By Nicholas Porteous

Train Dreams is the story of Robert Grainier (Joel Edgerton), a guy from the early 1900s. He cuts down trees. He gets married. He has a kid. He lives a life. I’m not going to get any more specific than that because you really need to see Train Dreams to uncover its indescribable depths. It’s about the inherent richness of a long life, and the way things come together, or the way they don’t. It’s poetic, soulful, and intent on defying any pat explanation for a lifetime of experiences.

A substantial element of the beauty of Train Dreams is its gorgeous cinematography. Director Clint Bentley uses a square frame which feels consistently generous, placing the characters among their breathtaking landscapes and hand-built interiors. Full-on close-ups are rare. These people feel part of their surroundings–organic as the trees. There’s a sensual quality to Train Dreams that echoes off the screen. I often felt as though I was sitting a few feet from a warm fire, with the wind at my back, and I could practically breathe the forest air, pet the dog fur, smell the snow.

It’s a vastly more epic movie than its runtime would suggest. At a mere 1 hour 42 minutes, Train Dreams somehow achieves a perfect balance of taking its time, letting every scene breathe, while maintaining a pace that feels like life flashing before your eyes.

Edgerton gives Grainier a deep and necessary interiority. He’s not a character who tends to verbalize, but on most occasions his eyes and breath say more than words could. Felicity Jones (as Gladys) is a wonderful partner to Edgerton. Their relationship feels as fresh in the early scenes as it does lived-in as they grow their family. William H. Macy and Kerry Condon also feel fully realized, even in their relatively shorter time on screen.

Train Dreams is a bounteous, cinematic gift. Take the journey. You’ll be richer for it.

Train Dreams screens at TIFF ’25:

Wed. Sept 10 at 12:15 PM and 3:45 PM at TIFF Lightbox

Fri. Sept 12 at 12:45 PM at TIFF Lightbox

By Mr. Will Wong

One of the Festival’s biggest surprises comes out of the Primetime programme in Netflix‘s WAYWARD, written, directed by and starring Toronto’s Mae Martin. The Limited Series centers is set in a small town. We meet a detective Alex (Martin) and their wife Laura (Sarah Gadon) who are expecting a child, as they move back to the town here Laura grew up. We also meet best friends Abby (Sydney Topliffe) and Leila (Alyvia Alyn Lind), who are in the rebellious years of their teens. What they don’t know though is that their parents secretly are plotting to have them admitted to a correctional youth institution.

WAYWARD is full of intrigue and mystery and we can’t wait to unpeel the layers of these characters as things were just beginning to get rolling in the preview we saw, but this looks very promising. Martin thoughtfully looks at the institutionalization of norms and standards, and refreshingly, maybe sometimes it’s the adults who aren’t always in the right.

This is a welcome turn of foot for Martin, who, though they have experience in episodic television, is exercising completely different muscles and showing their range here. Cast is rounded out by some very familiar names, including Toni Collette and Patrick J. Adams.

WAYWARD screens at TIFF ’25 as follows:

Tuesday, September 9
TIFF Lightbox
9:00 pm

Thursday, September 11
TIFF Lightboxlocation_on
9:45 pm

By David Baldwin

Today, we know (or at least know of) Jean-Luc Godard as one of the most famous and influential directors of all time. But before he became the legend, Godard (Guillaume Marbeck) was just a film critic writing for the prolific Cahiers du cinéma in the late 1950s. He is jealous of his colleagues for having made films, so he sets out to make his own. Despite never having made a feature-length film, Godard wants to do things his way and carve his own path – much to the chagrin of the more seasoned cast and crew.

NOUVELLE VAGUE (or New Wave) chronicles the lead up and making of the revolutionary French picture Breathless to a meticulously and often ridiculously detailed degree. It captures Godard’s eccentricities and the minutiae that drove his process and kickstarted the film’s namesake.

American Director Richard Linklater has very much composed a love letter to Godard here, and has a bad habit of overindulging in details and specificities. Obsessive film nerds will be in heaven watching him recreate scenes and situations, but more casual viewers (or those who know very little of the French New Wave) will be tormented by the languished pacing and Linklater’s decision to truncate very little of what happened on and off the “set”. That said, I do love that he maintained the black and white aesthetic that perfectly matches and compliments Godard’s original film. 

And while the cast is uniformly solid, standouts include Marbeck who is terrific as Godard, and Aubry Dullin who does very well as leading man Jean-Paul Belmondo. They are both overshadowed however by Zoey Deutch who positively slays as Jean Seberg (and speaks French rather exquisitely). 

