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Tag: TIFF 2026

  • Ha‑Chan, Shake Your Booty! Review: Feel‑Good Film Tackles Grief

    Ha‑Chan, Shake Your Booty! Review: Feel‑Good Film Tackles Grief

    Key Highlights

    • TIFF 2026 Premiere: “Ha-Chan, Shake Your Booty!” debuted at the Toronto International Film Festival, blending comedy and drama to explore grief through dance, fantasy, and romance.
    • Standout Cast: Rinko Kikuchi leads as Haru, a Japanese widow rediscovering life alongside Alejandro Edda, Yoh Yoshida, YOU, and Alberto Guerra in a genre-defying crowd-pleaser.
    • Theatrical Release: The film opens in theaters on September 25, offering audiences a nuanced portrayal of mourning that balances heartbreak with unexpected humor and spicy fantasy sequences.

    A Personal Loss Inspires a Cinematic Connection

    The reviewer opens with a vivid personal anecdote that sets the thematic stage for “Ha-Chan, Shake Your Booty!” Recalling a grandmother’s funeral years prior, the writer describes arriving in a pencil skirt printed with white octopus tentacles—defiantly not black—only to be met by a cousin in formal mourning wear. The cousin’s tight-lipped smile gave way to a perfectly timed impression: “Gram would have said, ‘Well, that sure is something.” The shared laughter that followed, mingled with tears, crystallized a truth the film would later echo: grief is rarely solemn; it is weird, funny, and deeply human all at once.

    Dance, Death, and the Ghost in a Crow Costume

    Co-written by Nicholas Huynh and Josef Kubota Wladyka, and directed by Wladyka, the film centers on Haru (Rinko Kikuchi), a Japanese woman whose joy is rooted in amateur Latin dance competitions with her adoring Mexican husband, Luis (Alejandro Edda), in Tokyo. Wladyka visualizes their connection through magical realism: the couple floats gracefully above the dance floor, ascending as if they could cha-cha-cha into heaven. The spell breaks when Luis suffers a fatal heart attack, his hand slipping from Haru’s grip as he falls. The inciting incident leaves Haru adrift, unable to dance or live fully without him—until her sensible sister Yuki (Yoh Yoshida) and chaotic cousin Hiromi (YOU) arrive to lovingly bully “Ha-Chan” back into motion.

    Fantasy as a Coping Mechanism

    Hiromi delivers the titular command, dragging Haru to a class taught by the beguiling instructor Fedir (Alberto Guerra). What follows is a cascade of romantic fantasies: Haru envisions Fedir sweeping her into sexy spins, and later, upon hearing a rumor that he is in an open marriage, she invents a matching arrangement for herself rather than confessing her widowhood. The film externalizes her internal negotiation with the past by literally resurrecting Luis—first in a kawaii crow costume bopping around their apartment, then in a whiskey-fueled fantasy where he and Fedir bond over Luis’s record collection, gazing at Haru with mutual appreciation instead of jealousy. A subsequent MLM kiss between the two men becomes, in the reviewer’s words, “a kinky delight” that “gently illustrates that Haru is not looking to replace her husband, but is seeking to understand how to move on.”

    Performances That Balance the Absurd and the Aching

    As Haru’s decisions spiral “from bad to bonkers,” the filmmakers’ delicate characterization and Kikuchi’s compelling performance—carrying “an ingenue’s sweetness with a hint of mature heartache”—prevent judgment, inviting the audience to recognize their own bizarre mourning behaviors. YOU injects moxie and physical comedy as Hiromi, a terrific foil to Kikuchi, while Guerra ably shifts from romantic ideal to the messier reality of Fedir. A detour through a Japanese stage production of “Dirty Dancing” adds delightful levity, and a jealousy-fueled home invasion sequence resolves in “perhaps the most comical conclusions imaginable.” The ensemble tangles into a “charming choreography, both literal and metaphorical,” producing a true crowd-pleaser that refuses to settle into pure comedy or drama.

