Fall festival season is underway, with premieres of some of the biggest titles of 2025. This year marks the 50th Toronto International Film Festival (TIFF), a film fest “dedicated to presenting the best of international and Canadian cinema and creating transformational experiences for film lovers and creators of all ages and backgrounds.”
This year, we have eleven journalists covering the festival, sharing some of their most anticipated titles:
Nadia Arain
I am incredibly excited to be covering TIFF50 as my first-ever on-the-ground festival! My goal is to highlight the films that break the mold, taking the status quo and challenging it in every way possible. The best way to highlight these films is through the Midnight Madness program of the festival, which explores the weird and wonderful genre-specific side of the festival. Below are two of the titles I am most excited to cover.
Dust Bunny, directed by Bryan Fuller
Showrunner Bryan Fuller is best known for his genre work on television, most notably the series Hannibal (2013-2015) starring Mads Mikkelsen, which has grown increasingly popular amongst Gen Z for its striking visual style and performances. Fuller turns now to the big screen, premiering his directorial debut at TIFF50, Dust Bunny. Taking a simple plot of a child afraid of the monster under her bed and casting Mads Mikkelsen as a hit man enlisted to slay said monster, converses with ideas of returning to our childhoods and communing with the past in order to inform the future, which is always compelling to me. Fuller’s landmark style, which the festival has dubbed “whimsically macabre,” is the cherry on top for this exciting debut feature in the Midnight Madness program.
Normal, directed by Ben Wheatley
Ben Wheatley received the 2016 Midnight Madness People’s Choice award for his high-octane shoot-em-up Free Fire (2016), and he returns to the subversive program with his new film Normal. Written by John Wick creator Derek Kolstad and starring Bob Odenkirk, fresh out of the box office from Nobody 2 (2025), the film has a rather simple plot of a sheriff pitted against his constituents in what the TIFF website describes as a “rip-roaring firefight.” As exciting as the horror of the Midnight Madness program is, I am just as excited to dip my toes into more exciting action (especially more starring Odenkirk, who has proven that he can carry an action film twice now) that challenges what is, in fact, normal.
Sara Ciplickas
After covering Tribeca with a focus on female-led films, specifically documentaries, I am continuing the theme by focusing on female-led narratives and LGBTQ stories at TIFF. With such a vast variety of films by women, about women, and for women, I am searching for box-office heavy-hitters, awards finalists, and indie darlings. As an avid traveler, international titles will also be at the top of my list, finding new perspectives spanning beyond just ‘women’s issues.’
Hedda, directed by Nia DaCosta
Tessa Thompson has such a confident screen presence, and until now, I have only seen her in more supporting roles. DaCosta reimagines Henrik Ibsen’s stage play, telling the story of a woman who throws a lavish party, toying with some of the noble guests and playing with temptation. I love the idea of a woman potentially destroying the confines of societal norms, and I almost anticipate this to evoke some of the same feelings I felt when I first watched another period female-led drama, Sofia Coppola’s Marie Antoinette (2006). Add in a little extra chaos and sexual tension, and I have no doubt that a play written in 1891 will feel somehow all too familiar in 2025.
Eleanor the Great, directed by Scarlett Johansson
I am very excited to cover a film led by a woman both in front of and behind the camera. Johansson’s feature directorial debut stars Oscar nominee June Squibb, who stumbles her way into a support group for Holocaust survivors after losing her best friend and begins to tell her own story–that isn’t actually her own. At 95 years old, Squibb promises to offer nothing less than a gut-wrenchingly funny and emotional performance that spans from grief to genuine happiness. I can’t wait for the waterworks to begin.
Ethan Dayton
2025 marks my third year covering the Toronto International Film Festival, but this is my first time covering the festival with The Rolling Tape, and I couldn’t be more thrilled. As the resident Canadian on the team, I’m looking forward to covering as many Canadian titles as I can see. One of the best aspects of TIFF is how it allows you to discover so many unique films and filmmakers from all over the world, and I try to take advantage of it every year.
TIFF’s programming team definitely went all out for the 50th anniversary of the festival. There are a ton of heavy-hitter films premiering that I can’t wait to see, including Wake Up Dead Man: A Knives Out Mystery, Sentimental Value, and Frankenstein. That said, my eventual favorite movie of the festival is always something that isn’t even on my radar going into it, and I can’t wait to discover it.
