Nurse Unseen is taking the brightest spotlight and shining it on people who rarely find themselves on the receiving end of acclaim and recognition. 

In an era of multi-million-dollar blockbusters that rarely recoup their budgets, the innovation of the lower-budget Livescreamers is a breath of fresh air.

Linda weaves a tangled sexual, socio-economic, and power dynamic web, emerging with a nuanced critique of the relationship between a family and the hired help.

To celebrate the end of the festival, News Editor Tina Kakadelis provides her final thoughts of one more group of films. In her last dispatch, check out her thoughts on Young Werther, On Swift Horses, The Shrouds, The Girl with the Needle, Fanatical: The Catfishing of Tegan and Sara, and Jane Austen Wrecked My Life.

One could argue that this is the coward’s way out, but maybe that’s the path Oh, Canada wanted to take all along.

In her latest TIFF dispatch, Tina Kakadelis breaks down her thoughts on Luckiest Man in America, On Becoming a Guinea Fowl, and Cloud.

Even if the film’s ending leaves something to be desired, Went Up the Hill provides a look at abuse in a manner that is rarely seen.

We Live in Time gives the audience as many laughs as it does tears. It’s a lovingly crafted ode to this weird thing called life and those we are lucky enough to share it with.

The Courageous is a beautifully intimate film that creates a space for audiences to challenge themselves about how they view parenthood.

Julie Keeps Quiet shines an essential light on youth sports and the abuse that goes on in them led by an open, generous performance by Van den Broeck.

In her latest dispatch, Tina Kakadelis breaks down Do I Know You From Somewhere?, Really Happy Someday, The Wild Robot, Pepe, and Relay.

The world The Assessment is describing is one that doesn’t feel too far off, which makes it all the more bleak, but performances like these make it easy to hold off the dread for two hours.

Your Tomorrow urges its viewers to consider our past, our present, and our future all in the same breath, and to find a way to preserve what is important for all of us.

In her latest dispatch, Tina Kakadelis breaks down Heretic, Babygirl, and Emilia Pérez.

Road Diary captures Springsteen not at his youngest, but with just as much, if not more, fire in his heart, as he puts on the Greatest Show on Earth.

The Critic is filled to the brim with sparkling performances, and it’s difficult to overlook the fact that more time with these characters would have suited them and the story a little better.

Sweetheart Deal adamantly makes the case that the stories of humans deserve to be heard, reflected upon, and learned from.

Red Rooms is an intricate script that doesn’t try to tell the audience how they should feel watching it. It’s a highwire act that pays off in spades.