    Why This Matters

    “Ha-Chan, Shake Your Booty!” arrives at a cultural moment increasingly receptive to genre-hybrid storytelling that treats grief not as a linear process but as a chaotic, often humorous collision of pain and joy. By centering a middle-aged Japanese woman’s sexuality and agency—rare in mainstream cinema—the film expands representation while using magical realism and dance as expressive languages for the inexpressible. Its TIFF 2026 platform signals industry confidence in a cross-cultural narrative (Japanese, Mexican, and international creative voices) that resonates universally. The September 25 theatrical release positions it as a counter-programming alternative to fall franchise fare, targeting audiences hungry for original, emotionally intelligent cinema that makes them, as the reviewer predicts, “laugh. You’ll cringe. You’ll cry.”

    Frequently Asked Questions

    When and where can I watch “Ha-Chan, Shake Your Booty!”?
    The film premiered at the Toronto International Film Festival (TIFF) 2026 and opens in theaters on September 25.
    Who are the key creatives behind the film?
    The film is directed by Josef Kubota Wladyka and co-written by Wladyka and Nicholas Huynh. It stars Rinko Kikuchi, Alejandro Edda, Yoh Yoshida, YOU, and Alberto Guerra.
    What makes this film different from other grief dramas?
    It refuses a single genre label, blending magical realism, dance, spicy fantasy sequences, and broad comedy to portray mourning as a messy, non-linear, and occasionally hilarious experience—anchored by a rare lead performance from a middle-aged Japanese woman navigating desire and agency after loss.
  • You’re not ready for Jodie Comer and Harry Melling in Stuffed

    You’re not ready for Jodie Comer and Harry Melling in Stuffed

    Theo Rhys’ ‘Stuffed’ Debuts at TIFF 2026: A Divisive Horror Musical

    Among the most anticipated titles at the 2026 Toronto International Film Festival was Stuffed, the feature directorial debut of Theo Rhys. The film pairs Killing Eve star Jodie Comer with Pillion actor Harry Melling in a logline that promises dark romance: an isolated taxidermist seeks a willing volunteer to become her greatest piece, and finds a lonely man desperate to be remembered.

    From Award-Winning Short to Feature Expansion

    Rhys first captured attention in 2021 with a 19-minute short of the same name, which screened in the Midnight shorts section at SXSW. The short blended romance, horror, and musical elements, earning a special jury honor. The reviewer, who served on that jury, recalls being “absolutely enchanted” and “squealed with excitement” to see the concept expanded into a feature. However, the finished feature elicited sharply divided reactions at its TIFF press and marketing screening.

    Walkouts and Polarized Reactions

    Audience members walked out throughout the screening, a common festival occurrence, but a pronounced exodus followed a close-up of a dead poodle being flayed. The scene underscored that Rhys’ musical horror vision was too intense for some viewers. The reviewer experienced the spectrum firsthand: a fellow critic howled with laughter, while a neighboring attendee frequently covered their eyes and groaned. Despite the divisive response, the reviewer remained “elated to see Rhys’ vision come to life,” even if the results occasionally felt “more scrappy than sensational.”

    Oddball Romance Meets Sweeney Todd Aesthetics

    Stuffed centers on a strange love story. Harry Melling continues his run as an icon of offbeat, submissive romance (following Pillion and Please Baby Please), playing Bernie, a factory worker invisible to the world. Jodie Comer’s Araminta, with her untamed dark curls and goth fashion, evokes Helena Bonham Carter’s Mrs. Lovett from Tim Burton’s Sweeney Todd, while her high, birdlike singing voice recalls Angela Lansbury’s filmed performance. Yet Araminta is no killer; Rhys and co-writer Joss Holden-Rhea frame her as a passionate, grubby misfit.

    The townsfolk spread malicious rumors about Araminta, decrying the “meat” debris she discards, which attracts rats. Inside her home, however, she has built a creepy-cozy sanctuary filled with taxidermied creatures—a doe, a pig, a cat, ducklings—each preserved so they “remain…still.” Bernie, by contrast, toils in a bland warehouse where a massive rusted vat reads “Mayonnaise,” assembling sandwiches in silence. His only connection is his mother, fading in a retirement home with dementia.

    Musical Boldness and Absurdist Wit

    The film opens with a spirited chorus of elderly residents singing about being remembered for work or family, followed by a hilarious round about running a marathon. This collision of theatrical musical boldness with winking absurdity defines Stuffed. Rhys and Holden-Rhea use the form to give voice to introverts and misfits who share their inner lives with no one living. As Bernie and Araminta move from solos to duets, their bond blossoms—complicated by their agreement that he will die and become her taxidermied masterpiece. But as love grows, Bernie wants to live with her, not die for her, creating a uniquely romantic, grisly, and funny tension.