Mile End Kicks, directed by Chandler Levack
Mile End Kicks is a Canadian romantic comedy film that may not be on many festival attendees’ watchlists, but it absolutely should be. The movie marks Chandler Levack’s second directorial feature after melting the hearts of audiences at TIFF in 2022 with her first film, I Like Movies. Mile End Kicks stars Barbie Ferreira as a young woman who moves to Montreal, Quebec, to work as a music critic but finds herself romantically involved with members of an indie band she’s writing about. There are countless reasons to be excited about Mile End Kicks, like getting to see Levack level up as a director, the cast, which also includes Jay Baruchel and Devon Bostick, but it’s always exciting when we get a new, original romantic comedy, and I have a feeling this one will deliver on all fronts.
Rental Family, directed by Hikari
The plot of Rental Family is something that has fascinated me ever since I discovered that this phenomenon is a very real practice and business in Japan. For those who don’t know, in Japan, there are companies that offer rental family services where actors are hired to play whatever role the client needs fulfilled. With such an interesting concept, I’m shocked that no one has made a movie about it before Hikari’s upcoming film, Rental Family. It follows a lonely American actor, played by Brendan Fraser, living in Tokyo, who starts working for a Japanese rental family service to play stand-in roles for the people who hire him.
As you can imagine, he’ll meet people from all walks of life, dealing with widely different experiences that will ultimately remind us what it’s like to be human. I love movies that capture the human experience, and Rental Family seems like the perfect vehicle to explore that theme, which is the primary reason this is a highly anticipated title on my watchlist, along with wanting to see Fraser in a movie that’s hopefully better than The Whale (2022).
Jake Fittipaldi
This year marks my first time covering TIFF50 with the team, and I couldn’t be more excited to dive into the chaos, community, and cinematic magic of the festival. My goal isn’t just to write reviews, but to capture the essence of the festival in real time. So much of our community engages with film culture in quick, modern, and digestible ways, and that’s where my passion lies–translating the TIFF50 experience into stories people can instantly feel connected to.
Frankenstein, directed by Guillermo del Toro
At the very top of my list is Guillermo del Toro’s Frankenstein. Not only is Frankenstein my favorite book of all time, but del Toro has been one of my biggest creative inspirations. During my freshman year of film school, I watched Pan’s Labyrinth (2006) for the first time and was completely struck by its fantastical feeling, the way it blended the magical with the horrific in such an unshakable way. It feels incredibly serendipitous to now be reviewing his take on Frankenstein at my first major film festival. To come full circle with a story that means so much to me, filtered through del Toro’s vision and this cast, feels like the exact kind of cinematic moment that makes TIFF so special.
No Other Choice, directed by Park Chan-wook
I’m also buzzing for No Other Choice, the new film from Park Chan-wook, who’s long been one of my favorite directors. His last film, Decision to Leave (2022), completely floored me. With TIFF50 highlighting such a strong Korean presence this year, it feels like the perfect moment to celebrate how Korean cinema continues to redefine global storytelling. I can’t wait to see where Park takes us this time!
Black Rabbit, created by Zach Baylin and Kate Susman
As a lifelong Jason Bateman fan, I couldn’t be more excited for the series premiere of Black Rabbit. Bateman-led Ozark (2017-2022) is one of my all-time favorite shows, and part of what made it so addictive was Bateman’s work behind the camera. Seeing him return to directing television feels like a big event, and TIFF’s choice to showcase it only raises my anticipation. There’s something thrilling about the way festivals now embrace TV premieres alongside film, and Black Rabbit feels like the perfect bridge between the two worlds.
Danny Jarabek
It’s no secret that my engagement with film tends to predominantly concentrate on media that engages with environmental storytelling. My coverage at Tribeca earlier this year focused entirely on narrative and documentary lineup entries with themes surrounding our relationship as humans to the climates and ecologies we inhabit and alter. In the words of the wise Lorax, “Unless someone like you cares a whole awful lot, nothing is going to get better. It’s not.”
This remains true for the titles I’m most eager to explore at TIFF50, with two titles continuing the conversation of ecoactivism and the cohabitation of nonhuman occupants on our planet. Both are poised to engage with the themes from polar opposite extremes, which is exactly the type of narrative experimentation necessary to communicate the story of humans and the climate crisis.
Silent Friend, directed by Ildikó Enyedi
If a brief anecdote is any indication of my anticipation for Ildikó Enyedi’s Silent Friend, it’s this: as soon as the film was announced to the public for its World Premiere at the Venice International Film Festival, I received multiple messages noting that I must see it. In attending the North American premiere at TIFF, I’ll bear witness to a story set in a botanical garden of a medieval German university town, tracing a millennium through the eyes of a single ginkgo tree, silently witnessing human struggles across three distinct time periods. Enyedi’s meditation on the natural world and our fleeting role within it is shot across camera formats to reflect each era; the film promises an enchanting and deeply human exploration of ecology and spirituality. A cast featuring Tony Leung and Léa Seydoux certainly compounds the anticipation.
