappears and is replaced with a sense of stress that never really goes away.

What is incredible about How To Have Sex is that the film might be hard to watch, but there is still this tremendous strength in it. It is about growing up and becoming yourself, and while the way the characters get there is not always fun, it is also truthful to what some might experience.

How To Have Sex is difficult to watch because of the subject matter, but in the end, it is a film that many can relate to and understand. And for those who can’t, watch one incredible movie that deserves so much praise.

Fair Play (Directed by Chloe Domont)

Already playing in select theatres and now streaming on Netflix, Fair Play was the surprise of the Festival for me. A thrilling look at workplace relationships and the dynamic in a world dominated by men. 

So much of the film relies on the central performances from Alden Ehrenreich and

Phoebe Dynevor, but the film’s uses of its 90s trope make it so much better. The film uses its 90s erotica thriller to elevate the Me Too story it is trying to tell. What is fascinating about Fair Play is that it feels like a film of the old, yet so much of it is relevant today. 

The film captivates and enthralls with the day it is told, but the ending brings it all home. It leaves you gasping for air and makes Dynevor a star.

His Three Daughters (Directed by Azazel Jacobs)

What happens to those you love when dying is always a subject for films that I find fascinating. There is so much to unpack when a loved one dies; exploring those dynamics can make for a great story. His Three Daughters is one of those examples. It is a fascinating exploration of what makes a family and how they stay together when the one thing holding them as one is going away.

His Three Daughters exploration of grief, family and love is only amplified by the incredible trio of performances at the story’s center. While the always reliable Carie Coon and the tender Elizabeth Olsen who both go against their usual grain of performance in this one, are superb, the film belongs to an outstanding Natasha Lyonne who performs like we have not seen her before. A performance that has not left my mind even a month removed from the Festival.

His Three Daughters hits you like a brick wall with its story and never lets go of that emotional core that brings you to tears.

There are so many more films that I had the chance to watch during the Festival, but writing about all of them would simply be impossible. These are the most memorable ones that have not left my mind since the Festival ended.