    Performances Elevate Macabre Material

    Melling and Comer deliver terrific performances, bringing sincerity and texture to their ghastly yet lovable characters. Early songs feel held close, like a breath that could crack ribs. As love blossoms, Bernie embraces a “bold” new self through Araminta’s encouragement, undergoing a makeover that rejects normality and finding his voice in a comedically beguiling sequence. Comer’s Araminta shifts from a protective hunch to an open-chested stride, beautifully encapsulating love’s transformative power without rejecting the film’s determinedly bizarre world.

    Production Limitations Hold Back Spectacle

    Where Stuffed underwhelms is in its spectacle. While the singing is big, distinctive, and beautiful, the film yearns for choreography and cinematography to match. Production design and costumes deftly create a compelling realm reflecting the rot and wonder of death and life, but the low budget shows in a dearth of dancing or wide shots that might explore the numbers’ physicality. Close-ups, though effective, become visually one-note. Still, for a film this weird and macabre, Stuffed feels like a miracle for existing at all.

    Cult Classic Potential

    Stuffed won’t be the next horror musical to break box office records, but this gnarly wonder is certain to find a cult following that will love it, warts and all. As the film sings, true love means exactly that—accepting every flaw.

    Stuffed was reviewed out of the Toronto International Film Festival.

    Related: How It Hits: Are horror musicals the future?

  • Trash Mountain Review: Caleb Hearon Primed for His Next Act

    Trash Mountain Review: Caleb Hearon Primed for His Next Act

    Caleb Hearon Shines in Heartfelt Comedy-Drama ‘Trash Mountain’ at TIFF 2026

    American comedian and content creator Caleb Hearon steps into a leading role with Trash Mountain, a film that blends sharp humor with profound emotional depth. Written by Hearon and Ruby Caster and directed by Kris Rey, the movie premiered at the Toronto International Film Festival, marking a significant evolution for the So True with Caleb Hearon podcast host who previously appeared in supporting roles in Pizza Movie, The Devil Wears Prada 2, and Netflix’s Little Brother.

    Plot Overview: A Stand-Up Comic Returns to Rural Missouri

    Trash Mountain opens with Gavin (Hearon) in his element — performing stand-up at a Chicago drag club and sharing laughs with a vibrant chosen family of queer friends. The efficient, effusive opening sequence establishes his comfortable urban life before a call from his sister Abbi (Zooey Deschanel) shatters it: their father has died.

    Gavin returns to his rural Missouri hometown, sleeping on his young nephew’s bed amid clattering LEGOs. He navigates a religious grandmother (Jacki Weaver) and the overwhelming task of clearing their father’s hoarded home — stacked floor to ceiling with belongings. The practical mission: locate a lost Social Security card for estate bureaucracy. As a sage character named Trish observes, finding something so small in so much mess is like looking for a virgin in a whore house.

    Trash Mountain exudes small-town color. Unwilling to confront grief, Gavin masks pain with humor and seeks distraction on Grindr. But sorting through his father’s possessions unearths feelings no joke can deflect. A one-night stand with Jerome (Jaboukie Young-White) unexpectedly deepens into something more meaningful.

    Ensemble Cast Delivers Standout Performances

    Hearon proves a revelation as a leading man. The stand-up intro smartly introduces audiences to his familiar persona — smart, snarky, openly gay — before the Missouri setting transforms the story into a fish-out-of-water journey. Hearon layers Gavin’s surface-level smartass defense with genuine fury, hurt, and ultimately raw grief.

    Deschanel sheds her New Girl bubbliness for irreverent humor matching Hearon’s, sharing effortless sibling chemistry built on acerbic one-upmanship that horrifies their grandmother. Weaver excels as the hysterical, pushy matriarch whose earnest cries for compassion pierce the siblings’ defensive humor. In those moments, Deschanel trembles with vulnerability, but Hearon’s emotional range — stripped of his usual schtick for a grounded climax — delivers the film’s most striking impact.