Sacrifice, directed by Romain Gavras
Likely to exist on the complete opposite end of the spectrum for mood, atmosphere, and action, Romain Gavras’ Sacrifice aims to deliver a frenetic satire set at an environmental conference where a sprawling collection of personalities ranging from deep-sea mining billionaires (Vincent Cassel) to radical eco-cult leaders (Anya Taylor-Joy) collide. Gavras’ most recent feature, Athena (2022), was a firecracker of action entertainment, so the Frenchman’s explosive filmmaking attitude paired with a story of timely environmental politics is sure to ignite reactions.
Nandita Joshi
TIFF50 is not only special because of its milestone half a century of diversely curated documentaries, series, shorts, and feature-length films, but it is also special as it marks my first time being press-accredited for a festival. There is no better festival to start with than this unbelievably daunting yet exciting experience. I cannot wait to spend the full length of the festival gawking at the big screen with people as impassioned as I am.
My focus for coverage at this year’s festival centers around women’s stories told by women. As unfortunate as it is, the rise of the online “manosphere” is damaging the world’s outlook and perception of women. Now more than ever, it is imperative to seek out stories of women from around the world and from voices we have yet to hear from that aim to embolden rather than weaken.
Hamnet, directed by Chloé Zhao
Travelling back in time to Elizabethan England, Chloé Zhao’s adaptation of the best-selling novel by Maggie O’Farrell, Hamnet, is on track to be a devastating dissection of Agnes’ (Jessie Buckley) love and grief following the loss of her only son Hamnet (Jacobi Jupe). The film casts a light on the shadow that enshrouds Agnes, wife of acclaimed playwright William Shakespeare (Paul Mescal), unearthing her perspective on this unconventional love story riddled with scandal and tragedy over a lifetime.
100 Sunset, directed by Kunsang Kyirong
Set in the glorious city of Toronto, Kunsang Kyirong’s feature-length directorial debut, 100 Sunset, navigates through a nano-genre that has quietly risen in popularity over the last decade: female friendships. The friendship between quiet observer Kunsel (Tenzin Kunsel) and her energetic new neighbour, Passang (Sonam Choekyi), blossoms amongst a community of Tibetan immigrants, exploring how far one’s deceit can lead them.
Flana, directed by Zahraa Ghandour
Across the world in Iraq, there are women, often denoted as “flana,” who disappear without an explanation or an actionable cause to seek them out. Actress-turned-filmmaker Zahraa Ghandour decided that the lives of the missing women matter and sought them out in her debut feature-length documentary, Flana. Stemming from a deeply personal account of Ghandour’s childhood neighbour who disappeared at 10 years old, the determined search efforts of the broken families lead to the deconstruction of what it means to be a woman in Iraq today.
Timothy Lee
As someone attending TIFF for the first time, I am thrilled to be press-accredited for this prestigious film festival’s 50th edition and cover the wide range of films it has to offer. I primarily review artistically ambitious movies, especially genre-driven and animated ones, that have bold directorial visions.
Regardless of whether they’re studio-backed or independent productions, I want to see films made by creative artists who have something they want to express and can present it in a fresh and genuine way.
Whether it’s Centrepiece, Special Presentations, or Midnight Madness, every program is playing the exact type of films I would normally go out of my way to see, and I cannot wait to cover as many as possible. Attending TIFF has always been a dream of mine ever since I started writing about film. Within a short period of time, that dream will soon become a reality.
The Ugly, directed by Yeon Sang-ho
What particularly interested me about The Ugly wasn’t just that it was directed by Train to Busan (2016) director Yeon Sang-ho, but that it also seemed different from the types of movies he usually makes. When I think of Yeon, I think of the many genre films he’s made, ranging from horror and action to sci-fi and superhero. Therefore, the idea of Yeon’s latest movie being a mystery thriller about a blind artist named Im Young-gyu (Park Jeong-min) who tries to uncover the truth behind the strange death of his wife is intriguing. I love it when filmmakers step out of their comfort zone and try something different, regardless of whether the result is a success, because the fact that they had the ambition to try at all earns my respect.
