September 24, 2025September 23, 2025 ross

Komasa’s “Good Boy” at TIFF: A Darkly Twisted Tale of Capture and Catharsis

September 17, 2025September 17, 2025 ross

TIFF50: “Carolina Caroline” is a Bonnie & Clyde Fever Dream of Lust, Larceny and Americana

September 16, 2025September 16, 2025 ross

TIFF50: “The Captive” / “El Cautivo” Holds Us Tight, Imprisoning Us in its Glorious Storytelling and Visuals

September 15, 2025September 15, 2025 ross

TIFF50: In Chloé Zhao’s “Hamnet” History Breathes, Grief Burns, and Love Soars Higher Than All

September 14, 2025September 15, 2025 ross

TIFF50 Announces 2025 Award Winners Including People’s Choice

September 14, 2025September 16, 2025 ross

TIFF50: Unpacks the Power of “Blood Lines”

September 13, 2025September 13, 2025 ross

TIFF50: “Dead Man’s Wire” Excels in its Underdog Wiring of Deadly Wit and Electricity

September 10, 2025September 10, 2025 ross

TIFF50: Fernando Eimbcke’s “Olmo” Rolls Honest & True in 1979

September 4, 2025September 4, 2025 ross

TIFF Events’ In Conversation With… Bring Artists and Audiences Together

September 3, 2025September 3, 2025 ross

The TIFF50 Films I Wanna See – Part Two of Two