    Young-White brings beguiling chemistry as Jerome, creating an electric dynamic with Hearon that anchors the film’s romantic thread.

    Queer Homecoming Narrative Resonates Deeply

    Executive produced by Lilly Wachowski, Trash Mountain speaks powerfully to LGBTQ+ audiences who grew up in conservative hometowns. Through Gavin’s journey, Hearon and Caster capture a familiar narrative: escaping a small town where homophobia thrived, building authentic life and community in a big city, then confronting the dissonance of return.

    The film portrays the specific alienation of the “Big City Gay” homecoming — not overt harassment, but novelty status, awkward Wal-Mart encounters with old classmates, and well-meaning strangers who become burdens. Gavin chafes against hometown expectations while yearning to reconnect with surviving family, his low-key disdain becoming its own obstacle.

    Nuanced Portrait of Rural America

    Rey refuses to dismiss Gavin’s hometown as simply backward. Political context appears in a pickup truck displaying a Confederate flag, a don’t tread on me flag, and a Trump 2020 bumper sticker. Yet contrast emerges through Jerome — an openly gay man from Seattle who loves this place — and Trish, whose gruff directness masks deep kindness in a combination that feels deeply Americana. Loving cinematography captures rolling plains and lively dive bars.

    This complex portrait mirrors Gavin’s relationship with his father — an alcoholic, hoarder, and loner by all accounts. Those labels might encourage Gavin and Abbi to box up grief like so many forgotten magazines of floppy disk porn. But planning their father’s funeral forces recognition of both good and bad to properly say goodbye.

    Verdict: A Queer Cinema Landmark in the Making

    Finely tuned, Trash Mountain succeeds as an uproariously funny comedy about coming home and a tender drama about parental grief — not just loss, but the challenge of accepting parents as they were. Hearon and company deliver a film that entertains, cathartically moves, and showcases a leading man ready for whatever comes next.

    Trash Mountain was reviewed out of the Toronto International Film Festival.

  • TIFF 2026 Preview: 18 Films and Shows You’ll Want to See (and How to Watch)

    TIFF 2026 Preview: 18 Films and Shows You’ll Want to See (and How to Watch)

    TIFF 2026 Preview: Must-See Films and Series at the Toronto International Film Festival

    The fall film festival season has officially launched as the Toronto International Film Festival (TIFF) opens its doors. This year’s lineup brims with high-profile premieres, A-list talent, and independent gems poised for awards contention. Mashable is reporting live from Toronto, covering the films that could race toward Oscar glory and the series making their big-screen debuts. Whether you are navigating the festival’s packed schedule in person or building a watchlist from home, our curated guide highlights the most anticipated titles, complete with release details so you can catch them as soon as possible.

    Hope

    South Korean auteur Na Hong-jin (The Wailing) returns with Hope, a 156-minute sci-fi epic that moves with the ferocity of the monsters at its core. Hwang Jung-min leads as a small-town sheriff investigating a bizarre livestock killing near a forest, only to confront a lethal creature amid building-shattering, bone-snapping action sequences that dominate the first act.

    “You won’t believe what comes next, but spoilers: It’s epic.” — K.P.

    Starring: Hwang Jung-min, Zo In-sung, Hoyeon, Taylor Russell, Cameron Britton, Alicia Vikander, and Michael Fassbender.

    How to watch: Hope opens in theaters on September 9, coinciding with its TIFF premiere.

    Julián

    Animation powerhouse Cartoon Saloon (The Secret of Kells, Wolfwalkers, The Breadwinner) adapts Jessica Love’s beloved children’s book Julián Is a Mermaid. The film follows a young Afro-Latino boy spending the summer with his Dominican-American abuela in Brooklyn. Upon discovering the Coney Island Mermaid Parade, he dreams of joining the spectacle, but earning his grandmother’s understanding proves a journey of identity and love, rendered in the studio’s signature gorgeous, joyful animation.

    “Trust us, you won’t want to miss Julián.” — K.P.

    Starring: Knyght Darius Jack, Milcania Diaz-Rojas, Lisa-Kaindé Diaz, and Naomi Diaz.

    How to watch: Following its North American Premiere at TIFF, Julián’s release date is to be determined.

