TIFF 2025: ‘Little Amélie or the Character of Rain’ | ‘Still Single’
Hayao Miyazaki’s storytelling techniques reign over Maïlys Vallade and Liane-Cho Han’s exquisitely animated Little Amélie or the Character of Rain. Though it never quite feels as otherworldly as the Japanese auteur’s works can become, Little Amélie beautifully navigates a universe filled with wonders through the eyes of a child just beginning to perceive how precious life can truly be. That childlike wonder propels the film forward with a precocious attitude that is constantly endearing. Its titular character is an incredible force of nature whose actions and internal monologue demonstrate an acute perception of the world around her and brings joy into every moment.
An adaptation of Amélie Nothomb’s autobiographical short novel, The Character of Rain, Vallade and Han’s film depicts a fragment of time in young Amélie’s (Loïse Charpentier) life as her family moves from Belgium to Japan for work. Leaning on the Japanese belief that children are gods until they turn three years old, she emerges from a seemingly vegetative state before her third birthday and becomes hyperaware of her surroundings. Constantly learning and voracious in her desire to expand her horizons, Amélie finds comfort in her live-in caretaker, Nishio-san (Victoria Grobois), who immerses Amélie in Japanese culture and traditions. As someone who recently became a father, the film’s depiction of a child bursting at the seams with emotion and catapulting them forward to new discoveries resonated strongly throughout the brisk 78-minute runtime. It brings with it a chaotic energy, reined in by the limitations of a physical world, which leaves Amélie feeling restrained but never hopeless in her pursuit of knowledge.
A striking art style of watercolours and impressionistic strokes influenced by French animator Rémi Chayé (who also contributed layouts for the film) complements the Japanese narrative techniques of Miyazaki remarkably. It’s a consistently delightful film to watch in motion as outlines shift into new forms and shapes that instill wonder while echoing the development of Amélie. The use of French animation to tell a story of a foreigner being raised in another country’s traditions is a clever perspective shift. There are moments when the story takes on a little more weight than it seems equipped to do, such as the lingering impact of post-war Japan looming over some of the characters. Still, when the film is squarely focused on Amélie, it surfaces as emotionally potent storytelling amplified by the incredibly vivid imagery on display. Little Amélie or the Character of Rain is an easy recommendation for fans of Studio Ghibli’s works, and while it is never an earthshattering film, Vallade and Han colour it with enough emotion to be particularly resonant for parents and children alike.
The 50th Toronto International Film Festival took place from September 4th to 14th. Little Amélie or the Character of Rain celebrated its North American premiere on September 13th, as part of TIFF’s Centrepiece program. The full list of films selected for the festival can be found here.
Another pursuit spotlighted during this year’s Toronto International Film Festival is the pursuit of culinary perfection. It’s a high enough honour to be a Michelin-starred chef, but for Masaki Saito, it’s an accolade that has elevated Toronto’s food scene. A sushi chef whose professionalism behind the omakase counter is matched only by his energy outside of work, Saito proves to be a fascinating subject for Jamal Burger and Jukan Tateisi’s feature directorial debut, Still Single. A poignant depiction of an individual breaking free from expectations while still honouring them in their own unique way, Still Single reveals the toll that isolation takes on the most disciplined individuals.
Still Single opens with its subject, Saito, earning two Michelin stars for the second time in his career—becoming the first chef in Toronto to receive the distinction and the first in the world to earn two Michelin stars in Toronto and New York. Slightly drunk as he accepts his award, he makes a statement that reverberates throughout Burger and Tateisi’s film: “I’m still single. I don’t know why.” It doesn’t take long to see Saito’s chaotic late-night lifestyle and somewhat abrasive personality emerge between his day-to-day work at Sushi Masaki Saito and provide an impression of why Saito’s romantic life may be on hold. The elements of Still Single that hold it back at times are that Saito does not seem like a consistently pleasant individual. In the kitchen, he’s a perfectionist who isn’t afraid to scold someone to make them understand the vitality of their role in his restaurant. Outside of the kitchen, he seems closed off and clings to a few friends while keeping his work life separate from his personal antics.
A great subject is crucial to any documentary, and Saito is definitely an interesting one, especially with the added understanding that he’s doing something counterintuitive to how he was raised in Japan and how others who have mastered the craft have remained steeped in tradition. One of his only friends, Yasu, remarks that “Japan is a country without much of a dream,” and Saito’s departure from his home country to North America exemplifies a hunger for something more out of perfection. However, it’s not without its drawbacks and the isolation that’s constantly felt throughout Still Single often stings more because of Saito’s inability to slow down and take stock of his life. It makes for a brisk pacing that eventually peters out long before any meaningful realizations can happen, as Saito moves from one adventure to another, only being grounded by the restaurant that bears his name. Though its honest perspective into an engaging personality is alluring, Still Single can sometimes feel like it’s struggling to illuminate more on its closed-off subject and moments of vulnerability come and go without much of an impression. It’s what holds the film back from being truly outstanding, leaving Burger and Tateisi’s film an ultimately satisfying documentary about a prominent figure in the culinary scene, but one that doesn't quite stand out from the myriad of other personality-driven documentaries.
The 50th Toronto International Film Festival took place from September 4th to 14th. Still Single celebrated its World premiere on September 5th, as part of the TIFF Docs program. The full list of films selected for the festival can be found here.
