TIFF 51: Jury of Two, Part I

Let’s take another break from those endless TIFF reviews, with Cláudio Alves and Eurocheese appointing themselves juries to choose the best of the fest, beyond Best Actress chatter.

I AM ROCKY was the People’s Choice Award runner-up at TIFF, just behind LA BOLA NEGRA. Will its popularity be reflected in Cláudio and Eurocheese’s picks?

EUROCHEESE: Having covered our favorite leading ladies at the Toronto International Film Festival this year, Cláudio and I will be naming our favorites in a number of categories. To start things off, let’s stick with the actressexual theme.

BEST SUPPORTING ACTRESS

Many actresses were considered for this category, and there were some formidable runners-up. Adia matched her on-screen father, Mahershala Ali, in Your Mother Your Mother Your Mother, where Cláudio was right to call out the intensity of their scenes together. Olivia Colman may have a small part in Elsinore that registers mostly as a potential detractor, but of course she still finds enough notes in it to make her scenes with Andrew Scott sing. I also appreciated Gemma Chan’s loving but inadequate parenting in Josephine. In the end, though, there was a clear top choice…

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TIFF 51: Denmark’s “Woman Unknown” is an unnerving proposition

by Cláudio Alves

It’s funny, sometimes, how films can converse with each other. And those conversations aren’t even limited to a festival’s program. As I watched May el-Toukhy’s somewhat controversial Golden Lion winner, Woman Unknown, my mind drifted to The Odyssey. Not just Nolan’s blockbuster, but all the adaptations I’ve seen of the Homeric poem and how they deal with the mass femicide near the end. Or, better yet, how they ignore it, erasing a part of the story that might have a modern viewer regard Odysseus and Telemachus as nothing but cruel men, as monstrous as any of the creatures that tried to prevent Ithaca’s king from returning home. Do the maids that served Penelope’s suitors deserve to die? Were all of them co-conspirators or women caught in a patriarchy that demanded their total subservience to the desires of violent men? And what if, like Emily Wilson, we read the word “δμῳαί” as “slave” instead of “servant”? 

To define culpability and blame isn’t something we can wholly separate from how gendered our world has been through most of its history, or the power imbalances defined within class structures. And even those who commit wrongs, atrocities beyond belief, have a right to fairness in their trials and judgments. Theoretically, they do. More often than not, one tends to ignore these problems and believe in the simple dichotomy of heroes and villains, good people and bad, and be done with it. Ontological reductionism can be so comforting. Then again, both-siding everything can be just as soothing. Woman Unknown, recently selected as Denmark’s submission for the 99th Academy Awards, denies us these comforts. Indeed, it might have been one of the most uncomfortable viewing experiences I suffered through at TIFF in the four years I’ve attended, and I don’t mean that as a negative critique. Far from it…

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TIFF 51: “Tender Loving Care” could be Mike Leigh’s perfect swan song

by Cláudio Alves

In 1971, Mike Leigh appeared on the scene with Bleak Moments, an exercise in social realism that wouldn’t immediately open the doors one might hope for in the British film industry. Instead, he became a TV writer-director, slowly building his reputation and drawing on the easy rapport with actors and improvisational methods he’d developed on stage. By 1988, he’d make his grand return to theatrical features with High Hopes. Eight years later, he won the Palme d’Or for Secrets & Lies. Eight years later still, he’d take the Golden Lion for Vera Drake. In the past decade or so, such accolades meant little, as he struggled to finance projects after a couple of period drama flops whose majesty proved unpersuasive to investors. By the time he returned in 2024 with Hard Truths, headlines were written about how Cannes and Venice had rejected his comeback before a more modest world premiere at TIFF. It’s been a storied, eventful, and difficult career. And it might be over. 

Tender Loving Care, which premiered at Telluride before screening at TIFF, the NYFF, and sweeping San Sebastián by taking the Golden Seashell, Best Leading Performance for Kate O’Flynn and Best Screenplay for Leigh himself, is likely his last work. At 83, health issues have turned filmmaking into a painful endeavor, and financing remains an issue. Well, if this is to be Mike Leigh’s swan song, it’s a pretty perfect one at that…

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TIFF 51: Who were the best lead actresses at the fest?

Cláudio Alves and Eurocheese pause the current onslaught of TIFF reviews to discuss a topic near and dear to their hearts – actressing! 

Julianne Moore might just fake-smoke her way to a second Oscar with THE DEBUT.

CLÁUDIO: For years, I dreamed of attending TIFF, always following coverage of the festival by my favorite critics and pundits. The Film Experience was my favorite haunt in that regard, and I can still recall how much I yearned to be part of the conversation when Nathaniel, Nick Davis, Joe Reid and Katey Rich would congregate for a very special podcast episode. And yet, coming to my fourth year of actually attending and covering the festival, that youthful excitement started to fade into a half-forgotten memory. Well, the feeling blossomed again when I finally got to meet you in person, dear Eurocheese, and read your perspective on the event, still full of the old excitement I suddenly felt coming back to life within my jaded, withered heart. For that, you have my eternal gratitude.

But we're not here to be sentimental - though that's often my role around these parts - so we might as well get to it. Let's talk Best Actress at TIFF...

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TIFF 51: Hamaguchi’s “All of a Sudden” is the best film of the year, bar none

by Cláudio Alves

Everyone gets to vote for the TIFF People’s Choice Award, even the press. And while I can’t reveal some personal award votes later in the season, I can safely tell you my pick this one time. I voted for Ryûsuke Hamaguchi’s Franco-Japanese production of All of a Sudden. The best film at TIFF, it’s also my favorite world premiere so far into 2026, a masterpiece that feels like a return to basics for a director whose early works owed much to the likes of Antonioni and Rohmer. Well, a return to basics that also runs over three hours long and contains some of the most direct discussions of Marxist theory you’ll see in a film, of this or any year. But please, don’t get apprehensive when you read those words. For all the putative intellectualism coursing through its veins, All of a Sudden is a deeply humanistic, even accessible, text that should have something to say to, and resonate with, almost every viewer out there.

I confess that, as the end credits rolled, I hurried out of the TIFF Lightbox screening room, missing Virginie Efira’s Q&A because the tears streaming down my face were too much. In that moment, I needed time and a bit of privacy to compose myself. Since then, I’ve been trying to organize my thoughts on this breathtaking picture and can only hope to do it justice in my review. If I fail to communicate its brilliance, be assured it’s my fault and not the film’s…

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