    Back in Black

    Christopher Walken and Jane Curtin headline this dark comedy co-written by Ron Murphy and Nick Torokvei and directed by Murphy. Walken plays a charismatic mortician whose family business is failing because no one in their cozy American town is dying. His optimistic wife (Curtin) urges patience, but their granddaughter Sam (Ella Ballentine) takes matters into her own hands with a screwdriver, fatally altering the fates of several neighbors.

    “The results are hilarious, but also joltingly macabre.” — K.P.

    Starring: Christopher Walken, Jane Curtin, and Ella Ballentine.

    How to watch: Following its World Premiere at TIFF, Back in Black’s release is to be determined.

    Stuffed

    Killing Eve’s Jodie Comer stars as Araminta, a taxidermist with an unusual consensual ambition: to stuff a human body. Harry Melling (The Pillion) plays Bernie, a lonely man seeking belonging. As their connection deepens, their feelings threaten the project. Filmmaker Theo Rhys expands his award-winning 2021 SXSW short into a feature debut that blends dark comedy, romance, and musical elements.

    “And that is why I’m so chuffed over Stuffed. I saw the short when it played SXSW back in 2021, and was part of the jury who awarded it a special jury prize. Because not only is this a story of death and romance with a dark comic sensibility, it’s also a musical. I’m absolutely giddy to see how Rhys has expanded the concept, and with such a enticing cast.” — K.P.

    Starring: Jodie Comer and Harry Melling.

    How to watch: Following its World Premiere at TIFF, Stuffed’s release is to be determined.

    Vintage Violence

    Writer-director Eugene Kotlyarenko delivers a genre-blending midnight movie. Cole Sprouse plays an urban-exploration content creator who discovers a cache of vintage denim. A follower (Kiko Mizuhara) persuades him to travel to Japan to sell the jeans, sparking a romance that quickly entangles the Yakuza. Kinetic editing, slide screens, and video game sound effects mirror social media overload.

    “All this makes Vintage Violence well-suited to TIFF’s Midnight slate.” — K.P.

    Starring: Cole Sprouse, Kiko Mizuhara, Nijiro Murakami, Pierre Taki, and Hio Miyazawa.

    How to watch: Following its World Premiere at TIFF, Vintage Violence’s release is to be determined.

    Ha-Chan, Shake Your Booty!

    After generating buzz at Sundance, Josef Kubota Wladyka’s comedy-drama arrives at TIFF ahead of a Sony Pictures Classics release. Rinko Kikuchi (Pacific Rim) stars as Haru, a Japanese woman devoted to Latin dancing and her Mexican husband, Luis. When he dies on the dance floor, grief derails her life until family pressure and a charismatic new instructor offer a path forward.

    “Imaginative, bittersweet, and wonderfully humane, Ha-Chan, Shake Your Booty! is a feel-good movie you won’t want to miss.” — K.P.

    Starring: Rinko Kikuchi, Alberto Guerra, Alejandro Edda, Damián Alcázar, You, and Yoh Yoshida.

    How to watch: Ha-Chan, Shake Your Booty! makes its Canadian Premiere at TIFF, then opens in the U.S. on September 25.

    Your Mother Your Mother Your Mother

    After exiting the MCU’s Blade project, Mahershala Ali and writer-director Bassam Tariq reunite for this action drama. Ali portrays Latif, a Muslim family man and hitman protecting his community. After his wife’s death, he becomes a sole parent, but his violent past resurfaces as he battles hired guns and a charismatic cult leader played by John Cho.

    “There are a lot of exciting titles hitting this fall. But we’re predicting this one is in the must-see category.” — K.P.

    Starring: Mahershala Ali, John Cho, Giancarlo Esposito, Abubakr Ali, Tramell Tillman, Tiffany Boone, and Laith Nakli.

    How to watch: World Premiere at TIFF, followed by a limited U.S. theatrical release on September 25, expanding October 2, and going wide October 9.

    Atonement

    Reed Van Dyk writes and directs this adaptation of Dexter Filkins’ article. The film opens in 2003 Iraq, where American soldiers mistakenly kill three family members. Years later, a journalist (reimagined as Michael Reid) seeks to reunite a surviving soldier (Boyd Holbrook) and the family’s widow (Hiam Abbass) in a quest for peace. The film earned raves at Cannes.

