Discover and read the best of Twitter Threads about #tiff21

Two of Netflix’s most-prized 2021 festival movies have leaked online after debuting as part of the at-home digital offerings of the Toronto International Film Festival.

#TIFF21

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Jane Campion’s drama “The Power of the Dog,” starring Benedict Cumberbatch, and the Antoine Fuqua thriller “The Guilty,” led by Jake Gyllenhaal, both appeared on pirate websites as of early Monday.

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It was not immediately clear if TIFF showings were the source of the pirated copies or if they came from elsewhere.

However, both movies premiered as part of TIFF’s hybrid festival model with screenings in theatres as well as virtually in homes.

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@MoviesWeekends

#TIFF21

#NowWatching: YOU ARE NOT MY MOTHER, dir. Kate Dolan

(Ireland)

Review 🔜 @MoviesWeekends

@caatdolan

@caatdolan’s You Are Not My Mother, a Samhain chiller nestled within the framework of a sympathetically crafted story about mothers, daughters, and the monstrousness of mental illness’ ravaging effect on both the afflicted and their loved ones really got under my skin.

Unlike some other recent genre fare, the film impressively never loses sight of the seriousness of its themes as it builds on its supernatural elements, meaning the horror and the harrowing nature of what we are witnessing builds with remarkable poise and conviction.

@thatkatetaylor

Benedict Cumberbatch spoke to The Globe's @thatkatetaylor about playing eccentrics and outcasts.

The actor is at the #TIFF21 to accept a TIFF Tribute Award and to promote two films – The Power of the Dog and The Electrical Life of Louis Wain.

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“I play normal people as well,” insists actor Benedict Cumberbatch as he sits down for an interview during #TIFF21.

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In the new biopic, The Electrical Life of Louis Wain, Cumberbatch plays artist Louis Wain – who fits his pattern of playing awkward geniuses for whom society would do well to make space.

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#TIFF21

#NowWatching: SUNDOWN, dir. Michel Franco

(Mexico)

Sunkissed, serene, surreal, and shot through with an unnerving dosage of sociopathy, Franco’s Sundown is the sort of film you imagine Haneke would daydream on a beach someplace nice. More about us as viewers than any of the characters, this provokes with scant provocation.

Tim Roth is so unphased by everything happening around him it’s as if the camera doesn’t exist at all, and Franco’s scoreless, fuss-free method of filmmaking here has a surgical precision that - when juxtaposed with the warmly captured Acapulco clime - expertly unsettles.

#TIFF21

#NowWatching: ENCOUNTERS, dir. Michael Pearce

(UK)

A classic case of “starts out as one thing, becomes another”, but whilst I was initially disappointed when I realised the film Encounter started as wouldn’t continue that way, I was gradually bowled over by the depths of the other thing it strove for. Riz Ahmed is typically class

and I was a big fan of the two child stars, old head on young shoulders Lucian-River Chauhan and energetic youngster Aditya Geddada. There was maybe a needledrop too many for my liking, especially given the cosmically tinted, haunting incidental music, and I still would like to

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#TIFF21

#NowWatching: THE STARLING, dir. Theodore Melfi

Ready to cry and probably not handle the subject matter but hey 🤷🏻‍♂️

Not sure how I felt overall about The Starling. Melissa McCarthy and Chris O’Dowd were both very good in it though, and I cried a lot, but I think that was more because of the subject matter and its closeness to losing my baby last year. It’s very twee, very film festival-y, and

there’s definitely moments where we are directly cued that “This is a good time to cry” and “This is a good time laugh-cry” and “This is a good time to happy-cry”. It still felt sincere enough though, and I didn’t feel manipulated, and amidst some of the more mawkish elements and

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@MoviesWeekends

#TIFF21

#NowWatching: THE GUILTY, dir. Antoine Fuqua

(USA)

Review 🔜 @MoviesWeekends

Jake Gyllenhaal is absolutely outstanding in THE GUILTY, Antoine Fuqua’s remake of Gustav Möller’s single-location thriller about a troubled police officer who finds himself in over his head when he receives a call from a woman who seems to have been abducted. The first two acts

see Fuqua demonstrate a mastery of form and technique as he ratchets up the tension and pressure on Gyllenhaal’s Joe Baylor, and the third sees logic take a leave of absence while the emotional weight of the film’s messages land powerfully. For some, The Guilty may take things a

#TIFF21

#NowWatching: ALONERS, dir. Hong Sung-eun

(South Korea)

I really loved ALONERS. Hong Sung-eun’s gentle examination of the chosen isolation of a call centre worker, the comforts found in routine and the quiet pain of severance from the outside world, is carried out with boundless empathy and subtlety. Gong Seung-yeon is fantastic as

Ji-na, who is dealing with the death of her mother, tension with her father, tragedy next door, and an intern at work. From a starting point of eyes constantly transfixed by screens (phone, TV, computer), circumstance and necessity begin to ease open the door for her, letting the

@BWheelerglobe

"Melodious and melancholic."

#DearEvanHansenMovie is unapologetically sentimental and a roller-coaster of emotions, writes @BWheelerglobe.

The feature film adaptation by director Stephen Chbosky opened this year’s #TIFF21.

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The gala world premiere was held at Roy Thomson Hall, and the venue was half-full, in accordance with Ontario’s Stage 3 regulations.

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The #DearEvanHansenMovie premiere signals a return of the hybrid film festival, with just a little added fanfare.

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Alison Willmore

@alisonwillmore

Double-masked, double-caffeinated, and starting off my first day at the Toronto International Film Festival. I'll be threading reactions (including ones to things I was able to screen in advance) here to be browsed or muted more easily #TIFF21

Escalator status: working

MEMORIA: Tilda Swinton has a breakthrough or breakdown after hearing a sound no one else can. Was more challenging than past Weerasethakuls, or maybe I'm just out of practice, but there's still a powerful sense of the past sharing space with a willfully oblivious present #TIFF21

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After a mainly virtual festival last year, #TIFF21 returns in a hybrid form – no parties and lots of digital screening opportunities, on the one hand; live screenings and some real red carpets, on the other.

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But with the event’s opening only one day away, it’s still unclear if TIFF-goers are embracing the format.

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“This year, being hybrid, will it really feel like TIFF?” says hairdresser Candy Sharma.

That question is rippling through potential TIFF audiences, whether they are made up of celebrity-spotters and movie buffs or professional film buyers and critics.

tgam.ca/tiff-screenings

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Toronto Star

@TorontoStar

@TIFF_NET

It's that time of year again: @TIFF_NET kicks off, and yes, it'll be a little different but here are 10 films you can't miss, according to our critic @peterhowellfilm.

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Let's kick things off with #Belfast. Word is that Kenneth Branagh, actor in 'Tenet,' is on the upswing and Oscar-bound directing this coming-of-age drama set in 1960s Northern Ireland.

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@danisgoulet

This year’s top pre-TIFF pick in the Star’s annual poll is Cree-Métis filmmaker @danisgoulet's dystopian sci-fi thriller, #NightRaiders, about a mother’s quest to rescue her daughter from fascist overlords. thestar.com/entertainment/…