NOUVELLE VAGUE screens at TIFF ’25:

Tues. Sept 9 at 6:30 PM at VISA Screening Room at the Princess of Wales Theatre

Wed. Sept 10 at 9:00 PM at TIFF Lightbox

Sun. Sept 14 at 10:00 AM at TIFF Lightbox

By Mr. Will Wong

Filmed right here in Toronto, Academy Award winner Daniel Roher gets a full circle moment with his Thriller TUNER premiering at TIFF ’25. The Film centers on Niki White (Leo Wooddall), a once aspiring Pianist whose aspirations were curtailed as he developed a condition that made him sensitive to noise. Niki translates his skills unexpectedly, using his special abilities to hear, the help mobsters execute their heists being able to hear safe combinations. He meets a talented pianist in Ruthie (Havana Rose Liu), though she has no awareness of this double life he heads.

Wooddall solidifies his standing as a certified leading man after wowing many of us in The White Lotus Season Two. He beautifully balances Niki‘s unreconciled failure together with an ambition to win Ruthie‘s heart, all while navigating his challenging condition that both helps him and harms him at once. Liu also delivers a tremendous performance as a woman all-in to secure her future as a professional pianist, her focus thwarted by this looming relationship with Niki. Our only complaint is an under-utilized Dustin Hoffman as Niki’s grandfather Harry.

Roher makes a successful transition to fictional storytelling, keeping us invested in Niki’s trouble and resilience. TUNER screens TIFF ’25 as follows:

Monday, September 8
VISA Screening Room at the Princess of Wales Theatre
Premium
Closed captions (CC),
Audio description (AD)
2:45 pm

Tuesday, September 9
Scotiabank Theatre Toronto
Closed captions (CC),
Audio description (AD)
11:55 am

Review by Amanda Gilmore

Director and Co-Writer Mélanie Charbonneau brings the inspiring story of Sandra Perron, Canada’s first woman infantry officer, to the big screen.

Based on Perron’s acclaimed memoir, Charbonneau crafts a Film as fearless as its subject. It depicts a system that simultaneously changed while remaining a hostile environment for women. The script is told through two timelines. One while Perron is at the training facility, and one following her resignation. When she returns home, she learns a controversial photo has surfaced of her from a prisoner exercise during her training.

Charbonneau throws the audience into the rigorous training Perron underwent to gain the title of infantry officer. She matches the intense physical training with the vicious, misogynistic mental abuse Perron and her fellow female trainees endured by their male counterparts. The darker cinematography and lighting create a gritty atmosphere for the Film, one that mirrors the atmosphere created by the system. 

Even with the success of all the above, Out Standing stands on the shoulders of its lead, Nina Kiri. She has a remarkable presence on camera and delivers a powerful performance as Perron. Kiri masters the emotional depth of Perron’s journey, taking the audience with her.

Out Standing screens at TIFF ’25:

Tues, Sept 9 at 5:30 PM at Scotiabank Theatre Toronto

Thur, Sept 11 at 11:00 AM at Scotiabank Theatre Toronto

By Mr. Will Wong

Easily one of the hottest tickets at tiff50, Actor/Writer/Director Benny Safdie is coming into awards season with his latest effort, THE SMASHING MACHINE, in an admirable position. The Biopic about Mixed Martial Arts legend Mark Kerr diverts from the typical Sports Drama, giving us a film that more rests its focus on obstacle, resilience, and the emotional costs of success on a grand scale.

We meet Kerr at the top of his game, an undisputed king who fights for big prize money in Japan’s PRIDE league.  He quietly is battling an addiction to narcotics, while competing in a sport that is still relatively new, and discovering its own rules with ever-shifting boundaries. Losing isn’t something Kerr knows until he truly feels what it is like, triggering a downward spiral which also affects his relationship with girlfriend Dawn (Emily Blunt). Kerr is determined to reclaim his throne, but at what cost?

Make no mistake, all the buzz about Dwayne Johnson‘s career-best work here is warranted and validated, as he taps into Kerr’s vulnerability, sensitivity and emotional awareness. These perhaps, are muscles in Johnson‘s body of work which haven’t always had a proper showcase, but they are flexed fully here.

Undoubtedly aided by their prior work together, Johnson and Blunt pair beautifully together again with an electric, palpable chemistry. Whether they’re sharing a moment of tenderness or at each other’s throats ans getting under one another’s skin, they are a convincing (troubled) couple.

MMA star Ryan Bader plays Kerr’s best friend and fellow fighter Mark Coleman, who despite not being an Actor, puts forth a commendable effort from the sidelines.