    “Reviews out of the Cannes International Film Festival were largely raves. So, TIFF attendees are eager to see what Van Dyk delivers.” — K.P.

    Starring: Boyd Holbrook, Kenneth Branagh, and Hiam Abbass.

    How to watch: Following its North American Premiere at TIFF, Atonement opens in limited theatrical release on October 2.

    Tenzing

    Director Jennifer Peedom (Sherpa, Mountain) shifts focus from Sir Edmund Hillary to Tenzing Norgay, the Nepalese Indian sherpa essential to the 1953 Everest summit. Genden Phuntsok stars as Norgay, with Tom Hiddleston as Hillary, alongside Willem Dafoe, Caitríona Balfe, and Thinley Lhamo.

    “And we can’t wait to see the emotional heights they’ll reach together.” — K.P.

    Starring: Genden Phuntsok, Tom Hiddleston, Willem Dafoe, Caitríona Balfe, and Thinley Lhamo.

    How to watch: Canadian Premiere at TIFF, then select theaters October 9 before a global debut on Apple TV+ on October 16.

    Musk

    Oscar-winning documentarian Alex Gibney (The Inventor: Out for Blood in Silicon Valley, Enron: The Smartest Guys in the Room) turns his lens on Elon Musk, CEO of Tesla, SpaceX, and X. No trailer has been released, but Gibney’s track record investigating power and fraud suggests a penetrating portrait.

    “There’s no trailer for this one yet. But based on Gibney’s heralded filmography, we’re betting Musk will be more The Jinx, less Melania.” — K.P.

    How to watch: Following its North American Premiere at TIFF, Musk opens in theaters on October 16.

    Being Heumann

    Sian Heder (CODA) directs this biographical drama adapted from Judith Heumann’s memoir Being Heumann: An Unrepentant Memoir of a Disability Rights Activist. The film centers on the historic 1977 sit-in that became the longest occupation of a federal building in U.S. history, cementing Heumann’s legacy as the mother of the disability rights movement. Ruth Madeley stars, supported by Mark Ruffalo, Dylan O’Brien, Rob Delaney, and Ray Fisher.

    “Sounds like a stirring drama that could well return Heder to the Oscar campaign trail.” — K.P.

    Starring: Ruth Madeley, Mark Ruffalo, Dylan O’Brien, Rob Delaney, and Ray Fisher.

    How to watch: World Premiere at TIFF, then select theaters November 6 before streaming on Apple TV+ November 13.

    Wild Horse Nine

    Martin McDonagh (In Bruges, Three Billboards Outside Ebbing, Missouri, The Banshees of Inisherin) reunites with Oscar winner Sam Rockwell. Set on the eve of the 1973 Chilean coup, two CIA agents (Rockwell and John Malkovich) are dispatched to Easter Island, where they confront dark pasts and a pair of rebellious students.

    “What could happen? Based on McDonagh’s filmography, we’re going to guess violent blows, biting jokes, and stinging bitterness.” — K.P.

    Starring: John Malkovich, Sam Rockwell, Steve Buscemi, Mariana Di Girolamo, Ailín Salas, Tom Waits, and Parker Posey.

    How to watch: Canadian Premiere at TIFF, then theatrical release on November 6.

    Bitter Christmas

    Pedro Almodóvar presents a semi-autobiographical drama intertwining two timelines. In 2004, Elsa mines her grief for art; in 2025, Raúl exploits a suffering friend. Both navigate the ethical toll of drawing from loved ones’ lives. The film earned praise at Cannes ahead of its North American bow.

    “After scoring praise out of the Cannes International Film Festival, Bitter Christmas comes to TIFF to stir emotions and discourse.” — K.P.

    Starring: Bárbara Lennie, Leonardo Sbaraglia, Aitana Sánchez-Gijón, Victoria Luengo, Patrick Criado, Milena Smit, and Quim Gutiérrez.

    How to watch: North American Premiere at TIFF, then limited release November 13, expanding November 25.

    Elsinore

    Focus Features follows Hamnet with another Shakespeare-adjacent drama. Elsinore chronicles Scottish actor Ian Charleson’s final Hamlet in 1989, performed while he was dying of AIDS. Andrew Scott (All of Us Strangers) portrays Charleson, joined by Olivia Colman, Billie Piper, Johnny Flynn, Luke Thompson, Monica Dolan, and Juliet Stevenson.