Junk World, directed by Takahide Hori
Even before I saw Takahide Hori’s feature-length debut, Junk Head (2017), or knew anything about the director, I knew just from one glance at the poster and plot synopsis that Junk World was something I had to watch. Junk World is set in a far future where humans and Mulligans (artificial beings resembling humans) have formed a temporary alliance to stop an evil group called the Gyura Cult. When the team eventually discovers that the cultists are attempting to alter space-time through dimensional distortion, it is up to a robot named Robin to stop them and keep the space-time continuum safe at all costs. Just from the premise alone, I knew Junk World was a movie for me.
As a fan of both adult stop-motion animated films like Anomalisa (2015) and dystopian sci-fi like Blade Runner (1982), this film appeals to a wide range of my personal interests. I eventually decided to watch Junk Head after learning that Junk World is a prequel to the movie, and I’m so glad I did because I ended up loving it. From the animation and aesthetic to its sense of humor and action set pieces, every aspect bursts with imagination. If Junk World can recapture even a fifth of the magic built in Junk Head, then I know I’m in for one of the most unique films to play at TIFF50.
Cameron K. Ritter
As a first-time TIFF attender, my goal is to experience the full breadth and variety that the festival has to offer, something that other festivals I’ve attended don’t necessarily have. There are major titles with a lot of award potential, but also smaller films that you won’t be able to see anywhere else. I’m excited to explore how these two realms and anything in between come into concert together to make one amazing film festival.
The Smashing Machine, directed by Benny Safdie
As an on-again, off-again wrestling fan and recent UFC convert, I couldn’t be more excited for The Smashing Machine. Benny Safdie’s first solo-directing project sees Dwayne Johnson take on the role of real-life UFC fighter Mark Kerr, one of the organization’s earliest stars and a longstanding icon of wrestling and mixed martial arts. After the critical disaster of Black Adam (2022), it’s time for Johnson to show the world that he actually can act when given proper material, something professional wrestling fans have known since the ‘90s. This also brings us the first piece of the Safdie vs Safdie puzzle this awards season.
Irkalla: Gilgamesh’s Dream, directed by Mohamed Al Daradji
Irkalla: Gilgamesh’s Dream tells the story of a young diabetic boy in Baghdad who is simultaneously searching for what he’s lost in something mythical while also helping his friend escape something very real–military recruitment. This one appears to be a powerful film about loss, grief, and resiliency that is a testament to the variety of filmmaking TIFF has on display. I’m particularly looking forward to this one after reading about Al Daradji’s capture and subsequent escape from Al-Qaeda during the making of another one of his films nearly 20 years ago. We’ve seen how persecution like this can affect a filmmaker, so it will be interesting to see how that experience interacts with this film so many years later.
Kam Ryan
Throughout my time at The Rolling Tape, there is one thing that remains consistent. I will develop a parasocial relationship with a different male actor every few months. And while this has become somewhat of a running joke on the team, it has also been something that’s led me to deep dive into filmographies– exploring a plethora of films from independent short films to niche cult classics.
My depth of film knowledge has stemmed from these infatuations, so much so that my coverage and attendance at TIFF has formed around this phenomenon. And not only do I get to twirl my hair and kick my feet while a handsome man acts on screen, I also get to expand my cinematic palette. Fangirls are often a pillar of success–putting their time, energy, and money behind projects that help elevate them in culture conversations. (More about this on Ladies Night.) The two films I am most excited for at the festival star two of the internet’s current it boys–Jacob Anderson and Lewis Pullman–attached to female-led films, making them even more stan-worthy in the eyes of this particular fangirl.
Bad Apples, directed by Jonatan Etzler
Saoirse Ronan and Jacob Anderson star in Etzler’s highly anticipated feature debut, Bad Apples, a satirical comedy that tells the story of a primary school teacher who, through a series of unfortunate choices, locks an unruly student in her home. She faces a moral conundrum as the class begins to thrive, and she receives praise for the improvement. The film is an adaptation of the Swedish novel De Oönskade. Etzler describes it as a “gripping, funny, and thrilling film questioning how we justify society’s systems for ourselves.”
The Testament of Ann Lee, directed by Mona Fastvold
Coincidentally, also coming from a Scandinavian director, Mona Fastvold’s musical The Testament of Ann Lee, starring Amanda Seyfried, Tim Blake Nelson, and Lewis Pullman, takes us back in time to the Shaker movement. Seyfried plays the titular Ann Lee, a revolutionary religious leader in the American colonies. The film dives into Lee’s story to create a complex picture of this peculiar figure and the tragedies that shaped her. Vanity Fair shared that Seyfried “sings and screams” throughout the film, which I will too once Lewis Pullman appears on screen as Lee’s devoted brother.