While we never experienced the tremors and tears we thought we would with your typical epic Sports Dramas, we appreciate the lens through which Safdie tells Kerr‘s story through. Instead of the typical tropes we see in fighter films, this isn’t a portrait of glory and winning as much as it is about surviving, overcoming, and just living as a successful athlete. A fantastic piece of Cinema with performances we will remember for some time.

THE SMASHING MACHINE screens at TIFF ’25 as follows:

Monday, September 8
VISA Screening Room at the Princess of Wales Theatre
Premium
Closed captions (CC),
Audio description (AD)
9:45 pm

Tuesday, September 9
Scotiabank Theatre Toronto
Closed captions (CC),
Audio description (AD)
7:30 pm

CBC today revealed the latest batch of amateur bakers competing on Season 9 of THE GREAT CANADIAN BAKING SHOW (8×60). Ten dough-lightful bakers from across the country will put their skills to the test in the iconic tent for the chance to claim the title of Canada’s best amateur baker. Comedians, actors, writers and Second City alumni, Alan Shane Lewis and Ann Pornel, knead no introduction, returning as hosts alongside esteemed pastry chefs and expert judges Bruno Feldeisen and Kyla Kennaley. New episodes will be available weekly on Sundays on CBC Gem starting at 9 a.m. ET, and on CBC TV at 8 p.m. (8:30 NT) local time, beginning October 5.

Based on the beloved British format, each episode features the bakers competing in three challenges – the Signature Bake, the Technical Bake, and the Show Stopper – during which they will rely on their homegrown knowledge and personal backgrounds to ensure that their delectable dishes stand out. Once their baking has been tasted and critiqued, the judges will decide who will be the week’s Star Baker and who will be sent home. In the final episode, the remaining three bakers will face off for the coveted cake plate and the title of Canada’s best amateur baker.

Meet the 10 bakers whipping up magic this season:

• Dan Vano (he/him), 35, a customer success associate from Burnaby, British Columbia
• Dominic Ménard-Bilodeau (he/him), 49, a geography teacher from Longueuil, Quebec
• Jennifer Tsang (she/her), 24, a masters student from Burnaby, British Columbia 
• Jo Mandet (she/her), 44, an event planner from Vancouver, British Columbia 
• Kavi Chatoorgoon (he/him), 48, a pediatric surgeon from Saskatoon, Saskatchewan
• Margaret Bose-Johnson (she/her), 66, a part-time German teacher from Parkland County, Alberta 
• Ryan Gridzak (he/him), 34 a steel mill crane operator from Sault Ste. Marie, Ontario
• Shaneka Ekanayake (she/her), 38, a sales support administrator from Barrie, Ontario  
• Tamara Church (she/her), 56, a family court counsellor from St. John’s, Newfoundland 
• Zoë Weinrebe (she/her), 31, a marketing manager from Toronto, Ontario  

Season 8 winner Elora Khanom of Edmonton, Alberta took home the title and coveted cake plate after competing against semi-finalists Jen Childs of Esquimalt, British Columbia and Pamela Kramer of Stayner, Ontario. Audiences can catch up on past seasons of THE GREAT CANADIAN BAKING SHOW on CBC Gem. 

THE GREAT CANADIAN BAKING SHOW is produced by Proper Television in association with CBC and Love Productions. The executive producers are Cathie James and Lesia Capone and Mark Van de Ven who is also the series producer. For CBC, Sally Catto is General Manager, Entertainment, Factual & Sports; Jennifer Dettman is Executive Director, Unscripted Content; and Susan Taylor is Executive in Charge of Production. The format is owned by Love Productions and distributed by Sky. THE GREAT CANADIAN BAKING SHOW is proud to welcome Dairy Farmers of Canada as a show sponsor and sponsor of CBC’s Bake it with Canadian Dairy Contest, launching on October 5.

By David Baldwin

Vahid (Vahid Mobasseri) is a mechanic haunted by his wrongful imprisonment. By chance, he hears a familiar sound at the shop he works at: the squeaking shuffle of a wooden leg. In this case, it belongs to Eghbal (Ebrahim Azizi), who has just come into the shop with his family after his car broke down. Vahid is certain Eghbal is actually the intelligence officer nicknamed “Pegleg” who tortured him and his friends in prison. So he follows and kidnaps Eghbal. But when Vahid confronts him, doubt is sewn over whether this man is really who he thinks it is. 