    “Have your tissues ready.” — K.P.

    Starring: Andrew Scott, Olivia Colman, Billie Piper, Johnny Flynn, Luke Thompson, Monica Dolan, and Juliet Stevenson.

    How to watch: Canadian Premiere at TIFF, then select theaters November 20.

    The Debut

    Jesse Eisenberg writes, directs, and produces this A24 comedy celebrating community theater. Julianne Moore plays Mona Friedman, a New Jersey wife and mother who auditions for a local musical. Under the demanding direction of local legend Jerry (Paul Giamatti), the experience becomes a conduit for her suppressed rage and joy.

    “What begins as a flight of fancy becomes a serious means for Mona to channel her inner rage and joy, as local legend and demanding director Jerry (Paul Giamatti) pushes her to unlock a part of herself she’s long suppressed.” — Shannon Connellan, Senior Editor

    Starring: Julianne Moore, Paul Giamatti, Halle Bailey, Jesse Eisenberg, Cara Buono, Craig Bierko, Eldar Isgandarov, and Bernadette Peters.

    How to watch: International Premiere at TIFF on September 13, then theatrical release December 11.

    Ink

    Danny Boyle (Trainspotting, 28 Years Later) reunites with Jack O’Connell for this adaptation of James Graham’s 2017 stage play. The biographical drama explores the professional relationship between media magnate Rupert Murdoch (Guy Pearce) and editor Larry Lamb (O’Connell), who moved from The Daily Mail to The Sun. Claire Foy co-stars.

    “We’ve not seen Graham’s play. But details on the premise, plus Boyle and his cast, have us ready to see Ink.” — K.P.

    Starring: Jack O’Connell, Guy Pearce, and Claire Foy.

    How to watch: Canadian Premiere at TIFF, then select theaters December 11 before streaming on Netflix January 8, 2027.

    Yaga

    TIFF’s TV slate includes Yaga, a supernatural mystery rooted in the Baba Yaga legend from showrunner Kat Sandler. Hudson Williams (Heated Rivalry) plays Henry Park, heir to a coastal fishery who vanishes. Private investigator Rapp (Noah Reid) uncovers a case veering into twisted fairy tale territory, crossing paths with enigmatic professor Katherine (Carrie-Anne Moss).

    “What starts as a thriller soon veers into twisted fairy tale territory, hopefully complete with Baba Yaga’s chicken leg house. (If not, we’ll settle for some solid scares.)” — B.E.

    Starring: Noah Reid, Carrie-Anne Moss, Hudson Williams, Clark Backo, Sheila McCarthy, Megan Follows, Ezra Franky, Patrick Gilmore, Katharine Isabelle, Hiro Kanagawa, Emilija Baranac, Georgia Acken, Anisa Harris, and Sam Krochmal.

    How to watch: World Premiere at TIFF, then premieres this October on AMC+.

    Carrie

    Mike Flanagan, the modern master of Stephen King adaptations (The Life of Chuck, Doctor Sleep, Gerald’s Game) and horror television (The Haunting of Hill House, The Fall of the House of Usher, Midnight Mass), tackles Carrie as a miniseries. The update transplants the telepathic teen’s nightmare to the present day, promising a fresh perspective on the iconic prom-night climax.

    “Flanagan is the modern master of Stephen King adaptations, having directed excellent films like The Life of Chuck, Doctor Sleep, and Gerald’s Game. He’s also proven his considerable horror TV chops thanks to chilling projects like The Haunting of Hill House, The Fall of the House of Usher, and Midnight Mass. His upcoming Carrie miniseries synthesizes these two specialties, which already bodes well. It also updates King’s story of a bullied telepathic teen (Summer H. Howell) to today, promising a fresh look at an iconic tale, even if the end destination of the world’s bloodiest prom remains the same.” — B.E.

    Starring: Summer H. Howell, Samantha Sloyan, Siena Agudong, Alison Thornton, Joel Oulette, Josie Totah, Arthur Conti, Thalia Dudek, Amber Midthunder, and Matthew Lillard.

    How to watch: World Premiere at TIFF, then premieres October 7 on Prime Video.