Ethan Simmie
The fall festival season is officially in full swing now, and TIFF turns 50 this year and is bolstering an arguably bigger lineup than any prior festival slate to date. Along with world premieres of some of the buzziest titles (see Guillermo del Toro’s Frankenstein being covered by Jake Fittipaldi!), TIFF continues to bring forth smaller, hidden gems that are generally completely off the radar to the average movie-goer. Acting as the lifeblood of this festival, these more intimate films offer a reprieve from the deluge of flashy titles and are opportunities to see some positively surprising moving pictures.
Charlie Harper, directed by Tom Dean & Mac Eldridge
Charlie Harper is just that. Directed by first-time filmmakers Tom Dean and Mac Eldridge, the former of whom penned the script for this movie, Charlie Harper offers a unique look into how the memories of love, pain, and loss are inextricably tied together by delivering a non-linear story of lovers Charlie (Nick Robinson), and Harper, played by the delightful Emilia Jones of Academy-Award winning CODA fame. The film unfolds through different key moments in their relationship, allowing the passing of time to give a penetrating insight into how memories shape our worlds. Stories like this–hyper-focused on the dismantling of relationships throughout time– are why I love movies, so it’s easy to say I’m incredibly thrilled to be checking out the World Premiere of this movie.
Poetic License, directed by Maude Apatow
A step up on the fame ladder but similar in small-scope, Poetic License, the directorial debut from Maude Apatow, will have its World Premiere at the fest. Boasting a cast of Cooper Hoffman, Leslie Mann, and Andrew Barth Feldman, among others, Poetic License tracks Ari (Hoffman) and Sam (Feldman) as best friends in college as they both fall for a married mother (Mann) who is auditing their class. With a cast and premise like this, there is no way this movie isn’t side-splitting funny and overwhelmingly heartfelt–the two qualities that couldn’t make me more excited for a movie. These smaller titles at TIFF have me more excited than the big, flashy ones, and I can’t wait to share my thoughts on them and more as a contributor!
Bryan Sudfield
This will be my third time covering the Toronto International Film Festival with The Rolling Tape, and I’m thrilled to return for the festival’s landmark 50th edition. With a packed lineup featuring everything from major awards contenders to exciting new storytellers, TIFF continues to be a premier destination for discovering the best in global cinema. What keeps me coming back year after year is the festival’s remarkable range of programming—not just feature films, but also short films and television. The curatorial teams consistently raise the bar, delivering an experience that appeals to all types of audiences. I’m especially looking forward to immersing myself in this year’s offerings and covering them alongside my colleagues.
This year, my primary focus will be on international cinema, which continues to gain greater visibility on the global stage. In recent years, the Academy Awards have elevated international films in ways few could have predicted, and this year appears poised to continue that trend. With many top contenders in the International Feature category likely making their way from TIFF, the festival is once again shaping up to be a crucial platform for global storytelling.
Sentimental Value, directed by Joachim Trier
Like many cinephiles, I have been eagerly anticipating Sentimental Value, Joachim Trier’s highly anticipated follow-up to the acclaimed The Worst Person in the World (2021). Trier reunites with that film’s breakout star, Renate Reinsve, who is joined by an impressive cast including Stellan Skarsgård, Elle Fanning, and Inga Ibsdotter Lilleaas. This year’s Cannes Grand Prix winner centers on a stage actress who reconnects with her estranged filmmaker father—a premise rich with emotional potential. Having regarded Trier’s previous film as one of the decade’s defining cinematic achievements, my excitement for his latest work is difficult to overstate. If early impressions are any indication, Sentimental Value promises to be another deeply affecting triumph from this remarkable creative team.
Sound of Falling, directed by Mascha Schilinski
As someone with a deep appreciation for the coming-of-age genre, I’m always seeking fresh perspectives within an often-saturated space. When Mascha Schillinski’s sophomore feature Sound of Falling premiered at the Cannes Film Festival—where it was awarded the prestigious Jury Prize—it quickly rose to the top of my most anticipated titles for 2025. The film is described as a multigenerational saga following four girls from different historical periods, each profoundly affected by life in the same rural German farmhouse. With a deliberate 149-minute runtime and a non-linear narrative structure, Sound of Falling may not cater to all tastes. However, its somber, haunting tone and distinctive storytelling approach are precisely what draw me in.
Article Courtesy of The Rolling Tape Team
Feature Image from ‘Ballad of a Small Player’, Courtesy of TIFF
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