And so begins the morally and ethically nightmarish thrill ride that comprises prolific Writer/Director Jafar Panahi’s IT WAS JUST AN ACCIDENT. The film won the prestigious Palme d’Or at the Cannes Film Festival this year and it is not hard to see why. Each moment is composed with precision, with each passing revelation ratcheting up the tension to unbearable heights. It is just as darkly humorous as it is just plain bleak, and the questions and moral quandaries it asks of the audience are not easy ones to answer. There is at least one sideplot I could have done without, but I saw the film a few weeks ago and I have not been able to stop thinking about it since (especially the brilliant final third). 

Though Panahi’s direction is masterful, the incredibly talented cast really make the film riveting. Mobasseri carries the film wonderfully, really excelling at showing the emotional toll this ordeal takes on him as the film progresses. Azizi does well as Eghbal, who you too will not be sure of, with top notch supporting performances coming from Mariam Afshari and Mohamad Ali Elyasmehr, who both get some of the film’s most emotionally charged scenes. The intensity both actors bring to their roles may be offputting to some (as will their many yelling sprees); for others though, it will just be another reason why IT WAS JUST AN ACCIDENT is an immediate must-see.

IT WAS JUST AN ACCIDENT screens at TIFF ‘25:

Tues. Sept 9 at 8:45 PM at Royal Alexandra Theatre

Wed. Sept 10 at 3:30 PM at Scotiabank Theatre Toronto

Sat. Sept 13 at 9:15 PM at Socitabank Theatre Toronto

By David Baldwin

Much like her partner Brady Corbet’s Oscar-winning film The Brutalist before it, Oscar-nominated Director Mona Fastvold’s THE TESTAMENT OF ANN LEE is a challenging film to nail down succinctly. It is an audacious project revolving around the “speculated retelling” of the story of Ann Lee (Oscar-nominee Amanda Seyfried), who founded the religious movement known as the Shakers in the late 1700s and believed herself to be the female reincarnation of Jesus. 

My describing the film as audacious only really skims the surface of what Fastvold has crafted here. It is a visually breathtaking feminist period piece tackling themes of religion and misogyny at the same time as it is a highly energized song and dance film, with extended sequences of Shaker dancing taking up a large part of the runtime. Each one is choreographed and depicted more exquisitely than the last, with Oscar-winning Composer Daniel Blumberg providing another magnetic, unreal score to go alongside it. The spectacular visuals are wonderfully detailed and tactile, taking full advantage of the graininess of the film cameras the project was shot on (sadly the Press screening our team attended was presented in Digital as the 70mm Film print stopped working less than 20 minutes into the screening, so fingers crossed the Public screenings do not end the same way). 

While I think the storyline could have been better streamlined and that many of the actors do not have nearly enough to do – the lovely Thomasin Mackenzie does well as the Narrator but is criminally underutilized otherwise – I cannot say enough superlatives about Seyfried. She pours her entire heart and soul into this performance, shattering preconceptions and soaring head and shoulders above everyone else. She is captivating in every frame and is hard to take your eyes off of. Her work as Ann Lee might just be the best of her entire career.

THE TESTAMENT OF ANN LEE screens at TIFF ‘25:

Tues. Sept 9 at 5:30 PM at TIFF Lightbox

Wed. Sept 10 at 9:30 AM at TIFF Lightbox

In celebration of Latin Heritage Month, Ficoa — Toronto’s Neo-Latin fine dining destination in Little Italy — is launching a special six-course tasting menu crafted by Executive Chef Esau Garcia. Available from September 17 through October 11 for $98 per guest, the menu offers a culinary journey through the diverse flavours and histories of Latin America. Guests can also choose to elevate their experience with a Chef’s pairing, including cocktails, for an additional $85. Reservations can be made via OpenTable HERE.

Chef Esau’s inspiration for this tasting menu is rooted in honouring the people and heritage that have shaped Latin American culture. Each dish draws from the historical and regional richness of the continent —from the Andes to the Amazon, and the Caribbean to the pampas—blending tradition and refinement into an immersive dining experience.

Incas (Peru, Ecuador, Bolivia)
Tiradito de Atún — celebrating coastal influences of the Inca civilization.

Tainos (Cuba, Jamaica, Hispaniola)
Yuca Negra with salsa brava de camarón and tierra de cangrejo — honouring foundational island ingredients.

Yaquis (Northern Mexico)
Chef’s take on Kokkoibaki — featuring short ribs, chillies, onion ash, and potato foam.

Mapuche (Chile, Argentina)
Chilean Sea Bass with merken beurre blanc and roasted leeks in escabeche — highlighting the smoky spice of the region.