James Vanderbilt’s sophomore feature posits compelling ideas before settling into a more generic and tragically sterile approach to confronting the atrocities of World War II.

Harris Dickinson’s feature directorial debut is a confident and subtle exploration of a failed system that creates a cyclical form of suffering.

Richard Linklater’s ode to French cinema and the community of filmmaking that the French New Wave fostered is a breezy celebration of creativity.

Sophy Romvari’s feature debut is an assured confrontation of memory and a formally fascinating autofiction that is one of the best films of the year.

Richard Linklater’s creative relationship with Ethan Hawke yields some of their best work as the two explore the sadness of the larger-than-life Lorenz Hart over the course of a single night.

Jafar Panahi’s latest film, It Was Just An Accident, thrives within the moral murkiness of a man seeking revenge on his suspected torturer.

The movie musical is put on a pedestal in Bill Condon’s ode to cinema and its role in providing light within the darkness.

Lucía Aleñar Iglesias' directorial debut is a subtly powerful exploration of memory and grief, while Gabriel Mascaro returns to TIFF with a celebration of life's uncertainties against a dystopian future setting.

Park Chan-wook’s latest film is a devilish satire depicting a cutthroat world of unemployment that is as incisive and depressing as it is hilarious.

Chloé Zhao's 'Hamnet' tackles Maggie O’Farrell’s novel of the same name with an empathetic eye towards how death transforms us all, even in the face of unshakeable love.

Guillermo del Toro adapts Mary Shelley’s prolific gothic horror novel to astounding effect, crafting an immersive and personal exploration about art, creation, and life.

Chie Hayakawa’s latest offers a personal, meandering exploration of grief through a coming-of-age drama, while Andy Hines’ feature directorial debut is a disappointing adaptation with too many misguided decisions.