This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Nailing the feel of a place through precise lighting isn’t a problem for South Korean auteur Hong Sang-soo.
The long love scenes between Emma and Adèle have garnered a lot of attention in discussions of Blue Is the Warmest Color.
Few directors are as enamored with the passage of time and the preservation of memory as Richard Linklater.
Perhaps the most crucial element of Jonze’s vision is its sympathetic embrace of the volatile beating hearts of its characters.
For Stiller, apparently, James Thurber’s classic story is occasion to craft what eventually amounts to a totem to his own vanity.
Marion Cotillard is an icon of suffering in James Gray’s somber passion play.
Gloria is an affectionate, lightly comic, yet unsparing gaze at a middle-aged woman’s day-to-day travails.
There’s no shortage of bastards in this tale about the destructive power of a deeply dysfunctional family.
Rithy Panh’s personal story is always the most compelling and visually arresting.
Like its heroine, Abuse of Weakness wastes no time looking back.
Having built up the tension to a breaking point, Giraudie doesn’t let down the audience.
The more movies he makes, the more Paul Greengrass’s have-it-both-ways m.o. as a filmmaker becomes clearer.
Jim Broadbent and Lindsay Duncan are an ideal fit for Hanif Kureishi’s bitterly funny, yet surprisingly tender script.
Like the folk scene it immerses us in, Inside Llewyn Davis is intrigued by authenticity.
In the realm of the old masters, there were at least two films in the festival that played as powerful elegies to the disappearing medium of 35mm.
In keeping with its subject, the movie has a rough-hewn quality.
Xavier Dolan reigns in his often flagrant use of formalism without sacrificing his confidence as a filmmaker.
Programmed alongside feted films from Cannes and other international fests is a selection of ambitious Oscar hopefuls.
There were Eisenbergs, Gyllenhaals, and doppelganger-centered film adaptations galore at Toronto.
Jonathan Glazer’s peculiar film is the most original feature at Toronto, and possibly of this year.