Jack Has a Plan argues that there are ways to die that can be good, that allow people to do so with dignity and on their own terms. 

The Seed of the Sacred Fig is courageous and timely, proof that moviemaking is a political act with power that can be wielded to make meaningful change.

If you’re going to make a film about a mom who turns into a dog, you might as well go for it, no holds barred. Nightbitch ends with a whimper without ever finding its bark.

What makes Queer as successful as it is comes from the performances of Craig and Starkey. It’s a genuine thrill to see Craig in a dramatic role now that his time as James Bond has come to an end.

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.