2024
If you somehow need more proof that artificial intelligence cannot rival the humanity needed to create great art, all you need to do is watch Anora.
Despite a trepidatious takeoff and a bit of a rocky landing, where Charlie Tango really shines is at its cruising altitude.
Film Inquiry soke with director Sook-Yin Lee really for the TIFF film Paying For it.
Yorgos Lanthimos’ Kinds of Kindness is smart and funny, uncomfortable, moving, and confusing. It is also beautiful.
The Toronto International Film Festival brought quite the number of horror films this year. Kevin L. Lee reviews Heretic, Presence and Hold Your Breath.
Samir Oliveros spoke to Film Inquiry about his latest film The Luckiest Man in America.
Film Inquiry spoke with Edward Berger, director of Conclave, for the Toronto International Film Festival.
The Crow struggles to connect with audiences due to its lack of compelling character development and chemistry.
Both The Assessment and Emilia Pérez demonstrate the versatility of a festival like TIFF, which is always inclusive of all genres and subgenres of cinema.
On this TIFF report, Kristy Strouse reviews The Mother and the Bear and Shepherds – two unforgettable films on a path to self discovery.
Matt and Mara is the kind of film where, on the surface, it might seem that nothing is happening, but even the smallest moments can impact.
Both The Substance and The Last Showgirl evaluate mortality by leaning on their respective stars’ relationship with celebrity in real life.
While Subservience knows how to deploy its star, it still can’t fully live up to the promise of this meta-premise or her talents as a performer.
Girls Will Be Girls is a powerful examination of how the patriarchy continues to punish girls/women for pushing back against the narrow roles prescribed.
Conclave and We Live in Time are prime examples of solid filmmaking, that will likely be successful regardless of what accolades they end up garnering.